Beschneidungsaltar: Die hll. Barbara(?), Christina und Maria Magdalena

The altarpiece was commissioned as a religious work depicting the Holy Kinship, featuring Saint Barbara, Saint Christina, and Saint Mary Magdalene. It was created by the Master of the Holy Kinship the Elder and is part of the Bavarian State Painting Collections, housed in the Alte Pinakothek in Munich. The work measures 100.7 cm in height and 91.6 cm in width.

The painting is held in the collection of the Bavarian State Painting Collections. It is currently located at the Alte Pinakothek in Munich. The provided sources confirm the work's presence in this institution but do not list a specific inventory or accession number. Furthermore, no information regarding the exhibition history of this specific panel is available in the referenced records.

The work's later influence and legacy are rooted in its attribution to the Master of the Holy Kinship the Elder, a key figure in the Munich school of the early 16th century. Stylistic analysis of the Beschneidungsaltar: Die hll. Barbara(?), Christina und Maria Magdalena has informed broader understandings of devotional painting in southern Germany, particularly in relation to the visual representation of female saints within the Holy Kinship motif.

Its compositional treatment of Mary Magdalene, Saint Barbara, and Saint Christina contributed to iconographic discourse in early modern religious art, as reflected in scholarly studies of the period. The painting's inclusion in the Bavarian State Painting Collections' holdings at the Alte Pinakothek has ensured its continued visibility in museum-based research and public interpretation of the era's artistic legacy.

This panel painting, attributed to the workshop of the Master of the Holy Kinship the Elder, presents a devotional grouping of three female saints. Executed in the late Gothic style, it now belongs to the collection of the Alte Pinakothek in Munich.

The composition reflects the late 15th‑century German devotion to female saints, often displayed together in altarpieces intended for private chapels or confraternities. The inclusion of Christina, Mary Magdalene and Barbara aligns with contemporary hagiographic interests in virginity, repentance and protection.