Younger Master of the Holy Tribe

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Holy clan: middle panel of the altar that gave the name to it from the Wallraf-Richartz Museum

The Younger Master of the Holy Kinship is a late Middle Ages painter who worked in Cologne between 1475 and 1515 and is considered one of the prominent representatives of the late Gothic Cologne School of Painting . Since he has not yet been identified, he has an emergency name . The eponymous work, which is now in the Wallraf-Richartz Museum , is a triptych created around 1503 , the central panel of which shows the Holy Family (clan). In order to distinguish the younger clan master from another painter who also worked in Cologne between 1410 and 1440 and also painted an altar of the holy clan, the latter was given the emergency name Master of the Holy Clan the Elderly .

Life

An extensive and varied work is ascribed to the younger clan master on the basis of stylistic criteria. These include small devotional paintings, portraits and large altarpieces, but also the cardboard boxes for stained glass, including the one for the typological window for the Christ Nativity in the north nave of Cologne Cathedral . With his wide-ranging work, the younger clan master can be counted among the formative artists of the Cologne School of Painting in the late Gothic period. Apparently the master ran “one of the largest and most renowned workshops around 1500.” From his works it was reconstructed that he probably lived between around 1450 and 1516. The attempt to identify him with Lambert von Luytge, a respected Cologne painter, proved to be unsustainable.

A critique of style suggests that the younger clan master worked in the workshop of the Master of Glorification Mariae and got to know the tradition of the Cologne school of painting in the successor of Stefan Lochner . His early works are characterized by a light and bright palette. Apparently he managed to set up a workshop early on; As early as 1486 he created Gregor's Mass, there is evidence of a large amount of journeyman work. With the completion of the Richterich Altar, the younger clan master “boldly took the step towards high church art”; Usually this work, created around 1490, is considered to be the conclusion of his first work phase.

Presumably through a trip to the Netherlands, the master's painting style changed significantly. In the reception of old Dutch painting, the younger clan master used an overall darker color mood with a red primed coloring, which allowed the figures to be more realistic. The details became more important to him and his works show more pronounced realism. In this, the younger clan master was evidently influenced by painters such as Joos van Wassenhove and Hugo van der Goes . Inspired by them, the tribe master succeeded in creating an image structure designed for depth of observation, more comprehensive landscape images and a more vivid representation of people. The epitaph of the priest Jacob Udeman von Erkelenz from 1492 is considered the earliest work of his second creative period.

At the beginning of the 16th century, the younger clan master, together with the Bartholomew master, was one of the defining artists of the Cologne school of painting. The works of both show a mutual influence without a chronology having been worked out for them so far. Stylistic influence as well as the adoption of image ideas suggest that the master of the Aachen altar was trained in the clan master's workshop.

Works

Altar of the Holy Tribe

Altar of the Holy Tribe
Open view	View when closed

The altarpiece, which gave rise to the emergency name of the younger clan master, was painted around 1503. It is a foundation of Nicasius Hackeney (around 1460 to 1518), a Cologne patrician who worked as a banker and goldsmith and was one of the financiers of Emperor Maximilian . At the same time he was entrusted with prominent functions in the Habsburg financial administration and was a member of the Reichshofkammer. He represented Maximilian in important diplomatic missions and traveled extensively with and for him. Nicasius Hackeney built a renaissance courtyard for the emperor on Neumarkt , which served the emperor as a palace and Hackeney himself as a residence. The castle-like building had to be demolished in 1928 after it fell into disrepair from the 19th century. Hackeney was one of the richest citizens of Cologne and has been referred to as the "Fugger of Cologne".

The reason for the Altar Foundation was the death of Hackeney's wife, Guetgin van Merle, daughter of the Cologne mayor van Merle, who presumably died of the plague in 1502 after only three years of marriage. The oak altar, with a central panel measuring 144 by 187 centimeters, originally stood in the Dominican convent of St. Achatius , Cologne, to which Elisabeth Hackeney, the sister of the founder, belonged.

