Hans Wydyz

from Wikipedia, the free encyclopedia
Saint Agnes in the Freiburg Augustinian Museum
Saint Agnes with Wydyz's signature on the base

Hans Wydyz (also Weiditz, Wyditz and Widitz; attested from 1497 to 1510 in Freiburg im Breisgau ) was an Upper Rhine sculptor ( bildhower ) from the transition period from the late Gothic to the Renaissance . He worked primarily in wood and created his most famous works in Freiburg, including the signed his full name and their Communication "1505" Three Kings - altarpiece in the Freiburg Cathedral .

Research history

As a carver of the Dreikönigsretabel, Wydyz appears for the first time in research literature in Heinrich Schreiber's history and description of the Muenster zu Freiburg im Breisgau from 1820. In 1907, the Basel art historian Rudolf Burckhardt recognized a small Adam and Eve group in the Historical Museum , signed with the initials "HW", as another work. Three years later, the Freiburg lawyer and art historian Gustav Münzel (1874–1960) added three keystone lids to the Freiburg Minster in a large essay on the Three Kings Altar according to invoices from the Minster Factory from 1510 . Finally, in 1928, the Freiburg art historian Clemens Sommer found Wydyz's monogram carved on the base of a statuette of St. Agnes of Rome in the Freiburg Augustinian Museum. The list of works that Wydyz had secured by signatures or archive notes was thus complete. Numerous other works have been ascribed to him or written off again in an eventful history of research. The following presentation is essentially based on the Freiburg dissertation by Sibylle Groß , published in 1997 as a book (see the literature section ).

Life

The only thing that is documented by archival or secured works is that Hans Wydyz lived as a master of the painters' guild in Freiburg from 1497 to 1510. He lived with his wife on Augustinergasse, today's Grünwälderstrasse. Everything else about his life is conjecture - based primarily on style criticism. In all likelihood he came to Freiburg from Strasbourg between 1492 and 1496 . From around 1512 he ran a joint workshop with the painter Hans Baldung Grien in the rooms of the Freiburg Franciscan monastery . Baldung had come to Freiburg in 1511 or 1512, also from Strasbourg. With Baldung, Wydyz returned to Strasbourg in 1517 or 1518.

Hans Weiditz, known for his woodcuts, and his brother, the painter Christoph Weiditz , lived around the same time . The wood cutter was sometimes identified with the sculptor of the same name. A generation older was the sculptor Bartholomäus Widitz from Meissen , who is attested from 1467 to 1505 in Strasbourg. Heinrich Schreiber regarded Bartholomäus Widitz as the father of the sculptor Hans Wydyz without citing the source, and later all four were brought into a genealogical context. According to today's sources, this is not tenable. A widespread relationship cannot be ruled out, however, since the name Widitz is unusual on the Upper Rhine.

plant

Based on the secured oeuvre listed above in the “ History of Research ”, Groß ascribes five sculptures to his early Strasbourg work as well as several others from his time in Freiburg and the late Strasbourg years, including some that were probably made by employees. They are listed here chronologically. Besides the three alabaster statuettes from the early days, there are wood carvings.

Strasbourg early work until around 1496

Three sculptors' workshops in Strasbourg from the 1480s could be trainee positions for Hans Wydyz: the workshop of Bartholomäus Widitz, that of Lux Kotter and that of Niclaus Hagenower and his brother Veit. No works by Bartholomäus Widitz and Lux ​​Kotter have survived. Groß concludes an apprenticeship with the brothers Niclaus and Veit Hagenower. With them she finds characteristics of Hans Wydyz modeled on. For example, she writes about a “ Lamentation of Christ ” from the destroyed front altar of the Strasbourg cathedral, which is kept in the Strasbourg Collège Saint-Étienne : “Niclaus Hagenower stages a certain moment of the event by artfully relating the figures to one another, garment motifs and gestures across spatial distances picks up again. ”And about the Adam and Eve group in Basel:“ It tells ... a crime. ... The impression of an action is primarily created by the facial expressions and gestures of Adam and Eve. ”Via Niclaus Hagenower, motifs by Niclas Gerhaert van Leyden and Martin Schongauer entered the work of Hans Wydyz.

Groß attributes the Strasbourg apprenticeship:

  • Statuette of St. Catherine of Alexandria on a processional pole, 1485–1490. The statuette is 25 cm high and is kept in Obernai's town hall .
  • Three alabaster statuettes on the pulpit of the Strasbourg cathedral , around 1490. A 36 cm high statuette depicts the mourning apostle John , one 19 cm high an angel, another 19 cm high a canon. They probably came to the pulpit, which was completed in 1486, from other pieces of equipment in the minster.
  • Kneeling Angel, 1490–1495. The 37 cm high wooden figure is in the Musée de l'Œuvre Notre-Dame (Women's Refuge Museum ) in Strasbourg. “An exquisitely crafted angel in the Strasbourg women's refuge can be described as a trouvaille [a (happy) find] for the unanimously accepted education of Hans Wydyz in Strasbourg.” “Even the snail curls from the left king and from John the Three Kings altar… are already fully trained at the Strasbourg angel. ”The angel could originally have belonged to the aforementioned“ Lamentation of Christ ”by the Hagenower brothers.

Freiburg works from 1497 to around 1510

Apostle John in the Augustinian Museum

During this time, Wydyz created all of the works that were secured for him, either alone or with at most one journeyman. With the exception of the Agnes statuette in the Augustinian Museum, the Three Kings Altar, the Basel Adam and Eve group and the three keystone covers, these are attributions:

