Anna Eörsi

ELTE-BTK, Institute for Art History, retired

Followers

336

Following

155

Public Views

Interests

Uploads

Papers by Anna Eörsi

Miksa császár járókára - és Dürerre - támaszkodó szárnyas puttója.

Acta Historiae Artium, 2023

Miksa császár imakönyve id. Jörg Breu által díszített részének egyik lapalján (fol. 78r) egy derű... more Miksa császár imakönyve id. Jörg Breu által díszített részének egyik lapalján (fol. 78r) egy derűs, szárnyas puttó tolókát maga előtt hajtva lendületesen halad előre. Az első lépéseit segítő guruló szerkezete, valamint szárnyai (kiváltképp a kettő együtt) magyarázatért kiáltanak.
A járókás gyermekek legtöbb ábrázolásától eltérően ez a lény semnem életkor megszemélyesítője, semnem konkrét kisgyermek. Előzményei között említhetjük a közbenjáró imákat kísérő lapszél-díszeket, kiváltképp Burgundi Mária hóráskönyvének vonatkozó ábrázolását.
A Miksa-imakönyv tolókája szerkezetileg kontrafunkcionális; falécei összességükben egy nagy A és nagy D betű formáját eredményezik. A Dürer-monogramot mintázó járókerettel Jörg Breu egyrészt megköszöni a mentorától kapott inspirációkat, másrészt eleget tesz Peutinger ‒ azaz a császár ‒ kívánságának, miszerint az imakönyv díszítését a Dürer által megkezdett módon kell folytatni.
A járóka-motívumnak, mint a tudás megszerzése segédeszközének antik előzménye is van, de a mi Dürer-monogramot mintázó sustentaculumunk szempontjából különösen relevánsak a későbbi példák. A 17. században az „első lépés” metaforája, a „segítséget adás és kapás” fogalmai gyakorta előhívták a tanár-tanítvány témakört; ekkoriban a művészi tanulás és gyakorlás kontextusában ismételten emlegették a rollátor segítségével járni tanuló gyermeket. Ez a gondolat nyomja rá a bélyegét Rembrandt ’Het Rolwagentje’ rézkarcára is: az önállóan járni kezdés itt is a művészi mesterség tanulási folyamatára utal, arra, hogy az első lépéseket az akt ábrázolásának gyakorlásával, és a mester művei másolásával kell megtenni.
A puttó ábrázolása bizonytalan léptei alapján lassúságot, szárnyai révén gyorsaságot implikál. Ugyanez az ambivalencia a lényege a Miksa császár számára releváns festina lente intésnek; a témát valószínűleg Konrad Peutinger javasolta. A jobb szél alján a csigára lépő Héraklész, valamint a verso darumadara is a császárra utal.
kulcsszavak: I. Miksa imakönyve, Albrecht Dürer, id. Jörg Breu, Rembrandt Hermansz van Rijn: ’Het Rolwagentje’, Konrad Peutinger, járóka, Jézus járókával, Dürer-monogram, festina lente.

Download

Emperor Maximilian's Winged Putto Leaning on a Walker - and on Dürer's Monogram

Acta Historiae Artium, 2023

in the bas-de-page decoration by Jörg Breu the Elder of a leaf in the Prayer Book of Emperor Maxi... more in the bas-de-page decoration by Jörg Breu the Elder of a leaf in the Prayer Book of Emperor Maximilian I (fol. 78r), a cheerful winged putto is gracefully propelling a walking frame. Both the rolling structure aiding its first steps and the presence of wings cry out for an explanation, especially as the two are shown together. unlike most other depictions of a child with a walker, this putto is neither a personification of an age of man, nor a reference to a specific infant. Among its precedents, it is worth mentioning the marginal decorations of prayers of intercession, especially the relevant depiction in the Hours of Mary of Burgundy. the structure of the walker in maximilian' s prayer book is counterfunctional: its wooden slats together form a capital A and capital d. By modelling the walker on dürer' s monogram, Jörg Breu was, on the one hand, thanking his mentor for his inspiration, and on the other, fulfilling the wish of konrad peutinger-and indirectly of the emperor-that the decoration of the prayer book be completed in the manner commenced by dürer. while there are also classical precedents for the motif of the walker as a device aiding the acquisition of knowledge, later examples are particularly relevant to the sustentaculum modelled on dürer' s monogram. in the seventeenth century, the metaphor of the "first step" and the concept of "giving and receiving support" frequently conjured up the theme of master and pupil; at this time, the child learning to walk with the aid of a walker was repeatedly alluded to in the context of the study and practice of art. this notion also comes across in the etching by rembrandt known as 'Het Rolwagentje': here too, learning to walk independently refers to the process of mastering art, with the obligatory first steps being to practise drawing nudes and to copy the works of the master. in the depiction of the putto, its hesitant steps imply slowness, while its wings suggest speed. this ambivalence is also the essence of the adage festina lente, which was of particular relevance to Emperor maximilian; the theme was probably suggested by peutinger. other references to the emperor are the figure of Hercules stepping on a snail, in the lower right margin of the same sheet, and the crane depicted on its verso.

