Hans Schüchlin

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Hans Schüchlin (born around 1430/40 in Ulm ; † 1505 in Ulm) was an important late Gothic painter who is part of the so-called Ulm School .


1479, portrait of a married couple , Munich, Bavarian National Museum
High altar of the St. Magdalena Church in Tiefenbronn (1469)

It is believed that Schüchlin was "the son of a carpenter who immigrated from Nördlingen". His year of birth in Ulm can only be estimated around 1430/40. It is likely that he received his first training in the Ulm workshop of the master of the Sterzing Altar, which was in contact with Hans Multscher .

Schüchlin then went on a journeyman's trip to broaden his horizons beyond the region. During this phase he received important artistic impulses in the Nuremberg workshop of Hans Pleydenwurff , before moving back to the imperial city of Ulm shortly before 1469 and setting up his own workshop here. Schüchlin was first put on record shortly before the creation of the Tiefenbronn high altar in Ulm. This altar is the only work that can be clearly assigned to it by its signature . However, the documents show that his workshop in Ulm flourished extraordinarily. He achieved a steep social rise: hospital nurse, minster nurse, 1496 and 1497 in the city council, guild master of the St. Luke guild . The Ulm painter Bartholomäus Zeitblom was his son-in-law with whom he worked, and the young Bernhard Strigel also painted in his workshop .

A continuity of the workshop, which was active in Ulm around 1455/60 and created the Sterzinger altar wings, via Schüchlin to his son-in-law Zeitblom is also suggested by the use of the same tools, for example the fashion for applying pressed brocade .

The lack of pictures that can be definitely attributed to Schüchlin is explained by the fact that, given his political offices, he often left the practical work to his employees. One can assume that many of the pictures from the Ulm School, which at the moment cannot be assigned to any specific painter, were created by him and his workshop.


Last Judgment in Ulm Minster (1471)
  • Attribution is discussed:
    • Design for the carved parts of the Tiefenbronn high altar (Gropp)
    • 1474 Riss of the Ulm high altar, WLM (attribution: Gropp)
    • 1488 Hausener Retable , WLM (attribution: arrow)
    • Since his workshop was the leading one in Ulm, it stands to reason that in 1471 they executed the large mural of the Last Judgment on the triumphal arch of the cathedral . But the work is so heavily painted that this assumption cannot be assessed with certainty.
    • Workshop cooperation for the painted parts of the high altar in Blaubeuren Monastery (around 1490–1493 / 1494) together with Bartholomäus Zeitblom and Bernhard Strigel.
  • Lost Works
    • High altar of the town church in Rottenburg from 1474 as an order of Mechthild von der Pfalz (destroyed in the 17th century)


  • David Gropp: The Ulm high altar , in: Michel Erhart & Jörg Syrlin d. Ä. Late Gothic in Ulm. Catalog for the late Gothic exhibition in Ulm , Stuttgart 2002, pp. 66–75.
  • Friedrich Haack: Hans Schüchlin, the creator of the Tiefenbronn high altar , (Studies on German Art History, Vol. 62), Strasbourg 1905.
  • Anna Moraht-Fromm: Blaubeuren Monastery. The choir and its high altar , Stuttgart 2002, ISBN 3-9806664-6-8 , pp. 205ff.
  • Peter Morsbach: Upper Swabia and Swabian Alb. Art, culture and landscape between the Middle Neckar and Iller , DuMont Buchverlag, Cologne 1999, ISBN 3-7701-4701-4 , pp. 31–39.
  • Daniela Countess von Pfeil: The position of Hans Schüchlin in Ulm painting . In: Masterworks in Plenty. The sculpture workshop of Nikolaus Weckmann and painting in Ulm around 1500, Stuttgart 1993, pp. 161–167.
  • Thomas Richter: The “Last Judgment” on the choir arch of Ulm Minster. Observations on the iconography and style of painting as well as their attribution to the workshop of Hans Schüchlin , in: Yearbook of the State Art Collections in Baden-Württemberg 35 (1998), pp. 7–42.
  • Alfred Stange: German Gothic Painting , Vol. 8, Munich, Berlin 1957, p. 4, 14-16.
  • Ramona Thiede-Seyderhelm: The Tiefenbronner high altar by Hans Schüchlin 1469. Documentation of its restoration history , in: Journal for Art Technology and Conservation 7 (1993), pp. 323–342.
  • WintterlinSchüchlin, Hans . In: Allgemeine Deutsche Biographie (ADB). Volume 32, Duncker & Humblot, Leipzig 1891, pp. 641-643.
  • Daniela Countess von Pfeil:  Schüchlin, Hans. In: New German Biography (NDB). Volume 23, Duncker & Humblot, Berlin 2007, ISBN 978-3-428-11204-3 , pp. 628 f. ( Digitized version ).
  • Norbert Werner:  Schüchlin (Schuelin), Hans. In: Biographisch-Bibliographisches Kirchenlexikon (BBKL). Volume 9, Bautz, Herzberg 1995, ISBN 3-88309-058-1 , Sp. 1046.

Web links

Commons : Hans Schüchlin  - Collection of images, videos and audio files

Individual evidence

  1. Manuel Teget-Welz, Bartholomäus Zeitblom, Jörg Stocker and the Ulm art production around 1500 , in: Jerusalem in Ulm. The winged altar from St. Michael zu den Wengen, ed. as an exhibition catalog from the Ulmer Museum, Ulm 2015, p. 11, ISBN 978-3-88294-465-5
  2. Stefan Roller: Two works from the workshop of Hans Pleydenwurff in the National Gallery in Prague . In: Bulletin of the National Gallery in Prague, Part 1: 10 (200), pp. 6-17; Part 2: 11 (2001), pp. 20-37. Robert Suckale: The renewal of the art of painting before Dürer . 2 vols. Petersberg 2009. Manuel Teget-Welz, Bartholomäus Zeitblom, Jörg Stocker and the Ulm art production around 1500 , in: Jerusalem in Ulm. The winged altar from St. Michael zu den Wengen, ed. as an exhibition catalog from the Ulmer Museum, Ulm 2015, p. 11–25, here p. 11–12, ISBN 978-3-88294-465-5
  3. ^ David Gropp 2002.
  4. ^ David Gropp 2002.
  5. Anna Moraht-Fromm and Wolfgang Schürle (eds.): Blaubeuren Monastery. The choir and its high altar. Theiss, Stuttgart 2002, here pp. 168-217 (Moraht-Fromm).