  • Apostle Johannes , before 1500. The 133 cm high wood-sighted sculpture in the Augustinian Museum comes from the parish church of St. Laurentius in Kenzingen or the former Wonnental monastery near Kenzingen. It is hollowed out on the back and perhaps belonged to an altar of twelve messengers . The attribution to Wydyz is based, among other things, on the similarity in the formation of the face with the following Agnes.
  • Saint Agnes, around 1500. The 58 cm high, carefully carved, wood-sighted figure in the Augustinian Museum comes from the Freiburg Monastery of Adelhausen and is signed on the pedestal below the lamb, the attribute of the saint. Maybe it was carried in processions. "Hans Wydyz provided the masterfully carved statue of Agnes on the plinth with his monogram HW, a guarantor of hand-made production and at the same time a seal of approval for exquisite quality." The figure is of a "delicate, precious elegance as well as ... sharp, three-dimensional language of form". "The elegance, which tends towards sweetness, sometimes also sweetish, extracted from the material with precise craftsmanship, is the main characteristic of a pictorial ideal of the 1970s / 1980s radiating from Strasbourg."
  • Figures of an Antonius altar, before 1505, namely Saint Anthony the Great with three "Adoranten" kneeling in worship, 115 cm high, a Saint Rochus , 116 cm, and an undetermined saint, 111 cm. Today, Antonius is in the late baroque high altar of the Catholic parish church of St. Josef in Obersimonswald , the two accompanying figures are in the Augustinian Museum. The version dates from the 17th century. The later Ebringer pastor Manfred Hermann recognized that and how they belong together in 1965. He compared the group of three with the carved part of the Isenheim altar attributed to Niclaus Hagenower from around 1490 ; held the chapel of the Freiburg branch of the Antoniter Order between Salzstrasse and Herrenstrasse for the original location and the Antoniter General President Robert (Rupert) von Lyasse (term of office 1483–1520) for the client; and was already considering the Wydyz workshop: “We have to imagine the… sculpture [of Antonius] carved from linden wood at its former location in a rich Gothic shrine. In the middle stood the broad seated figure of St. Antonius, ... she was joined by two other saints in the side niches that are today ... kept in the Augustinian Museum in Freiburg. There are a St. Rochus, whose plague bump is tending to an angel on his thigh and who is handing a dog a piece of bread, and a figure of the apostle with a book in his hand, probably a St. James d. Ä. ... Rupert Lyasse ... is likely to have commissioned [the altar] in the first decade of the 16th century from an artist who was still unknown to us and who was based on the then most famous carving workshop in Freiburg, namely Hans Wydytz, who immigrated from Strasbourg. St. Rochus could almost be a brother of St. Josef from the Three Kings Altar in Freiburg Minster. ... Even if it is not possible to connect the altar with one of the traditional masters' names, we can be pleased that a work of art from one of the numerous old churches in Freiburg was found in the three above-mentioned figures. ”Today Wydyz is the creator of the altar generally recognized. He knew the concept of the Isenheim carved altar from his apprenticeship at Hagenower.
Niclaus Hagenower: Shrine of the Isenheim Altarpiece
In one respect Manfred Hermann and the research that followed him need to be corrected: on the assumption that the altar was financed by the General Preceptor of the Freiburg Antoniter or an "Antonius Brotherhood" close to him and that it was installed in the chapel of the Freiburg Antoniter branch. Rather, there was an Antonius altar and an associated benefice in the Freiburg Minster since 1459 , donated by the councilor Konrad Münzmeister and his wife Elisabeth born. Griesser. Elisabeth married the later court chancellor of Emperor Maximilian I Konrad Stürtzel in 1466 or 1467 . Stürtzel had Hans Wydyz carve the Three Kings altar in 1505 (see below), and it was probably also he who commissioned the Antonius retable a little earlier for the altar donated by his wife in the cathedral. It was not until 1725 that the altar was placed in the chapel of the Antoniter settlement. The branch had meanwhile become the municipal beneficiary. 1789 - here the older and the newer view come together again - the chapel was abolished as part of Josephinism ; The new St. Josef church in Obersimonswald was equipped with the Antonius altar (as well as the pulpit) in 1792 or 1793, while the rest of the furniture “was completely smashed by the billeted militarists”. In St. Josef, Antonius and his companions initially stood in the medieval shrine. The cabinet with its Gothic tendrils rotated in the damp church and was destroyed at the beginning of the 19th century. In 1904 all three sculptures were still in Obersimonswald. Anthony himself stayed there, while the indefinite Saint and Rochus came to the Augustinian Museum in 1908.
In the shrine of the Isenheim Altarpiece, Antonius holds the dew-stick , one of his attributes, in his right hand and rests his left hand on a book. To his right a nobleman with a rooster kneels on a separate plinth, to his left a farmer kneels on a separate plinth with a pig as a votive offering , another attribute. A second pig peeks out from under the saint's robe. Antony is flanked on the left by St. Augustine of Hippo , at whose feet the founder of the altar Jean d'Orlier (Isenheim General Preceptor 1463–1490) kneels, and on the right by St. Jerome .
  • Figures from Wydyz's Antonius Altar

  • Indefinite saint

  • Patrician

  • Antony with adorers

  • Patrician

  • Saint Roch

