alchemia: (Default)
[personal profile] alchemia
Why is it so hard to find any info on this stained glass art? Judas Iscariot, hanging from a tree, his soul 'as a baby being pulled out of his belly by satan.
It is in the Chicago Art Museaum in the medieval hall- on the opposite side of the room from where the armor and spears etc are displayed. I think it was made in the 1500's? give or take.
I have tried googling everything I can think of ("judas iscariot" + "art institute chicago", "judas iscariot" + hanging + stained glass) and so on. Tried google links and google images. Can't find a damn thing!

Image under cut (if I do this right....

Date: 2017-05-14 03:25 pm (UTC)
smilingslightly: little brown bat perched on her finger (Default)
From: [personal profile] smilingslightly
This is the work page on the museum's site:

http://www.artic.edu/aic/collections/artwork/65795

Alsatian or Southern German

The Hanging of Judas, c. 1520

Glass, paint, silver stain, lead
57.2 x 44.6 cm (22 1/2 x 17 9/16 in.)

Kate S. Buckingham Endowment, 1949.494



Googling the artwork name is getting me some hits, like this one: http://www.illinoismedieval.org/ems/VOL15/sullivan.html

Excerpt:
The panel is a specimen of a type of glass painting developed around 1500 in Switzerland, along the Rhine, and in the Netherlands.1 Glass painters used black, brown, and yellow stains to paint their subject matter on white glass. The outlines of the design were done in black enamel, and yellow stain in varying shades, derived from sulphide of silver, was used for the coloring. In the only other published article devoted to the panel Oswald Goetz suggests that it was created in Alsace or southern Germany between 1520 and 1530.2 Unfortunately, we have no information on the purpose or original context for which the panel was intended. We know neither who commissioned it nor who created it. Goetz notes that an independent representation of the hanging Judas was uncommon in the Middle Ages; usually the scene appeared as a subordinate episode in a Passion narrative.3 While it is possible that the Chicago panel was only one of a series of images (perhaps depicting the Passion), Goetz speculates that the panel, alone or with an accompanying inscription warning against despair, might have been intended for a church or a private chapel in the residence of a wealthy bürgher or noble.

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