VIENNA.- The Kunsthistorisches Museum Vienna is presenting a new series of works by the renowned Austrian jewellery artist Anna Heindl (born 1950) in the Kunstkammer. The diptych The Marriage of St Catherine (around 1400) by the so-called Master of Heiligenkreuz served as a central source of inspiration for Heindl's latest creations. In an intensive artistic and researching process, Heindl explored the important work from the painting gallery, and puts 30 sculptural decorative objects into a delightful dialogue with the panel painting. The exciting interplay between contemporary jewellery design and the Gothic sacred painting is a first for the Kunsthistorisches Museum in this form.

The diptych by the anonymous painter, who was one of Austria's most unconventional and mysterious personalities around 1400, originally came from the Cistercian monastery Stift Heiligenkreuz near Vienna. It was purchased by the Kunsthistorisches Museum in 1926. On the one hand, it depicts the annunciation to Mary, on the other hand the marriage of St Catherine, which gives the intervention its name. The scenes, which are summarised in a stage-like manner, present Mary and Catherine as virgins who are about to marry Christ.

The Master of Heiligenkreuz, who originally came from France and must have travelled through Central Europe as an itinerant artist, probably designed the depiction for a convent. What is remarkable about this panel painting, which belongs to the ‘international Gothic’ style, is the almost eccentric style of the figures: with their bulging foreheads and extremely elongated limbs, they reflect the period’s refined ideals of beauty and elegance that were widespread throughout Europe.

The unique formal language of this artist, who was given his name after the diptych's place of origin, in particular the strikingly long fingers and the posture of the hands, seemed to the jewellery artist Anna Heindl to be predestined to wear rings. In her further exploration of the painting's content, she developed a deep affection for St Catherine in particular. Catherine is holding a piece of jewellery that symbolises the wheel of her torture. Anna Heindl understands this as a testimony to her standing up for her convictions. The artist has incorporated this interpretation into the ‘Katharina’ necklace created especially for the special presentation.

The Master of Heiligenkreuz showed a particular attention to fashionable detail: while saints of the time were typically depicted in wide, dark cloaks, Catherine is wearing a red penitential dress in this painting. A strikingly large sleeve cut-out reveals a tight-fitting dress underneath. This unusual design inspired Anna Heindl to create the ‘Opening’ necklace. St Barbara in the upper right part of the picture is traditionally depicted with a tower in which she devoted herself to the Christian faith and prayer against her father's wishes. As she fled, a rock miraculously opened up, allowing her to hide from persecution for a short time. Motivated by this story, Anna Heindl created the rings ‘Orange Moon in Leaves High’ and ‘Split Rock’. On the left-hand side of the diptych, the Archangel Gabriel delivers a letter to the Virgin Mary telling her that she will conceive and give birth to the Son of God from the Holy Spirit. In this context the ‘Pink Treasure’ ring, the ‘Angel’ necklace and the ‘Amethyst Wings’ bracelet were created.

Anna Heindl's jewellery objects are presented in three display cases in Room XXXVI of the Kunstkammer. Their positioning enables a direct dialogue with the painting The Marriage of St. Catherine. Sculptor Manfred Wakolbinger's exhibition design creates a sculptural ‘stage’ for Heindl's artworks. The special presentation is complemented by works from Heindl's earlier thematic areas such as Horizon, Garden of Earthly Delights and Ears and Tears. Another display case features an installation with specially developed works for an artist who commissioned Heindl to process stones acquired on his travels into jewellery.