Adam Winterhalder

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Adam Winterhalder (* around 1652 in Neukirch (Furtwangen in the Black Forest) ; † March 29, 1737 in Vöhrenbach in the Bregtal ) was a German Baroque artist from the Winterhalder family of sculptors . He worked in the Black Forest, especially in Vöhrenbach.

Research history

As early as 1947 he received an entry in Thieme-Becker , but his works were not mentioned once in 1997 in the Handbook of German Art Monuments , Baden-Württemberg II . Since then, his work has been researched primarily by the Vöhrenbach local researcher Bernhard Kleiser (* 1925) and the pastor and art historian Manfred Hermann .

Adam Winterhalder's mourning Maria and Johannes under Johann Michael Winterhalder's cross in St. Martin, Vöhrenbach

Life

Adam's parents were the farmer and sculptor Bartholomaeus Winterhalder (around 1613–1680), the progenitor of the clan, and his wife Ursula nee. Bumblebee (1611-1695). Adam learned carving like his older brother Johann Conrad first from his father and then probably from his brother, who had been running his own workshop in Kirchzarten since 1661 . When his father died, Adam, 28, took over the Neukirch workshop. Around 1695 he started his own business in Vöhrenbach, where in 1696 he was born Elisabeth. Straub married. The couple had five children, including the later sculptors Anton (1699–1758), Josef (1702–1769) and Johann Michael (1706–1759). In the Vöhrenbach death register he is “a man of the best life and reputation, a citizen of this city and an experienced sculptor”.

plant

Adam Winterhalder's surviving works include (in chronological order):

  • A cross and a saint Joseph in the parish church of John the Baptist in Breitnau . As in Neukirch, the beard and main strands of hair of the crucified Christ are lovingly reproduced. “In contrast to the Neukircher Cross, both feet are nailed on top of each other (three-nail type). The loincloth shows a completely new shape, the right corner of which falls down on the hip there, but the left is drawn diagonally across the lap and swirls up there and ends in a roll. Here, too, we have the characteristic handwriting of Adam Winterhalder before us. "
  • Kneeling figures of St. Dominic and St. Catherine of Siena on the upper floor of the more recent high altar of the parish church of John the Baptist in Saig .
  • 1693 two Madonnas with child in the parish church of John the Baptist in Friedenweiler . They are left over from an altar by Winterhalder that was created for the Cistercian nunnery in Friedenweiler, and which incidentally fell victim to a fire in 1725 along with the entire monastery.
  • Around 1700 processional Madonna in the rectory of Vöhrenbach, the earliest surviving work from the Vöhrenbach period.
Risen Jesus Christ in St. Martin, Vöhrenbach
  • Also around 1700 a risen Jesus Christ next to the left side altar of the Vöhrenbach parish church of St. Martin . “He stands on a silver cloud, his right hand raised in blessing, while the stretched left hand holds the resurrection flag. ... The body treatment is not very pronounced and kept smooth. ... The coat placed over the left shoulder gives the figure a relatively closed outline. ”St. Martin in Vöhrenbach is a new building from 1953–1954, which replaced a building from 1715, whereby the neo-Romanesque tower from 1871–1873 was retained.
