Tilman Riemenschneider:
Sculpture "Wartburg-Engel", Artificial Casting

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Tilman Riemenschneider:
Sculpture "Wartburg-Engel", Artificial Casting

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https://www.arsmundi.com/en/artwork/wartburg-engel-288893.html
$ 1.013,93 (890,00 EUR)

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delivery time: approx. 2 weeks

Short description

Museum replica | Artificial casting | Handmade | Patinated | Dimensions 64 x 30 cm (H/B)

https://www.arsmundi.com/

Tilman Riemenschneider: Sculpture "Wartburg-Engel", Artificial Casting

One of the most beautiful availble works is the knealing angel from Wartburg. Our museum replica repeats the surface, darkened by the artist. Like the original it doesn't contain the colorful socket.
Original in private ownership.

Polymeric ars mundi museum replica, cast and patinated by hand. Height 64 cm, width 30 cm.

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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.