Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 33 works by Konrad Witz in our catalogue
In short
Mary with child (1430) is the Konrad Witz painting that draws the most eyes; the original belongs to the Kunstmuseum Basel, Basel. After it, the eye goes to Antipater before Julius Caesar (1435) and Abraham before Melchizedek (1435). Among the 33 works of Konrad Witz in our catalog, these 33 are the most famous, each a unique original presented with its year, its museum and the reason it endures.
The air feels heavy with the scent of incense and the weight of devotion as we gaze upon this intimate encounter. A luminous, textured gold background envelops the figures, pushing them forward into our immediate space. This is not a scene of vast landscapes, but a close-up portrait of profound spiritual intimacy. Mary, draped in deep blues and soft pinks, holds the infant Jesus against a backdrop of embossed, patterned…
In this work, titled Antipater before Julius Caesar, the artist Konrad Witz presents a moment of profound political and personal tension. Created about 1435, the painting captures a specific encounter from Roman history, focusing on the interaction between the figure of Antipater and the Roman leader Julius Caesar. The scene is characterized by a sense of gravity, focusing on the weight of the figures and the significance of their meeting.
The scene unfolds in a compressed, intimate space where two figures command the center of the frame. On the left, a regal man sits enthroned, his presence defined by the heavy, sculptural folds of his deep crimson robes. Opposite him, a knight kneels in a gesture of reverence. They are locked in a ritualistic exchange, their hands meeting over a golden chalice that catches the light. This central interaction anchors…
In this 1435 portrait, St. Augustine is presented as a solemn and highly detailed figure within an interior setting. The subject is depicted as an elderly man with a weathered face, standing in a vertical profile-oriented composition. He is adorned in elaborate liturgical vestments, including a white alb and a heavy green cope featuring wide gold borders. Atop his head sits a tall white mitre decorated with gold. In his…
The air feels heavy with a sacred stillness as two figures emerge from a shimmering expanse of gold. On the left, Augustus, the Roman emperor, reaches upward, his hands raised in a sudden, trembling gesture of prayer or awe. He is draped in a voluminous red robe, the fabric heavy and sculptural, trimmed with thick grey fur that suggests a tangible, physical weight. His gaze is fixed on something unseen…
The Pietà is a painting attributed to the artist Konrad Witz. This work was executed about 1440. The subject matter depicts the Virgin Mary cradling the lifeless body of Jesus, a composition accompanied by two mourning figures in heavy, voluminous robes. The figures are set against a landscape that includes a detailed cityscape and a Gothic cathedral.
A reclining female figure dominates the composition, her pale skin luminous against a backdrop of deep crimson and forest green drapery. She lies horizontally across the frame, propped by white pillows that catch the directional light. One arm is tucked behind her head, while the other rests near her torso, creating a pose of relaxed poise. The heavy folds of the fabric suggest weight and texture, framing the subject within…
The river churns with a dark, restless energy, its surface broken into white foam and heavy, muddy swells. Through this turbulent water, a massive figure wades, his body leaning into the weight of the current. This is Saint Christopher, his muscles strained as he navigates the deep. Perched upon his shoulders sits the Christ Child, a small, luminous presence amidst the chaos of the elements. The saint’s tunic is a…
In "The Council of Salvation" by Konrad Witz, a celestial council unfolds within a highly detailed and ornate Late Gothic altarpiece design. The scene is structured around a central throne-like setting that anchors the divine assembly. To the left, God the Father, Christ, and the Holy Spirit, appearing as a dove, occupy the sacred space. Opposite them, on the right, two female figures face the divine presence. This arrangement creates…
In this work, titled St Bartholomew, the artist Konrad Witz presents a quiet, religious study of a saint. Created around 1435, the painting focuses on the figure of the apostle, rendered with a sense of stillness that invites close observation. The subject is depicted in a three-quarter pose, a choice that allows for a detailed view of his traditional attire and the subtle expression on his face.
