Jörg Stocker

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Jörg Stocker: Carrying the Cross ( Ulmer Museum )

Jörg Stocker (* approx. 1461 ; † after 1527 ) was a German painter who ran his own master workshop in Ulm .

Life

Little is known about Jörg Stocker's origins, family and workshop. However, the name Stocker was a widespread name in Ulm at this time. A carpenter Jörg Stocker, attested in the Ulmer Bürgerbuch 1485, could be the father. Between 1481 and 1527 Stocker is regularly noted in the Ulm written sources; he can be found in tax registers - looking at his house in Götzengasse - between 1485 and 1514.

The son Anton also becomes a painter, while the other son Lukas is listed as a priest. The daughter Rosa married Daniel Mauch in 1502/1503 , so that, as was often the case in the Ulm school , the great artists were also related. Manuel Teget-Welz suspects: “Stocker and Mauch must have worked together several times, for example it can be assumed that the painter was responsible for the setting of some of his son-in-law's wooden sculptures. Mauch lived in Stocker's house at Hoheschulgasse 8 ”by 1517 at the latest. Stocker's grandson was the Worms Canon and Vicar General Daniel Mauch the Younger (1504–1567).

Artistic development

The Adoration of the Magi (mixed media on wood, 1496–1499), a panel from the workshop of Jörg Stocker, but probably by the hand of Martin Schaffner (today in the Ulm Museum , inventory no. AI 1994.9462). The press brocades are part of Jörg Stocker's repertoire of forms and can also be found on the Wengen retable. The composition of the picture is taken over by Martin Schongauer .

Not much can be said about Jörg Stocker's artistic training and origins. Some more recent writings mention Jakob Acker the Younger as one of Stocker's training companies, but this cannot be proven in the sources found so far. Not much can be said about the artistic connection between Bartholomäus Zeitblom and Stocker, because real stylistic dependencies cannot be established here either.

In the Ennetach reredos , the collaboration of Martin Schaffner can be proven in a fold in the garment hem of Christ. Some art historians therefore assume that Schaffner was a journeyman in Stocker's workshop in 1496. However, according to Daniela Countess von Pfeil, a master-student relationship cannot necessarily be derived from the inscription.

The Ennetach boards, which are around two by two meters in size, were originally set up in the Catholic Church in Mengen- Ennetach . Four of them are presented today in the Princely Hohenzollern collections in Sigmaringen: the proclamation of Christ, the birth of Christ, the circumcision of Christ and the adoration of Christ. The illustration contains some carefully executed details.

The narrow, original inscription by Jörg Stocker has been preserved under the Ennetach tablets . It is:

" Joerg Stocker painter added this table to
St. Jhohanstag in Sumer 1496 ".

Jörg Stocker has thus been identified as the main master of these tables. All of Stocker's other works are derived, art-historically determined and interpreted from this one previously known work.

One of the things that is typical of Stocker is “the picturesque depictions of the landscape with the city silhouette in the background”. His pictures "radiate calm". Furthermore, a “graphic style of painting” and a “rather graphically laid out, fine lineament” were described and observed again and again by Stocker.

Artistic classification

Jörg Stocker is regarded as not very creative in the early and middle writings of the art history of the 20th century. Alfred Stange denigrated him in 1957 with the words: Stocker “could never find his compositions without a crutch from other models” . In 1963, Hans Koepf even noticed a "tired indifference in his characters" . It was only when Daniela Gräfin von Pfeil examined his works more closely in 1993 that he always interpreted his models and never copied them and that on this basis "original and new compositions" were created.

Manuel Teget-Welz specifies: "Painting from other people's templates was one of Stocker's creative specialties, who practiced it much more clearly and with a higher recognition value than his colleague Zeitblom in Ulm" .

In 2015 Anna Moraht-Fromm judged: Stocker convinces “through the delicacy of the drawing” . In addition, he has "practical equipment with press brocades" .

Works

literature

  • Gerhard Weiland: The Ulm artists and their guild , in: Masterpieces en masse. The sculpture workshop of Niklaus Weckmann and the painting in Ulm around 1500, ed. from the Württembergisches Landesmuseum Stuttgart, 1993, ISBN 3-929055-25-2 , pp. 369-388.
  • Daniela Countess von Pfeil: Jörg Stocker - a misunderstood painter from Ulm , in: Masterpieces en masse. The sculpture workshop of Niklaus Weckmann and the painting in Ulm around 1500, ed. from the Württembergisches Landesmuseum Stuttgart, 1993, ISBN 3-929055-25-2 , pp. 199-210.
  • Hans Koepf, Schüchlin, Herlin and Zeitblom , in: Schwäbische Kunstgeschichte , Vol. 3, Jan Thorbecke Verlag Konstanz 1963, pp. 110–111.
  • Walter Kaufhold, Das Fürstlich Hohenzollernsche Museum in Sigmaringen , Schnell Art Guide No. 1269, Verlag Schnell & Steiner, Munich and Zurich 1981.
  • Alfred Stange, German Gothic Painting 8: Swabia in the period from 1450 to 1500, Munich and Berlin 1957.

Individual evidence

  1. ^ Daniela Countess von Pfeil: Jörg Stocker - an unrecognized painter from Ulm , in: Masterpieces en masse. The sculpture workshop of Niklaus Weckmann and the painting in Ulm around 1500, ed. from the Württembergisches Landesmuseum Stuttgart, 1993, ISBN 3-929055-25-2 , p. 199
  2. ↑ 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. 22, ISBN 978-3-88294-465-5
  3. ↑ 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. 21, ISBN 978-3-88294-465-5
  4. ↑ so Hans Koepf: Swabian art history. Volume 3. Thorbecke, Konstanz 1963, p. 39
  5. ↑ u. a. illustrated by Anna Moraht-Fromm, Stilgeschichten. Die Wengenmeister or: The painter's nose , 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. 57, ISBN 978-3-88294-465-5
  6. ^ Alfred Stange, German Gothic Painting 8: Swabia in the period from 1450 to 1500, Munich and Berlin 1957, p. 21
  7. ↑ Hans Koepf: Schüchlin, Herlin and Zeitblom . In: Swabian art history. Volume 3. Thorbecke, Konstanz 1963, p. 111
  8. ^ Daniela Countess von Pfeil: Jörg Stocker - an unrecognized painter from Ulm , in: Masterpieces en masse. The sculpture workshop of Niklaus Weckmann and the painting in Ulm around 1500, ed. from the Württembergisches Landesmuseum Stuttgart, 1993, ISBN 3-929055-25-2 , p. 207
  9. ↑ 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. 16, ISBN 978-3-88294-465-5
  10. ↑ Anna Moraht-Fromm, Stories of Style. Die Wengenmeister or: The painter's nose, 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. 65, ISBN 978-3-88294-465-5

Web links

Commons : Jörg Stocker  - Collection of images, videos and audio files
personal data
SURNAME Stocker, Jörg
BRIEF DESCRIPTION German painter
DATE OF BIRTH around 1461
DATE OF DEATH after 1527