Tilman Riemenschneider:
"Bust of John" (around 1490)


Tilman Riemenschneider:
"Bust of John" (around 1490)


$ 355,45 (312,00 EUR)

incl. VAT plus Shipping

Product Actions

Add to cart options
Order-nr. IN-000301
delivery time: approx. 2 weeks

Short description

Replica| Artificial casting | Height mit Sockel ca. 30 cm


Tilman Riemenschneider: "Bust of John" (around 1490)

The long hair falls in moving curls behind the shoulders and frames the sensitive face with focused eyes and energetic mouth. Critical thinking connects with believing sensibility and conveys a force of living truth that is still valid today.
Original: Sculpture Gallery Berlin, wood, around 1490, late Gothic.

Polymeric replica. Height with base about 30 cm.

Read more
Around 1460-1531

The works of Tilman Riemenschneider like no other sculptor represents the transition from the Middle Ages to Renaissance. With outstanding craftsmanship genius, he breathed new life into the old traditions. As the first artist he often renounced on a painting of his works and discovered the play of light and shadow as a design element. He created magnificent compositions full of emotional tension, in which he raised his characters to life with expressive faces, weighted gestures and a dramatic draping.

The sculptor Tilman Riemenschneider was born around 1460 in the Harz region, and died in 1531 at Wurzburg. Peregrinations led him to Swabia and the upper Rhine. He finally settled in Wurzburg, where he arrived at such standing and he was elected as mayor.

Riemenschneider's works tie in the Swabian and Upper Rhine art in the tradition Gerhaerts van Leyden. The figures also show that the graphics of the contemporary Martin Schongauer and Albrecht Durer must have been known. A two-dimensional shapes entwine Riemenschneider to larger premises, his multiple-figure compositions are always clearer in the building. His preferred materials were Basswood, Franconian sandstone, marble and alabaster. He became famous through his altars, of which is the most famous preserved the Creglinger Marienaltar. Especially in the carved altars, Riemenschneider was an innovator: one of the first sculptors he renounced a colour paint. His characters differ from the contemporary Gothic lyrical delicacy and introspection.