Michael Pacher, St. Wolfgang Altarpiece, c. 1479-81 (Church of St. Wolfgang, St. Wolfgang, Austria) Speakers: Dr. Steven Zucker & Dr. Beth Harris. Find related images here. Created by Beth Harris and Steven Zucker.
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- At :46 it shows the Weekday and Sunday panels, however the video does not show us any or give any explanation of those panels. Will those be added later?(3 votes)
- I would love to see those panels as well, but the video explains that certain portions of the altarpiece are only opened during very specific days. Beth and Steven were there when the Feast day panels. I've search Wikipedia and Flickr - only the Feast day fold out is depicted.
Sound out to all the Khan Academy folks out there! If anyone can find link to photos of the other panels, PLEASE, PRETTY PLEASE, post the link here. And if you're one of the many students around the world who uses Khan Academy, I'm sure you'd get some serious thanks from the rest of us if you live near the church and are willing to take a few photos under Creative Commons rules.(5 votes)
- If Christ was circumcised how come christian men (unlike Jews and Muslims) are not required to be circumcised?(2 votes)
- According to Christianity, Christ came to fulfill the law through his death and resurrection so the "old covenant" (Judaic law) didn't apply any more. Also, when more and more men that weren't Jews converted, it was decided this wasn't necessary. This is covered in the Book of Acts in the Bible.(4 votes)
- In previous tutorials, we learned about the Protestant Reformation and the iconoclasm associated with it. Was the area in which this altarpiece located affected by the Reformation and if so, was this piece ever in danger of being destroyed?(2 votes)
- Is the wiid used linden wood?(2 votes)
- Yes. It says so at3:26. Liden is soft compared to other altar sculpting woods, like yew for example, but still not as soft as what we wood normally think of as soft woods, like spruce, cedar, poplar, balsa, etc. In Europe linden is mainly known as a tree for roadsides, and for herbal tea.(2 votes)
- At5:00, the death of Mary is mentioned. Is that something that the Catholic church no longer teaches (just curious - if this turns out to be a bad question tell me and I'll delete it)?(1 vote)
- I went to Catholic school pretty recently and it was taught that she didn't exactly die, but that she was assumed into heaven body and soul. So she just went straight into heaven at the end of her life, but it's not really dying.(2 votes)
- Why did renaissance painters apply medieval backgrounds in their paintings, like the castle in (3:04), in the nativity scene.(1 vote)
- At0:52- I am not really sure if the custom of changing/opening panels is still applied. This year I visited the church on Saturday and on Sunday and the panels were in the same "open" position.(1 vote)
- at0:46there are three pictures, indicating the different ways the altarpiece is opened or shut depending on the day. The video shows us how it looks on feast days. On Sundays there are 4 additional panels visible. What's on those?(1 vote)
(jazzy music) Male: We're in the Church of St. Wolfgang on a gorgeous lake in the Alps in Austria. We're looking at an alterpiece by one of the most important early Renaissance painters in this region, Michael Pacher. Female: And we're being very hushed because we're talking here in front of the alterpiece. It fills the entire space from almost floor to ceiling. Male: We're not used to seeing alterpieces that are this intricate and this large anymore. Female: It's a combination of sculpture, architecture and painting together in its original location, and this is incredibly rare. These things are often disassembled and in museums, so we don't get to experience them the way that they were meant to be. Male: We're also quite lucky because on the day of our visit, the alterpiece is opened completely so we're able to see the most sacred areas of the object. Female: We have a scene of the court of heaven and Mary being crowned as the queen of heaven. But the space that surrounds them is a Gothic space like the one we're standing in. Male: We recognize all of the figures here, but the one that most people probably wouldn't recognize would be St. Wolfgang, the namesake of this town, of the lake, and of this church. He was a 10th century hermit, and I have to say he chose a lovely spot. Female: You can see him on the left and St. Benedict is on the right of that central scene. Above Christ and Mary, flying toward us, is a white dove. The space of the alter is incredibly deep, I don't think I've ever seen anything like this, so that the figures are set back in shadow. Male: It is like a stage, actually. Female: Behind Christ and Mary we see angels. Male: There's a choir of angels, and then there are small angels in the front that seem to be flitting about, for instance holding the hem of Mary's garb. Female: The whole space that these central figures occupy, everything about it seems activated. The figures seem to move. The angels, as you said, seem to flit about. Christ raises his hand. Mary folds her hands in a gesture of prayer. The dove flies out towards us. The filigree on the Gothic niches catches the light. It's as though the whole thing is really alive and happening before us. What happens is that we look, then, on either side to the painted panels and we see painted figures in architecture that again resembles the space that we inhabit. Male: This is Early Renaissance painting and we know that the artist Pacher had actually crossed the Alps, gone to Northern Italy, and had learned the techniques of artists like Mantegna. It looks like he has learned the lessons of linear perspective from the Italians, which is only about 50 years old. He's brought this back to Northern Europe. We often think about [Daret] being the artist that does this, but Pacher does it long before. We see Pacher's interest in deep space. We see that in the sculptural figures in the center, we see it in his use of linear perspective and foreshortening. Male: You're absolutely right. This is clearly an artist that is concerned not only with the rendering of deep space, but also the creation of mass, of solidity within the figures themselves. Female: We see something very typical of Northern Renaissance in German art; those very deep and very complicated folds of drapery. Male: He was able to carve the wood quite easily because this is a very soft wood. Female: Surrounding the central scene are moments from the life of Mary. Male: We have a smaller sculptural scene down in what we might call the predella that shows the adoration of the Magi. They're framed by two panel paintings. On the left is The Visitation; and on the right, the Flight into Egypt. These are scenes that take place when Christ is an infant. We see that chronology continued in the panels up above. Female: On the upper left, The Nativity of Christ's birth. Even there we see an illusion of deep space behind Mary. Male: I love the way that the angels float very close to the pictural plane and the way in which those timbers seem to almost frame the painting itself. Female: And how about the cow who's foreshortened? Below that we see Christ circumcised in the Temple. Male: Look at the architecture there. The complex ribbing of the [unintelligible] is just a perfect mirror of what's above us. Female: Although I think it's more complicated even and more fanciful than the space that we're in. Then we see perspective in the tiles on the floor. We see that again in the panel on the upper right, the scene of The Presentation in the Temple. Male: Then down below that, the death of Mary. We can see her being attended to, but then Christ waits for her just above, assisted by angels. Female: What's so amazing about this alterpiece is that we have this sculpted Gothic architecture that surrounds the central scene of The Coronation of Mary. Then we have painted space with painted figures in it, and painted sculptures, for example, in the panel on the lower right of the death of Mary. Then we stand in this space which is itself inhabited by sculpted figures, by Gothic architecture. Male: All of that architecture, all of that sculpture in the real space of the church is also painted. So it is a kind of perfect fusion. Female: There is the potential for a truly visionary experience. Male: Art is most successful, and I think this is especially true in a religious environment, when art changes the way that we perceive the things that we would normally see as normal. This sculptural group, this painted group, transforms the way that we see the rest of the church. Female: There's a real fusion of our so-called "real world" and the visionary world of the biblical figures we are looking at. The tools of the Renaissance of creating three-dimensional form, of believable bodies, of believable space, are here used to create a total experience. Male: The idea of the Gesamtkunstwerk, the total work of art. Female: All we're missing is music. (jazzy music)