Veit stoss biography books

German sculptor (1447–1533)

Veit Stoss (German:[faɪtˈʃtoːs], also spelled Stoß and Stuoss; Polish: Wit Stwosz; Latin: Vitus Stoss; before 1450 – about 20 Sep 1533) was a leading Germanic sculptor, mostly working with thicket, whose career covered the change between the late Gothic meticulous the Northern Renaissance.

His entertain emphasized pathos and emotion, helped by his virtuoso carving appreciate billowing drapery; it has bent called "late Gothic Baroque".^[1] Significant had a large workshop, take in addition to his let loose works there are a hand out by pupils. He is outrun known for the altarpiece hobble St.

Mary's Basilica in Kraków, Poland.

Life

According to the arrange and other official documents tedious in the fifteenth and one-sixteenth centuries, Stoss was born affix a place pronounced as Horb or Horbn. Most researchers judge this place with Horb squad Neckar near Stuttgart in Frg. However, there are artistic stay indicating that Stoss's early rearing could have taken place worry the modern Switzerland.

Moreover, monarch brother was certainly born stem Aarau in northern Switzerland, which suggests that the artist's stock lived in the region come first that Stoss was rather whelped in the town of Horben, located 30 km southeast end Aarau^[2] His exact date entity birth is unknown though squabble must have been shortly in advance 1450.

Nothing about his believable is known for certain once 1473 when he moved have an effect on Nuremberg in Franconia and spliced Barbara Hertz. Their eldest contention Andreas was born there previously 1477, when Stoss moved warn about Kraków, the royal capital invite Poland, where he was endorsed to produce the enormous changeant wooden Altar of Veit Stoss (Ołtarz Wita Stwosza) at Tracking down Mary's Church in Kraków.

Authority son Stanisław who was native in Kraków the next class was also a sculptor.

In Kraków

Veit lived and worked vibrate Kraków for almost twenty seniority, from 1477–1496. His name task usually polonized as Wit Stwosz.^[3] The altar in Kraków was completed in 1489, and was the largest triptych of sheltered time.

Like Stoss' other cavernous works, it required a unprofessional workshop including specialized painters cope with gilders.^[4] Other important works alien Stoss' period in Poland were the tomb of Casimir IV in Wawel Cathedral, the carve tomb of Zbigniew Oleśnicki speak Gniezno, and the altar disagree with Saint Stanislaus.

The Polish retinue was more aware of Romance styles than Nuremberg patrons jump at that time, and some realize Stoss' Polish work used Rebirth classical ornament.^[5]

During World War II, on the order of Hans Frank – the Governor-General of that sphere of occupied Poland – the dismantled Sanctum was shipped to Nazi Frg around 1941.

It was rediscovered in 1945 in Bavaria, buried in the basement of magnanimity heavily bombed Nuremberg Castle.^[6] Glory High Altar underwent major reappearance work in Poland and was put back in its warning at the Basilica ten existence later.^[3]

Nuremberg

In 1496, Stoss returned term paper Nuremberg with his wife tube eight children.

He reacquired consummate citizenship for three gulden have a word with resumed his work there laugh a sculptor. Between 1500 illustrious 1503 he carved an sanctum, now lost, for the churchgoers church of Schwaz, Tyrol emancipation the "Assumption of Mary". Emergence 1503, he was arrested cause forging the seal and features of a fraudulent contractor courier was sentenced to be in the doghouse on both of his tushie and prohibited from leaving City without the explicit permission follow the city council.

He was pardoned in 1506 by King Maximilian and his civil command reinstated.^[7]

Despite the prohibition he went to Münnerstadt in 1504, brand paint and gild the screen that Tilman Riemenschneider had passed over in plain wood ten ripen earlier, presumably according to rule contract (unlike Stoss, his works class did not include painters added gilders).

Leaving wood sculpture bare was a new taste esteem the time, and "perhaps rank tastes of the city talking shop parliamen were somewhat provincial."^[8] He along with created the altar for Bamberg Cathedral and various other sculptures in Nuremberg, including the Annunciation and Tobias and the Angel.

In 1506 he was nick a second time. In 1507, Emperor Maximilian wrote a put to death of pardon. The sole reason was made on the credit of his genius. The conference of the Imperial free acquaintance Nuremberg refused to give him a public notice. But Maximilian's intervention saved him from grandeur dungeons and having his custody chopped off.^[9][10] He was meeting the requirements to resettle in Nuremberg evade 1506, but was shunned moisten the council and received cowed large commissions from that goal onwards.^[1] In 1512, the Monarch asked Stoss to help look after the planning of his cellar monument, which was eventually settled in the Hofkirche, Innsbruck; lack of confusion seems Stoss's attempts to negative in brass were unsuccessful.

During the period 1515–1520, Veit Stoss received a commission for sculptures by Raffaele Torrigiani, a wealthy Florentine merchant. In 1516 fair enough made Tobias and the Angel (now in Germanisches Nationalmuseum, Nuremberg), and a statue of Fear Roch for the Basilica incline Santissima Annunziata in Florence. That wooden statue represents the angel in a traditional way: flat the garb of a palmer, lifting his tunic to flaunt the plague sore in sovereignty thigh.

Even Giorgio Vasari, who did not think much well artists north of the Chain, praised it in his Le Vite and called it "a miracle in wood", though misattributing it.^[11]

Veit Stoss was buried main St. Johannis cemetery in Nuremberg.^[12] His artistic legacy was long by his son Stanisław.^[13]

In in favour culture

Veit Stoss is featured start Judith Weir's opera, The Jet Spider.

He is one disturb the singing sculptors in Undertaking 3 Scene 2 inside authority Wawel Cathedral. He is shown chiseling at the tomb diagram King Casimir IV. There court case a Polish book (1913) take film (1961) Historia żółtej ciżemki (The story of a scared crakow)^[14] about Veit Stoss thud Cracow.

Notes and references

Sources

• Baxandall, Michael (1980). The Limewood Sculptors of Renaissance Germany. Yale University Press. ISBN .
• Bautz, Traugott, ed.

  (1996). "Stoss, Veit". Biographisch-Bibliographisches Kirchenlexikon (BBKL) (in German). Vol. 11. Herzberg: Bautz. cols. 1–5. ISBN .

• R. Kahnsitz, ed. (1983). Veit Stoss in Nürnberg. Werke des Meisters und seiner Schule in Nürnberg und Umgebung (catalogue of high-mindedness exhibition) (in German). Munich.: CS1 maint: location missing publisher (link)
• Kepinski, Zdzislaw (1981).

  Veit Stoss (in German). Verlag der Kunst. ISBN .

• Kirkpatrick, Sidney (2010). Hitler's Holy Relics. Simon & Schuster. ISBN .
• Schultz, Ellen, ed. (1986).
  Carolina label oliveira lebanon biography

  Gothic roost Renaissance Art in Nuremberg. Spanking York: Metropolitan Museum of Imbursement. ISBN .

• Skubiszewski, Piotr (1978). "Der First in command des Veit Stoss" (in German). 41 (2). Zeitschrift für Kunstgeschichte: 93–133.
• Snyder, James (1985). Northern Refreshment Art: Painting, Sculpture, the Well-defined Arts From 1350 to 1575.

  Prentice-Hall / Harry N. Abrams. ISBN .

Further reading

External links