In Wydyz's altar, Antonius rests his right hand on a book and in his left holds the dew stick, on which, also an attribute, two bells hang. On his right, a man kneels on the same meadow in the "contemporary fashion of the urban patrician population around 1500" with gold coins in his right hand as a votive offering, on his left a "noble lady." The two could represent Konrad Münzmeister and his wife. Behind the rich citizen, a third admirer, barely visible, pushes his way up to Antonius, “the 'common man'”. What is unique about sculptures is that the patrician's left hand burns golden in the flame of that ignis sacer , the “holy fire”, the ergot poisoning that the Antonites took care of. Anthony is (was in the former shrine) flanked on the left by the indefinite saint, who holds an open book in his hands, on the right by Saint Rochus, whose cloak opens to reveal the plague bump on his thigh, with his attributes dog and angel. “At the Antonius Retable,… comparable to the Three Kings altar, the taking up and modification of sequences of movements across the entire width of the shrine leads to a complex interweaving of - according to the first impression - rather strung together figures. The beginning of the composition is the open book of the saint, which is held up at an angle towards the center of the shrine, and the end is formed by the right of Rochus, lowered to the dog. The passing on of objects and gestures connects the shrine figures to a rhythmic dance. ... Wydyz 'adorants transform the static presentation of the saint into an action, a momentary event, not only because of the close approach, but also because of their body language, which refers directly to Antonius (looking up at the saint, the hand held up, sick with the Antonius fire) around."
Franz Xaver Anton Hauser saw the altar in the chapel of the former Antoniterhaus and then designed the baroque Antonius altar in St. Cyriak and Perpetua in Freiburg.
Figure group of the Three Kings Altar 1505
  • The shrine group of the Dreikönigsaltar in the Freiburg Minster, an “ Adoration of the Magi ”, with Mary and her child, Josef on the far left, Melchior between him and Mary, Balthasar kneeling in front of mother and child and the Moorish King Kaspar on the far right; as well as three figures from the demolition of this altar in the Augustinian Museum, which was lost since the Second World War , namely the Man of Sorrows , Mary and the Apostle John; 1505. The total height of the altar was about 5 m from the surface of the refectory to the top of the crack. The shrine measures 175 cm in the clear height and 177 cm in width to the outer edges. Maria in the shrine is 70 cm high, the Man of Sorrows 77 cm, the Maria des Spenges 63 cm, the Johannes 61 cm. All figures are made of linden wood. The stable wall bears the inscription • 1505 • / JOH • WYDYZ / VERG: D • JOS • DOM • / GLAENZ • 1823  ("1505 Johannes Wydyz; enlarged by Joseph Dominik Glänz 1823"). The reverse of the Mariengruppe bears the inscription ANNO D [omi] NI 1600 / HAEC TABULA PER M [agistrum] JOANNE BAER PICTA / ET VITUM SIGEL DEAURATA EST  (“In the year 1600 this panel was made by Master Johannes Baer and gilded by Vitus Sigel ").
In his large essay ( see above ), Gustav Münzel made it clear in 1910 that the altar was not always in the Freiburg Minster and not, as suspected, originally in the Basel Minster . Rather, Wydyz carved it on behalf of Konrad Stürtzel von Buchheim for the chapel of his city palace on today's Kaiser-Joseph-Straße in Freiburg. Stürtzel had meanwhile been honorably dismissed from his office by Emperor Maximilian. In 1587, the Basel cathedral chapter , which had moved to Freiburg in 1529 before the excesses of the Reformation, acquired Stürtzel's palace and resided there until 1677 - from then on it was called the Basler Hof . In 1651 the Upper Austrian government also moved into quarters here, and in 1698 they bought the building from the Basel Chapter. After Freiburg passed to the Grand Duchy of Baden in 1805 and 1815, the Basler Hof housed a wide variety of authorities until it became the headquarters of the Freiburg Regional Council in 1952 . Like the chapel of the former Antoniterhaus, Stürtzel's chapel was profaned in the course of Josephinism. The altar remained in the "chapel, which had been degraded to a file chamber" for twenty years and came to the Münster in 1803. The chapel itself was demolished in 1838.
In addition to Wydyz and the year of creation, the inscriptions on the altar indicate two major changes. The first was on behalf of the Basel cathedral chapter. It is not known whether the altar was originally set and had wings. If not, frame and grand piano 1600 were added. In any case, today's appearance, largely determined by gold, goes back to the setting by Hans Baer and Vitus Siegel. Hans Bär from Ravensburg , who died in Freiburg in 1610 or 1611, was a valued artist in his time. The wing paintings, dated 1601 in inscriptions, are also attributed to him. They depict Holy Emperor Heinrich II on the inside on the left and St. Pantalus , patron of the Bishopric of Basel on the right, the Apostle Peter on the left and the Apostle Paul on the right . Emperor Heinrich stands against the backdrop of the city of Basel and carries a model of the Basel Minster in his hand - memories of the origins of the cathedral chapter. Not used since the beginning of the 19th century, the wings are now kept in the Archbishopric of Freiburg .
The second change followed the relocation of the altar to the minster, a change in taste, the baroque altars in a Gothic church began to be perceived as "barbaric unzier", and the creation of the Archdiocese of Freiburg in 1821. From 1819 to 1839 one left one from the grand ducal administration The "beautification commission" appointed to remove nine baroque altars from the minster, replaced them with medieval or neo-Gothic ones acquired elsewhere and generally endeavored to improve the minster in terms of style. So the altar of the three kings was very welcome to her. In 1803 it was moved to the Annenkapelle, today's Sacrament Chapel, later on the east wall of the north aisle, where Heinrich Schreiber found it ( see above ), and finally in 1822 on the northeastern crossing pillar . There he formed the counterpart to the Gothic Anna Altar on the southeastern crossing pillar, the figures of which are the works of a sculptor from the circle of Master HL . The arrangement was intended to “introduce the view of the visitor from the nave to the high choir with 'old Gothic' altars, which [appeared] to be twins in size and shape”. Joseph Glänz made the necessary repairs and adjustments in 1822. As the altar presents itself today, only the figures, the pedestal on which they stand, the wall of the stable with the ox, donkey and the signature and parts of the tendrils are from Wydyz's hand. Glänz created the cladding of the cafeteria, including twelve apostle figures, the predella , the tracery bar below the shrine floor and the arcades on the rear wall. In 1827 the barrel painter Vinzenz Hauser (1759–1831), a stepbrother of Franz Anton Xaver Hauser , the creator of the communion group in the cathedral, gilded all architectural elements.
The most recent change of location took place in 2009: In the course of a redesign of the chancel, the Three Kings altar was moved to the east wall of the south aisle against considerable resistance from the population.
  • Dreikönigsretabel in Freiburg Minster