Download

The incarnation of the Word and of the Form. Some thoughts about St Luke the painter, and about some painters of St Luke

Acta Historiae Artium, Nov 1, 2003

Summary The parallel between the incarnation of the Word and the materialization of the picture m... more Summary The parallel between the incarnation of the Word and the materialization of the picture may have contributed to the emergence of the legend that St Luke was the painter of the Virgin. When the saint painted a colourful, i.e., lifelike portrait of the Virgin and her child, he brought to life the incarnate Word authentically, hence proving the truth of incarnation. Some depictions of St Luke the painter clearly suggest that the saint's work assumed its materiality as a result of incarnation, upon the intervention of the celestial sphere. Colour is one of the tokens of reality; in several cases it is colour that the physician-painter owed to the heavenly sphere. These include the illustration in Johannes von Troppau's evangeliarium, and the representations of the painting saint in which an angel helps Luke to grind pigment. Rogier van der Weyden's St Luke paints a portrait of the Virgin which is on a par with the old akheiropoietos of miraculous genesis. The same intention is detectable in Jan van Ey...

From Medea through Love to Terpsichore. New comments to the representations of the Muses in the studiolo of the Belfiore villa

... In these cases Panofsky's 'principle of divergence' holds just as true as in t... more ... In these cases Panofsky's 'principle of divergence' holds just as true as in the antique-christian divergence, the painters using the dictionary of ... It is not impossible that some of the drawings attributed to Anonimo dell'Ambrosiana, as well as the Muses Urania and Polyhymnia, are ...

International Gothic Style in Painting

Fuit enim Maria liber". Remarques sur l'iconographie de l'Enfant écrivant et du Diable versant l'encre

Bulletin du Musée Hongrois des Beaux-Arts = O. M. Szepmuvezeti Muzeum Kozlemenyei, 1997

Abraham with his son Ishmael •

Acta Historiae Artium, Apr 26, 2023

Mary of Burgundy Alive or Dead

Acta Historiae Artium, Apr 7, 2022

Three depictions of Mary of Burgundy seated on horseback were made soon after the duchess’s death... more Three depictions of Mary of Burgundy seated on horseback were made soon after the duchess’s death.The drawn copy of a lost work by Hugo van der goes commemorates the negotiations held in Trier in 1473 between frederick iii and Charles the Bold, when they made their first agreement on joining their children in marriage. The composition is strikingly reminiscent of the theme of The Meeting of the Three Living and the Three Dead; the high-born female rider arriving behind Maximilian is Mary of Burgundy, depicted after her death. The man confronting the riders with their mortality probably refers to Charles the Bold (d. 1477). The original work was likely to have been commissioned by Maximilian sometime between the death of the duchess and that of the painter, that is between March and December 1482.Like the drawing, the allegorical poem completed in 1483 by olivier de La Marche is a commemoration of the recently deceased dukes and duchess of the House of Burgundy. for the edition of the poem published by the Brethren of the Common Life in gouda, the drawing associated with Hugo van der goes was utilised to illustrate the chapter on the death of Mary of Burgundy.The protagonist of The Meeting of the Three Living and the Three Dead in the manuscript known as the “Berlin Hours of Mary of Burgundy and Maximilian of Austria” is Mary of Burgundy, who died in a riding accident. i refute all the arguments suggesting that the miniature preceded the duchess’s death. The double letters “M” on the harness of Mary’s horse (which are also found several other times in the book of hours) refer not only to the names of the ducal couple, but also to words associated with death. The miniature itself was probably commissioned by Maximilian, after his wife’s death. With its softer brushwork, the decorative frame around the miniature – as well as the entire recto of folio 221 – was probably made when the manuscript was in the possession of Margaret of Austria. The personification of Death differs from the verso in many respects (scale, background, style); iconographically it can be considered an afterthought. The green parrot and golden dove in the left margin are also afterthoughts. The two birds appear in the Épîtres de l’Amant vert (1505), the consolatory poem composed for Margaret by Jean Lemaire: one bird was the mother’s favourite, the other her daughter’s favourite; both ended their lives in the mouths of dogs (which had been barking on the verso of folio 220 for a few years before). Here and now, in the margin of the recto of folio 221, the birds representing the souls of mother and daughter are inhabitants of Paradise. The protagonist in the verso of folio 158 of the London rothschild Hours – the image is a copy of the Berlin Meeting – is the commissioner of the manuscript, and also the owner of the Berlin manuscript: Margaret of Austria, identifying with and commemorating her mother Mary of Burgundy. The depiction facing it in the recto of folio 159 alludes to the series of events (the two funerals) that followed the death of Margaret’s husband, Philibert ii, with a proleptic depiction of st. nicolas’s Church in Brou (their future common tomb). Besides the riding ladies, the illustrations of the office of the Dead in the Berlin and London Hours share numerous similarities.

