Swabia between late Gothic and Imperial Renaissance around 1460 -1528

Court painter to Maximilian I and advisor to Memmingen, Strigel links Swabian tradition, Dürerian engraving and psychological precision in his portraits and altarpieces.

Bernhard Strigel was born around 1460 or 1461 in Memmingen and died there in 1528. He belonged to a family of artists active in the city: painters and sculptors ran workshops there capable of creating altarpieces, panels and decorations. His training is part of this Swabian tradition, but his work gradually opened up to Renaissance innovations and the engravings of Albrecht Dürer. In the 1490s, he collaborated with Ivo Strigel and participated in the great altarpiece of Blaubeuren. In the 1490s, he collaborated with Ivo Strigel and participated in the great altarpiece of Blaubeuren. He then became a portrait painter sought after by the Habsburg court. Emperor Maximilian I named him court painter and ennobled him. Strigel then became a sought-after portrait painter by the Habsburg court. In the 1490s, he collaborated with Ivo Strigel and participated in the great altarpiece of Blaubeuren. In the 1490s, he collaborated with Ivo Strigel and participated in the great altarpiece of Blaubeuren. He then became a portrait painter sought after by the Habsburg court merchants and notables. His figures combine precise profile, attentive gaze, detailed clothing and calm presence. The Portrait of a Woman linked to this collection shows the artist's ability to unite social ideal and individuality. From 1512, Strigel also played an important role in the civic life of Memmingen. Advisor, corporate master and diplomatic envoy, he circulated between towns and courtyards, an exceptional situation which illuminated his attention to public identities. His art remains on the border of Gothic and Renaissance: sharp line, bold colors and symbolic details coexist with a more rational space and increased psychology. A reproduction faithful must preserve the design of the face, the precision of the hairstyle and fabrics, as well as the transparency of the glazes. The "Bernhard Strigel" selection offers its own journey on this subject. Reading it favors details.

Strigel paints the status without erasing the person: the costume inscribes the model in his world, while the gaze restores an individual presence.