  • The altar on the north-eastern crossing pillar, 1907 with the now lost blast

  • Altar shrine today

  • Figures of the lost blast in the Augustinian Museum

  • Anne's altar on the southeastern crossing pillar in 1907; not from Wydyz

In the Dreikönigsaltar “Wydyz shows himself as a virtuoso master of the small format, open to the new style, without completely giving up the childlike and amiable that is so often characteristic of late Gothic sculpture. The symmetrical order of the whole has a Renaissance-like effect on this picture of the Three Kings, which - from the narrative point of view - was given up on the so much more meaningful, closed procession of the kings to the Madonna. ”Konrad Stürtzel probably knew this symmetrical presentation, with the kings on both sides of Mary from Stefan Lochner's famous altar of the city patron in the Cologne council chapel, Wydyz from Niclaus Hagenower's front altar in the Strasbourg cathedral. On a plinth made of stone and pieces of lawn, the figures are placed freely in front of the stable and the back wall of the shrine, "whereby the shadow play of their outlines on the wall contributes to the liveliness of the plot". In the middle, like Antonius in the Antonius retable, is Mary with her child. The three kings represent three ages. The eldest, bald one, kneels, brings his gift, the middle one rushes in from the left with waving curls, the youngest, the Mohrenkönig, pauses on the right. Joseph completes the symmetry - two people on the right, two on the left of Mary and the child. Joseph's quietly falling robe contrasts with the moving robes of the king next to him and the Moorish king. His presented right leg and visible right foot answer mirror-symmetrically the left leg and left foot presented by the Mohrenkönig. “Taking up and modifying individual composition elements across the entire width of the shrine and passing on varying motifs of movement lead to a complex interweaving of the plot. ... This shows an artistic principle that is essential for Wydyz's work, which prevents a sequence and emphasizes the scenic presentation of an event. "Maria wears a crown. Despite the ox and donkey in the window of the stable wall, the altar does not want to depict the “historical” event of Bethlehem, but rather to make a mariological statement: Mary is the Queen of Heaven. The locked door behind the kneeling king indicates her virginity or immaculate conception .
Kappeler Crescent Madonna
Analogous to the shrine group, the burst group does not mean the historical crucifixion of Jesus, but theological things: in his incarnation and his passion, Jesus overcame death. Jesus inclines his narrow head with the mighty crown of thorns towards his mother, who in turn turns slightly towards him. Johannes takes a step towards him. If Mary rests within herself in restrained pain, John expresses his pain. "His tearful face looks up, he is about to wipe his eyes with the tip of his coat."
  • Crescent Madonna in the parish church of St. Peter and Paul in Freiburg-Kappel , around 1505. The 85 cm high figure is heavily supplemented - like the child, crown and scepter - and heavily painted over.
  • Crescent Moon Madonna in the Augustinian Museum, after 1505. The 55 cm high, all-round carved, wood-sighted figure comes from the Adelhausen Monastery like Agnes (see above) and could have been like that processional figure. “The statuette belongs to a whole group of Madonnas on crescent moons, which were apparently created in the circle of Hans Wydyz and his workshop or his successor. ... The Adelhauser statuette not only represents the highest quality and closest to the confirmed works of Wydyz, but also probably the earliest specimen of this group due to the sharper drawing - apart from the figure in Kappel from around 1505, whose attribution to Wydyz ... appears extremely problematic in view of their condition, which can hardly be adequately assessed. "
  • Praying Mary in the Augustinian Museum, after 1505. This 53 cm high, all-round carved, wood-sighted figure comes from the Adelhausen Monastery and was perhaps a processional figure. The interpretation as praying Mary is uncertain, and the figure is not handwritten, but could have come from Wydyz's workshop, which expanded towards the end of the first decade.
Adam and Eve
Adam and Eve
  • Adam and Eve group in the Basel Historical Museum , after 1505. The figures and their finely fluted individual plinths are made of boxwood - the more coarsely carved common base is made of limewood. Except for tinted eyes and traces of green paint on the common base, the work is unmounted. Adam is 16 cm high, Eve 15 cm high. The “H” is notched in Adam's base and the “W” in Eva's base. Eve is missing the fingertips of the left hand, Adam three fingers of the right hand. Parts of the tree and the head of the snake are broken off. Adam, Eve and the tree with the snake can be removed individually from the base. The group was probably carved in Freiburg and entered the museum via the Amerbach cabinet .
The fall of man is shown . The discoverer Rudolf Burckhardt describes (from English): “The head of the snake lies in the fork of a branch, its body hangs down vertically so that its skin forms fine transverse folds. Eve took the apple behind Adam's back. She grabs him with her outstretched right hand, while she stands firmly on the right side of the pedestal, her upper body slightly bent back, her pretty little head with the wonderfully softly wavy hair tilts to Adam's left and smiles at him. She lets her left hand rest on her hip. Adam is also standing firmly on both feet, but the artist has added tension to his posture by placing his left foot at right angles to the right foot. His prevention increases this tension, which is finally fully expressed in the turning of his head towards Eva. His right hand with the apple hangs down, while the raised left hand underlines the excited words that his open mouth seems to be whispering. ”According to Burckhardt, Adam's left hand also held an apple, and according to Gross, Eva's left hand also held an apple.
Art historians find correspondences with the Three Kings altar in details and in the whole. According to Groß, Adam resembles the Man of Sorrows in the narrow upper body, in the folds of skin above the navel, in the slender arms and in the squat legs with inwardly indented thighs and strongly carved knees, the Moorish King in the muscular calves. It is uncertain whether the common base plate and the tree are from Wydyz.
Art history has given different answers to the question of which moment of the fall is represented; Groß: “What is shown is ... the moment of knowledge after both have succumbed to temptation. Adam turns his upper body urgently towards Eve, tilting her head to one side in order to catch her eye. In his sunk right hand he holds the bitten apple, his left hand pointed at Eva in a gesture of speech. His face with the raised eyebrows expresses both dismay at the sin committed and a rebellion against the instigator for iniquity. The bitter complaint flows from his open mouth. Eva still stands there in a seductive pose, not yet aware of what she is doing. "
The group is one of the first German cabinet pieces . The depiction of this moment of the Fall is not only unique in the small sculpture, it is also not encountered in painting and graphics. "It is unique and, in the conciseness of the sudden awareness of one's own self, it is a great invention by Wydyz." The group, considered the incunabula of the genre, shows the newly awakened interest in the representation of the human body, but also anchoring it in the late medieval tradition of representation. Stylistically, it is on the threshold of the Renaissance. “While the step position and the angular movements still have echoes of the late Gothic, the smooth, rounded forms of 'Eva' in particular show a new understanding of form.” The status of the work reflects its choice as an eye-catcher for the reopening of the Basel Historical Museum in November 2011 . Groß suspects suggestions from the Freiburg Corpus Christi games , in which Wydyz took part with his painters' guild. The client was once again Konrad Stürtzel .
  • “ Annunciation of the Lord ” (Annunciation), before 1510. The 29 cm high group with traces of colored paint, perhaps from Heilbronn , is now in the Berlin Bode Museum . The stormy angel Gabriel kneels, resting in himself, opposite Mary. The soaring curls of the angel reminds Groß of the rushing king of the Epiphany.

