Scholarly Catalogue of German Painting in the Städel Museum, 1550-1800: Part 1 (1550-1725)

二十多年来，施塔德尔博物馆一直致力于对其绘画藏品进行深入的学术研究。自1993年申请人提交的第一份关于早期荷兰绘画的目录以来，所有学术目录都以技术调查方法（显微镜，紫外荧光，红外反射，X射线，树木年代学）的系统整合而闻名。与此同时，1550年以前的荷兰、德国和意大利绘画以及荷兰和佛兰芒巴洛克绘画的全部藏品也得到了检查。现在，1550年以后的德国绘画工作即将开始。现申请编制德国巴洛克绘画学术目录的三部分项目的第一部分。在三年的时间里，将对1550年至1725年的76幅德国绘画进行全面调查，共包括82幅单独的画作。这一组包括亚当Elsheimer和他的圈子围绕真十字架的祭坛画的重要小组，但也由汉斯Rottenhammer，乔治Flegel，保罗Juvenel老人，约翰乌尔里希迈尔和约翰海因里希鲁什的绘画。每一件物品都将与其历史一起全面记录，并介绍与重要问题有关的各项工作的研究现状。随后的讨论将嵌入当前的研究话语的作品。一个特别关注的问题将是专题问题本地化的绘画在各自的画家的全部作品。在此背景下，将澄清作品的起源、归属和年代，并对内容进行解释，同时考虑到图像学和作品执行的背景。后一个方面与现代早期德国绘画的整体讨论有关，其中与艺术理论，区域和国际交流以及艺术的社会史有关的问题特别激烈。本项目对绘画技术和作品起源有着特定的方法论兴趣，旨在参与这一讨论。负责的艺术史学家和保护者之间的合作将确保所有进一步解释的事实基础得到验证。

For more than two decades, the Städel Museum has been devoted to the intensive scholarly examination of its painting holdings. Since the first catalogue on Early Netherlandish painting submitted by the applicant in 1993, all scholarly catalogues have been distinguished by the systematic integration of technological investigation methods (microscopy, ultraviolet fluorescence, infrared reflectography, X-ray, dendrochronology). The entire holdings of Netherlandish, German and Italian paintings dating from before 1550 as well as the Dutch and Flemish paintings of the Baroque have meanwhile been examined. Now the work on the German paintings after 1550 is to commence. Part 1 of the three-part project of drawing up the scholarly catalogue of German Baroque painting is hereby being applied for. Within a period of three years, seventy-six German paintings dating from 1550-1725, comprising altogether eighty-two individual panels, are to be comprehensively investigated. This group includes the important group of panels by Adam Elsheimer and his circle revolving around the Altarpiece of the Exaltation of the True Cross, but also paintings by Hans Rottenhammer, Georg Flegel, Paul Juvenel the Elder, Johann Ulrich Mayr and Johann Heinrich Roos. Each individual object is to be documented comprehensively with its history, and the current state of research on the respective work in relation to important issues is to be presented. The subsequent discussion will embed the works in the current research discourse. One special concern will be with monographic issues localizing a painting in the oeuvre of the respective painter. In this context, the work's genesis, attribution and dating are to be clarified, and an interpretation of the content carried out, taking both the iconography and the context of the work's execution into account. The latter aspect bears a relation to the overall discussion of German painting in the Early Modern era, in which matters related to art theory, regional and international exchange, and the social history of art are particularly virulent. With its specific methodological interest in painting technique and work genesis, this project aims to participate in that discussion. The collaboration between the responsible art historian and the conservator will guarantee a verified factual foundation for all further interpretation.