Hans Kels the Younger

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Hans Kels (also Kehl , Khels , chalice , Keltz , Käl ) the Younger (* around 1508 bis 1510 in Kaufbeuren , † between the 1. October 1565 and 1. April 1566 in Augsburg ) was a German carver and medalist .

Life

Hans Kels the Younger was born in Kaufbeuren as the son of the artist Hans Kels the Elder and his wife Anna, née Müller .

After training in his father's workshop, his creative period began around 1529. His orientation to Augsburg was possibly due to the lower demand for carvings for church furnishings in Kaufbeuren as a result of the Reformation and the prospect of getting more orders from wealthy and well-represented patricians in Augsburg . There he initially worked as a modeller based on the style of Christoph Weiditz , perhaps even in his workshop.

On December 6, 1541, Hans Kels acquired the trade fairness in the guild of Augsburg painters, glaziers, carvers and goldsmiths, which required a residence there. Hans Kels was with Barbara from Augsburg. née Flicker, married, with whom he initially lived with his father-in-law, the goldsmith Hans Flicker, near the barefoot gate. In 1548 he was able to hire an apprentice. From the 1550s he appeared in the Augsburg tax books as a wealthy citizen who owned his own house near the municipal mint and was able to increase his income from year to year. He and his wife had two sons and two daughters. After his death, his brother Veit Kels took care of the underage children.

The (art) historical literature, such as B. Ilg and Baumann, it was not always possible in the past to differentiate biographically correctly between Hans Kels the Younger and his father of the same name.

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Features of his work

Hans Kels the Younger worked in wood and mainly created carved reliefs, portrait medals and interior decorations.

Due to the fact that he initially worked in the workshop of his father and first teacher and probably later returned there for joint projects, his work cannot be distinguished from this in all cases (see also below: board game / game pieces for the “Tall One Puff"). However, significant influences from the Augsburg environment can also be seen in his work.

The basis of the cast medallions by Hans Kel the Younger is always the carved wooden medallion, and it seems certain that he designed some of his medallions without any intention of casting. If necessary, he had the metal casting done by other artisans. Habich sees the championship of the (later) wooden medallions continued with the game board from 1537 (see below). He emphasizes the striking richness of detail in portraits such as that of Georg Fugger (1541) carved in pear tree, in which every detail (such as brocade, velvet, etc.) of the magnificent costume splendor is recognizable, as it were as a distinguishing, if not unique, feature compared to other contemporary artists . Many of these subtleties are lost in the corresponding casts due to the manufacturing process, with lead casts in particular suffering further quality losses through handling over time (see the corresponding cast medal).

In Kels' late work, Habich (1903) recognizes a softer, almost "impressionistic" type of treatment, which "takes into account the coincidences of the bronze casting and avoids any laborious re-chasing."

As a characteristic feature of these medals, he states the broad lapidary script with thick base lines , which Hans Kels the Younger cut raised as an integral part of the works already in the wooden model, while z. B. his contemporary Friedrich Hagenauer , who used to stamp the font only in the form removed from the model with prefabricated, much finer hallmarks. Another recurring component of the Kels medals is a wreath with lanceolate leaves that is tied in two places and that surrounds the writing field.

In contrast to Habich, Hampe ascribes the aforementioned Fugger medallion as well as four allegorical female figures in the Germanic National Museum and the main part of the outstanding board game from 1537 (see below) to Hans Kels Senior in Kaufbeuren and acknowledges the younger Kels as having less artistry overall. With regard to the medals, however, this idea hardly fits Augsburg as a place of recovery and could in turn be more easily understood if one now sees the son's extended workbench with the father. From 1546 it would also be obvious that Hans Kels the Younger received support from his brother Veit Kels, who was now also based in Augsburg, although both assumptions remain speculative at first. The clarification of the places of activity of Hans Kel the Younger in the 1530s and his developmental influences in this decade before obtaining the mastery would certainly be instructive in this context.

