German and Netherlandish Drawings 1350-1500

The project aims at compiling German, Bohemian, Netherlandish and French Late Gothic drawings covering the period form 1350 up to 1500, i.e. the beginnings of the Renaissance, the great majority of which is still untreated. The materials in question comprise about 2,500 German, 7-800 Netherlandish and about 3-400 French and Bohemian drawings. Such drawings are often misjudged both in collections as well as in the art trade and literature, so that it seems absolutely necessary to treat them within one project. In this way, it will be possible to separate French and Bohemian materials from German and Dutch ones on more convincing grounds, and to distinguish more distinctly between Austria and other German regions of artistic production. It is planned to establish a worldwide record of these drawings within a multivolumed work, subdivided according to regions (similar to the Corpus of Italian drawings 1350-1500 by B. Degenhart - A. Schmitt, 12 v1s., Berlin 1968-1990). The corpus envisaged is supposed to contain illustrations of the entire number of works plus a catalogue of the drawings with scientific investigations considering artistic individuality. Chapters serving as introductions into the various sections should outline regional artistic peculiarities, developments, influences, etc. as concisely and at the same time as clearly as possible. For the sake of comprehensibility, explanatory chapters are supposed to be included for marginal fields of drawing, such as book illustration, architectural drawings, sinopias or infrared reflectography, as far as required.

The project aims at compiling German, Bohemian, Netherlandish and French. Late Gothic drawings covering the period form 1350 up to 1500, i.e. the beginnings of the Renaissance, the great majority of which is still untreated. The materials in question comprise more than 2.500 German, ca. 700 Netherlandish and about 300 French and Bohemian drawings. Such drawings are often misjudged both in collections as well as in the art market and literature, so that it seems necessary to treat them within one project. In this way, it will be possible to separate French and Bohemian materials from German and Dutch ones on more convincing grounds, and to distinguish more distinctly between Austria and other German regions of artistic production. It is planned to establish a worldwide record of these drawings within a multivolumed work, subdivided according to regions (similar to the Corpus of Italian drawings 1350-1500 by B. Degenhart and A. Schmitt, 12 vls., Berlin 1968- 1990). The corpus envisaged is supposed to contain illustrations of the entire number of works plus a catalogue of the drawings with scientific investigations considering artistic individuality. Chapters serving as introductions into the various sections should outline regional artistic peculiarities, developments, influences, etc. as concisely and at the same time as clearly as possible. For the sake of comprehensibility, explanatory chapters are supposed to be included for marginal fields of drawing, such as book illustration, architectural drawings, sinopias or infrared reflectography, as far as required.