| Tilman Riemenschneider and Veit Stoss |
He could no longer work and passed away on July 07, 1531. Two of his sons, Jörg and Hans, were
sculptors, and two others, Bartholomeus (a pupil of Dürer) and Tilman, were painters. Allied bombs
in World War Two destroyed some of Riemenschneider's masterpieces, as well as those of Stoss.
sculptors, and two others, Bartholomeus (a pupil of Dürer) and Tilman, were painters. Allied bombs
in World War Two destroyed some of Riemenschneider's masterpieces, as well as those of Stoss.
Artistically ahead of his time, he used light and the natural beauty of wood, eliminating the application
of color, and he also worked in stone. His workshop had as many as eighteen apprentices carving for
him. His first documented work was the altar for the Münnerstadt parish church (1490–92), which
was later dismantled. He had a continuous flow of commissions; his major work, the “Altar of the
Virgin” (c. 1505–10) in Herrgotts Church at Creglingen was a 32 foot high wood altar depicting the
life of Mary. He employed assistants on the massive monument, but he executed the figures himself.
of color, and he also worked in stone. His workshop had as many as eighteen apprentices carving for
him. His first documented work was the altar for the Münnerstadt parish church (1490–92), which
was later dismantled. He had a continuous flow of commissions; his major work, the “Altar of the
Virgin” (c. 1505–10) in Herrgotts Church at Creglingen was a 32 foot high wood altar depicting the
life of Mary. He employed assistants on the massive monument, but he executed the figures himself.
Tilman Riemenschneider, outstanding German late Gothic sculptor, was
born around 1460 in Heiligenstadt. His father was Master of the Mint in
Osterode am Harz. He cut metal to make dies and translated designs into
three dimensional form which later translated into sculpture. In 1483, young
Riemanschneider entered a Würzburg workshop as a journeyman and was
soon admitted into Saint Luke's brotherhood where he became a full fledged
figural artist. In 1485, he married and was made a citizen of Würzburg and
became a master. In contrast to the idealized forms of the past, he chose to
represent men and women as the eye naturally sees them.
self portrait, left
born around 1460 in Heiligenstadt. His father was Master of the Mint in
Osterode am Harz. He cut metal to make dies and translated designs into
three dimensional form which later translated into sculpture. In 1483, young
Riemanschneider entered a Würzburg workshop as a journeyman and was
soon admitted into Saint Luke's brotherhood where he became a full fledged
figural artist. In 1485, he married and was made a citizen of Würzburg and
became a master. In contrast to the idealized forms of the past, he chose to
represent men and women as the eye naturally sees them.
self portrait, left
Riemenschneider was successful and popular, unlike his contemporary Veit
Stoss, a rebellious German artist often in trouble with the law. Stoss, brilliant
sculptor, engraver and painter, was one of the first artists from Northern Europe
who was compared with Italian Renaissance artists. His dramatic work reflected
his dramatic life. Stoss moved from Nürnberg to various places including
Cracow in 1477 and lived there until his return in 1496 with his wife and eight
children. In Nürnberg, he worked on wood carved altars, groups and figures. In
1503, it is said that he violated some law and was by some accounts sentenced
to death, but his sentence was commuted at the last moment because of his
amazing skill, and instead he was branded on both cheeks with a red-hot poker.
Among other pursuits, he painted works by Tilman Riemenschneider. In 1506,
he was apparently arrested again but pardomed by the Emperor. Stoss work, right
Stoss, a rebellious German artist often in trouble with the law. Stoss, brilliant
sculptor, engraver and painter, was one of the first artists from Northern Europe
who was compared with Italian Renaissance artists. His dramatic work reflected
his dramatic life. Stoss moved from Nürnberg to various places including
Cracow in 1477 and lived there until his return in 1496 with his wife and eight
children. In Nürnberg, he worked on wood carved altars, groups and figures. In
1503, it is said that he violated some law and was by some accounts sentenced
to death, but his sentence was commuted at the last moment because of his
amazing skill, and instead he was branded on both cheeks with a red-hot poker.
Among other pursuits, he painted works by Tilman Riemenschneider. In 1506,
he was apparently arrested again but pardomed by the Emperor. Stoss work, right
Other major works are “Adam and Eve”, stone figures from the Würzburg Lady
Chapel, the “Altar of the Holy Blood” (1501–05) in St. Jakob, Rothenburg and
the “Tomb of Henry II and Kunigunde” (1499–1513) in Bamberg Cathedral.
His finest masterpieces were the altars in Muennerstadt, Rothenburg and
Creglingen. His figures were for the most part meant to be seen from below by
worshipers so that what appears to be disproportion was actually done with that
uplooking perspective in mind, much in the way that the heads of Greek
sculptures were deliberately enlarged in order that they look normal when the
statue is displayed on columns. He carved for the enjoyment of ordinary people.
Chapel, the “Altar of the Holy Blood” (1501–05) in St. Jakob, Rothenburg and
the “Tomb of Henry II and Kunigunde” (1499–1513) in Bamberg Cathedral.
His finest masterpieces were the altars in Muennerstadt, Rothenburg and
Creglingen. His figures were for the most part meant to be seen from below by
worshipers so that what appears to be disproportion was actually done with that
uplooking perspective in mind, much in the way that the heads of Greek
sculptures were deliberately enlarged in order that they look normal when the
statue is displayed on columns. He carved for the enjoyment of ordinary people.
Riemenschneider was, in contrast, a pillar of the community and he became Mayor and Alderman of
Würzburg, but during the unsuccessful peasant revolt of 1525, as one of the councilmen who refused
to support the use of force against the rebels, he was seen as siding with the peasants against the
Prince-Bishop and he was imprisoned and tortured. When eventually released, his hands were said to
have been hopelessly injured and his spirit broken.
Würzburg, but during the unsuccessful peasant revolt of 1525, as one of the councilmen who refused
to support the use of force against the rebels, he was seen as siding with the peasants against the
Prince-Bishop and he was imprisoned and tortured. When eventually released, his hands were said to
have been hopelessly injured and his spirit broken.