Madonna of the Rose Bower
Madonna of the Rose Bower (French: La Vierge au buisson de roses) is a monumental 1473 panel painting by the German artist Martin Schongauer, depicting Mary and Christ Child in a hortus conclusus, surrounded by roses and finches. The painting is kept in the former Dominican Church of Colmar in Alsace, a large Gothic church formerly of the Dominican Order, built in the 13th and 14th century. It is classified as a Monument historique, as an object, by the French Ministry of Culture since 1978.
Also recorded as Madonna of the Rose Garden
Madonna of the Rose Bower

Martin Schongauer · [1] · Public domain
- Movement
- International Gothic Northern Renaissance
- Field
- Madonna and Child
- Period
- 1473
- Region
- France
- Related practice
- wood · oil paint
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Documentary summary
Madonna of the Rose Bower (French: La Vierge au buisson de roses) is a monumental 1473 panel painting by the German artist Martin Schongauer, depicting Mary and Christ Child in a hortus conclusus, surrounded by roses and finches. The painting is kept in the former Dominican Church of Colmar in Alsace, a large Gothic church formerly of the Dominican Order, built in the 13th and 14th century. It is classified as a Monument historique, as an object, by the French Ministry of Culture since 1978.
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wikidata · Q648068
In this article
Overview
Overview
Painted in 1473 as a reredos for St Martin's Church, Colmar's largest Christian sanctuary, and stood there until it was stolen in January 1972. After the painting was recovered in June 1973, it was moved to its present location, in the choir of the former Dominican church. In 1480, Schongauer and his assistants had also painted a monumental polyptych for that church; this work (Retable des Dominicains), which has only partially survived, is today kept in the Unterlinden Museum. The theme and the general composition present similarities with Stefan Lochner's earlier and much smaller Madonna of the Rose Bower, while the appearance of the Virgin is modelled on Rogier van der Weyden's Saint Columba Altarpiece; apart from being life-sized and clad in red instead of blue, Schongauer's Virgin has however a markedly different facial expression than Van der Weyden's. The current Gothic Revival frame of the painting is a work by the sculptor Jacques Alfred Klem (1872–1948). A small 16th-century copy of Schongauer's painting, which is today kept in the Isabella Stewart Gardner Museum of Boston, Massachusetts, shows the original state of the Madonna of the Rose Bower before it was cut down on all sides at an unknown date. It initially measured about 250 cm by 165 cm – by comparison, Lochner's painting measures only 50.5 cm by 40 cm.
It is recorded as the work of Martin Schongauer. Materials recorded for it are wood and oil paint. It is associated with France. The record gives 1473 as its date of establishment or first appearance. It is associated with Renaissance. Recorded genres are religious art. The recorded subject matter is Madonna and Child. It is recorded in the collection of Dominican Convent.

Madonna of the Rose Bower, F Haut-Rhin Colmar Dominican church 3
PaulT (Gunther Tschuch)
Key facts
Key facts
• Title — Madonna of the Rose Bower • Other Language 1 — French • Other Title 1 — La Vierge au buisson de roses • Other Language 2 — German • Other Title 2 — Madonna im Rosenhag • Artist — Martin Schongauer • Year — 1473 • Medium — oil paint on panel • Movement — International Gothic Northern Renaissance • Subject — Mary and Christ Child in a hortus conclusus • Height Metric — 200 • Width Metric — 114.5 • Metric Unit — cm • Museum — Dominican Church • City — Colmar
Identity
Identity
Madonna of the Rose Bower is recorded as made of wood and oil paint. Associated with France. Recorded from 1473.
Chronology
Dated record
Chronology
The full dated record · 2 entries
1473
Madonna of the Rose Bower first recorded.
1473
Madonna of the Rose Bower is recorded from 1473.
Places
Named by the record
Places
Only places the record itself states, plotted where the house gazetteer settles their coordinates. Nothing is inferred from a name or a nationality.
- France
Literature
Scholarly footprint
A count of publications is evidence of attention, not of standing, and is given here only as a measure.
Notes from the source article
Cited by Wikipedia
Notes from the source article
These works are cited by the source article, in its own numbering. They are recorded as its citations, not as sources VALÉORINE has verified.
- 1.Luber, Katherine. "Martin Schongauer's Madonna in the Rose Garden." Philadelphia Museum of Art Bulletin, v. 91, n. 385/386 (1995), p. 42.
- 2.Belting, Hans. Imagem e culto: uma história da imagem antes da era da arte. São Paulo: Ed. 34, 2004, p. 94.
- 3.Panofsky, Erwin. Early Netherlandish Painting: Its Origins and Character. Cambridge, MA: Harvard University Press, 1953, p. 265.
- 4.Bynum, Caroline Walker. Holy Feast and Holy Fast: The Religious Significance of Food to Medieval Women. Berkeley: University of California Press, 1987, p. 123.
- 5.Eglise des Dominicains (Colmar)
- 6.La Vierge au buisson de roses - Ministère de la Culture
- 7.Panofsky, Erwin. Early Netherlandish Painting: Its Origins and Character. Cambridge, MA: Harvard University Press, 1953, p. 265.
- 8.Smith, Jeffrey Chipps. German Sculpture of the Later Renaissance, c. 1520–1580: Art in an Age of Uncertainty. Princeton: Princeton University Press, 1994, p. 19.
- 9.Belting, Hans. Imagem e culto: uma história da imagem antes da era da arte. São Paulo: Ed. 34, 2004, p. 89–94.
- 10.Bynum, Caroline Walker. Holy Feast and Holy Fast: The Religious Significance of Food to Medieval Women. Berkeley: University of California Press, 1987, p. 121.