Sabine Haag summarizes the current state of research in the following words:

“The son of the elder Kel, named as a sculptor and medalist, continued the medal art cultivated by Hans Schwarz , Friedrich Hagenauer and Christoph Weiditz in Augsburg. The delimitation of the works of father and son Hans Kels is not always certain and needs to be critically examined. "

- Sabine Haag

In addition to a possible stylistic development by Hans Kel the Younger, it has not yet been discussed to what extent his supposed leaps in quality can only be seen as the consequences of differences in the artistic task, the quality requirements and the customers' willingness to pay.

Board game / pieces for the "Long Pouf" (1537) and other pieces

The board game for the "Long Pouf" created in 1537 by Hans Kels the Younger together with his father Hans and brother Veit Kels in oak, nut, rosewood, mahogany and rosewood for Ferdinand I is considered the main work of the Kels family of artists . The interaction of the three carvers in this work, which appears to be extremely homogeneous in terms of style and craftsmanship, makes it difficult to differentiate between the three artists even in advanced creative phases and suggests the idea of ​​a "Hans Kels brand" with an in-house system of consistent division of labor and mutual quality control.

In addition, individual pieces from other board games that are attributed to Hans Kels the Younger have been preserved, e.g. B. a stone with the portrait of Catherine of Aragon , Maximilian I. The Musei del Castello Sforzesco in Castello Sforzesco have a whole set of game pieces, including a game piece with the self-portrait of Hans Kels.

Plaques or goldsmith models

The Kunsthistorisches Museum ascribes the following small-format reliefs to Hans Kels the Younger :

  • Muses (Klio, Polyhymnia, Terpsichore) and virtues (Caritas, Fides, Spes), limewood, 1545
  • Lady Justice, gilded bronze, 2nd third of the 16th century

In the Victoria and Albert Museum there is a portrait comparable to the latter:

  • Clio, gilded bronze, 1545

As an experiment, various wooden models for goldsmith work in the Germanic National Museum were ascribed to Hans Kels the Younger:

  • Relief with grieving children, 2nd quarter of the 16th century
  • Two friezes

Carved portraits, models and portrait medals

Hans Kels the Younger created portrait medals of the Habsburgs and the Augsburg patricians in a decorative-realistic manner. The following portraits are preserved:

  • Marcus Schalle, 1529
  • Kolman Helmschmid, 1532
  • Johannes Wagner, 1532
  • Christoph Juncker, 1532
  • Sebastian Gienger, 1532
  • Bartholomäus V. Welser, 1534
  • Laux Kreler and Elisabeth Kreler, 1537
  • Georg Schöner, 1537
  • Charles V and Ferdinand I with wives opposite (the wives are Isabella of Portugal and Anna of Bohemia and Hungary ), 1537
  • Georg Hörmann , 1538
  • Barbara Reihing, 1538
  • Double portrait of Wilhelm and Sabine Ganzhorn, 1539
  • Three portrait of Karl. V., Ferdinand I. and Maximilian I. , 1540
  • Adam Oefner, box model, signed HK, 1540
  • Georg (II.) Fugger, 1541
  • Anton Carchesius, 1541
  • Charles V (obverse) and Philip II (reverse), 1550
  • Ferdinand I., signed HK, 1550
  • Matthäus Schwarz , signed HK, 1550
  • Hans Vehlin zu Ungerhausen, 1561

Interior fittings

1546 he created for Anton Fugger together with the Augsburger Kistler Heinrich Kron of oak, pine and walnut wood, the cabinet of the Fugger Pfleghaus in Donauwörth, which in today Bavarian National Museum is shown.

After Ferdinand I asked Anton Fugger about a recommendation from artists for the redesigned ceilings of the Golden Hall and the Paradiesstube in the Hofburg (Innsbruck) , Hans Kels was sent to Innsbruck in 1550 together with Heinrich Kron and Christoph Amberger to work there to create appropriate sights .

