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

柏林美术馆比其他任何博物馆都更引人注目，因为它收藏了早期的荷兰和法国绘画。其中有杰出的作品，如简·货车·艾克的《教堂里的圣母》、罗吉尔·货车·德·韦登的《米德尔堡祭坛画》、雨果·货车·德·戈斯的《蒙福特祭坛画》或让·马卢埃尔的《圣母与蝴蝶》。然而，一个学术目录的收集，其中包括ca。90个作品，还不存在。因此，许多绘画都是众所周知的学者和更广泛的公众，但往往连基本的信息是失踪。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，其中有关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，不如说是列表，往往缺乏关于作品出处、技术、保存状况的准确信息，有时还包含重大错误。其他一些不太著名的作品在很大程度上不为专业人士所知。简而言之，无论是学术条目还是所有作品的良好复制品，包括技术图像和数据，都仍然是一个迫切需要的。因此，开始对柏林美术馆收藏的早期荷兰和法国绘画进行批判性目录的工作是极其重要的。由于馆长斯蒂芬·肯珀迪克博士的日常工作繁重，这项任务无法由他独立完成。为此，必须雇用另一名学者，以便在合理的时间内完成这项工作。因此，大约三分之二的作品应该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。她还通过她关于16世纪世纪纽伦堡画家Georg Pencz的博士论文，非常熟悉目录工作及其方法，包括技术调查。由于预计的柏林收藏品目录将填补一个巨大的空白，它肯定会大大提高对早期荷兰绘画的认识，并为学术界提供丰富的迄今为止无法获得的数据。该项目还将解决更一般和跨学科的问题，如特定作品的功能。从广义上讲，计划中的目录旨在使Gemäldegalerie的丰富馆藏提供给广大（r）公众，包括学者和行人。

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.