The open altar shows the eponymous holy clan as a triptych on the central panel and the two donors, Nicasius Hackeney and his wife Guetgin van Merle on the wings. On the middle panel, the artist has gathered together the three Anna herself in a semicircle - that is, Saint Anne , the Mother of God Mary and the Child Jesus - as well as Saint Catherine of Alexandria and Saint Barbara . In the foreground are the two half-sisters of Mary, Maria Kleophas and Maria Salomas, with their children. Behind them stand Joseph and Joachim . As the center of the picture, the artist designed a magnificent throne with four golden columns and a gold-woven brocade carpet as the back wall. There he depicts Anna, the Mother of God Mary and Jesus in a triangular composition. An exchange of rings between the baby Jesus and Katharina may be interpreted as a mystical marriage and as a symbol for the spiritual marriage of a religious woman to Christ. On the outer wings, the donors are recommended by their namesake - Saint Nicasius and Saint Rochus on the left wing and Saint Gudula with Saint Elisabeth of Thuringia on the right wing. Donor and patron are arranged on a detailed fantasy landscape that shows cities, ports and mountain ranges. In the background, incidents from the life of Mary are depicted in four small scenes: the birth of Christ, the offering in the temple, the death of Mary and the Assumption of Mary.

The outside of the altar shows the family of the founder Nicasius Hackeney, his parents and his siblings. On the left side the male relatives are gathered, accompanied by Saint Achatius of Byzantium with ten of his companions and on the right side the female relatives under the care of Saints Cäcilia, Gudula, Helena and Catharina. All the protagonists wear elaborate, almost courtly clothing in Burgundian fashion, which was style-defining in Cologne up to 1505, but was then replaced comparatively quickly by simpler, black clothing of German origin.

Altar of the Seven Joys of Mary

• Altar of the Seven Joys of Mary (open)
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The altarpiece of the Seven Joys of Mary shows the motif of Maria Lätitia , an idea popular in the Middle Ages, which was intended to form the opposite pole to the memory of Mary's sorrows . The work comes from the younger sippemaster's early creative phase, during which he is still clearly influenced by Stefan Lochner and the tradition of the Cologne School of Painting . It was created around 1480 and installed in the Benedictine monastery of the Maccabees in Cologne. The central panel measuring 127 by 182 centimeters is now in the Louvre, the wings in the Germanic National Museum, Nuremberg. One of the outer panels has been lost.

The open altar shows the joyful moments from the life of Mary: on the left the Annunciation, the birth of Christ and the adoration of the kings, on the central panel the offering in the temple, on the right finally the appearance of Christ to the Virgin, the Ascension of Christ and the Assumption of Mary. For the central motif of the offering in the temple, the artist depicted an elaborately decorated, golden altar in which several scenes from the Old Testament - including Moses with the tablets of the law, Cain and Abel and Noah's Ark - are depicted as a relief. The protagonists wear elegant, courtly clothes. The painter also designed the background with care: the tiled floor on the central panel creates a three-dimensional spatial depth. The background of the picture, on the other hand, is in the high Gothic style as a gold ground, in front of which numerous angels appear.

When closed, the altar depicts scenes from the Passion of Jesus: in the upper half, the altar wings show Jesus before Pontius Pilate, the crowning of thorns and the Way of the Cross; in its lower half the nailing of Christ to the cross, the Lamentation and the apostles in front of the empty tomb.

• Altar of the Seven Joys of Mary (closed)
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Intercession images

Epitaph of Jakob Udemann (1492)

Intercession picture with spiritual donor (around 1475)

The intercession picture with spiritual donor is an early work by the younger clan master, probably around 1470/75. It was painted on oak wood in the format 98 by 99 centimeters and set up in St. Kolumba, Cologne. Today it is part of the Wallraf-Richartz Museum. The monogram IM can be seen on the tiles between Christ and Mary.

The younger clan master created the epitaph of Jakob Udemann van Erkelenz in 1492; it is the only work by the artist that can clearly be anchored in time because the date of death of the founder, Jakob Udemann, is documented. The work on oak wood in the format 72 by 62 centimeters was originally set up in St. Stephanus in Walhorn (Eupen); today it is in the Germanisches Nationalmuseum, Nuremberg.

Both intercession images represent the so-called Heilstreppe : the founder is recommended by a saint and his prayer is thus answered by the Blessed Mother. This transmits the prayer to Christ, who in turn recites it to God the Father. The benefactor is in a landscape designed with a horizon and realistic image depth. The heavenly world is set off from it by a golden disk. The color scheme and the landscape depict the artistic development of the younger clan master. The older panel from the first creative period shows bright, bright colors; the landscape opens a horizon, but it is clearly idealized. The Udemann epitaph from the second creative period shows a stronger Flemish influence. The coloring is primed red; the landscape shows a more pronounced attention to detail and therefore creates a more realistic impression.

Gregor's Mass

Gregorsmesse (Heisterbach)

Gregor's Mass (Utrecht)

The younger clan master has the motif of Gregor exhibition presented several times in his works. Today three Gregorian masses are assigned to him. The oldest known version dates from the years 1460 to 1480 and is in the Kolumba Museum in Cologne. A version from 1486 is now in the Rijksmuseum Het Catharijneconvent in Utrecht. The third Gregor Mass was created around 1495 for the church of the old Cistercian abbey in Heisterbach.

