Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 105. (Budapest, 2006)

ANDRÁS FÁY - MIKLÓS GÁLOS: The Restoration of Maarten van Heemskerck's Budapest Lamentation Panel

M. Knoedler and Co., New York, 1978 (formerly auctioned off at Hotel Richemond, Geneva 1976). Oil, oak, 122.5x139 cm. Grosshans 1980, cat. 52, fig. 77. Oral communication by Zsuzsa Urbach in spring, 2007. Vienna, Kunsthistorisches Museum, inv. no. 945. J. Sander, Hugo van der Goes. Stilentwicklung und Chronologie, Mainz, 1992, 44-88. Oil, copper; 33.8x24.7 cm; inv. no. 4325. Further copies: Saint Petersburg, The Hermitage, formerly Cramer Collection, The Hague; Sander 1992, 82. Torino, Accademia Albertina, inv. no. 128. Oil, oak, 78x79 cm. Grosshans 1980, cat. 43. Baldass 1917, 389: "Gegenüber der großflächigen Aïodellierung der Grablegung in der Turiner Akademiegalerie, die Preibisz um 1545 ansetzt, herrscht in den Figuren noch eine gewisse kleinliche Zierlichkeit, die noch ferne an die altniederländische Tradition erinnert." A workshop copy in Rotterdam, Aduseum Boymans-van Beuningen, inv. no. 1291, Grosshans 1980, cat. 44. Grosshans 1980, 155. On the role and differentiation of Joseph of Arimathaea and Nicodemus see Wolfgang Stechow, "Joseph of Arimathea or Nicodemus?", Studien zur toskauischen Kunst. Festschrift für Ludwig Heinrich Heydenreich, Munich 1963, 289-302. Vienna, Kunsthistorisches Museum, inv. nos. 6950-6951. Oil, oak; each 80.5x35 cm. Grosshans 1980, cat. 42, figs. 63-64. The reconstruction of the triptych in Grosshans 1980, fig. 66. The present measurements of the panels are approximately the same as the original. The unpainted borders with the exception of the inner sides have mainly remained. For the access to the documentation we owe courtesy to Karl Schütz, director of the Picture Gallery of the Kunsthistorisches Museum Vienna, as well as to Sandra Maria Rust and Elisabeth Wblfik. The Musée des Beaux-Arts, Strasbourg, preserves very similar altar wings to those in the Kunsthistorisches Museum (inv. no. 91 a, b. Oil, oak, each 68x27 cm. Grosshans 1980, cat. 50). However, the difference in size and the landscape background of the wings rule out the possibility that they could have belonged to the Budapest panel. M. Faries, "Attributing the layers of Heemskerck's Cologne Lamentation of Christ", Le dessin sousjacent dans le Peinture, Colloque X, 5-7 septembre 1993, Le dessin sous-jacent dans le processus de création, Louvain-La-Neuve, 1995, 133-41. Vir Do/orum, (Tent, Museum voor Schone Künsten, inv. no. S. 53. Oil, oak, 85x72.5 cm. Grosshans 1980, cat. 16; Saint Luke Painting the Virgin, Haarlem, Frans Hals Museum, inv. no. os 1-134. Oil, oak, 168x235 cm. Grosshans 1980, cat. 18.