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In neuem Glanz. With New Splendour.: Das SchÃ¤cher-Fragment des ""Meisters von FlÃ©malle"" im Kontext. The Crucified Thief by the ""Master of FlÃ©malle"" in Context.

Edited by Jochen Sander

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This exhibition catalogue provides insight into the spectacular conservation of this masterpiece from the StÃ¤del Museum in Frankfurt. The Crucified Thief fragment, by the ""Master of FlÃ©malle"", shines in new splendour. The book documents the spectacular results of the restoration, and describes and comprehensively contextualises the painting. This book is the catalogue for an exhibition in 2017-18 at the Liebieghaus Skulpturensammlung in Frankfurt. The exhibition highlights a single painting, the Master of FlÃ©malleâ€™s The Crucified Thief, a key work of European art history, created by one of the most enigmatic artists of early Dutch painting. The recently restored fragment of the painting, painted on both sides, is the only surviving part of a large-format triptych of the Descent from the Cross, which was one of the most important and influential works of its time. In addition to the results of the technological investigation and restoration of the painting, thirteen selected works of art are presented, including the eponymous ""FlÃ©maller Panels"", the ""Medici Madonna"" by Rogier van der Weyden as well as mounted and unmounted sculptures by the Master of the Rimini Altarpiece and Hans Multscher. They exemplify the reciprocal references between painting and sculpture and thus contribute to a deeper understanding of the breathtaking detail realism and the suggestive effect of the altarpiece on the contemporary viewer. The gruesome picture of a crucified man, which was once the top half of the right wing of a monumental altarpiece the rest of which has long been lost without trace. That Deposition Triptych from around 1430Â¬ is considered a founding work of early Dutch painting, comparable to the Ghent Altarpiece. The exhibition catalogue provides insight into the spectacular conservation of this masterpiece from the StÃ¤del Museum, reconstructs the original appearance of the lost ensemble with the aid of copies, and explains the context of its creation by means of international loans and gems of the Liebieghaus Skulpturensammlung.

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