“Imaige A La Vierge Marie” The Hours of Mary Of Burgundy, Her Marriage, and Her Painter, Hugo Van Der Goes

Acta Historiae Artium, Dec 18, 2020

The Vienna Hours, illuminated by the artist known as the “Master of Mary of Burgundy”, was origin... more The Vienna Hours, illuminated by the artist known as the “Master of Mary of Burgundy”, was originally commissioned by Margaret of York. The later parts of the manuscript commemorate the love and marriage between Mary of Burgundy and Maximilian of Habsburg, and their (newborn or expected) child.The miniatures and texts in question convey the same idea expressed on several occasions by the official historian, Jean Molinet: in the Burgundian court, the duchess was venerated as the Virgin Mary (and in consequence of this, Maximilian – and Philip – came to be revered as the Saviour, and Frederick III, Holy Roman Emperor, as the Father). Underlying the tendency to identify Mary of Burgundy with the Virgin Mary was the situation of Burgundy and its heiress, which was understood by means of salvation-historical analogies. In the book of hours, the figures of the two Marys are conflated several times in a variety of ways (fols. 14v, 19v, 43v, 94v, 99v). The hymn in praise of the heavenly joys of the Virgin Mary, which is organically related to the frontispiece image, is thus (also) a chanted sequence for the eternal beatitude of the young bride. The painter conjured up the imaginary figure of Maximilian in the foreground of the two miniatures with window scenes, while the jewels in the border around the image of the Crucifixion scene allude to Margaret of York. These miniatures have a playful tone (as evidenced by the role-swapping between the Marys, the book-within-a-book, picture-within-a-picture, vision-within-a-vision, trompe l’oeil solutions, and the complex dialogue between objects, materials and locations).There are a number of factors supporting the argument that the miniatures, hitherto attributed to the Master of Mary of Burgundy, were illuminated by Hugo van der Goes, who was a resident of the Red Cloister at the time, and that he was commissioned by the Austrian Archduke. The date of 1478 is rendered likely by stylistic and biographical factors (the paintings Hugo made in the cloister, both before and after, his later illness, the visit of Maximilian, the birth of Philip the Handsome). It was also at this time that Jean Molinet wrote Le Chappellet des dames, which makes multiple comparisons between the duchess and the Virgin Mary, and whose imagery is often echoed in the folios of the Vienna Hours. It is possible that the first (co-)owner of the manuscript was Maximilian of Habsburg.

Médeiától a Szereteten át Terpszikhoréig. Újabb megjegyzések a Belfiore-villa studiolójának múzsa-ábrázolásaihoz

Művészettörténeti értesítő (Nyomtatott), Dec 1, 2004

Da Medea attraverso l'Amore a Tersìcore. Nuovi appunti alle rapresentazioni delle muse nello studiolo della Villa Belfiore