Medium-format carved reliefs

In the monastery museum of the Benedictine abbey Ottobeuren

  • The risen Christ appears to Mary Magdalene, 1540
  • Sacristy cupboard, reliefs with Saint Theodor and Saint Alexander, around 1560
  • Illustrations

  • Wooden model by Marcus Schalle, 1529, Kassel

  • Medal Kolman Helmschmid, 1532, Metropolitan Museum of Art, New York

  • Medal models (wood) by the Kreler couple, 1537, Bavarian National Museum, Munich

  • Laux Kreler, 1537 (date incomplete), National Gallery of Art, Washington DC

  • Elisabeth Kreler, 1537, National Gallery of Art, Washington DC

  • Medal Georg Hörmann, 1538, State Coin Collection, Munich

  • Medal Barbara Reihing, 1538, State Coin Collection, Munich

  • Barbara Reihing, 1538, National Gallery of Art, Washington DC

  • Game piece Margarethe of Austria, approx. 1540, Bavarian National Museum, Munich

  • Box model Antonius Carchesius, 1541, Metropolitan Museum of Art, New York

  • Matthäus Schwartz, 1550, Bavarian National Museum, Munich

literature

  • Max Bernhart : Medals and Plaques . Schmidt, Berlin 1920, pp. 42-46. ( Digitized version ).
  • Erika Bosl: Hels (Kelchs, Keltz), Hans d. J. In: Karl Bosl (Ed.): Bosls Bavarian biography: 8000 personalities from 15 centuries. Pustet, Regensburg 1983. ISBN 3-7917-0792-2 , p. 411. ( digitized version ).
  • Georg Habich : Hans Kels as a counterfetter . In: Hugo Helbing's monthly reports on art and art history . Volume III. United Printers and Art Institutes, Munich 1903, pp. 7-19. ( Digitized version ).
  • Georg Habich: The German medalists of the XVI. Century . Halle ad Saale, S. Riechmann 1916, pp. 55–60 ( digitized version )
  • Albert Ilg: The game board by Hans Kels. Special print from the yearbook of the art history collection of the Most High Imperial House . Vienna 1885, pp. 53–78. ( Digitized version ).
  • Theodor Hampe : On the genealogy of the Kels family of artists . In: Festschrift for Gustav von Bezold. Messages from the Germanisches Nationalmuseum. Nuremberg 1918/1919, pp. 42–49. ( Digitized version ).
  • Ulrich Kirstein: Kels . In: Stadtlexikon Augsburg . Wissner-Verlag. ( Online dictionary ).

Remarks

  1. ↑ Note: The Golden Hall and the Paradiesstube no longer exist in their Renaissance form.

