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Nachrichten aus Nürnberg: The Annunciation as an Epistolary Address

  • Shira Brisman
Published/Copyright: July 1, 2016
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Abstract

When, around the turn of the fifteenth century, the art of northern Europe developed a pictorial motif whereby an angel delivers the news of the Incarnation in the form of a sealed document, the material properties of ink and wax metaphorically evoked the unique properties of the inscription of divine form upon Mary’s virginal body. The social impact of this communication, the dissemination of the message to a community of recipients, could be strengthened by references to the re-transmittable nature of the announcement, as enforced by other indicators of sociability detectable in different portions of the narrative scheme. The Tucher Altarpiece in Nuremberg and Michael Wolgemut’s altarpiece for the cathedral of St. Mary in Zwickau present two examples of uses of the epistolary Annunciation that may have influenced Albrecht Dürer, who employs the motif in his woodcut series The Life of the Virgin, which also contains, along with this pictorial form of broad address, more narrowly articulated messages to his contemporaries in the form of written words.


*I am grateful to Thomas Eser, Peggy Große, and Joshua Waterman for discussing the Tucher Altarpiece with me, and to Jutta Minor and Cornelia Patterson for sharing with me their research and photographs from their conservation of the altarpiece. Stephan Roller generously offered his knowledge and photographs of Michael Wolgemut’s altarpiece in the Church of St. Mary in Zwickau. Christopher Heuer, whose work on Conrad Witz should be read as a compendium to this essay, has long been exchanging thoughts with me on the temporal disturbances involved with message sending and receipt.


  1. Photo Credits: 1 – 3 Photo: © www.metmuseum.org; Metropolitan Museum of Art, New York. – 4 Photo: Kunsthistorisches Museum, Vienna; Art Resource, NY. – 5 Photo: Digital image courtesy of the Getty’s Open Content Program, Los Angeles. – 6 Photo: Courtesy of the author. – 7 Photo: Courtesy of akg-images. – 8 Photo: © bpk, Berlin; Alte Pinakothek München; Art Resource, NY. – 9 Photo: Courtesy of Stephan Roller. – 10, 11 Photo: Courtesy of the Germanisches Nationalmuseum, Nuremberg; Medienarchiv Fränkische Tafelmalerei vor Dürer. – 12 Photo: Courtesy of the Frick Collection.

Published Online: 2016-07-01
Published in Print: 2016-07-01

© 2016 Shira Brisman, published by De Gruyter

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