Saint Christopher1435 · Öffentliche Kunstsammlung
12
Esther before Ahasuerus1435 · Kunstmuseum Basel
13
St. Christopher1435
14
King Solomon and the Queen of Sheba1435 · Staatliche Museen zu Berlin
15
Christ on the Cross1430 · Staatliche Museen zu Berlin
16
Angel of Annunciation1435 · Kunstmuseum Basel
17
Ecclesia1440 · Kunstmuseum Basel
18
Madonna and Saints in a Church1443
19
Sabobai and Benaiah1435 · Kunstmuseum Basel
20
The Adoration of the Magi1444
21
Joachim and Anna in front of the Golden Gate1435 · Kunstmuseum Basel
22
Annunciation1440
23
The Liberation of St Peter1443 · Musée d'Art et d'Histoire
24
Annunciation1440 · Germanisches Nationalmuseum
25
Crucifixion1444 · Gemäldegalerie
26
The Miraculous Draught of Fishes1443 · Musée d'Art et d'Histoire
27
Presentation of Cardinal de Mies to the Virgin1443
28
The Synagoge1435 · Öffentliche Kunstsammlung
29
Emperor Augustus and the Sybil of Tibur
30
St. Catherine Of Alexandria
31
The Miraculous Draught of Fishes (Peter's altar table)1444 · Musée d'Art et d'Histoire de Genève
32
St. Catherine and Mary Magdalene1440 · Musée Des Beaux
33
Abishai Kneeling before David1435 · Kunstmuseum Basel
The four subjects that come back most often in these originals, each with its finest example.
The 8 museums that hold the most of the paintings on this page.
| Museum | City | Works by Konrad Witz | Paintings from this list |
|---|---|---|---|
 Kunstmuseum Basel |
Basel | 9 | Mary with child, Antipater before Julius Caesar, Abraham before Melchizedek |
 Gemäldegalerie |
Berlin | 3 | Saint Christopher (Berlin), The Council of Salvation, Crucifixion |
 Öffentliche Kunstsammlung |
Basel | 3 | St Bartholomew, Saint Christopher, The Synagoge |
 Musée des Beaux-Arts de Dijon |
Digione | 2 | St Augustine, Heilsspiegelaltar - Augustus and Sibyl of Tibur |
 Staatliche Museen zu Berlin |
Berlin | 2 | King Solomon and the Queen of Sheba, Christ on the Cross |
 Musée d'Art et d'Histoire |
Женева | 2 | The Liberation of St Peter, The Miraculous Draught of Fishes |
 The Frick Collection |
New York City | 1 | Pietà |
 Glasgow Museums Resource Centre |
1 | Byblis Writing to Caunus |
A long career of 16 years, 1430 to 1445: Konrad Witz's most famous originals, shown year by year.
Pick a year to see its originals.
The air feels heavy with the scent of incense and the weight of devotion as we gaze upon this intimate encounter. A luminous, textured gold background envelops the figures, pushing them forward into our immediate space. This is not a scene of vast landscapes, but a close-up portrait of profound spiritual intimacy. Mary, draped in deep blues and soft pinks, holds the infant Jesus against a backdrop of embossed, patterned…
More from 1430
In this work, titled Antipater before Julius Caesar, the artist Konrad Witz presents a moment of profound political and personal tension. Created about 1435, the painting captures a specific encounter from Roman history, focusing on the interaction between the figure of Antipater and the Roman leader Julius Caesar. The scene is characterized by a sense of gravity, focusing on the weight of the figures and the significance of their meeting.
More from 1435
The Pietà is a painting attributed to the artist Konrad Witz. This work was executed about 1440. The subject matter depicts the Virgin Mary cradling the lifeless body of Jesus, a composition accompanied by two mourning figures in heavy, voluminous robes. The figures are set against a landscape that includes a detailed cityscape and a Gothic cathedral.
More from 1440
The artwork is titled Madonna and Saints in a Church. It was executed by the artist Konrad Witz. This specific piece is dated about 1443.
More from 1443
In this 1444 oil on wood panel, three men in red robes kneel before the infant Jesus. The central figure of the infant lies in a position of quiet stillness, receiving the attention of the three visitors. To the left, a man holds a lantern, casting light toward the center of the scene. The second man, positioned to the right, holds a cup. Between these two figures, a third man…
More from 1444
The river churns with a dark, restless energy, its surface broken into white foam and heavy, muddy swells. Through this turbulent water, a massive figure wades, his body leaning into the weight of the current. This is Saint Christopher, his muscles strained as he navigates the deep. Perched upon his shoulders sits the Christ Child, a small, luminous presence amidst the chaos of the elements. The saint’s tunic is a…
More from 1445
Mary with child (1430), Kunstmuseum Basel, Basel. Antipater before Julius Caesar (1435) and Abraham before Melchizedek (1435) come next.