Individual evidence

  1. ↑ a b c d e Erika Bosl: Kels (Kelchs, Keltz), Hans d. J. In: Karl Bosl (Ed.): Bosls Bavarian biography: 8000 personalities from 15 centuries . Pustet, Regensburg 1983, ISBN 3-7917-0792-2 , p. 411 ( uni-regensburg.de ).
  2. ↑ a b c d Theodor Hampe: On the genealogy of the Kels family of artists . In: Germanic National Museum (Hrsg.): Festschrift for Gustav von Bezold. Messages from the Germanisches Nationalmuseum . Nuremberg 1918, p. 44 f. u. 48 & Table III ( uni-heidelberg.de ).
  3. ↑ a b c Georg Habich: Hans Kels . In: The German medalists of the XVI. Century . S. Riechmann, Leipzig 1916, p. 55-60 ( archive.org ).
  4. ^ A b Robert Vischer: Studies on Art History . Bonz, Stuttgart 1886, p. 526, 564 f . ( uni-heidelberg.de ).
  5. ^ A b Theodor Hampe: On the genealogy of the Kels family of artists . In: Germanic National Museum (ed.): Messages from the Germanic National Museum. Festschrift for Gustav von Bezold . Nuremberg 1918, p. 44 f . ( uni-heidelberg.de ).
  6. ^ Albert Ilg: The game board by Hans Kels . In: KK Oberstkämmer-Amt, Head Ferdinand Graf zu Trauttmansdorff-Weinsberg (Hrsg.): Yearbook of the Art History Collections of the Very Highest Imperial House . tape 3 . Adolf Holzhausen, Vienna 1885, p. 75-77 ( uni-heidelberg.de ).
  7. ^ Franz Ludwig Baumann: History of the Allgäu: from the oldest times to the beginning of the nineteenth century . tape 1 . Kösel, Kempten 1894, p. 602 ( Digitale-sammlungen.de ).
  8. ↑ Max Bernhart: Medals and Plaques . Schmidt, Berlin 1920, p. 43 f . ( google.de ).
  9. ↑ Volker Ertel: Bartholomäus V. Welser the Elder. Ä. (Etc.). In: https://www.coingallery.de/ . Retrieved June 10, 2020 .
  10. ↑ Georg Habich: Hans Kels as a counterfetter . In: Hugo Helbing (Ed.): Hugo Helbing's monthly reports on art and art history . United Printers and Art Institutes, Munich 1903, p. 7 ( uni-heidelberg.de ).
  11. ↑ Georg Habich: Hans Kels as a counterfetter . In: Hugo Helbing (Ed.): Hugo Helbing's monthly reports on art and art history . United Printers and Art Institutes, Munich 1903, p. 10 ( uni-heidelberg.de ).
  12. ↑ Volker Ertel: Georg II. Fugger 1518–1569 (etc.). In: https://www.coingallery.de/ . Retrieved June 10, 2020 .
  13. ↑ Georg Habich: Hans Kels as a counterfetter . In: Hugo Helbing (Ed.): Hugo Helbing's monthly reports on art and art history . United Printers and Art Institutes, Munich 1903, p. 18 ( uni-heidelberg.de ).
  14. ↑ Georg Habich: Hans Kels as a counterfetter . In: Hugo Helbing (Ed.): Hugo Helbing's monthly reports on art and art history . United Printers and Art Institutes, Munich 1903, p. 11 ( uni-heidelberg.de ).
  15. ↑ Georg Habich: Hans Kels as a counterfetter . In: Hugo Helbing (Ed.): Hugo Helbing's monthly reports on art and art history . United Printers and Art Institutes, Munich 1903, p. 15 ( uni-heidelberg.de ).
  16. ↑ a b Ulrich Kirstein: Kels. Sculptors and medalists. In: https://www.wissner.com/stadtlexikon-augsburg/startseite . Wißner-Verlag, accessed on June 10, 2020 .
  17. ↑ Volker Ertel: One-sided wooden model 1537 by Hans Kels. In: https://www.coingallery.de/ . Retrieved June 12, 2020 .
  18. ^ Curators of the Victoria and Albert Museum, London: Catharine of Aragon. In: http://collections.vam.ac.uk/ . Victoria and Albert Museum, London, 2017, accessed June 11, 2020 .
  19. ↑ MAXIMILIAN I (1459–1519) EMPEROR. KNIGHT. CITIZENS OF AUGSBURG, exhibition in the Maximiliansmuseum Augsburg, June 15, 2019 to September 15, 2019. In: https://www.parnass.at/ . PARNASS Verlag Ges. Mb H., Vienna, accessed on June 28, 2020 .