Acta Historiae Artium, Mar 1, 2004

Summary The thougths about the Muses of Guarino da Verona can not be considered as excentric. The... more Summary The thougths about the Muses of Guarino da Verona can not be considered as excentric. The fact, that even two Muses concerning Agriculture represented in the Studiolo cycle, may go back to the enthusiasm of Ferrarese humanists for country life as well as for bucolic literature. Polyhymnia in her rather simple appearence could be a personification of the pastoral Muse. Beyond several details of the series (e.g. robes open on the paunch, the head ornament of Thaleia) supposedly is a dialogue between painters and humanists. The artists might have done their best in giving an antiquizing aspect to their Muses. The Painter of Terpsychore took motifs from a Medeia-sarcophagus, while the model for Urania could be found in representations of Mars and Venus. Panofsky's “principle of disjunction”seems as valuable for these cases, as for the relation between Antiquity and Christian art. The formulation of Polyhymnia was influenced by a drawing made after antiquity, so, according to our actual knowledge, this...

„Nem korhad el, nem rágják meg a férgek”. Megjegyzések Mária halála ikonográfiájához az Albert-oltár mestere hatása alatt készült esztergomi triptichon kapcsán

Művészettörténeti értesítő (Nyomtatott), Aug 1, 2005

„he that keepeth Israel shall neither slumber nor sleep” Remarks on the Western Fortune of the <i>Anapesōn,</i> and on the Early Netherlandish Renaissance: the Case of Campin’s Firescreen Madonna

Acta Historiae Artium, Dec 1, 2010

Abstract The prototype of the Infant in the Virgin and Child before a Firescreen was probably an ... more Abstract The prototype of the Infant in the Virgin and Child before a Firescreen was probably an anapesōn representation. This time, Campin was presumably directly influenced by Byzantine art. Early Netherlandish painters were similarly motivated to draw on Byzantine models as their Italian contemporaries were driven to the sculpture of classical antiquity.

Allegóriától allegóriáig. Mantegna Assisiben

Művészettörténeti értesítő (Nyomtatott), Jun 1, 2011

Abstract 1. Andrea Mantegna's painting known by the name Pallas Expelling the Vices from the ... more Abstract 1. Andrea Mantegna's painting known by the name Pallas Expelling the Vices from the Garden of Virtue (fig. 1) could not have been created without knowledge of three frescoes in the lower church of Assisi (figs 2–4). My arguments are not based on verbal but on visual sources. The former possibility is precluded by the lack of any written information on Mantegna's presence in Assisi. What is certain is that the Mantuan court painter was working in the chapel of pope Innocent VIII's Belvedere villa between June 1488 and the summer of 1490. It is hard to imagine that he did not visit Assisi's San Francesco basilica during this time, one of Christianity's main shrines of pilgrimage endowed with the promise of papal absolution. (Isabella d'Este is known to have been there in 1494.) Pallas – the second painting after Parnassus for the studiolo of Isabella d'Este in Mantua – was painted sometime between 1497 and 1502. The venue is the Garden of Virtues into which the Vices have intruded and they have imp...

. Ábrahám áldozata késről késre; Donatello lecsúszó, Rembrandt leeső, El Kazovszkij szárnyaló fegyvere

Ars Hungarica, 49., 2023

Over the centuries, countless dramatic compositions have reenacted the moment, related in Genesis... more Over the centuries, countless dramatic compositions have reenacted
the moment, related in Genesis 22:10‒12, when Abraham
realises that his destiny has unexpectedly changed from dismal
to blessed. However, only two great artists have been bold
enough to evoke the essential ambivalence in this turnaround
of fortune, the moment when it suddenly becomes possible for
Abraham to escape his predicament, by showing the instant
that has just passed in one of the patriarch’s hands, and the
very next second in the other. As depicted by Donatello (1421)
and Rembrandt (1635, 1636), Abraham’s left hand is still fully
concentrating on obeying God’s command, while his right has
already released the knife with which he intended to slay his
son. Simultaneously conveying dual commitment, conflicting
emotions, two states of mind, and two moments in time is
not an everyday accomplishment.
It is time to revise the widespread view, first propounded by
Julius Held, that the falling knife in Rembrandt’s Abraham
was inspired by a stage direction in the text of Theodore Beza’s
drama Abraham sacrifiant. The motif occurs in Jewish and
Reformation literature, on the stage, and even in paintings
by Rembrandt’s contemporaries (Moyses van Uyttenbroeck,
David Rijckaert III, Jacob Jordaens).
Peter Paul Rubens’s composition depicting The Sacrifice of Abraham
obviously had an influence on Rembrandt’s, and not only
in the ways hitherto listed in the literature, but also in respect
of the knife. As painted by the Flemish master, the patriarch
is still gripping the murderous weapon in his hand, but the
strikingly prominent knife, held horizontally with its silhouette
sharply outlined against a clear sky, may have played a role in
Rembrandt’s concept for the falling blade.
In 2006, El Kazovsky responded to Rembrandt’s paintings with
two paraphrases. In her compositions, we can also see some
of the distinctive motifs from her own personal mythology: the
drawn-aside stage curtains, the raised platform approached by
a winding road, the tethered animal, the (angel) wings, and last
but not least, the motif of the knife. In the picture with serial
number two, the entire ambivalence of the story is condensed
into the angel’s feather-cum-blade, and Rembrandt’s ornate
weapon is referenced with an extraordinary richness of thought.
The object that seems to float like a feather in Rembrandt’s
painting is the plume of an angel’s wing in Kazovsky’s work. In
Rembrandt’s work, the blade never reaches Isaac’s pressed-back
neck because of gravity, in Kazovsky’s, it is because the angel
flies off with it. However, in the pictures both are focused on the
innocent and defenceless Isaac; just as Rembrandt’s Abraham
clearly indicates with his left hand that he would have been
willing to kill his son, El Kazovsky’s work is likewise not about
escape but about vulnerability and peril. In both cases, there is
no doubt about who is the subjugated and who is the dominant.

