This Virgin and Child originally was joined by a seated Saint Anne, the Virgin’s mother, to form the Holy Kinship, a group representing three generations of the Holy Family. The scale of the group suggests that it comes from the lower section, or predella, of an altarpiece. Predella sculpture thematically expanded the subject of the main altar above it, which, in this case, may have been dedicated to the Virgin.
This image cannot be enlarged, viewed at full screen, or downloaded.
Open Access
As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
API
Public domain data for this object can also be accessed using the Met's Open Access API.
This artwork is meant to be viewed from right to left. Scroll left to view more.
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:Virgin and Child
Artist:Master of Rabenden (German, active ca. 1500–1530)
Date:1510–15
Geography:Made in the Chiemgau, Upper Bavaria, Germany
Culture:German
Medium:Limewood with traces of polychromy
Dimensions:23 5/8 x 13 3/4 x 9 7/16in. (60 x 35 x 24cm)
Classification:Sculpture-Wood
Credit Line:The Cloisters Collection, 1987
Object Number:1987.15
Bayerisches Nationalmuseum (1896–1965) ; Art market, Würzburg (in 1968) ; Art market, Munich (in 1970) ; [ Luigi Ronzoni, Galerie St. Raphael, Vienna (sold 1987)]
New York. The Metropolitan Museum of Art. "Mirror of the Medieval World," March 9–June 1, 1999.
Graf, Hugo, Georg Hager, and Joseph Aloys Mayer. Allgemeine kulturgeschichtliche Sammlungen: Das Mittelalter. Kataloge des Bayerischen Nationalmuseums München 5, Vol. 2. Munich, 1896. no. 648, pp. 40–41.
Halm, Philipp Maria. "Jahrbuch der Königlich Preussischen Kunstsammlungen." Der Meister von Rabenden und die Holzplastik des Chiemgaues 32 (1911). pp. 71, 72, 74, fig. 11.
Halm, Philipp Maria. Studien zur süddeutschen Plastik: Altbayern und Schwaben, Tirol und Salzburg. Vol. 2. Augsburg: Benno Filser & Co., 1927. pp. 54, 59, fig. 60.
Rohmeder, Jürgen. Der Meister des Hochaltars in Rabenden. Münchner kunsthistorische Abhandlungen 3. Munich: Schnell & Steiner, 1971. no. A19, p. 53, fig. 15.
Martin, Alastair Bradley, and William D. Wixom. "Curatorial Reports and Departmental Accessions." Annual Report of the Trustees of the Metropolitan Museum of Art 117 (July 1, 1986–June 30, 1987). p. 35.
Recent Acquisitions, 1986-1987 (Metropolitan Museum of Art) (1987). p. 18.
Wixom, William D. "Medieval Sculpture at The Cloisters." The Metropolitan Museum of Art Bulletin, n.s., 46, no. 3 (Winter 1988-1989). p. 24.
Didier, Robert. "Sculptures et retables des anciens Pays-Bas méridionaux des années 1430-1460: Traditions et innovations pour le Haut-Rhin et l’Allemagne du Sud." In Le Retable d'Issenheim et la sculpture au nord des Alpes à la fin du Moyen Âge: Actes du colloque de Colmar (2-3 novembre 1987), edited by Christian Heck. Bulletin de la Société Schongauer, numéro spécial. Colmar: Musée d'Unterlinden, 1989. pp. 48–79, 53, 56, fig. 8.
Sainte Anne trinitaire: Une oeuvre de l'atelier du Maître de Rabenden. Colmar: Musée d'Unterlinden, 1990. pp. 30, 34, fig. 19.
Wixom, William D., ed. Mirror of the Medieval World. New York: The Metropolitan Museum of Art, 1999. no. 284, pp. 223–24.
Wixom, William D. "Riemenschneider in America." In Tilman Riemenschneider: Master Sculptor of the Late Middle Ages, edited by Julien Chapuis. Washington, D.C.: National Gallery of Art, 1999. p. 158.
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
The Museum's collection of medieval and Byzantine art is among the most comprehensive in the world, encompassing the art of the Mediterranean and Europe from the fall of Rome to the beginning of the Renaissance.