  • 1705, "the first documented work", a resurrected person in the parish church of St. Johann (Donaueschingen) . “In emphatic contrapost , the risen One stands on a silver cloud, his right hand raised again in a blessing, and in his left the resurrection flag. The whole body, especially the chest area, is much more sculptural than with the Vöhrenbacher. "
  • Around 1710 two more processional figures, a saint Crispin and a saint James the Elder , today on the south wall of the Vöhrenbach parish church.
  • Also around 1710 a Saint Philip and a Saint James the Younger in the parish church of St. Joseph in Obersimonswald . “The apostle Philip is clearly recognizable on the cross staff, the apostle James the Younger carries only the walking staff of the missionary apart from the book as a sign of the preaching of God's word. ... Both are characterized by a rich movement, Philip by the outstretched right hand, James by the walking stick on the outside left. ... The blown away whiskers and the twisted strands of hair that reach up to the neck are typical of Adam Winterhalder's work. "
  • A risen man around 1720, Hermann calls him “certainly the most beautiful by Adam Winterhalder's hand from around 1720”, in the parish church of All Saints in the Vöhrenbach district of Urach.
  • Around 1720 the mourning Maria and Johannes for the choir arch crucifixion group of St. Martin in Vöhrenbach. Today they stand under a cross that was later carved by Adam's son Johann Michael on the front wall of the choir of the new church.
  • At about the same time a crucifixion group with Maria and Johannes in the parish church of St. Nikolaus in Elzach .
  • 1726–1727 “the sculptor zue Ferenbach” received 62 guilders for sculptures in the Church of Rest of Christ in Rottweil , including an Isaac with the sword-loving Abraham , who is stopped by an angel ( Gen 22  EU ). According to other editors, however, the creator of the figures is the Rottweiler sculptor Adam Bertsche (1686–1755).
Petrus in St. Martin, Vöhrenbach
Paul in St. Martin, Vöhrenbach
  • Around 1730 a Saint Peter , Paul , Archangel Michael and John the Baptist for the high altar of St. Martin in Vöhrenbach. The two apostles stand today above the side altars of St. Martin, the Archangel and the Baptist in the parish church of St. Georg in Hüfingen - Mundelfingen . “By holding their arms and legs with pronounced counterost, Peter and Paul reveal a solemn pathos peculiar to the high baroque. Enormous, for example, the movement of Paul's outstretched left hand, which holds the pommel of the sword. The treatment of the robes is just as dramatic. With Petrus a strong wind blew part of the coat from the left hip across the body, forming a wildly rolling hem with an ear as a typical characteristic of the carver. ... Typical for Adam Winterhalder are the long, twisted strands on the neck. "
Madonna in St. Martin, Vöhrenbach (copy)
  • Around 1732 a rosary Madonna and St. Joseph for the side altars of St. Martin. There is a copy of the Madonna in St. Martin today, the Josef is in private ownership in Vöhrenbach. After this work, "the eighty-year-old obviously lost his strength: He called his son Johann Michael back home from Bohemia in 1733 and handed over the workshop to him for the wedding on February 8, 1734."

