Who painted Die Heiligen Katharina?

Die Heiligen Katharina was painted by Master of Messkirch in 1534.

Where can I see Die Heiligen Katharina?

Die Heiligen Katharina is held by Gemäldegalerie Berlin.

What movement is Die Heiligen Katharina?

Die Heiligen Katharina is associated with Mannerism.

Artwork

Die Heiligen Katharina

Master of Messkirch , 1534

Die Heiligen Katharina is a paint painting by the Mannerist artist Master of Messkirch. It dates from 1534 and is held in the collection of the Gemäldegalerie Berlin. Created in 1534, this panel painting presents three Christian saints side by side, each within its own framed space.

About this work

Overview

Created in 1534, this panel painting presents three Christian saints side by side, each within its own framed space. The work is attributed to the anonymous figure known as the Master of Messkirch and is part of the collection of the Gemäldegalerie in Berlin.

Subject & Meaning

In the centre stands Saint Paul, clothed in a red robe, haloed, and holding a sword and a book that reference his apostolic authority and theological writings.

The leftmost figure is Saint Catherine, identifiable by her green mantle, crown, sword and book, symbols of her learned martyrdom. In the centre stands Saint Paul, clothed in a red robe, haloed, and holding a sword and a book that reference his apostolic authority and theological writings. The rightmost figure is Saint Agnes, depicted in red with a pink shawl and a lamb, the traditional emblem of her purity and virgin‑martyr status.

Technique & Style

The painting employs a gold background that heightens the sacred atmosphere, while the saints’ garments are rendered with vivid, layered coloration and fine detailing. Each figure is outlined by a decorative border and a halo, emphasizing their sanctity within a stylised, early‑Renaissance visual language.

History & Provenance

Attributed to the Master of Messkirch, an artist active in southern Germany during the early sixteenth century, the work entered the Gemäldegalerie Berlin’s holdings in the twentieth century. Its provenance prior to museum acquisition remains undocumented, reflecting the typical gaps in records for works by anonymous workshop masters.