Dish
ca. 1520-1525 (made)
| Artist/Maker | |
| Place of origin |
Whilst maiolica painters had the freedom to invent and execute their own designs, it seems that it was not uncommon for them to take inspiration from other sources. Due to the invention and advancement of printing technology and the development of the woodcut and engraving, artistic ideas and illustrations could be freely circulated and soon became essential aids to the work of a maiolica painter. If the workshop itself did not own the requisite texts, it is likely they could access them through their patrons.
The subject of the Presentation in the Temple is based on a woodcut by Albrecht Dürer, whose initials appear on the tablet that can been seen hanging on a pillar to the left of the composition. To fill out the circular form of the dish, the painter has introduced two figures (a man in a high hat to the left and a woman in a hood to the right) from another woodcut of the same series (The Marriage of the Virgin).
The subject of the Presentation in the Temple is based on a woodcut by Albrecht Dürer, whose initials appear on the tablet that can been seen hanging on a pillar to the left of the composition. To fill out the circular form of the dish, the painter has introduced two figures (a man in a high hat to the left and a woman in a hood to the right) from another woodcut of the same series (The Marriage of the Virgin).
Object details
| Category | |
| Object type | |
| Materials and techniques | Tin-glazed earthenware, painted in colours |
| Brief description | Dish showing the Presentation in the Temple |
| Physical description | Dish, painted dark blue, yellow, orange, dark red, copper green and opaque white. |
| Dimensions |
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| Object history | Historical significance: The subject of the Presentation in the Temple is based on a woodcut by Albrecht Dürer, whose initials appear on the tablet that can been seen hanging on a pillar to the left of the composition. To fill out the circular form of the dish, the painter has introduced two figures (a man in a high hat to the left and a woman in a hood to the right) from another woodcut of the same series (The Marriage of the Virgin). |
| Historical context | Whilst maiolica painters had the freedom to invent and execute their own designs, it seems that it was not uncommon for them to take inspiration from other sources. Due to the invention and advancement of printing technology and the development of the woodcut and engraving, artistic ideas and illustrations could be freely circulated and soon became essential aids to the work of a maiolica painter. If the workshop itself did not own the requisite texts, it is likely they could access them through their patrons. |
| Production | Bernard Rackham suggests this dish is by the anonymous artist known as the "Painter of the Assumption", whose work can be related to C.487-1921 (panel depicting the Assumption of the Virgin). |
| Subjects depicted | |
| Summary | Whilst maiolica painters had the freedom to invent and execute their own designs, it seems that it was not uncommon for them to take inspiration from other sources. Due to the invention and advancement of printing technology and the development of the woodcut and engraving, artistic ideas and illustrations could be freely circulated and soon became essential aids to the work of a maiolica painter. If the workshop itself did not own the requisite texts, it is likely they could access them through their patrons. The subject of the Presentation in the Temple is based on a woodcut by Albrecht Dürer, whose initials appear on the tablet that can been seen hanging on a pillar to the left of the composition. To fill out the circular form of the dish, the painter has introduced two figures (a man in a high hat to the left and a woman in a hood to the right) from another woodcut of the same series (The Marriage of the Virgin). |
| Bibliographic references |
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| Other number | 280A - Rackham (1977) |
| Collection | |
| Accession number | C.159-1937 |
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| Record created | March 14, 2006 |
| Record URL |
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