Strange Beauty: Masters of the German Renaissance

Art

Renaissance art

National Gallery

Until Sun May 11

  • Master of Aachen Altarpiece

    The Crucifixion (about 1490-5)

    © The National Gallery, London

    Master of Aachen Altarpiece
  • Lucas Cranach the Elder

    'Cupid complaining to Venus', about 1525

    © The National Gallery, London

    Lucas Cranach the Elder
  • Hans Holbein the Younger

    'A Lady with a Squirrel and a Starling (Anne Lovell?)', about 1526‑8

    © The National Gallery, London

    Hans Holbein the Younger
  • Lucas Cranach the Elder

    'Saints Genevieve and Apollonia', 1506

    © The National Gallery, London

    Lucas Cranach the Elder
  • Albrecht Dürer

    'Saint Jerome', about 1496

    © The National Gallery, London

    Albrecht Dürer
  • Hans Holbein the Younger

    'Jean de Dinteville and Georges de Selve ('The Ambassadors')', 1533

    © The National Gallery, London

    Hans Holbein the Younger
  • Hans Baldung Grien

    ‘The Trinity and the Mystic Pietà’ (1512)

    © The National Gallery

    Hans Baldung Grien
  • Master of Liesborn

    'Angels Worshipping the Christ Child' (1470-80)

    © LWL– Museum Für Kunst und Kultur

    Master of Liesborn

Master of Aachen Altarpiece

The Crucifixion (about 1490-5)

© The National Gallery, London

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Curated London

This is a fantastic collection of paintings by German artists working in the late 15th and 16th centuries. It features work by well-known names, including Hans Holbein the YoungerAlbrecht Dürer and Lucas Cranach the Elder, among others. If this all sounds familiar, it’s probably because you’ve seen it before, in the same venue, for free.


Strange Beauty is money for old rope. To make way for Paolo Veronese’s mammoth canvasses, the National Gallery has had a reshuffle. With an eye always on the bottom line, rather than moving the displaced works into storage, they have assembled them into this exhibition with an admission fee of £8. 


In fairness, 30 of the 100 pieces on show are from other collections (with notable work from the V&A), and the interpretation is illuminating. However, with so little ‘new’ work, one can’t help but feel cheated. You can see much of this exhibition in a few months’ time, when it returns to the free galleries upstairs.


For more art in plain English, check out http://www.curatedlondon.co.uk