The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
masterpieces that, over the centuries, have been dispersed to such far-flung locations as Aachen
The Met presents over 5,000 years of art from around the world for everyone to experience and enjoy.
AlfredHoboken, 1864–New York, 1946 Suermondt, Edwin (also Carl Friedrich Edwin Suermondt)Aachen
The Ottonian revival coincided with a period of growth and reform in the church, and monasteries produced much of the finest Ottonian art, including magnificent illuminated manuscripts, churches and monastic buildings, and sumptuous luxury objects intended for church interiors and treasuries.
royal standing, and in 936, Otto I, known as Otto the Great, was crowned king at Aachen
From the high altar of the Cistercian abbey, Lichtenthal, near Baden-Baden, Baden-Württemberg; Dutch or German Private Collection ; [ Sotheby’s, London (July 28, 1939, no. 103) ] ; [ John Hunt, Ireland (1939–sold 1952)]
Aachen: Suermondt-Ludwig-Museum, 1993. p. 78. Fisher, Sally.
From the high altar of the Cistercian abbey, Lichtenthal, near Baden-Baden, Baden-Württemberg; Dutch or German Private Collection ; [ Sotheby’s, London (July 28, 1939, no. 103) ] ; [ John Hunt, Ireland (1939–sold 1952) ]
Aachen: Suermondt-Ludwig-Museum, 1993. p. 78. Howard, Kathleen, ed.
“Throughout his whole reign, the wish that he had nearest to heart was to re-establish the ancient authority of the city of Rome under his care and by his influence” (Life of Charlemagne 27).
sponsorship, he commissioned a palace and chapel worthy of an imperial capital at Aachen
From the high altar of the Cistercian abbey, Lichtenthal, near Baden-Baden, Baden-Württemberg; Dutch or German Private Collection ; [ Sotheby’s, London (July 28, 1939, no. 103) ] ; [ John Hunt, Ireland (1939–sold 1952)]
Aachen: Suermondt-Ludwig-Museum, 1993. p. 78. Fisher, Sally.
The organic shapes, in particular, suggest that anatomical study and dissection played a significant part in the development of the characteristic idiom of the Auricular Style.
Multiple artists/makers 1646–52 Auricular Cartouche with the Painter Hans von Aachen
This painting has been dated convincingly to about 1658 (Gudlaugsson 1948–49). The careful dovetailing of shapes between the man and woman is similar to Vermeer’s approach to design at about the same time, but Ter Borch’s style differs strongly in most respects
Hulsman (Suermont Museum, Aachen, about 1640); believes the drawing in the British
Brownlow Cecil, 9th Earl of Exeter, Burghley House, near Stamford, Northamptonshire (by 1847) ; William Alleyne Cecil, 3rd Marquis of Exeter 1825–1895, Burghley House, near Stamford Northamptonshire (until 1888) ; Marquis of Exeter sale, Christie, Manson & Woods, London (June 9, 1888, no
Aachen: Suermondt-Ludwig-Museum, 1993. p. 164. Baetjer, Katharine.
