All the oil paintings of WITZ, Konrad

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ID	Image	Painting(From A to Z)	Details
9750		Adoration of the Magi hfy	1443-44 Panel, 132 x 151 cm Mus??e d'Art et d'Histoire, Geneva
9743		Annunciation r	c. 1440 Panel, 158 x 121 cm Germanisches Nationalmuseum, Nuremberg
9745		Christ on the Cross wr	1430-33 Panel, 34 x 26 cm Staatliche Museen, Berlin
9748		King Solomon and the Queen of Sheba qr	1435 Panel, 84 x 79 cm Staatliche Museen, Berlin
31731		Pieta	mk76 Date unknown Tempera on panel 13 1/8x17 1/2in
38149		Pieta,Fifteenth century	mk131 Tempera and oil on panel 33.3x44.4cm
9751		Presentation of Cardinal de Mies to the Virgin r	1443-44 Panel, 132 x 154 cm Mus??e d'Art et d'Histoire, Geneva
33448		Sabobai and Benaiah	mk86 c.1435 Tempera on wood 102x78cm
21270		Sabobai and Benaiah (mk08)	C.1435 Tempera on wood 102x78cm Basle,Offentliche Kunstsammlung Basel, Kunstmuseum
9746		Saint Christopher qr	c. 1435 Panel, 101 x 81 cm Öffentliche Kunstsammlung, Basle
9744		St Bartholomew wr	c. 1435 Wood, 100 x 68 cm Öffentliche Kunstsammlung, Basle
43885		The Death of Mary	c. 1420 Panel, 141 x 110 cm
9749		The Liberation of St Peter jgu	1443-44 Panel, 132 x 154 cm Mus??e d'Art et d'Histoire, Geneva
33449		The Miraculous Draught of Fishes	mk86 1444 Tempera on wood 132x154cm Geneva.
40191		The Miraculous Draught of Fishes	mk156 1444 Oil on panel 129x155cm
21271		The Miraculous Draught of Fishes (mk08)	14444 Tempera on wood 132x154cm Geneva,Musee d'Art et d'Histoire
9747		The Miraculous Draught of Fishes wr	1443-44 Tempera on wood, 132 x 151 cm Mus??e d'Art et d'Histoire, Geneva
9752		The Synagoge jrt	c. 1435 Wood, 86 x 80,5 cm Öffentliche Kunstsammlung, Basle

WITZ, Konrad
b. cca 1400, Rottweil, d. ca. 1445, Basel. German-born painter from Rottweil in Swabia, active in Switzerland. German painter. One of the great innovators in northern European painting, he turned away from the lyricism of the preceding generation of German painters. His sturdy, monumental figures give a strong impression of their physical presence, gestures are dignified and the colours strong and simple. Even scenes with several figures are strangely undramatic and static. The surface appearance of materials, especially metals and stone, is intensely observed and recorded with an almost naive precision. Powerful cast shadows help to define the spatial relationships between objects. His fresh approach to the natural world reflects that of the Netherlandish painters: the Master of Fl?malle and the van Eycks. He need not, however, have trained in the Netherlands or in Burgundy as knowledge of their style could have been gained in Basle. He remained, however, untouched by the anecdotal quality present in their art,