Appreciation

“Adam Winterhalder, growing up in the provincial workshop tradition, without noticeable suggestions and influences of a refined, spiritualized international baroque, creates his own personal language of forms in the seclusion of the Black Forest village, which allows him to outgrow the confinement and narrowness of a rural, provincial design style. Wrinkling and hair treatment are subject to location and time stylistic conditions, but the skillful organization of the garment on the body, the accentuation and underlining of the hands that hold the attributes through folds and garments such as the contrast between the excited play of folds and the functions of the body leave that Recognize a superior, composing, impact-conscious sculptor. "He shows a" heavy style. The angular gestures of the massive figures with their oversized attributes translate baroque dynamics into a coarsened rural idiom. ”He lacks“ the influences of the refined Baroque from Italy and Vienna, the baroque lightness and exhilaration; he had grown up in the 'provincial workshop tradition'; Nevertheless, he was an independent sculptor and created his own style and shape, which are particularly visible in the sculptural design and arrangement of clothes and the posture and make him a well-known and important sculptor in the Black Forest far beyond Vöhrenbach. " His works are of "lovable pathos".

literature

  • Edmund Wilhelm Braun : Winterhalder, Adam . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 36 : Wilhelmy-Zyzywi . EA Seemann, Leipzig 1947, p. 83 .
  • Hermann Brommer : The sculptors Hauser in Kirchzarten, Schlettstadt and Freiburg i. Br. (1611–1842) - The Biographies (Part I). In: Schau-ins-Land 89, 1971, pp. 47–93, here pp. 56–57 ( digitized version ).
  • Benno Griebert: Studies on Baroque sculpture in the Upper Rhine. Inaugural dissertation at the Philosophical Faculty of the Friedrich-Wilhelms-Universität zu Berlin, 1935.
  • Manfred Hermann: To the Black Forest sculptors Winterhalder in Neukirch and Vöhrenbach. In: Bernd Mathias Kremer (ed.): Art and spiritual culture on the Upper Rhine. Festschrift for Hermann Brommer on his 70th birthday. Kunstverlag Josef Fink, Lindenberg 1996, pp. 61–83.
  • Manfred Hermann: Parish Church of St. Martin Vöhrenbach in the Black Forest. Kunstverlag Josef Fink, Lindenberg without a year (1996?), ISBN 3-931820-12-2 .
  • Bernhard Kleiser: The Winterhalder family of sculptors. In: Working group city history of the home guild "Frohsinn" eV Vöhrenbach (Hrsg.): Vöhrenbach in the Black Forest. New contributions to the city's history. Geiger, Horb am Neckar 1994, ISBN 3-89264-888-3 , pp. 90-109.
  • Bernhard Kleiser, Zora Wörgötter: The Black Forest artist family Winterhalder. In: Lubomír Slaviček (ed.): Josef Winterhalder the Younger (1743 Vöhrenbach - 1807 Znojmo), Maulbertsch's best pupil. Museum Langenargen on Lake Constance, Langenargen 200 ,. ISBN 978-3-00-027324-7 , pp. 211-231.

Individual evidence

  1. ↑ a b Dagmar Zimdars (Ed.): Handbook of German Art Monuments - Baden-Württemberg II . Deutscher Kunstverlag, Munich / Berlin 1997, ISBN 978-3-422-03030-5 .
  2. ↑ Kleiser 1994.
  3. ↑ Hermann 1996.
  4. ↑ Kleiser 1994, p. 97.
  5. ↑ Hermann 1996, p. 70.
  6. ↑ The church on the website of the pastoral care unit Hinterzarten-Breitnau.  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / www.kath-hinterzarten-breitnau.de  
  7. ↑ Hermann 1996, p. 72.
  8. ↑ The church on the website of the Eastern Black Forest pastoral care unit.
  9. ↑ a b c Hermann 1996, p. 76.
  10. ↑ Hermann without a year, p. 12.
  11. ↑ Kleiser 1994, p. 95.
  12. ↑ Hermann 1996, pp. 74-76.
  13. ↑ The church on the website of the parish of the Resurrection of Christ.
  14. ↑ Kleiser 1994, pp. 95-96.
  15. ↑ Winfried Hecht: Bertsche, Adam. In: Allgemeines Künstlerlexikon Volume 10, 1995, p. 157.
  16. ^ Winfried Hecht: Churches in Rottweil, 4th edition. Schnell & Steiner, Munich and Zurich 1978.
  17. ^ The chapel on the website of the city of Bräunlingen.
  18. ↑ Hermann 1996, p. 66.
  19. ↑ Hermann without a year, p. 12.
  20. ↑ Griebert pp. 4–5.
  21. ↑ Stefanie Zumbrink, Guido Linke: The sculpture of the 18th century on the southern Upper Rhine and in the Black Forest. In: Parish of St. Märgen, St. Märgen Monastery Museum (Ed.): Matthias Faller. The baroque sculptor from the Black Forest. Book accompanying the exhibition of the same name May 17 - September 2, 2007, Kunstverlag Josef Fink, Lindenberg im Allgäu 2007, ISBN 978-3-89870-382-6 , pp. 4–13.
  22. ↑ Kleiser 1994, p. 96.
  23. ↑ Hermann 1996, p. 79.

Web links

Commons : Adam Winterhalder  - Collection of pictures, videos and audio files
personal data
SURNAME Winterhalder, Adam
BRIEF DESCRIPTION German sculptor
DATE OF BIRTH 17th century
PLACE OF BIRTH Neukirch (Furtwangen in the Black Forest)
DATE OF DEATH March 29, 1737
Place of death Vöhrenbach , Bregtal