Eckernförde carving school

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The Eckernförde carving school or the Eckernförde sculpture school is usually used today to refer to all (important) carving artists in the Eckernförde carving workshops as well as those who later spread the Eckernförde style in the 16th to the beginning of the 18th century and who are related to Hans Gudewerdt the Younger . The term in its maximum definition includes Renaissance and Baroque carvers .

term

Synonym terms

Besides the mainly used Termini Eckernförder carver school and Eckernförder sculpture school , there are other synonymous terms, as in other Eckernförder school , Eckernförder Bildschnitzschule , Eckernförder wood carving school , Eckernförder wood carving , Eckernförder wood carver school .

Definitions

The terms Eckernförder wood carving school , Eckernförder sculpture school , Eckernförder wood carving school and other synonym terms lack a clear definition and demarcation. Even the local history researcher Peter Willers Jessen , who introduced the terms Eckernförde Schnauzer School and Eckernförde School in 1931 , expanded his original definition as the spread of the style of Hans Gudewerdt II by Lorentz Jørgensen (at Jessen: Lorentz Jories ), later successively to a master-pupil relationship Hans Gudewerdts the Younger, including all those who came into contact with him in his workshop as a journeyman, apprentice or in any other way (new term Jessens: Gudewerdtsche Schule , see the following section), but also later masters who worked with him in Eckernförde were trained together. Further expansions of the term followed later, in particular by Karl Stork .

The maximum definition of these terms that is customary today includes all (important) masters and trained Eckernförde carving workshops (not only the Gudewerdtschen) as well as their later spreaders of the Eckernförde style, the cartilage style of Hans Gudewerdt II; However, this maximum definition is already sketched out by Willers Jessen by devoting larger sections to Ciriacus Dirkes and Anders Smith (pupil of Peter Negelsen) among others and thus already anticipating a further expansion of meaning. Stylistically, as a result of the expansion of the term, not only the Baroque style of Hans Gudewerdt II, but also the Renaissance style is included. In total, according to the maximum definition, there are a good dozen masters at the Eckernförde carving school , to whom at least one particular work is assigned.

The term Gudewerdtsche Schule

That expansion of the term Eckernförde sculptor school prompted Jessen to coin the delimitation designation Gudewerdtsche Schule , which includes all those important sculptors who inherited the artistic legacy of Hans Gudewerdt the Younger. In addition to Lorentz Jørgensen, this concerns Peter Negelsen, among others.

According to Holger Behling, the artistic legacy of Hans Gudewerdt the Younger in Schleswig-Holstein was only Klaws Eibe; the legacy is to be found primarily in the regions Denmark-Norway and Sweden-Estonia. In particular, it would then be the carvers Lorentz Jørgensen, Peter Neelsen, Anders Lauritzen Smith (Denmark and Norway) as well as Ewerdt Friis and Barrelt Gnauwst (Sweden and Estonia) who succeeded Hans Gudewerdt the Younger as artists alongside Eibe.

Important carvers of the Eckernförde carving school

One of the most important wood carving artists of the Eckernförde Bildhauerschule or Eckernförde Carving School is:

