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Tilman Riemenschneider |
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Riemenschneider, Tilman
Born circa 1460 in Heiligenstadt, Thuringia; died July 7, 1531, in Würzburg. German Renaissance sculptor. From 1483, Riemenschneider worked in Würzburg. Because of his ties with insurgent Franconian peasants, he was cast into prison in 1525 and tortured. Late Gothic dynamic form and jagged line characterize Riemenschneider’s early works, such as his statues of Adam and Eve (1491–93, stone, Main-Franconia Museum, Würzburg), the tomb of Rudolf von Scherenberg (1496–99, stone, Cathedral of St. Killian, Würzburg), and the Altar of the Holy Blood (1501–04, wood, Church of St. Jakob, Rothenburg). Riemenschneider was among the first sculptors to abandon the practice of painting and gilding statues. Through his virtuoso treatment of texture he endowed his distinctly individualized sculptures with intense spirituality. He was particularly concerned with a lifelike rendering of gesture and facial expression. Riemenschneider’s later works demonstrate the artist’s aspiration toward greater generalization and clarity of images and toward harmoniously balanced composition. Such works include the Altar of the Virgin (1505–10, wood, Church of the Lord, Creglingen), the tomb of Lorenz von Bibra (c. 1519, stone, Cathedral of St. Killian, Würzburg), and the relief The Mourning of Christ on the altar of the parish church in Maidbronn (1519–23, limestone). REFERENCESFlesche, H. Tilman Riesenschneider (album). Dresden, 1957.Gerstenberg, K. Tilman Riesenschneider [5th ed.]. Munich [1962]. V. D. SINIUKOV Want to thank TFD for its existence? Tell a friend about us, add a link to this page, add the site to iGoogle, or visit the webmaster's page for free fun content. |
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No references found | Two early works in sandstone by Tilman Riemenschneider, a nude Adam and Eve, bracket the south portal of the Marien-kapelle; these days they're replicas, but in 1971 we were still looking at the originals (now in the Mainfrankisches Museum). It was these two precursors, in the author's view, that were "harmoniously blended in a revised configuration" (24), thus producing the normative type; and it was this type that furnished the stage for artistic innovation and the experiments in plastic form by Niclas Gerhaerts van Leyden and Michael Pacher, the theatrical spaces of Veit Stoss and Tilman Riemenschneider, and the riotous swirling rhythms of the Zwettl Master. There are exquisite examples of Byzantine ivories, Gothic enamel work from Limoges, stone figures, wooden angels, radiant alter pieces, a rare "table fountain," climaxing with the High Gothic polychrome wood and stone sculptures by Tilman Riemenschneider created in the late 1400s. |
Tilman Riemenschneider |
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