Freiburg works from 1510 to around 1517 (works by Freiburg employees until 1525)

The keystone covers from the Freiburg Minster are Wydyz's last secured works: in 1510 he received seven gold guilders for them . This means that the documents expire. But there is agreement that he worked with Hans Baldung from around 1512, who had just come from Strasbourg, and that he now had journeymen. The extent of his work in these years, however, is disputed. He is measured by the answer to the question whether there was a second master sculptor in Freiburg besides him. Groß answers the question in the affirmative and accordingly ascribes some of the works otherwise postulated for Wydyz to this second master, whom Gustav Münzel gave the emergency name "Predella Master" in an essay on the predella of the high altar of the Freiburg Minster . The latter, not Wydyz, also Groß, carved the predella, a broad composition of the “Adoration of the Magi” (267 × 65 cm). Likewise, the tendril veil around the Baldung central panel of the high altar and a relief with three scenes from the Virgin Mary in the Martinsmünster in Colmar were made by the Predella Master. The predella master “cites” collage-like image motifs from graphic templates, while Wydyz, when he takes up graphic image ideas, “interprets” them and translates them into a course of action. The following works remain after Groß:

Keystone cover: Mary and child
  • The three keystone covers from the choir of the Freiburg Minster, 1510. They originally covered three elevator openings in the choir vault, which was closed in 1510. Their diameter is 134 cm. They were revised in the 19th century. In 1958, because they threatened to fall, they were transferred to the Augustinian Museum. In the original arrangement, they showed Maria in half-length figure with her child from east to west, an Austrian coat of arms and an angel as a shield holder with the Freiburg city arms. For Münzel, the face of the Madonna resembles that of Maria of the Epiphany, the hair is even identical in both. Groß finds a further development of the style.
The Schnewlin Altar in the Schnewlin Chapel
  • Carving group of the Schnewlin altar, 1513–1514. The winged altar consists of the carved group protruding at an obtuse angle in front of the painted back wall, the “ Holy Family on the lawn bench”, also interpreted as “Holy Family resting on the flight to Egypt”, two painted movable wings and two painted inactive wings. The movable wings show on the inside (with the shrine open) on the left the baptism of Jesus by John the Baptist , on the right the evangelist John on Patmos , on the outside (with the shrine closed) the angel on the left, and on the right the Mary of an "Annunciation of the Lord". The inactive leaves show the Baptist once more on the left, the apostle and evangelist John on the right. The shrine measures 145 cm in width and 134 in height, the carved group made of limewood is 107 cm high. Its original version is almost completely preserved.
Since 2009 the reredos has been in the chapel for which it was created, the Schnewlin Chapel, named after Johann Schnewlin, who died in 1347, called Gresser , hence the Gresser Chörlein. With funds from his will, the chapel was furnished a good 150 years after his death, apart from the altar and the stained glass from 1525; the right window shows Johann Schnewlin, kneeling in front of John the Baptist, and his coat of arms. The further fate of the altar is no less adventurous than that of the Antonius altar. Around 1600 he was moved from the Gresser Chörlein to the west wall of the northern imperial chapel. In doing so, it probably lost its original burst and received the two inactive leaves. This is how Heinrich Schreiber saw and described him in 1820. From 1830 the beautification commission took care of him. The “three-dimensional figures, very bad, neither in terms of age nor art of the least value”, disappeared from the cathedral. Joseph Glänz and his son Franz Sales Glänz separated the movable wings, "Zwey Alte Kostbaare Art Meals, Painted on both sides ", into the inside and outside. They obtained four paintings and constructed two new “Gothic” altars with neo-Gothic frames for the choir chapels of the cathedral, one with the two images of St. John, the other with the Annunciation. The latter also disappeared from the cathedral in 1880. This was the low point of disintegration. With increasing criticism of the stylistic purism and the attribution of the paintings of the movable wings to Hans Baldung, the desire arose to regain the original altar. The announcement panels and the carving were found in 1894 in the "Domkustodie" in Freiburg's Herrenstrasse, the carving allegedly in the laundry room . The inactive leaves also reappeared. The predella, however, which Schreiber saw in 1820, has disappeared. In 1917 the master builder Friedrich Kempf (1857–1932) suspected the carver in Wydyz. After the Second World War, reassembled, the altar was again placed in the northern imperial chapel in 1956 and in its home chapel in 2009, but not in its original place on the east wall, but on a new console on the west wall.
Heinrich Schreiber described the carving and back wall in 1920: “The center piece, a wood-cutting work, contains Mary with the child, seated on wicker sticks; Joseph sleeps by her side. The pictures are framed and painted, but have already suffered considerably. The background, also painted, represents on one side a city with a view of a lake; on the other, however, rose bushes on which brightly colored birds sway. … On [the predella] on the right is the coat of arms of the Schnewlin family, on the left the kneeling founder. ”Not mentioned by Schreiber, a rabbit crouches to the left of Maria, a symbol of fertility as in the “ Visitation ”of the high altar painting.
The painting - with the exception of the inactive wings that were added later - is generally regarded as the work of Baldung's employees, who also had to paint the high altar pictures. In the carving, Groß finds numerous similarities with earlier works by Wydyz. The Christ Child is a further development of the Christ Child from the Three Kings altar and the keystone cover, and Mary is also the same as that on the keystone cover. “The figure of Joseph in the Schnewlin Shrine corresponds more in age and in facial formation to the aged king in the Shrine of the Three Kings than to the figure of Joseph there. He shares with him the wreath of crescent-shaped strands of hair that surrounds the bald head in a semicircle, the deeply furrowed forehead and the slightly sloping skin around the high cheekbones. In the Schnewlin Altar, Wydyz - in contrast to the Epiphany retable - depicts Joseph as an old man who, exhausted from his wanderings, is now crouching asleep behind the bench. With his eyelids not yet fully closed and his lips slightly parted, he creates an effective contrast to the blooming Mother of God and the playing child. "
Groß, who was still studying the altar in the northern imperial chapel, criticizes its placement on the west wall, which “is contrary to the former installation in the Schnewlin chapel. Today's visitor to Münster offers an unsatisfactory visual concept ... from the ambulatory. The protagonists - Maria and the child - orient themselves in their attitude towards the chapel windows and exclude the viewer from any optical participation in the event. This results in an irritating dichotomy between the presentation suggesting immediate proximity - the protruding shrine shape allows the group of figures to step out of the box - and the actual refusal to face the viewer. "
The shrine concept is a masterpiece, the outstanding quality of which is due to the close cooperation between Baldung and Wydyz. Baldung's workshop also carried out the setting of the sculptures. The combination of the subjects of the "Madonna in the Rose Hag" and the "Holy Family on the lawn bench" is a rarity and is perhaps an allusion to Martin Schongauer's already then famous " Madonna in the Rose Hag " in the Dominican church in Colmar . Unfortunately, the reredos are still barely visible from the ambulatory because of the new incorrect placement on the west instead of the east wall of the Gresser Chörlein.
  • Six crescent moon madonnas following the Madonna from Freiburg-Kappel (see above), 1515–1525: in the Art Institute of Chicago , 91 cm high; in the Église Sainte Madaleine in Linthal (Haut-Rhin) in Elass, 146 cm; in the Catholic parish church of St. Stefan in Oberrimsingen ; in the Catholic parish church of St. Vitus in Gutach-Siegelau , 120 cm; in the Chapelle Saint-Nicolas in Bartenheim in Alsace, 112 cm, where she stands in a small reredos together with a Saint Genovefa , who is also assigned to Wydyz , 117 cm high; and privately owned in Freiburg-Uffhausen , 106 cm high. The figures were created by workshop workers, be it during Wydyz's time in Freiburg or by a successor from Freiburg after his return to Strasbourg.
  • Two enthroned Madonnas with child, 1515–1525. One, 95 cm high, is kept in the Bode Museum in Berlin, the other, 86 cm high, in the Badisches Landesmuseum in Karlsruhe . The figures coarsely follow the mother-child group of the Schnewlin altar and were created like the crescent moon madonnas mentioned above.
Ehrenstetter "Anna Selbdritt"
Rear view of the "Anna selbdritt"
  • “ Anna selbdritt ”, around 1520. The 132 cm high group from the Catholic parish church of St. Georg in Ehrenstetten can be seen today in the Augustinian Museum. It is hollowed out on the back and consists of two large blocks, Maria with child and Anna, which in turn are put together again. She wears an old, partly the original version. It is possible that Maria and the child were initially intended as individual paintings in accordance with the aforementioned enthroned Madonnas, and Anna was added later.
Anna dominated older "Anna Selbdritt" groups; she held Mary and Jesus, considerably smaller in scale, in her arms or on her lap. The Ehrenstetter group, on the other hand, shows natural proportions, and Anna and Maria sit next to each other on a bench. “In the loving occupation of the two women with the child, who, balancing on their knees, is taking their first steps, bourgeois self-awareness found its sacred expression, which was felt to be appropriate. In this sense, the Ehrenstetter group announces an almost Renaissance-like feeling of comfort. "
Later in Strasbourg, Wydyz carved an "Anna Selbdritt" relief by hand after Groß (see below). When she comes to the Ehrenstetter Group, she is thinking of a successor to Wydyz. But here too authorship is represented. “In fact, with regard to the overall conception such as the detailed design of the heads and hair, the motifs and stylistic correspondences with the Schnewlin Madonna and the statuette of St. Agnes are so high that at least the women's heads of the Ehrenstetter group were hardly made by anyone other than Wydyz himself , are to be seen. ”Alleged weaknesses could be traced back to later revision.
  • The carving of the Oswald altar in the chapel of Sankt Oswald im Höllental , 1514–1518. The altar was not known to Sibylle Groß and, although it has been in literature since around 1900, it was not analyzed until 1997 by the Nuremberg art historian Andreas Curtius. The shrine is 143 cm wide and 111 cm high. In it stand on separate plinths: in the middle, slightly raised, St. Oswald of Northumbria in knightly armor, with crown, scepter and the double cup for the oil of his king's anointing , 84 cm high, on the left the Apostle Matthias with book and ax, 82 cm, right the winged Archangel Michael , also armed, in his left hand a balance of the soul , in the right a staff, today too short, with which he originally struck the monster at his feet like a lance, 80 cm. Tendrils arch above them, similar to the high altar of the Freiburg Cathedral, behind them the back wall is decorated with gold-plated brocade patterns. Saint Sebastian stands in the middle , tied to a tree and pierced by arrows. The painted wings show on the inside (with the shrine open) on the left an "Adoration of the Magi", on the right "Visitation of the Virgin Mary", both in front of landscapes on a gold background. On the outside (with the shrine closed) they show, in pairs in front of a distant forest landscape, again on the left Saint Matthias and Oswald, on the right Saint Sebastian and Michael, the latter with the balance in his left hand and a sword in his right hand. The painted predella shows half-length figures of Jesus and the twelve apostles. Oswald, Matthias, Michael and Sebastian can be seen in the open and closed position of the altar.
  • Oswald Altar

