Albert van Outwater also had a great influence on his contemporaries and later artists, though the Raising of Lazarus is his only surviving work; in this bold painting, the richly dressed merchants on the right contrast sharply with the simplicity of the Holy Family on the left. Geertgen tot Sint Jans was Outwater's student, although his St.. John the Baptist definitely differs from the master's painting - the saint sits in an almost comically passive pose against the background of an intricately constructed landscape.
Two other important paintings in this room (146) are the work of Hugo van der Goes: In adoration of the shepherds (painted in the period, when the painter began to show the first symptoms of madness) this story is told by two prophets, and the shepherds enter the field of view. Adoration of the Magi (also known as the painting from the altar of Monforte) is characterized by the exquisite realism characteristic of Netherlandish art, while at the same time bringing a certain innovation of introducing greater precision of detail and complex perspective to a large-scale work. Shows a small altar painting Triptych with the Adoration of the Magi by Joos van Cleve, how the successors of Goes dealt with this topic.
Moving to the hall 148 we are also entering the 16th century. There are works by Jan Gossaert, Quentin Massys and Pieter Bruegel the Elder, whose Dutch Proverbs are funny, although it is difficult to decipher an illustration of over a hundred 16th-century proverbs and maxims. For a fascinating contrast to 15th-century Netherlandish painting, see a rare panel painting by French artist Jehan Fouquet, Etienne Chevalier and Saint Stefan, which shows the treasurer of the French crown accompanied by his patron saint.
After the Dutch part, there are rooms devoted to medieval and Renaissance German art, showing the contrast between the presentation of religious themes by German and Dutch painters: works by German artists are almost always darker and less carefully finished. The sternest in form is the great Altar of the Passion of Christ with 1437 year, made in the studio of an excellent sculptor from Ulm, Hansa Multschera; exuberant gestures and distortions of facial expression make the author of the work a precursor of expressionist painting. An interesting contrast is the painting of Solomon at the Queen of Sheba, painted the same year by Konrad Witz, who, in a more subtle way, wanted to depart from the German idealization practiced previously in painting. The perfect Christmas Schon-gauer is the most important surviving plaque painting of the father of the German Renaissance.
Besides, the best works are by Altdorfer, one of the first fully mature German landscape painters (in his Christmas, the figures of Christ and the Holy Family seem less important than a decaying stable) Oraz Durera – great series of portraits. Durcra's eccentric apprentice Baldung has a number of impressive paintings here, among which the Triptych Adoration of the Magi stands out. The work of Hans Holbein the Younger consists of five portraits of remarkable acuteness, the most famous of which is the Gdańsk Merchant Georg Gisze against the background of a virtuoso still life. The best of Cranach's many paintings is entitled The Fountain of Youth, subject presented with a pinch of salt: aged women emerge from the bath as little girls, on the other hand, men only need to be in the company of women to rejuvenate.
To the right of these rooms there are collections of French and German paintings from the 16th century, 17th and 18th centuries (including works by Holbein and Watteau), but if you want chronological continuity, go straight, to the hall with paintings of the Italian Renaissance. Works of the Florentine Renaissance are especially numerous here: The adoration in summer by Fra Filippo Lippi is a mystical vision of extraordinary grace and beauty and is rightly one of the most admired paintings of this period. Another well-known work is the adoration of the Magi, which is perfectly colored, rarely seen in the galleries of Domenico Veneziano, whose canvas perfectly reflects the solemnity of the moment. Correggio's extremely evocative Leda with the Swan is a good example of the classic interests prevailing in this era: the subject of the work offended the religious feelings of an 18th-century fanatic enough, that he cut the picture into pieces. There are also works by Giotto, Verrocchio, Mash, Mantegni, Rafaela and Tycjana, and the pride of the collection are paintings by another Florentine, Sandro Botticellego, whose Madonna and Child, st. John the Baptist and St.. John the Evangelist ("Madonna Bordi"). The portrait of a young woman and Saint Sebastian are among the best works of this collection, constituting an overview of Italian Renaissance painting.