Stefan Lochner

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Lochner, Stefan


Born circa 1410, possibly in Meersburg, Baden; died in 1451 in Cologne. German painter.

Lochner, who started painting in Cologne in the early 1430’s, was influenced by the 15th-century Flemish masters (particularly Robert Campin). In his paintings the rich colors of his palette combine harmoniously with a golden background. The artist’s ability to render the materiality and poetic beauty of the real world is effectively combined with a Late Gothic spiritualization of images. Examples of Lochner’s works are the altarpiece The Adoration of the Magi (c. 1440, Cologne Cathedral), Madonna of the Rose Bower (1440’s, Wallraf-Richartz Museum, Cologne), The Day of Judgment (c. 1435, Wallraf-Richartz Museum), and Presentation in the Temple (1447, Hessisches Landesmuseum, Darmstadt).


Forster, O. Stefan Lochner…. Frankfurt am Main, 1938.
Stange, A. Kritisches Verzeichnis der deutschen Tafelbilder vor Dürer, vol. 1. [Munich, 1967.]
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The bulk may have been bought in the early 1920s but, beyond the fact that his taste had extended backwards chronologically to acquire a Stefan Lochner and forwards for a Monet, we are told little about how and from whom his art collection was acquired, let alone how and why his tastes had evolved.
Stefan Lochner's Madonna of the Rose Bower elicits in him respect and awe for Mary, matched by Sufism's embrace of the divine feminine.
In its subject matter, her epic is doubtless intended to stake its claims alongside some of the highest art produced in Europe and America, viz., Stefan Lochner's Martyrdom of St.
53 In his essay for the 1974 exhibition Vor Stefan Lochner, for example, Wolfgang Stechow pointed out the "Netherlandish" qualities of one of Lochner's youthful works.
ton an Early Painting by Stefan Lochner." In Vor Stefan Lochner: Die Kolner Maler yon 1300.1430.
Stefan Lochner: Image Making in Fifteenth-Century Cologne Julien Chapuis Brepols, 125 [euro]/125 [pounds sterling]/$156 ISBN 2503505678
Julien Chapuis delayed the frequently announced publication of this book, based on his dissertation 'Underdrawing in Paintings of the Stefan Lochner Group', for eight years.
One might also question the legitimacy of ignoring the crucial problems posed by Stefan Lochner's provenance and the attribution of paintings to him.
In any case, the altarpiece in question bears all the hallmarks of the Cologne tradition, whereas the documented Stefan Lochner came from Constance and can be presumed to have been trained in the very different style of that region.
He prefers to perpetuate the beguiling notion that the documented painter Stefan Lochner can be securely linked to the Altarpiece of the Patron Saints and related works.