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1553 - 1564. Bronze. Together with her brother Charles V, Mary of Hungary (1505–1558) was Leone Leoni’s most important patron at the imperial court. Leoni and Mary, governor of the Low Countries, met on three occasions: in Brussels in 1549, in Augsburg three years later, and again in Brussels in 1556.The present bronze, together with a ...
Guy C. Bauman in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 80–81, no. 26, ill. Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 273, ill., as "Queen Mary of Hungary (1505–1558)".
Gold Openwork Belt Mount. Avar. 700s. On view at The Met Fifth Avenue in Gallery 301. The treasure contains an array of belt fittings, some elaborately decorated, some unfinished or defectively cast. Some show no signs of use, while others are quite worn. The Avars. The Avars were a nomadic tribe of mounted warriors from the Eurasian steppe.
He had many royal patrons, including Archduke Karl von Sachsen Teschen (1771–1847) and Duke Albert von Sachsen Teschen (1738–1822). The Danhauser factory produced some items in large quantities, and these pieces established the firm's reputation throughout Central Europe and Northern Italy.[10] [
The Förderverein Kulturhistorisches Museum Nürnberg e.V. supports the establishment of a museum of cultural history in Nuremberg. In anticipation of this it presents selected works of Nuremberg art in digital form. The Association will be happy to welcome new members. You will find a declaration of membership on our website. Support us Feedback
Temporary exhibition / 6 April, 2024 – 25 August (Third floor, Temporary Exhibition Hall) Tickets can be purchased online as well as on-site in advance and at the time of the visit. Free tickets are available only on the spot at the time of the visit. Tickets include a free visit to the permanent exhibitions open that day.
May 11, 2023 · This study analyzes how Mary of Hungary created and promoted the post-mortem image of Louis II to benefit the imperial policy of the Habsburg dynasty. To do so, reasons that led the queen of Hungary to draw up a series of representation strategies to vindicate her position as a pious widow, proclaim her legal rights over the territories of Hungary and Bohemia, and strengthen her relationship ...
