WITZ, Konrad
b. cca 1400, Rottweil, d. ca. 1445, Basel. German-born painter from Rottweil in Swabia, active in Switzerland. German painter. One of the great innovators in northern European painting, he turned away from the lyricism of the preceding generation of German painters. His sturdy, monumental figures give a strong impression of their physical presence, gestures are dignified and the colours strong and simple. Even scenes with several figures are strangely undramatic and static. The surface appearance of materials, especially metals and stone, is intensely observed and recorded with an almost naive precision. Powerful cast shadows help to define the spatial relationships between objects. His fresh approach to the natural world reflects that of the Netherlandish painters: the Master of Fl?malle and the van Eycks. He need not, however, have trained in the Netherlands or in Burgundy as knowledge of their style could have been gained in Basle. He remained, however, untouched by the anecdotal quality present in their art,
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WITZ, Konrad Pieta,Fifteenth century oil painting


Pieta,Fifteenth century
mk131 Tempera and oil on panel 33.3x44.4cm
Painting ID::  38149 		WITZ, Konrad
Pieta,Fifteenth century
mk131 Tempera and oil on panel 33.3x44.4cm
   
   
     
WITZ, Konrad The Miraculous Draught of Fishes oil painting


The Miraculous Draught of Fishes
mk156 1444 Oil on panel 129x155cm
Painting ID::  40191 		WITZ, Konrad
The Miraculous Draught of Fishes
mk156 1444 Oil on panel 129x155cm
   
   
     
WITZ, Konrad The Death of Mary oil painting


The Death of Mary
c. 1420 Panel, 141 x 110 cm
Painting ID::  43885 		WITZ, Konrad
The Death of Mary
c. 1420 Panel, 141 x 110 cm
   
   
     
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     WITZ, Konrad
     b. cca 1400, Rottweil, d. ca. 1445, Basel. German-born painter from Rottweil in Swabia, active in Switzerland. German painter. One of the great innovators in northern European painting, he turned away from the lyricism of the preceding generation of German painters. His sturdy, monumental figures give a strong impression of their physical presence, gestures are dignified and the colours strong and simple. Even scenes with several figures are strangely undramatic and static. The surface appearance of materials, especially metals and stone, is intensely observed and recorded with an almost naive precision. Powerful cast shadows help to define the spatial relationships between objects. His fresh approach to the natural world reflects that of the Netherlandish painters: the Master of Fl?malle and the van Eycks. He need not, however, have trained in the Netherlands or in Burgundy as knowledge of their style could have been gained in Basle. He remained, however, untouched by the anecdotal quality present in their art,

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