“Medieval Art and the Contemporary Spirit,” at Richard L. Feigen & Co.
January 3rd, 2010 | Published in Exhibitions
The Olivetan Master (Girolamo da Milano) and the Master of the Lodi Choir Books. Detail of "Monks Singing the Office" (f.9v), from a Gradual (Use of the Olivetan Benedictines), ca. 1439-1447. Italy, Lombardy, Santa Maria di Baggio near Milan. Manuscript illuminated on vellum
BY CAROLINE LAGNADO
Richard L. Feigen’s elegant space on Manhattan’s Upper East Side is currently hosting a small, yet rich show of works from the twelfth through the sixteenth centuries. The exhibition, entitled “Medieval Art and Contemporary Spirit,” is a packed room of sculpture, miniatures, and manuscripts organized by Sam Fogg, the London-based dealer, that focuses on European art of the Middle Ages. High end designers may take note of the show’s objective, which ” is to orient medieval objects to contemporary concepts and spaces,” according to its press release. Works from France, Italy and Germany are for sale, ranging from $150,000 to over $1 million USD.
Highlights include a white marble sculpture entitled “Bilial consumed by snakes.” It dates from the late 12th century, and most likely came from the cathedral pulpit at Calvi Vecchia, near Capua in Italy. The figure is simply modeled, depicting this evil biblical man, devoured by snakes.
Embriachi Workshop, "Marriage Casket with scenes from Jason and the Golden Fleece," Venice c. 1400-1410 Box: 33 x 52.5 x 26 cm, carved panels: 10.3 x 9 x 7.5 cm: The myth of Jason and the Golden Fleece is depicted in bone and horn on this fifteenth century marriage chest from Venice.
Also of note, from the Embriachi Workshop, is a large wooden marriage casket with scenes of Jason and Golden Fleece in bone and horn, and accented with an inlaid design. Given the tragic nature of this Greek myth one may wonder why those in the market for a wedding chest would want to be reminded of the tragedies that befell Jason in this story—particularly when it came to love—though it was beautifully crafted in the early fifteenth century and remains in good condition.
Mino da Fiesole, "Profile of a Gentlewoman," Rome c. 1455-1460: Mino da Fiesole's white marble relief is a classicizing and idealized picture of an affluent young woman, showing an interest in hair and dress.
Mino da Fiesole’s “Profile of a gentlewoman,” dating from the mid fifteenth century is a lovely portrait of a classical young lady in relief. Mino probably created this sculpture in relief while on a trip to Rome as a young man where he studied antiquities. It dates from the late fifteenth century.
The woman depicted here sports an elegant upswept hairdo, embellished with a strand of beads and a fitted dress whose exquisite details show a great attention to drapery and folds. She lacks expression—possibly because we are shown a profile view, though the generic nature of the sculpture suggests that it may not be a portrait, rather more a portrait type.
Claus de Werve (attrib.) "Saint Peter," Burgundy, c. 1410-1420: Saint Peter is shown in this polychrome and gilded figure, originally housed at the Cistercian Abbey of Theuley in Franche-Comté, northeast of Dijon.
Other works in the show include a trio of singing angels carved in marble by Antonio della Porta, a polychrome figure of Saint Peter by Claus de Werve, as well as gilded prayer books, illuminated manuscripts, and a large Gradual made for the Benedictine Olivetans of Lombardy, still in its fifteenth century binding.
This show will be up through February 5, 2010. Richard L. Feigen & Co. is located at 34 East 69thStreet, New York, NY. For more information, visit: www.rlfeigen.com
Caroline Lagnado is a writer and art historian living in New York.