  20. ^ Diego Sant'Ambrogio: Arti Decorative - Pregevoli Stampi di Pedine da Tric-Trac. Nel Museo Di porta Giovia . In: Guido Cagnola, Francesco Malaguzii Valeri (eds.): Rassegna D'Arte . Alfieri & Lacroix, Milano 1908, p. 118 ( archive.org ).
  21. ^ Curators of the Kunsthistorisches Museum: Kunsthistorische Museum, Vienna. In: https://www.khm.at/ . Retrieved June 10, 2020 .
  22. ↑ Clio Plaquette. In: http://collections.vam.ac.uk/ . Victoria and Albert Museum, London, accessed June 10, 2020 .
  23. ^ Frieze band. In: https://www.bildindex.de/ . Philipps-Universität Marburg - German Documentation Center for Art History - Photo Archive Photo Marburg, accessed on June 13, 2020 .
  24. ^ Ulrich Kirstein: Kels. In: Stadtlexikon Augsburg. Wißner-Verlag, accessed on June 12, 2020 .
  25. ^ Medal of Kolman Helmschnid (1471-1532), dated 1532, After a model by Hans Kels the Younger. In: https://www.metmuseum.org/ . Retrieved June 12, 2020 .
  26. ↑ Medaille, 1534, Bartholomäus V. Welser, 1534. In: https://www.kenom.de/ . Retrieved June 12, 2020 .
  27. ↑ Kels, Hans: Georg Schöner, 1537. In: https://ikmk.smb.museum/home . Retrieved June 12, 2020 .
  28. ↑ Volker Ertel: Charles V, Isabella of Portugal, Ferdinand I and Anna of Bohemia and Hungary. In: https://www.coingallery.de/ . Retrieved June 12, 2020 .
  29. ↑ Kels, Hans: Georg Hömann, 1538. In: https://ikmk.smb.museum/home . Retrieved June 12, 2020 .
  30. ↑ Kels, Hans: Barbara Hermann-Reihing, 1538. In: https://ikmk.smb.museum/home . Retrieved June 10, 2020 .
  31. ^ Barbara Reihing, 1538, Hans Kels the Younger. In: https://www.metmuseum.org/ . Retrieved June 12, 2020 (ed).
  32. ↑ Volker Ertel: Three portrait of Karl. V., Ferdinand I. and Maximilian I. In: https://www.coingallery.de/ . Retrieved June 12, 2020 .
  33. ^ Medal, 1541, Georg Fugger. In: https://www.kenom.de/ . Retrieved June 12, 2020 .
  34. ^ Carchesius, 1541, Hans Kels the Younger. In: https://www.metmuseum.org/ . Retrieved June 12, 2020 .
  35. ↑ Volker Ertel: Karl V. and Philipp II. In: https://www.coingallery.de/ . Retrieved June 12, 2020 .
  36. ↑ Dr. Busso Paus Nachf .: Online Catalog (Archive) - Auction 410/411 - Lot 1596. In: https://www.peus-muenzen.de/ . Retrieved June 10, 2020 .
  37. ^ Cabinet from the Fugger nursing home in Donauwörth. In: https://www.bayerisches-nationalmuseum.de/ . Bavarian National Museum , 2020, accessed on June 13, 2020 .
  38. ↑ Artwork of the month May 2018 - The Fugger Cabinet - a jewel of Renaissance carpentry and humanistic studiolo. In: https://www.bayerisches-nationalmuseum.de/ . Bavarian National Museum, 2020, accessed on June 13, 2020 .
  39. ↑ Norbert Lieb: The Fugger and the art. In the age of the high renaissance . In: Studies on the Fugger History . tape 14 . Schnell & Steiner, Munich 1958, p. 157 ( google.de ).
  40. ^ The art monuments of the city of Innsbruck - the court buildings . In: Bundesdenkmalamt, Department for Monument Research (Ed.): Austrian Art Topography . XLVII, 3. Anton Schroll & Co, Vienna 1986, p. 63 ( google.de ).
  41. ↑ Hans Kels the Elder J .: The risen Christ appears to Mary Magdalene. Retrieved June 10, 2020 .
  42. ↑ Hans Kels the Elder J .: Sacristy bar in the Benedictine Abbey of Ottobeuren. In: https://www.bildindex.de/ . Philipps-Universität Marburg, German Documentation Center for Art History - Photo Archive Photo Marburg, accessed on August 9, 2020 .

Web links

Commons : Hans Kels the Younger  - collection of images, videos and audio files
personal data
SURNAME Kels, Hans the Younger
ALTERNATIVE NAMES Kehls, Hans; Khels, Hans; Kelchs, Hans; Keltz, Hans; Käls, Hans
BRIEF DESCRIPTION German carver and medalist
DATE OF BIRTH between 1508 and 1510
PLACE OF BIRTH Kaufbeuren
DATE OF DEATH between October 1, 1565 and April 1, 1566
Place of death augsburg