30 years old: Mary with child dates from 1430, and Konrad Witz was born in 1400.
Mary with child, Antipater before Julius Caesar, Abraham before Melchizedek, St Augustine, Heilsspiegelaltar - Augustus and Sibyl of Tibur, Pietà, Byblis Writing to Caunus, Saint Christopher (Berlin), The Council of Salvation and St Bartholomew. The ranking above gives each one's year and museum.
Our catalog holds 33 works by Konrad Witz, dated from 1430 to 1445.
Mostly in Kunstmuseum Basel (Basel), Gemäldegalerie (Berlin) and Öffentliche Kunstsammlung (Basel). The museum table above lists them all.
In 1435: 14 of the 33 works on this page were made then, Antipater before Julius Caesar among them.
On this page, the earliest is Mary with child (1430) and the latest Saint Christopher (Berlin) (1445).
Woman (10), Man (10) and Book (6), across the 33 works on this page.
Oil On Panel, for 16 of the 33 works on this page.
Northern renaissance, judging by the originals on this page.
Mary with child, Antipater before Julius Caesar and Abraham before Melchizedek: the Kunstmuseum Basel, Basel holds 9 of the works on this page.
In the shifting landscape of fifteenth-century European art, few figures cast as long a shadow over the transition from Gothic tradition to Renaissance naturalism as Konrad Witz. Born around 1400 in the German region of Rottenburg am Neckar, Witz emerged as a visionary whose brushwork began to peel away the stylized abstractions of the Middle Ages to reveal the breathing, textured world beneath. While much of his early life remains shrouded in the mists of history, his presence in Basel, Switzerland, is well-documented, marking him as a master who flourished within the prestigious guild systems of the era. His journey was one of profound technical evolution, moving from the rigid formalities of late Gothic art toward an unprecedented devotion to topographical accuracy and emotional depth.
The true genius of Witz lies in his ability to marry sacred narrative with the tangible reality of the physical world. He is most celebrated for his pioneering role in landscape painting, a feat epitomized by his masterpiece, Miraculous Draught of Fishes. In this work, scholars identify one of the earliest instances of a faithful, identifiable topographical scene in Western art. Rather than presenting a generic, symbolic backdrop, Witz captured the specific essence of a place, inviting the viewer to step into a recognizable environment. This innovation transformed the landscape from a mere stage for religious drama into a living protagonist, capable of conveying atmosphere, light, and depth.
Witz’s oeuvre is characterized by a breathtaking duality: the ability to execute monumental, complex altarpieces while maintaining an intimate, poignant touch in smaller devotional scenes. His Heilspiegel Altarpiece stands as a towering achievement of his career, showcasing the meticulous craftsmanship required for high-level ecclesiastical commissions. Through intricately carved panels and vibrant frescoes, Witz wove together biblical narratives and saintly figures with a level of detail that commanded reverence. This work serves as a testament to his mastery of the late Gothic style, even as he began to experiment with the burgeoning realism that would define the coming century.
Beyond the grand scale of altarpieces, Witz’s talent for capturing human emotion is profoundly evident in works such as Christ on the Cross. Here, the artist blends Gothic drama with an early, raw realism, using subtle shading and expressive gestures to evoke a deep sense of pathos. Similarly, his depiction of King Solomon and the Queen of Sheba demonstrates his capacity for storytelling through rich detail and landscape innovation, illustrating biblical grandeur through a lens of Renaissance artistry. Whether painting the quiet sorrow of a saint or the majestic encounter of monarchs, Witz utilized light and form to bridge the gap between the divine and the human experience.
The historical importance of Konrad Witz cannot be overstated; he acted as a vital conduit between two eras. His development represents the slow, deliberate movement away from the symbolic language of the 14th century toward the observational science of the Renaissance. By integrating recognizable landscapes and naturalistic textures into religious iconography, he paved the way for future generations of Northern European painters to explore the beauty of the natural world.
His enduring legacy is found in the following artistic milestones:
Though his life was relatively short, ending around 1446, the impact of Konrad Witz remains etched in the foundations of Western painting. He taught the eye to look closer at the earth and the sky, finding the sacred within the very details of the world we inhabit.