  • The altar around 1900

  • The Altar 2008; the sculptures are copies of photos

  • The original sculptures in the church Maria in der Zarten, Hinterzarten

What the Three Kings Altar and the Schnewlin Altar probably once were, the Oswald Altar - at least it seems - has remained since its manufacture to this day: a winged altar, complete with a painted predella, carved shrine, cracks and painted movable wings. In this respect it is unique in the southern Black Forest and even more, if one follows the attribution by Curtius, in the work of Baldung and Wydyz. The restriction “it seems at least” must be made because this reredos also did not survive half a millennium unscathed. The carving was probably redesigned in the 18th century. During the Second World War, the lonely chapel was damaged in the bombing of the Höllentalbahn . In 1949 the altar was restored and the carving was redesigned. At that time it was presumably that Michael was given a sword in his right hand instead of the staff; that's how Curtius saw him. On February 12, 1963, Oswald, Matthias and Michael were stolen, but two weeks later they were seized and firmly anchored in the altar again. On June 7, 1980, all four carved figures, including Sebastian, were stolen. In 1983 the criminal police found Oswald, Matthias and Michael badly damaged in Munich. Restored, they have been in a safer place since then, in the parish church of Maria in der Zarten in Hinterzarten . Sebastian is still missing. For the altar in the Oswald Chapel, copies were made from photos, which have been installed there since 1982. “Although they are properly made, they can only incompletely reproduce the expression of the late Gothic figures.” When looking at the altar in the chapel, one must imaginatively replace the carved figures with the originals in the Hinterzarten church.
Curtius attributes the paintings to employees of Hans Baldung. In the carved figures he finds the characteristics of Hans Wydyz. The knee pushed forward, which is pushed through the robe, also occurs in the Joseph of the Three Kings Altar. In the case of Agnes and the Crescent Moon Madonna of the Augustinian Museum and the Kappeler Crescent Moon Madonna, the robe in front of the chest creates a "window". The cut of the face of Matthias with the strongly protruding cheekbones is fraternally similar to the cut of the face of the indefinite saint from the Antonius altar. "The way in which the face is surrounded by the large mass of hair, from which it seems to emerge, the way in which the mass of hair is built up in both cases by deeply engraved, grooved, curly-wavy strands, is the same." The somewhat chubby faces von Oswald and Michael were more like the Maria of the Schnewlin altar.
The altar was made in the Baldung Wydyz workshop in Freiburg. The client may have been a member of the Schnewlin von Landeck, in whose territory the chapel was located. "The great similarities with Wydyz's personal handwriting make it advisable to attribute the four figures of the Oswald altar, in any case the three shrine figures, to Wydyz personally."

Late Strasbourg work from around 1517

“Holy Monk” in the Musée de l'Oeuvre Notre-Dame in Strasbourg

In 1517 or 1518 Wydyz and Baldung returned to Strasbourg. Baldung had completed his high altar painting in Freiburg. Wydyz may have been moved by his relationship with Baldung and an assignment from Strasbourg. Of the Strasbourg sculptors of his youth, only Niclaus Hagenower was still alive. From Wydyz's late Strasbourg period, a Sibylle Groß, not yet known, “holy monk” acquired in 2007 from the Musée de l'Œuvre Notre-Dame, could come. The quality of the workmanship, it is said, including the extremely rich play of forms in the folds of the garment, speak for him or his workshop.

Groß attributes to Wydyz and his workshop from these years:

  • Saint Sebastian and Saint Christophorus , around 1518. The Sebastian, 109 cm high, is in Saverne in the Musée d'Art et d'Histoire de Saverne, Christophorus, 98 cm high, in private possession in Innsbruck. Both are worded in a modern way. They come from the Vitus Chapel near Saverne, which has now disappeared . There "diss jars [1517–1518] around Margarethen a black and terrible disease with St. Vitstanz" was rampant. St. Vitus helped against the " dance madness ", the " St. Vitus Dance ", and therefore the council of the city of Strasbourg donated a new altar for his chapel. The two saints stood in a shrine to the left and right of a central figure, presumably St. Vitus. Large reminds "the fragility" of the - better preserved - Sebastian of the man of Sorrows from the Freiburg Dreikönigsretabel, but the Sebastian proves to be "far more progressive and relaxed in the state". Curtius compares with Sebastian from the Oswaldwaldkapelle: Both speak “the same language in the modeling of the surfaces and in the expressive expression of suffering”. Groß and Curtius emphasize the high quality, and Groß assumes authorship for Sebastian like Christophorus.
  • Relief of a Maria with child between Saint Vitus and Pope Marcellus I , around 1518. The 34 cm high, 4 cm deep, modern relief also comes from the Vitus Chapel and is kept in the museum. Marcellus wears a book and the papal tiara . Vitus sits in the oil kettle of his martyrdom. The relationship with the Madonna of the Schnewlin Altar is obvious to Groß, as is that the Zabern relief is the work of a journeyman.
  • Two crescent moon madonnas, around 1520. One, 114 cm high, is in the humanist library in Schlettstadt , the other, 126 cm high, in the Strasbourg women's shelter museum. They have remnants of old frames. Their style has advanced compared to the Freiburg crescent moon madonnas. They are works by journeymen.
  • Saint with ax (maybe Josef) and Saint with book (maybe Joachim ), around 1520. They stood for some time in the Catholic parish church of St. Dionysius in Baden-Oos , then in the parish church of St. John the Baptist in Bühl-Vimbuch , now they are in the town hall of Bühl (Baden) . Before their stay in Baden-Oos, they probably belonged in a small shrine in another, unknown location. Both figures are about 96 cm high and today wood-sighted. Not only their origin, also their original identity unclear. If you take them as Joseph and Joachim, the father of Mary, then they could have belonged to a holy clan , a representation of the relatives of Jesus. After Groß, it is journeyman's work.
  • Retable from the Pankratius Church in Dangolsheim , 1522. The well-preserved retable, which has been in Strasbourg Cathedral since the 19th century, consists of a 367 cm wide, 174 cm high shrine, movable wings in relief and a predella. It is signed '1522' on one wing. In the center stands St. Pancras, on the left St. Nicholas of Myra , on the right St. Catherine of Alexandria . The wings show a "Birth of Christ" on the left and an "Adoration of the Magi" on the right. In the predella, half-figures of the Savior and the Apostles stand in five niches. The outer sides of the wings bear paintings. Typical of Wydyz is Katharina's hair, with its bulging strands on both sides of the face, which returns with the Marys on both wings. The kneeling King of “Adoration” with his distinctive nose is a portrait of Emperor Maximilian I, who died in 1519, probably at the request of the client. “In the Dangolsheim reredos we obviously have a typical work by the Strasbourg Wydyz workshop that follows a common reredos scheme. … In the formula repertoire, the journeymen repeat the handwriting of their master, which now becomes the manner and in parts slips into the formulaic. ”On April 18, 1974 , the reredos were placed under monument protection as“ Monument historique ”.
  • Retables from the late work

