Christ with Mary and Martha Pieter Aertsen 1552

Christ with Mary and Martha
Pieter Aertsen 1552
From the collection of
Kunsthistorisches Museum Wien
Starting in the mid-16th century, Aertsen developed a new type of Netherlandish painting with his depictions of kitchens and markers. In most cases he integrated into them Christian scenes, which, however, are always conspicuously smaller and placed in the background of the composition. German art historians invented the term “manieristische Umkehrung” (Mannerist reversal) for this new development. In this early example, such a scene is at the left edge of the painting, sharply set off by the contour of the dark wall that separates the foreground from the background: “[…] But Martha was cumbered about much serving, and came to him, and said, Lord, dost thou not care that my sister hath left me to serve alone? Bid her therefore that she help me. And Jesus answered and said unto her, Martha, Martha, thou art careful and troubled about many things: But one thing is needful: and Mary hath chosen that good part, which shall not be taken away from her.” (Luke 10:40–42.) The central phrase in this passage can be read on the mantlepiece: “Maria heeft wtuercoren dat beeste deel.” A tradition dating back to St. Augustine identifies the two sisters with the rinciples of the vita activa (Martha) and the vita contemplativa (Mary). Here, however, they are not to be understood as opposites but rather as complementary, creating a whole in the tasks of Christian action and thought.
In the foreground, Aertsen has masterfully depicted an assemblage of the
characteristic objects of daily life: bread on a plate, various pitchers and jugs,
a leg of venison and a bouquet of flowers as the principal motifs, carefully
folded documents and a money pouch hung on the door of a massive chest in the foreground. True to the biblical story, these are objects from the affluent
household of Mary. At the same time, however, they are also the requisites for a vanitas still life.
© Cäcilia Bischoff, Masterpieces of the Picture Gallery, Vienna 2010
Details
Title: Christ with Mary and Martha
Creator: Pieter Aertsen
Date Created: 1552
Provenance: 1659 Collection Archduke Leopold Wilhelm
Physical Dimensions: w1015 x h600 cm
Inventory Number: GG 6927
Type: painting
External Link: http://www.khm.at/sammlungen/gemaeldegalerie/

Kunsthistorisches Museum Wien
Wien, Austria

The Kunsthistorisches Museum in Vienna is one of the foremost museums in the world, with rich holdings comprising artworks from seven millennia - from Ancient Egypt to the late 18th century. The collections of Renaissance and Baroque art are of particular importance. The KHMs extensive holdings are on show at different locations:The main building on Ringstrasse houses the Picture Gallery, the Collection of Greek and Roman Antiquities, the Egyptian and Near Eastern Collection, the Coin Collection, and the Kunstkammer that will reopen in February 2012. Other collections of the Kunsthistorisches Museum are housed in the Neue Burg (the Collection of Historical Musical Instruments, the Collection of Arms and Armour, and the Ephesus Museum), in Hofburg Palace (the Treasury), and in Schoenbrunn Palace (the Collection of Historical Carriages). The collections on show at Ambras Palace are also part of the holdings of the Kunsthistorisches Museum. 2001the Museum of Ethnology on Heldenplatz and the Austrian Theatre Museum on Lobkowitz Square have been incorporated into the KHM. The Planning of the Ringstrasse began in 1857 and included the project to bring together and show the imperial collections in a grand new building featuring state-of-the-art technical and display facilities; it took, however, another ten years until the competition to design the new museums was actually held. The architects who participated in 1867 were Hansen, Lehr, Ferstel and Hasenauer, all of whom worked in Vienna. When jury and patron failed for months to agree on a winner, Gottfried Semper, the internationally-renowned architect known for his museum designs, was called in as an advisor in 1868. The Emperor then decided to commission Semper to alter and complete the plans initially presented by Hasenauer. He also enlarged them. His designs were informed by urban planning in ancient Rome to create what was known as the imperial forum: He envisaged an additional also symmetrical - pair of buildings aligned with the two museums, each of which featured a semi-circular facade. These two buildings were to flank the Hofburg's Leopoldinische Trakt (the wing of the old palace erected under Emperor Leopold) for which Semper planned a modern facade and that would house the throne room. However, only the two museums and the part of the Neue Burg (new palace) facing the Burggarten (palace garden) were realised. Work on the museums commenced in 1871 and twenty years later, in 1891, they were formally opened to the public. Semper had moderated Hasenauer original design for the fa=E7ades and they now feature a complex art-historical programme of sculptures and reliefs. The building's internal structure combines two architectural traditions: entrance hall, staircase and cupola hall form a dramatic unit that celebrates the imperial patron and his predecessors. An additional elegant feature is the circular opening in the ceiling of the entrance hall that offers visitors their first glimpse of the cupola hall. Ascending the stairs, visitors pass Antonio Canova's "Theseus Slaying the Centaur" on their way to the cupola hall, the apex of imperial display. Along this central axis a wealth of neo-baroque decorations create one of the most solemn and splendid interiors of late-nineteenth-century Vienna, probably unrivalled in any other European museum. (For further information see: Caecilia Bischoff, The Kunsthistorisches Museum. History, Arcitecture, Decoration, Vienna 2010)

Pieter Aertsen
1508 - 1575

Pieter Aertsen, called Lange Pier because of his height, was a Dutch painter in the style of Northern Mannerism, who invented the monumental genre scene combining still life and genre painting, and very often also including a biblical scene in the background. He was born and died in Amsterdam, in his lifetime a relatively minor city, and painted there but mainly in Antwerp, then the centre of artistic life in the Netherlands. His genre scenes were influential on later Flemish Baroque painting, and also in Italy, and his peasant scenes preceded by a few years the much better-known paintings produced in Antwerp by Pieter Bruegel the Elder.
http://hisour.com/art-medium/paintings/christ-with-mary-and-martha-pieter-aertsen-1552/