Download

„Elle n'a point eu à subir […] la pourriture, les vers et la poussière…”

Acta Historiae Artium, Dec 1, 2005

Summary During the XVth Century one seldom finds a representation of the Death of the Virgin as t... more Summary During the XVth Century one seldom finds a representation of the Death of the Virgin as the central theme of a tryptich. The Holy Spirit floating over the globe is as unusual for the iconography of this theme, as are the diabolic beasts abounding in the ground. The latter, just as the fly and the spider on the bedside are meant as symbols of sin. The decoration of the deathbed of Mary is reminiscent of the representations of the Arc of the Covenant. The commission of the tryptich is to be seen in the context of contemporary discussions over the Immaculate Conception. However, it is not anymore possible for us to decide which side's arguments were meant to be supported by this painting. The apostle lifting up a censer belongs to the same Rahmenthemen as the doctor lifting up the uroscope.

Puer, Abige Muscas!

Acta Historiae Artium, Jan 27, 2001

Summary We first come across flies painted to demonstrate the skilled craftsmanship of the artist... more Summary We first come across flies painted to demonstrate the skilled craftsmanship of the artist in the works of Giovanni dei Grassi and the Limbourg brothers. The first such example I know of in a panel painting is in the painting of the Death of the Virgin, from the circle of the Master of the Albert altar (Esztergom, Christian Museum). Inspired by Pliny's anecdotes, painting apprentices in Francesco Squarcione's workshop in Padua in the 1460s, especially Giorgio Schiavone, painted trompe l'oeil flies to trick their fellow artists. Among others, humour, the romantic desire to revive antiquity, and the Aristotelian paradox that the ugly in art becomes beautiful also played a role. It was in this environment that Filarete's anecdote in which Giotto fools Cimabue with a painted fly was first concocted. The anecdote is told in the context of the paragone. Trompe l'oeil flies and the glorification of painting are similarly joined in Derick Baegert's painting of St Luke. The fly seen in Durer's Feast of the ...

Download

A few good words for Christian Wilhelm Ernst Dietrich – and for an unduly neglected subject matter.