  • Dangolsheim Altarpiece in Strasbourg Cathedral

  • Shrine figures of the altar

  • Beiertheim Altar

  • Shrine figures of the altar

  • The shrine figures of the Beiertheim Altarpiece in the Catholic parish church of St. Michael in the Karlsruhe district of Beiertheim : a crescent moon Madonna in the middle, 106 cm high, St. Wendelin with a shepherd's bag and two grazing animals on the left, the Archangel Michael defeating the devil with his flaming sword, right, both 108 cm high. The altar also includes a predella with a carved " Last Supper ", the crucified Christ between Mary and John on the shrine, as well as painted movable wings and inactive wings. The movable wings show St. Valentine of Raetia and St. Margaret of Antioch on the inside on the left , St. Blaise of Sebaste and St. Juliana of Nicomedia on the right, and other saints on the outside and the inactive wings. The painted saints have their names in their nimbs . One inactive leaf is signed "1523". As well as the altar seems to have been preserved, it is heterogeneous. The three shrine figures and the wings come from the original late Gothic Beiertheim altar. The predella and crucifixion group were added from other sources in 1965, as was the new simple case. “It is astonishing how faithfully [the three shrine figures] have preserved the formal material that Hans Wydyz used at the beginning of the century. The faces and hairstyles of Maria and the child are reminiscent of the ... of the Epiphany ..., the mantle of Maria to that of Agnes ..., the figure of Wendelin to that of Rochus. ... The late creation is noticeable in the pictorial unity of the figures, the flatness, the calm structure and the solidification of the stationary motif. ”Wydyz's journeymen probably contributed. The predella and the crucifixion group, however, are not from Wydyz's workshop.
  • Crucifixion relief , after 1520. The relief of unknown origin, 66 cm wide and 85 cm high, delimited at the top by a segmental arch , with original version, is in the Berlin Bode Museum. The crucified stand out clearly against a gold background. People crowd in front: to the left under the cross of the good thief Maria, supported by a woman and Johannes, as well as Longinus leading the lance and another soldier; on the right, under the cross of the evil thief, the centurion who proclaims that Jesus is truly God's Son, a richly dressed man who looks up to Jesus in emotion, another soldier and a mocker; in between at the foot of Jesus' cross Mary Magdalene . Baldung's crucifixion on the back of the Freiburg high altar retable may have given some inspiration. But Baldung redesigned. “The game of complex references has achieved a championship at the Berliner Relief that no longer seems to be surpassable. Every smallest motif has its place in the big picture. It is indispensable to this without creating a sensitive gap in the composition of the picture. ”The rich man who looks up to Jesus could be the founder of the handwritten work.
"Anna Selbdritt" in the Protestant part of Saint-Pierre-le-Vieux in Strasbourg
  • Relief of an "Anna selbdritt", before 1525. The 97 cm wide and 125 cm high work is Wydyz's third surviving relief alongside the previous one and the one in Saverne. Like the crucifixion relief, it closes in segmental arches. Its original destination is unknown. Today it is located in the Protestant part of the Saint-Pierre-le-Vieux church in Strasbourg. Its thick modern frame makes it difficult to assess. It resembles the Ehrenstetter "Anna selbdritt" ( see above ). As there Anna and Maria turn to each other, the child wanders clumsily from Maria to Anna and offers Anna a globe with her left hand while her right hand rests on a book. Above the backrest, God the Father appears in a blessing between the angels. He and the globe "point out ... beyond the family scene to the importance inherent in this child". “The Strasbourg Anne relief shows, in an exquisite carving technique, a third Anna herself in 'new clothes'. The game with found image ideas, from which Wydyz wrests an independent, artistic reinterpretation, is masterfully presented here. The relief tablet is the latest work that we can ascribe to Wydyz so far. It may therefore be dated to the beginning of the second [probably erroneously for the third] decade of the 16th century, but no later than 1525 - the year in which the Reformation of sculpture in Strasbourg brought an abrupt end. ”The relief was made on March 28th 1979 listed as "Monument historique" under monument protection.

