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Cet œillet est facilement reconnaissable à ses grandes fleurs roses groupées en touffes denses. Regardée de près, à la loupe, chaque fleur laisse apparaître de fins poils brillant posés sur la face des pétales.
Group of anonymous painters active in Solothurn, Bern, Baden and Zurich between 1479 and 1510, whose works are signed with two red and white carnations. The altarpiece of the high altar of the church of the Cordeliers, in Fribourg, from a Basel workshop established in Solothurn, is their oldest achievement, and the most important.
In the years 1480-1490, they are mainly found in Bern, where several large commissions were executed (frescoes, altarpieces), probably by two workshops. If the work of the latter is rooted in the Basel tradition, the later works of the workshops of Baden and Zurich attest to different stylistic influences (as with Hans Leu the Elder). Many elements seem to indicate that the carnation became the symbol of a generation of painters aware of their membership of the Confederation and anxious to differentiate their production from that of neighboring countries. At the dawn of the modern era, these artists, who dealt exclusively with religious subjects, manifest the pride of high-level craftsmanship in works of traditional craftsmanship, while remaining anonymous according to custom. medieval.
Chantilly, Porcelaine, Oeillet bleu, Nelke, Blau, underglaze blue, Osier, woven basket pattern, Weichporzellan, pat tendre, soft paste porcelain, blue carnation, Speiseteller, dinner plate, assiette, www.kabelitz-porzellan.de