  • Ciriacus Dirkes (also: Dirichs , Dyrichsen , Dirichsen - first name also: Ciriac , Syrachs (before 1586–1605) - including works in the church of Kirchbarkau ),
  • Hans Dreyer (also: Dreier ) (1572–1653), who came from Eckernförde and later worked in Denmark - u. a. Works in the church of Holckenhavn south of Nyborg ),
  • Klavs Eibe (first name also: Klaus , Claus , Clauss , Klaws (unsecured life data, later was a master craftsman in Schleswig - including works in Dänischenhagen and Schleswig ),
  • Ewerdt Friis (also: Ewert Friis , Ewerdt Fries - (1619–1672), came from Bredstedt and later worked in Sweden - including plants in Gävle ),
  • Lorentz Jørgensen (also including: Lorentz Jories , unsecured life data, later in Denmark - including works in Køge ),
  • Barrelt Gnauwst with later works in the castle church Hapsal near Riga (Estonia) and in the castle Skokloster near Stockholm (Sweden).
  • Hans Gudewerdt the Elder (* approx. 1570 in Eckernförde, † 1642 in Eckernförde), is considered to be the most important wood carver of the late Renaissance in Schleswig-Holstein, a. a. with plants in Eckernförde, Gettorf , Karby
  • Hans Gudewerdt the Younger (* 1593/1603 in Eckernförde, † 1671 ibid), is considered the most important wood carver of the Baroque in Schleswig-Holstein, a. a. with factories in Eckernförde, Kappeln . Nakskov , Flensburg , Schönkirchen , on Lolland and Langeland
  • Hans Gudewerdt the Youngest (* 1640 in Eckernförde, † between 1706 and 'after 1709') with works in Eckernförde and Dänischenhagen
  • Jürgen Koberch (also: Koberg , Kobarg , Kobarch , Koeberch , Kobørges - unsecured life data - including works in the church of Klein-Waabs ),
  • Peter Neelsen (also: Peter Negelsen - unsecured life data, came from Eckernförde and later worked in Norway - including works in the Kinn Church in Bergen (Norway) ),
  • Anders Lauritzen Smith (also - under other names and spellings -: Andrew Lawrenceson Smith - around 1620 - around 1694 - including works in Stavanger Cathedral ), came from Scotland, was a pupil of Hans Gudewerdt II pupil Peter Ne (g) elsen, is also listed in publications as a direct student of Hans Gudewerdt II, as he was on a wandering tour in Schleswig-Holstein in the 1650s and based on close stylistic relationships and details ( Caritas figure) with HG II it is assumed with great certainty that Gudewerdt's workshop The station of his wandering was the Gudewerdt workshop, later active in Norway)

In Norway, Anders Smith and Peter Ne (g) elsen have at least partially worked together; For example, the altar that adorns Førde Kirke in Førde was made in the shared woodcarving workshop in Bergen, according to information.

Individual works by the Eckernförde carving school cannot be directly assigned to any of the artists. This includes the altar of Borby Church from 1686 - in this case it is sometimes assumed that it came from Hans Gudewerdt III, and sometimes it is directly attributed to him.

A number of works by the artists of the Eckernförde sculpting school were severely impaired in their statement and artistic expression by later color overpainting and gilding, which followed the zeitgeist. This also applies to works by Hans Gudewerdt the Younger.

photos

literature

Main literature
  • Holger Behling: Hans Gudewerdt the Younger, carver in Eckernförde. Wachholtz, Neumünster 1990, ISBN 3-529-02515-1 .
  • Willers Jessen : Hans Gudewerdt and the Eckernförde carving school with their masters Ciriacus Dirkes, Hans Dreyer, Hans Gudewerdt I, Hans Gudewerdt II, Hans Gudewerdt III, Lorentz Jories, Jürgen Koberch, Peter Neelsen . JC Schwensen, Eckernförde 1931
Further literature
  • Hartwig Beseler (Ed. IAd Schl. -Holstein . Ministry of Culture): Art-Topography Schleswig-Holstein . Wachholtz, Neumünster 1974
  • Gustav Brandt : Hans Gudewerdt. A contribution to the history of art in Schleswig-Holstein . EA Seemann, Leipzig 1898 ( digitized version ).
  • Karl Graucop: Arts and crafts - Die Holzbildschnitzerei , In: Karl Graucop, Detlef Thomsen (Ed. IAd Heimatgemeinschaft Eckernförde eV): Heimatbuch des Kreis Eckernförde , Volume II, Verlag CJ Schwensen, Eckernförde 1971, p. 266 ff.
  • Theodor Hampe : Hans Gudewerdt. In: Art Chronicle. Weekly for arts and crafts NF 10, 1899, Col. 177 ff. ( Digitized version )

Remarks

  1. ↑ Behling, p. 118
  2. ↑ Behling, p. 119; K. Stork in: Journal for Schleswig-Holstein History 1933, pp. 206 ff., 215.
  3. ↑ Jessen, p. 49 ff. And a.
  4. ↑ Behling, p. 137.
  5. ↑ Schinkel, p. 351
  6. ↑ [1]
  7. ↑ Anders L. Smith, AL Smith, Andrew Smith, Anders Smith, Andrew Laurenceson Smith, Anders Lauritzen Mahler, Anders Lauritzen
  8. ↑ Jessen, p. 157; Behling, p. 136; Helmuth Eggert: Altarretabel (B. In der Protestantischen Kirche) , 1934 Text here published by RDK Laboratory at the Central Institute for Art History in Munich in the section Monuments> Renaissance> Northern Germany; Entry in the Norsk biografisk leksikon , here ; Entry in the Norsk Kunstnerleksikon here
  9. ↑ Kunstindeks Danmark