Attributions

literature

Web links

Commons : Hans Wydyz  - collection of pictures, videos and audio files

Individual evidence

  1. ↑ a b Heinrich Schreiber: History and description of the cathedral in Freiburg im Breisgau. Verlag der Wagnerschen Buchhandlung, Freiburg 1820, here: p. 221, online at digilib.ub.uni-freiburg.de. Retrieved January 13, 2012.
  2. ^ A b Rudolf F. Burckhardt: Hans Wydyz the elder. In: The Burlington Magazine for Conoisseurs. 11, 1907, pp. 212-221 ( JSTOR 857173 , accessed January 13, 2012).
  3. ^ A b c d e f Gustav Münzel: The Dreikönigs-Altar by Hans Wydyz in the Freiburg Minster. In: Freiburg Cathedral Papers. 6, 1910, pp. 1–22, online at: digi.ub.uni-heidelberg.de, and pp. 59–69, online at: digi.ub.uni-heidelberg.de. Retrieved January 13, 2012.
  4. ^ Clemens Sommer: Contributions to the work of the carver Hans Wydyz. In: Upper Rhine Art. Yearbook of the Upper Rhine Museums. 3, 1928, ISSN  0179-9665 , pp. 94-104.
  5. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 29.
  6. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 219.
  7. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 91.
  8. ↑ Hermann Flamm: The sculptor Hans Wydyz and his presumed family ties to the Petrarkameister Hans Weidiz and the medalist Christoph Widiz. In: Repertorium für Kunstwissenschaft 38, 1916, pp. 109–118, online at: digizeitschriften.de. Accessed on January 13, 2012 (can be accessed via subscribed libraries and institutions).
  9. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 94.
  10. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 116.
  11. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, pp. 181-182.
  12. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 60.
  13. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 48.
  14. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 13.
  15. ↑ a b c d e Detlef Zinke: Augustinermuseum Freiburg - Images of the Middle Ages and the Renaissance 1100–1530. Hirmer Verlag, Munich 1995, ISBN 3-7774-6560-7 .
  16. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 12.
  17. ↑ a b c Sebastian Bock, Lothar A. Böhler (Ed.): Inventory catalogs of the secular local foundations of the city of Freiburg i. Br. Volume II: The sculptures: Middle Ages - 19th century. General Foundation Administration, Freiburg i. Br. 1999, ISBN 90-5705-103-6 .
  18. ↑ Manfred Hermann: The St. Anthony the Hermit. In: Oberländer Chronik 1965, No. 290, without page count.
  19. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, pp. 16, 122 and 308.
  20. ↑ a b Iso Himmelsbach: The Antonites in Breisgau. New findings on the origin of the Antonius Altar in St. Joseph in Obersimonswald and on the building history of the Nimburg mountain church. In: Journal of the Breisgau history association "Schau-ins-Land" . Volume 127, 2008, pp. 9-30 ( PDF; 36 MB ).
  21. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 377.
  22. ^ Franz Xaver Kraus: The art monuments of the districts of Breisach, Emmendingen, Ettenheim, Freiburg (Land), Neustadt, Staufen and Waldkirch (Freiburg Land district). J. C. B. Mohr, Tübingen / Leipzig 1904, here: pp. 503–505, online at: digi.ub.uni-heidelberg.de. Retrieved January 15, 2012.
  23. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 308.
  24. ^ A b Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 127.
  25. ↑ Klaus Starke: The pharmacology of the ergot. In: Antoniter Forum 2003; 12, pp. 7-29.
  26. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, pp. 17 and 151.
  27. ↑ The names of the kings after Gustav Münzel; Sibylle Groß uses the names inconsistently.
  28. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 287.
  29. ^ Joseph Schlippe: The Basler Hof in Freiburg. In: magazine of the Breisgau history association Schau-ins-Land. Volume 84/85, 1966/1967, pp. 160-192 ( PDF; 40 MB ).
  30. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 171.
  31. ^ Hans-Jürgen Günther: Joh. Pistorius, Hanns Bär and the Herbolzheimer coat of arms. Handels- und Gewerbegemeinschaft Herbolzheim e. V. 1991.
  32. ↑ a b Stefanie Zumbrink and Heike Mittmann: The altars. In: Freiburger Münsterbauverein (Hrsg.): The Freiburg Minster. 2nd Edition. 2011. Schnell & Steiner, Regensburg 2011, ISBN 978-3-7954-2565-4 , pp. 243-273.
  33. ↑ Josef Sauer: The church art of the first half of the 19th century in Baden. In: Freiburg Diocesan Archive 1930; 57, pp. 1–207, online at: freidok.uni-freiburg.de (PDF; 26.13 MB). Retrieved January 13, 2012.
  34. ^ Bernd Mathias Kremer : On the history of the restoration of the Freiburg Minster in the 19th century . In: Freiburg Diocesan Archive . tape 121 , 2001, p. 53–84 , urn : nbn: de: bsz: 25-opus-58098 ( uni-freiburg.de [PDF; 22.7 MB ; accessed on July 31, 2018]).
  35. ↑ a b Heike Mittmann and Bernd Mathias Kremer: The Freiburg Minster after its completion - The building and the equipment in the course of the times. In: Freiburger Münsterbauverein (Hrsg.): The Freiburg Minster. 2nd Edition. 2011. Schnell & Steiner, Regensburg 2011, ISBN 978-3-7954-2565-4 , pp. 79–111.
  36. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 288.
  37. ^ Hermann Brommer : The sculptors Hauser in Kirchzarten, Schlettstadt and Freiburg i. Br. (1611–1842) - The Biographies (Part II). In: Journal of the Breisgau history association Schau-ins-Land Volume 94/95, 1976/77, pp. 165–200 ( [1] PDF; 57 MB).
  38. ^ Minster altar - redesign the chancel in Freiburg Minster? ( freiburg-schwarzwald.de [accessed on January 13, 2012]).
  39. ↑ a b c d Late Gothic on the Upper Rhine. Masterpieces of sculpture and handicrafts 1450–1530. Catalog of the exhibition in Karlsruhe Castle, Badisches Landesmuseum 1970. therein: Eva Zimmermann: Plastik, here pp. 189–192.
  40. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, pp. 164-165.
  41. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, pp. 4-5.
  42. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 166.
  43. ↑ Historisches Museum Basel (ed.): The great art chamber. Bourgeois collectors and collections in Basel. Christoph Merian Verlag, Basel 2011, ISBN 978-3-85616-539-0 .
  44. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 183.
  45. ↑ Renate Eikelmann (Ed.): Conrad Meit. Renaissance sculptor. Hirmer Verlag, Munich 2006, ISBN 3-7774-3385-3 , pp. 36, 164.
  46. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 24.
  47. ^ Gustav Münzel: The predella on Baldung's high altar in the Freiburg Minster and its master. In: Schau-ins-Land. Volume 46, 1919, pp. 1–21 ( PDF; 7 MB ).
  48. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 236.
  49. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, pp. 204-205.
  50. ↑ Heike Mittmann: The stained glass of the Freiburg Minster. Schnell & Steiner, Regensburg 2005, ISBN 3-7954-1717-1 , p. 82.
  51. ^ A b Sibylle Groß: The Schnewlin Altar and the Baldung Workshop - Studies on the history of the furnishings of the choir chapels in the Freiburg Minster. In: Freiburg Diocesan Archive. 112. Jg., 1992, pp. 43–86, urn : nbn: de: bsz: 25-opus-57909 (PDF file; 30.85 MB). Retrieved January 16, 2012.
  52. ^ Friedrich Kempf: Visitation and fate of the Freiburg Minster in distress, by human hands and fire hazard. In: Freiburg Cathedral Papers. Volume 13, 1917, pp. 1–38, here: p. 21 Note 3 ( online at: diglit.ub.uni-heidelberg.de ).
  53. ^ A b Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 211.
  54. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 214.
  55. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, pp. 219-224.
  56. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, pp. 224-225.
  57. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, pp. 225-227.
  58. ^ Franz Xaver Kraus: The art monuments of the districts of Breisach, Emmendingen, Ettenheim, Freiburg (Land), Neustadt, Staufen and Waldkirch (Freiburg Land district). Verlag von JCB Mohr, Tübingen / Leipzig 1904, here: pp. 380–383, online at: digi.ub.uni-heidelberg.de . Accessed on January 17, 2012.
  59. ↑ a b c d e Andreas Curtius: The Oswald Altar in Höllental - an unrecognized work of the Baldung workshop. In: Helmuth Schubert (Ed.): St. Oswald im Höllental. Festschrift for the 850th anniversary of the chapel. Stadler, Konstanz 1998, ISBN 3-7977-0397-X , pp. 26-80.
  60. ^ Franz Kern: The Dreisamtal with its chapels and pilgrimages. 4th edition. Schillinger-Verlag, Freiburg 1997, ISBN 3-89155-019-7 .
  61. ↑ Commentary on the figure on the “Musées d'Alsace” website ( Memento from December 3, 2013 in the Internet Archive ). In: musees-alsace.org, accessed April 24, 2018.
  62. ^ Website of the museum ( Memento from August 15, 2012 in the Internet Archive ). In: musees-alsace.org, accessed April 24, 2018.
  63. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 380.
  64. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 249.
  65. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 253.
  66. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, pp. 253-254.
  67. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 255.
  68. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 259.
  69. ↑ Florens Deuchler, Jean Wirth: Alsace - art monuments and museums. Reclam's art guide. France. Volume II. Philipp Reclam, Stuttgart 1980, ISBN 3-15-010297-9 , p. 231.
  70. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 261.
  71. ↑ Entry PM67000332: Retable de saint Pancrace, 3 statues, 2 bas-reliefs, 2 tableaux, prédelle: saint Pancrace, saint Nicolas, sainte Catherine, Nativité, Adoration des Mages, saint Corneille pape et saint Pancrace, saint Nicolas et sainte Catherine, Christ et onze apôtres, de saint Pancrace in the Base Palissy of the French Ministry of Culture (French).
  72. ↑ Stadtwiki Karlsruhe : Beiertheim Altarpiece. In: ka.stadtwiki.net, accessed January 20, 2012.
  73. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, p. 272.
  74. ^ Sibylle Groß: Hans Wydyz - His oeuvre and the art of carving from the Upper Rhine. 1997, pp. 276-277.
  75. ↑ Entry PM67000384: Bas-relief: la Sainte Parenté in the Base Palissy of the French Ministry of Culture (French).
personal data
SURNAME Wydyz, Hans
ALTERNATIVE NAMES Weiditz, Hans; Wyditz, Hans; Widitz, Hans
BRIEF DESCRIPTION picture carver from the Upper Rhine
DATE OF BIRTH 15th century
DATE OF DEATH 16th Century