Early Netherlandish and French Paintings (ca. 1390-1500) in the Collection of the Gemäldegalerie Staatliche Museen zu Berlin

与其他博物馆相比，Gemäldegalerie柏林博物馆尤其以其早期荷兰和法国绘画的收藏而闻名。其中有扬·凡·艾克的《教堂里的圣母》、罗吉尔·范德韦登的《米德尔堡祭坛》、雨果·范德戈斯的《蒙特福尔祭坛》或让·马鲁埃尔的《蝴蝶与圣母》等杰出作品。然而，这个收藏的学术目录，其中包括大约90件作品，还不存在。因此，许多画作为学者和广大公众所熟知，但往往连基本信息都缺失了。这甚至适用于一些最著名的亮点，如前面提到的圣母在教堂，关于其支持和条件的基本信息从未公布。此外，现有的非常短的柏林目录，与其说是条目，不如是清单，往往缺乏关于作品来源、技术、保存状况的准确信息，有时还包含重大错误。其他不太出名的作品在很大程度上仍然不为专业公众所知。简而言之，学术作品和所有作品的良好复制品，包括技术图像和数据，仍然是一个理想的选择。因此，它是极其重要的，开始工作的早期荷兰和法国绘画的关键目录持有Gemäldegalerie柏林。考虑到馆长斯蒂芬·肯佩迪克博士的日常工作太多，他无法独立完成这项任务。为此，为了在合理的时间范围内完成工作，必须聘请另一位学者。因此，大约三分之二的有关工程应由申请人进行调查和描述。她非常适合这个项目，因为她已经在Gemäldegalerie工作过，对这个系列最熟悉。通过她关于16世纪纽伦堡画家Georg Pencz的博士论文，她也非常熟悉目录工作及其方法，包括技术调查。由于柏林收藏的计划目录填补了一个巨大的空白，它肯定会大大提高对早期荷兰绘画的了解，并为学者提供迄今为止无法获得的丰富数据。该项目还将讨论更一般和跨学科的问题，例如特定作品的功能。总的来说，计划目录的目的是使Gemäldegalerie丰富的馆藏向广大公众开放，包括学者和普通人。

Moreso than any other museum, the Gemäldegalerie Berlin is particularly remarkable for its collection of Early Netherlandish and French paintings. Among them are outstanding works like The Virgin in a Church by Jan van Eyck, The Middleburg-Altarpiece by Rogier van der Weyden, The Monforte-Altarpiece by Hugo van der Goes or the so-called Virgin with the Butterflies by Jean Malouel. However, a scholarly catalogue of this collection, which comprises ca. 90 works, does not yet exist. As a consequence, many of the paintings are well-known to both scholars and the broader public, but oftentimes even fundamental information is missing. This applies even to some of the best-known highlights such as the previously mentioned Virgin in a Church whereby basic information regarding its support and condition have never been published. Furthermore, the very short Berlin catalogues that are available, which rather consist of lists than entries, often lack precise information about the provenance of works, their technique, state of preservation and at times contain significant errors. Other, less prominent works remain largely unknown to the professional public. In short, both scholarly entries and good reproductions of all works, including technical images and data are still a desideratum. Thus, it is extremely important to start working on a critical catalogue of Early Netherlandish and French paintings held by the Gemäldegalerie Berlin. The entirety of this task cannot be independently accomplished by the curator, Dr Stephan Kemperdick, given the plethora of his daily duties. To this end, another scholar has to be employed in order to accomplish the work within a reasonable timespan. Therefore, approximately two-thirds of the works in question should be investigated and described by the applicant. She is extremely well-suited for the project as she has already worked at the Gemäldegalerie and is most familiar with the collection. She is also well-acquainted with the catalogue work and its methodology, including technical investigation, via her Phd dissertation on the 16th century Nuremberg painter, Georg Pencz. As the projected catalogue of the Berlin collection stands to fill a wide gap, it would certainly enhance knowledge on Early Netherlandish painting considerably and provide scholarship with a wealth of hitherto unavailable data. The project will also address more general and interdisciplinary questions, such as the function of particular works. Broadly speaking, the planned catalogue aims to make the rich holdings of the Gemäldegalerie available to a large(r) public, both scholarly and pedestrian.