LEADER 02264nam  2200361z- 450 
001 9910637770503321
005 20221223
035   $a(CKB)5470000001631773
035   $a(oapen)https://directory.doabooks.org/handle/20.500.12854/95582
035   $a(oapen)doab95582
035   $a(EXLCZ)995470000001631773
100   $a20202212d2022      |y         0
101 0 $ager
135   $aurmn|---annan
181   $ctxt$2rdacontent
182   $cc$2rdamedia
183   $acr$2rdacarrier
200 00$aStudien zu Cord Borgentrik$e'Regina Coeli' Im Werk des Bildschnitzers zwischen Tradition und Kirchenreform
210   $cUniversita?tsverlag Go?ttingen$d2022
215   $a1 online resource
311 08$a3-86395-563-3 
330   $aCord Borgentrik (about 1430-1501) was a quite successful image carver with an own large studio in Braunschweig in the second half of the 15th century. Traces of his activity which show the influence of Dutch realism are to be found in the region of Braunschweig, in Westphalia, in the region around Goettingen, Gandersheim, and in Halle.  The study discusses two of his major altarpieces that have survived. It focusses on how iconography and spiritual message of the works are dependent on the ideas of Borgentrik´s monastic commissioners. The Mary Retable of the parish church of Hemmerde in Westphalia which was completed in 1483 and even signed by Borgentrik (now in the Sta?dtische Museum Braunschweig) was commissioned by the Premonstratensian monks of the monastery of Scheda, whereas the Mary Retable of St. Nicolai church in Alfeld (Lower Saxony), which long can be found in the Minoritenkirche Cologne, was commissioned by the Cistercian monks of Marienrode. In both cases Mary is shown as Regina Coeli in the way the Byzantine Hodegetria is represented. The study analyzes the Christological and Mariological presuppositions that underlie the iconography of both retables.
517   $aStudien zu Cord Borgentrik 
606   $aThe Arts$2bicssc
610   $ahistory of art
610   $aregina coeli
610   $asculptor
615  7$aThe Arts
700   $aEberle$b Helga$4auth$01292473
906   $aBOOK
912   $a9910637770503321
996   $aStudien zu Cord Borgentrik$93022363
997   $aUNINA