Heinrich Douvermann

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Altar of Seven Sorrows in the Church of St. Nicolai in Kalkar , around 1520
Garland Mary or Maria Immaculata in Birgden, around 1520

Heinrich Douvermann (also Heinrich Douwermann , Henrik Douvermann , * possibly around 1480 in Dinslaken ; † 1543/1544 in Kalkar ) was a German wood carver and one of the most famous Lower Rhine artists of his era.

life and work

The sources of the carver's life and work are poor. The year of birth, before 1489, can only be roughly deduced from his time as a journeyman with "around 1480" and his birthplace Dinslaken, which is mentioned in many publications, is only an assumption due to inconclusive evidence. Before 1506 he left the workshop of Dries Holthuys in Kleve , probably as a journeyman, where he and his competitor Henrik van Holt (with whom he was still identified in older literature) had been trained up to the same year. After a supposed wandering time, about the goals of which there are various assumptions (Ulm?, Flanders?, Northern Netherlands?), He founded a workshop in Kleve around 1510, married and remains there for five years, mainly because the files of his considerable Bearing witness to debt. So it was probably non-artistic reasons why he left Kleve. Maybe already in 1515, but certainly since 1517 he was a citizen of Kalkar. Here in 1518 he was commissioned to write the altarpiece of the Seven Sorrows of the Church of St. Nicolai , consecrated in 1522 , the only certified work that clearly and entirely comes from his workshop and forms the basis for attributions of all other works of his oeuvre. Stylistic traces on the figures on this altar indicate that Arnt van Tricht was involved . Douvermann must have died in 1543 or 1544.

Douvermann, along with his teacher Dries Holthuis, his peer Henrik van Holt and his pupil Arnt van Tricht, is one of the most important personalities among the sculptors who mainly work in oak, who on the lower left Lower Rhine between Kleve, Kalkar and Xanten belong to this artistic landscape at the transition from the late Gothic Have shaped the Renaissance and can be linked to one another through numerous stylistic and work-related aspects. Artisanal virtuosity, but also artistic quality features such as the multiple views and variety of forms of his figure inventions as well as his independent iconographic creative power justify Douvermann's rank in this environment.

The individual works

Archival and style-critical research, especially in the 1990s, shrank the list of works assigned to Douvermann to date. He is regarded as "one of the great masters of holzsichtigen sculpture", a judgment to which usually the root of Jesse from the predella of the seven-pain altarpiece is illustrative used, but are, or were at least as many carvings color adopted .

literature

  • Barbara Rummy (ed.): Against the current. Masterpieces of Lower Rhine Sculpture in Times of the Reformation 1500-1550 , exhibition catalog Suermondt-Museum Aachen, 1996, Berlin, Dietrich Reimer-Verlag, 1996, pp. 19–25 and cat. No. 1, 10, 11, 13–34, 61.
  • Barbara Rummy: Henrick Douwerman and the Lower Rhine carving art at the turn of the modern age . Publishing house for regional history, Bielefeld 1997. ISBN 3895342165 . Also a review by Ulrich Schäfer in: Kunstchronik, 2000, pp. 102–107.
  • Franz J. Nüss: Heinrich Douvermann. A late Gothic carver on the Lower Rhine . Lange, Duisburg 1963, 1966 (2nd edition). ISBN 3874630250
  • W. Goeltzner: Douvermann , in: Allgemeines Künstlerlexikon, Vol. 29, 2001, pp. 225–227.
  • Hans Wille:  Douvermann, Heinrich. In: New German Biography (NDB). Volume 4, Duncker & Humblot, Berlin 1959, ISBN 3-428-00185-0 , p. 90 f. ( Digitized version ).

Individual evidence

  1. ^ Rummy: Against the Current , p. 23
  2. ↑ to Dries Holthuys: Reinhard Karrenbrock: Dries Holthuis and his works from Baumberger sandstone . In: Rummy: Against the Current, pp. 79–96; Rummy: Against the Current , pp. 17–19; Thieme-Becker: General Lexicon of Fine Artists , Vol. 17, Leipzig 1924, p. 406.
  3. ↑ Guido de Werd: A master in the shadow of Henrik Douvermanns. On the work of the Kalkar sculptor Henrik van Holt. in: Hans Peter Hilger (Ed.): Stadtpfarrkirche in Kalkar , Kleve 1990, pp. 299–332; Rummy: Against the Current , pp. 25–27
  4. ^ Rummy: Against the Current , p. 24
  5. ↑ Rummy: Against the Current , pp. 27–32.
  6. ↑ Today the busts from the high altar in the former collegiate church in Xanten are considered the work of Henrik van Holt (Guido de Werd: A master in the shadow of Henrik Douvermann. On the work of the Kalkar sculptor Henrik van Holt. In: Hans Peter Hilger (ed .): Stadtpfarrkirche in Kalkar , Kleve 1990, pp. 299–332) and of the Marien Altar there only the predella is a personal work by Douvermann. The Trinity retable from St. Nikolai Kalkar is attributed to Arnd van Tricht and the predella in the Schnütgen Museum in Cologne is attributed to a successor to Douvermann.
  7. ↑ For details on wood-sightedness in Douvermann: Rommé, Gegen den Strom , pp. 99-105
  8. ^ Against the current , exhibition catalog of the Suermondt Museum Aachen, 1996, cat. 29, pp. 222-227.
  9. ^ Rummy: Against the Current , p. 30.

Web links

personal data
SURNAME Douvermann, Heinrich
ALTERNATIVE NAMES Douvermann, Henrik; Douwermann, Heinrich
BRIEF DESCRIPTION German wood carver
DATE OF BIRTH 1480
PLACE OF BIRTH Dinslaken
DATE OF DEATH 1543
Place of death Kalkar