- 11.Panofsky, Erwin. Early Netherlandish Painting: Its Origins and Character. Cambridge, MA: Harvard University Press, 1953, p. 266.
- 12.Bynum, Caroline Walker. Jesus as Mother: Studies in the Spirituality of the High Middle Ages. Berkeley: University of California Press, 1982, p. 134.
- 13.Martens, Didier. La peinture des anciens Pays-Bas au XVe siècle. Bruxelles: Éditions Labor, 1997, p. 201.
- 14.Panofsky, Erwin. Early Netherlandish Painting: Its Origins and Character. Cambridge, MA: Harvard University Press, 1953, p. 268.
- 15.Bynum, Caroline Walker. Holy Feast and Holy Fast: The Religious Significance of Food to Medieval Women. Berkeley: University of California Press, 1987, p. 121.
- 16.Le Goff, Jacques. O nascimento do Purgatório. Lisboa: Estampa, 1990, p. 309.
- 17.Martens, Didier. La peinture des anciens Pays-Bas au XVe siècle. Bruxelles: Éditions Labor, 1997, p. 211.
- 18.Hall, James. Dictionary of Subjects and Symbols in Art. London: John Murray, 1996, p. 209–211.
- 19.Eco, Umberto. A estética medieval. São Paulo: WMF Martins Fontes, 2012, p. 139.
- 20.Belting, Hans. Imagem e culto: uma história da imagem antes da era da arte. São Paulo: Ed. 34, 2004, p. 107–110.
- 21.Kemp, Martin. The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat. New Haven: Yale University Press, 1990, p. 44.
- 22.Suckale, Robert. Die Erneuerung der Malkunst vor Dürer. München: Hirmer, 2009, p. 212–213.
- 23.Schiller, Gertrud. Iconography of Christian Art. Vol. I. London: Lund Humphries, 1971, p. 46–47.
- 24.Schmitt, Jean-Claude. Les rythmes au Moyen Âge. Paris: Gallimard, 2016, p. 298–301.
- 25.Harbison, Craig. The Art of the Northern Renaissance. London: Laurence King, 1995, p. 98–100.
- 26.Belting, Hans. Imagem e culto: uma história da imagem antes da era da arte. São Paulo: Ed. 34, 2004, p. 138.
- 27.Didi-Huberman, Georges. Fra Angelico: Dissemblance and Figuration. Chicago: University of Chicago Press, 1995, p. 111.
- 28.Eco, Umberto. A estética medieval. São Paulo: WMF Martins Fontes, 2012, p. 201–202.
- 29.Koerner, Joseph Leo. The Moment of Self-Portraiture in German Renaissance Art. Chicago: University of Chicago Press, 1993, p. 58.
- 30.Muther, Richard. The History of Modern Painting. London: Henry & Co., 1896, p. 22.
- 31.Hind, Arthur M. A History of Engraving and Etching. New York: Dover, 1963, p. 99–101.
- 32.Panofsky, Erwin. Early Netherlandish Painting. Cambridge (MA): Harvard University Press, 1953, p. 189–190.
- 33.Pächt, Otto. The Rise of Pictorial Narrative in Twelfth-Century England. Oxford: Oxford University Press, 1962, p. 84.
- 34.Schapiro, Meyer. Words, Script, and Pictures. New York: George Braziller, 1968, p. 67.
- 35.Bynum, Carolyn Walker. Holy Feast and Holy Fast: The Religious Significance of Food to Medieval Women. Berkeley: University of California Press, 1987, p. 295–297.
- 36.Belting, Hans. An Anthropology of Images: Picture, Medium, Body. Princeton: Princeton University Press, 2011, p. 102.
- 37.Didi-Huberman, Georges. Ce que nous voyons, ce qui nous regarde. Paris: Minuit, 1992, p. 144.
- 38.Weiss-Leder, Ute. Rosa Mundi. Heidelberg: Kehrer Verlag, 2006.
- 39.Morgan, David. The Sacred Gaze: Religious Visual Culture in Theory and Practice. Berkeley: University of California Press, 2005, p. 171–174.
- 40.Muther, Richard. The History of Modern Painting. London: Henry & Co., 1896, p. 22.
- 41.Lehrs, Max. Geschichte und kritischer Katalog des deutschen, niederländischen und französischen Kupferstichs im XV. Jahrhundert. Wien: Gesellschaft für vervielfältigende Kunst, 1908, vol. 1, p. 179.
- 42.Panofsky, Erwin. Early Netherlandish Painting. Cambridge (MA): Harvard University Press, 1953, p. 189–190.
- 43.Panofsky, Erwin. Early Netherlandish Painting. Cambridge (MA): Harvard University Press, 1953, p. 190.
- 44.Pächt, Otto. The Rise of Pictorial Narrative in Twelfth-Century England. Oxford: Oxford University Press, 1962, p. 84.
- 45.Camille, Michael. The Gothic Idol: Ideology and Image-making in Medieval Art. Cambridge: Cambridge University Press, 1989, p. 153–157.
- 46.Bynum, Carolyn Walker. Holy Feast and Holy Fast: The Religious Significance of Food to Medieval Women. Berkeley: University of California Press, 1987, p. 295–297.
- 47.Hamburger, Jeffrey F. Nuns as Artists: The Visual Culture of a Medieval Convent. Berkeley: University of California Press, 1997, p. 201.
- 48.Eichberger, Dagmar; Beaven, Lisa. Family Members and Political Allies: The Portrait Collection of Margaret of Austria. Art Bulletin, vol. 77, n. 2, 1995, p. 228–230.
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