{"id":62714,"date":"2021-11-08T13:31:37","date_gmt":"2021-11-08T12:31:37","guid":{"rendered":"http:\/\/topa.be\/gigapixel\/"},"modified":"2025-01-13T09:23:53","modified_gmt":"2025-01-13T08:23:53","slug":"gigapixel","status":"publish","type":"page","link":"https:\/\/topa.be\/de\/gigapixel\/","title":{"rendered":"Gigapixel"},"content":{"rendered":"\t\t
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Gigapixel-Fotogalerie<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Im Jahr 2021 nahm Gilles Alonso, ein in Antwerpen lebender franz\u00f6sischer Fotograf, Kontakt zu TOPA auf.
\nEr ist spezialisiert auf \u201cVery High Resolution\u201d-Fotografie, auch bekannt als Gigapixel.
\nMit dieser Technologie l\u00e4sst sich ein Bild fast unendlich vergr\u00f6\u00dfern.
\nAuf diese Weise enth\u00fcllt ein Gem\u00e4lde Details, die man in einer Kirche oder einem Museum nie sehen w\u00fcrde.
\nMit anderen Worten: Sie sehen mit den Augen des Malers!<\/p>\n

Er bot an, in jeder der f\u00fcnf touristischen Kirchen Antwerpens ein Gem\u00e4lde in dieser Technik zu fotografieren.
\nDas Ergebnis ist erstaunlich!<\/p>\n

Die folgenden Gem\u00e4lde k\u00f6nnen bereits auf diese Weise bewundert werden.
\nMit den Symbolen am unteren Rand oder mit der Maus k\u00f6nnen Sie die Ansicht vergr\u00f6\u00dfern und verkleinern und sich bewegen.<\/em><\/p>\n

In der Liebfrauenkathedrale: „Der wundersame Fang“ von Hans van Elburcht
\nIn der St. Andreas-Kirche: das Modell f\u00fcr \u201cDas Martyrium des Heiligen Andreas\u201d von Otto Van Veen
\nIn der Kirche St. Karl Borrom\u00e4us: „Die Kr\u00f6nung Mariens“ von Cornelis Schut
\nIn der St. Jakobskirche: \u201cMadonna mit Kind\u201d von Peter Paul Rubens
\nIn der St. Paulskirche: der \u201d Dispute \u00fcber das Allerheiligste Sakrament \u201d von Peter Paul Rubens<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Kathedrale
Der wundersame Fang
Hans van Elburcht<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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St. Andreas
Martyrium des Heiligen Andreas
Otto van Veen<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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St. Karl Borrom\u00e4us
Die Kr\u00f6nung Mariens
Cornelis Schut<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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St. Jakob
Madonna mit Kind
Pieter Paul Rubens<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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St. Paul
Dispute \u00fcber das Allerheiligste Sakrament
Pieter Paul Rubens<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Nachfolgend finden Sie eine ausf\u00fchrliche Beschreibung jedes dieser Gem\u00e4lde. (auf Englisch)<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tLiebfrauenkathedrale: \"Der wundersame Fang\", Hans van Elburcht<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

\"\"The fishmongers\u2019 altarpiece by Hans van Elburcht, ca. 1560, reflects the devotion for their patron saints: the apostle-fisherman par excellence, Peter, the most important one, is in the central panel and on the left panel of the predella; the apostles Philip and James the Less are on the wings.<\/p>\n

The main scene in the foreground was inspired by a print from 1556 by Pieter van der Heyden, which in its turn goes back to a work by Lambert Lombard. Because it was adapted to a portico altar the triptych was made smaller, probably in 1621, when the fishmongers\u2019 altar was moved to the western pillar of the central nave. Unfortunately we do not know anymore what the complete central scene looked like originally.<\/p>\n

\"\"<\/a><\/p>\n

The central panel shows in three acts successive scenes from the story of the miraculous catch of fish (John 21:1-14). The story is to be read from the background top left [I] to the middle ground centre right (II) and then back to the foreground on the left [III]<\/p>\n

\u00a0[I] On the initiative of Peter six apostles join him to go fishing on Lake Tiberias, but they do not catch anything. At the apparition of the Risen Christ (\u271b) on the bank there is a miraculous catch of fish. While the other six apostles do everything they can to hoist the full nets aboard, Peter (A1) wades through the water to Christ.<\/p>\n

[III] \u2018The other disciples came in the boat\u2019, \u2018dragging the net with the fish\u2019. At Jesus\u2019s demand for some of the (miraculous) fish that they have just caught Peter (A1) drags the rich catch ashore.<\/p>\n

[III] In the foreground the emphasis is on the supply of the \u2018large fish\u2019, which Jesus (\u271b) gave them in His turn together with the bread. Peter (A1), once again as (second) main character, has knelt in front of Jesus, together with young John (A2) with the blond hair.<\/p>\n

The wings focus on the two other patron saints of the guild. The left wing shows the baptism of the Ethiopian eunuch (alias \u2018the Moor\u2019) by Philip (Acts 8:26-40) (Rotterdam, Boijmans Van Beuningen Museum). On the right we see the martyr\u2019s death of James the Less (Saint-Ghislain, Convent of the Sisters of Mercy).<\/p>\n

In the last quarter of the 16th<\/sup>\u00a0century, presumably after the restoration of Catholic worship in 1585, the two panels of the predella were added, by an anonymous artist probably from the surroundings of Ambrose Francken. Here Jesus invites fishermen to follow him: they will be the first apostles. On the left panel (iconographically right) with\u00a0The calling of Peter at the miraculous catch of fish<\/em>\u00a0(Lk. 5:1-11), one can see how in the background fish is being supplied on the quays. Its location reminds of the Antwerp Wharf with the fish market in front of the Steen. On the right panel another pair of brother-fishermen is shown at\u00a0The calling of James the Greater and John<\/em>\u00a0(Mth. 4:21-22, Mk. 1:19-20). They leave their father Zebedee behind in the boat. Due to the adaptation to the new altar\u00a0James<\/em>\u00a0in grisaille disappeared from one outer wing and\u00a0Philip<\/em>\u00a0on the other was severely damaged.<\/p>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\"\"The modello hangs in the corridor of the museum. The original hangs on the south side of the sanctuary.<\/em><\/p>\n

While the posture and gestures of some of the painting\u2019s figures might suggest that this scene depicts \u2018the crucifixion of Andrew\u2019 \u2013 as the painting has often mistakenly been called \u2013 this image in fact depicts Andrew\u2019s death, precisely at the time when he was to be released from the cross. The image originated from the\u00a0Legenda Aurea<\/em>, by the Dominican monk Jacobus de Varagine (1228-1298). In the Greek town of Patras, Maximilla had been willingly converted to Christianity by Andrew.<\/p>\n

Wife to the Roman proconsul Ageas, a cruel and pagan man, Maximilla began to distance herself from Ageas, both literally and spiritually. In consequence, and completely oblivious to any criticism, her husband had Andrew crucified. While tied to the cross, Andrew kept on preaching tirelessly to the growing crowd for two more days. Alarmed by the massive protest against his unjust ruling, the proconsul decreed that the disciple should be released from the cross.<\/p>\n