The French Paintings

The Transfiguration of St Elisabeth

Wilhelm LIST (1864-1918)

circa 1905

Enlarge picture jpg 80Ko (See the caption hereafter) (modal window)
Wilhelm List (1864-1918) - La Transfiguration de sainte-Elizabeth, vers 1907 - Tempera rehaussée d’or sur toile, 1.62 x 0.82 m © Musée des beaux-arts de Quimper

Tempera enhanced with gold on canvas

96-7-1

Purchased at auction in London in 2005

H. 162 cm - L. 81 cm

List, who painted very little, was the closest follower and friend of Klimt in Vienna and one of the major members of the Secession movement.  Both paintings are panels of a triptych on the theme of the legendary life of Saint Elisabeth of Hungary (1207-1231), very much in favour in Austria-Hungary.  On the left, The Miracle of the Roses, on the right, The Transfiguration.  In the centre was The Death of the saint, a full-length canvas (private collection). This set was broken up at an unknown date.  By chance, the painting of The Transfiguration had retained its original frame, very much in the Secession style, and so it was possible to make a copy for the other panel.

 

 

The French Paintings

The Transfiguration of St Elisabeth

Wilhelm LIST (1864-1918)

circa 1905

Enlarge picture jpg 80Ko (See the caption hereafter) (modal window)
Wilhelm List (1864-1918) - La Transfiguration de sainte-Elizabeth, vers 1907 - Tempera rehaussée d’or sur toile, 1.62 x 0.82 m © Musée des beaux-arts de Quimper

Tempera enhanced with gold on canvas

96-7-1

Purchased at auction in London in 2005

H. 162 cm - L. 81 cm

List, who painted very little, was the closest follower and friend of Klimt in Vienna and one of the major members of the Secession movement.  Both paintings are panels of a triptych on the theme of the legendary life of Saint Elisabeth of Hungary (1207-1231), very much in favour in Austria-Hungary.  On the left, The Miracle of the Roses, on the right, The Transfiguration.  In the centre was The Death of the saint, a full-length canvas (private collection). This set was broken up at an unknown date.  By chance, the painting of The Transfiguration had retained its original frame, very much in the Secession style, and so it was possible to make a copy for the other panel.

 

 

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