Bulletin du Musée Hongrois des Beaux-Arts, 126–127, 2021

Download

Abraham with his son Ishmael the iconography of Rembrendt Etching b 33

Acta Historiae Artium, 2022

the titles previously given to rembrandt etching b 33 are not convincing: it is problematic to id... more the titles previously given to rembrandt etching b 33 are not convincing: it is problematic to identify the boy as "isaac" or even as "benjamin", and the use of the verb "caress" is also imprecise. for all their shared intimacy, the two protagonists in the etching were depicted by the artist in different physical and emotional states: the old man is tense while the child is calm; the feet of the former, turning to the right, suggest preparing to depart, while the posture of the latter hints that he is going nowhere. with regard to their close physical proximity, because of the gesture Abraham makes with his left hand, and owing to the telling positions of their feet, the two figures are closely connected to the "banishment of hagar and ishmael". the work depicts Abraham and ishmael immediately prior to their parting and after the feast celebrating isaac' s weaning. ishmael' s supercilious smile and the apple in his hand allude to the argument with his half-brother and also to the old testament. it is at this moment that Abraham hears the voice of god, instructing him to send his loved ones away; the tension in his eyes is directed towards god. Every sinew of his body and soul is strained by the ambivalence of the situation: what he has to accept is the unacceptable. it could well be that just an instant earlier he was caressing ishmael' s chin without a care in the world, but now he gently starts to turn the child' s head in the direction of the voice, while at the same time, the blessing he is about to bestow on his son is already present in his left hand. ishmael' s position nestled in Abraham' s lap may also refer to his legitimate descent, to the fact that he too is regarded by Abraham as his heir, as the firstborn "of his flesh". the work is a nuanced pictorial exegesis of genesis 21:8-13; it may have been made in the same year, 1637, in which rembrandt produced etching b 30, depicting the banishment of hagar and ishmael. luca giordano also painted Abraham with his firstborn son, ishmael, in a canvas that once adorned san Juan del buen retiro in madrid. Keywords: rembrandt' s etching b 33, rembrandt' s etching b 30, ishmael, Abraham and ishmael, Abraham and isaac, Jacob and benjamin, the banishment of hagar and ishmael, the feast to celebrate the weaning of isaac, apple, caressing the chin, Adam bartsch, picture description, picture titles

Download

'Imaige a la Vierge Marie'; Burgundi Mária hóráskönyve, házassága, festője, Hugo van der Goes

Acta Historiae Artium, 2020

A ’Burgundi Mária hóráskönyvének Mestere’ nevével fémjelzett bécsi hóráskönyvet eredetileg Yorki ... more A ’Burgundi Mária hóráskönyvének Mestere’ nevével fémjelzett bécsi hóráskönyvet eredetileg Yorki Margit rendelte meg. A kódex legkésőbb készült részei Burgundi Mária és Habsburg Miksa házasságkötésének, szerelmének és gyermekének állítanak emléket.
A vonatkozó miniatúrák és szövegek ugyanazt sugallják, amit a hivatalos történetíró, Jean Molinet többször kifejt: az udvarban Máriát Szűz Máriaként (ennek folyományaként Miksát illetve Fülöpöt a Megváltóként, III. Frigyes császárt az Atyaként) tisztelték. A két Mária azonosításának hátterében Burgundia és örökösnője üdvtörténeti analógiákkal értelmezett helyzete állt. A hóráskönyvben többször, változatos módokon keveredik kettejük alakja (fols. 14v, 19v, 43v, 94v, 99v). A címlapképhez szervesen kapcsolódó, Mária mennyei örömeit dicsőítő himnusz egyúttal az ifjú feleség örök boldogságáért (is) esedező szekvencia. A festő Miksa alakját képzeletben elhelyezi a két ablakos miniatúra előterébe, a Keresztre feszítés szegélyének ékszere Yorki Margitra utal. A miniatúrák hangneme játékos (lásd a Máriák szerepcseréit, a könyv-a-könyvben, kép-a-képben, látomás-a-látomásban, trompe l’oeil megoldásokat, a tárgyak/anyagok/helyszínek komplex párbeszédét).
Számos tényező amellett szól, hogy az eddig Burgundi Mária Mesterének tulajdonított miniatúrákat a Vörös kolostorban lakó Hugo van der Goes festette az osztrák főherceg megrendelésére. Az 1478-as dátumot stiláris és az életrajzi szempontok valószínűsítik. (A festő kolostorban festett képei pro és kontra, későbbi betegsége, Miksa látogatása, Szép Fülöp születése). Jean Molinet is ekkor írta a hercegnőt sokszólamúan Szűz Máriaként dicsőítő Le Chappellet des dames-ját, aminek képanyaga sűrűn visszaköszön a bécsi hóráskönyv lapjain. A kódex első (társ)tulajdonosa Habsburg Miksa lehetett.
kulcsszavak: Burgundi Mária hóráskönyvének Mestere, Hugo van der Goes, Burgundi Mária és Habsburg Miksa, Jean Molinet, Le Chappellet des dames, Burgundi Mária mint Szűz Mária, rejtett portré, Angyali üdvözlet, Augustus látomása, 1499 Mester, házasság, szegfű

Download

Anna Eörsi

Uploads

Papers by Anna Eörsi

Log In