The Gregory Mass is a motif of Christian iconography that was popular in the second half of the 15th century. According to legend, Christ appeared in person as the Man of Sorrows before Pope Gregory I during the Mass in order to refute doubts about transubstantiation , the change of the Eucharistic figure of bread and wine into the body and blood of Christ. The younger clan master shows the celebrants in the foreground in precious garments, which are depicted with a high degree of material illusion. The Man of Sorrows appears on or behind the altar and in the Utrecht version a stream of blood runs into the chalice.

Sebastian Altar

Sebastian Altar

The Sebastian Altar (also the story of Saint Sebastian ) was created around 1493/94 as an oak retable for the Augustinian Hermit Convent of Saint Anthony in Cologne. The work, the middle panel of which measures 186 by 257 centimeters, is now in the Wallraf Museum in Cologne . It shows various scenes from the life of St. Sebastian: the left wing depicts Sebastian's teaching activities, the middle panel depicts the torture and the right wing depicts the death of the saint.

The illustration on the left shows the soldier Sebastian encouraging his fellow believers Marcus and Marcellus on their way to prison or to be executed; a woman kneels before the saint. On the central panel, Sebastian is tied to a pillar and pierced by arrows. Behind it on the right is shown simultaneously how the saint is miraculously healed from his tortures. On the right wing, Sebastian is shown tied to a pillar on which he is beaten to death. In the background on the left, the corpse is thrown into the Cloaca Maxima of the city of Rome. A bathhouse is shown next to it. Individual figures are shown particularly physically. So the woman who speaks to Sebastian on the left wing shows her bare breasts. On the middle panel, but especially on the right wing, the figure of Sebastian shows a very explicit representation. This has repeatedly led to the interpretation that the foundation of the altar originally had a pagan background.

Circumcision of Christ

Circumcision of Christ

The circumcision of Christ , together with the altar of the holy clan, is considered a “masterpiece of the mature creative phase”. This altarpiece was originally donated by the city councilor Johann von Questenburg and his wife to the St. Kolumba church in Cologne and later moved to the Alte Pinakothek in Munich. The two protagonists, Mary and the high priest, who are preparing for circumcision, are surrounded by a large number of solemnly dressed people. Remarkably, in the center of the picture lies a yellow glove in a perfect illusion of materiality over the edge of the altar. The scene shows the painter in a temple with columns on which individual statues are depicted in grisaille technique. The two donors are depicted praying on a knee bench to the right and left of the scene and identified with their respective coats of arms. In the middle distance the painter shows two inner courtyards in which the birth of Christ is depicted on the left and the adoration of the kings on the right.

Other works

• Mary on the crescent moon with saints and the family of Count Gumprecht. The retable with a raised central structure is dated to 1484, the year of death of the founder, Count Gumprecht. Wallraf-Richartz-Museum, Cologne.
• Richterich Altar. Created around 1490 for the parish church of St. Martinus in Aachen-Richterich. Split today: inner wing at Indiana University Bloomington, outer wing privately owned.
• Altar wing with the martyrdoms of Saints Quirinus and Balbina. Suermondt Ludwig Museum, Aachen.
• Lamentation of Christ with the founder, created around 1483/1485 for St. Cäcilia, Cologne. Wallraf-Richartz-Museum, Cologne.
• Adoration of the Magi, Wings of a Lost Altar, around 1490, New York, Metropolitan Museum of Art.

literature

• Marga Kessler-van den Heuvel: Master of the Holy Kinship the Younger (= European University Writings Série XXVIII, No. 75), Frankfurt a. M. 1987, ISBN 978-3-8204-1006-8 .
• Marga Kessler-van den Heuvel: The Richtericher Altar from the Master of the Holy Tribe the Younger. In: Aachener Kunstblätter. Volume 54-55 (1986-1987), pp. 260-274, uni-heidelberg.de
• Werner Esser: The Holy Clan. Studies on a late medieval pictorial theme in Germany and the Netherlands , Rheinische Friedrich-Wilhelm University Bonn 1986 (diss.).
• Lesa Mason: A Late Medieval Cologne Artistic Workshop: The Master of the Holy Kinship the Younger, a Technical and Art Historical Study, Indiana University 1991 (Diss.)
• Ulrike Nürnberger: A turning point. Two Cologne painters around 1500. Younger master of the Holy Kinship, master of the Aachen altar (= pictures in focus ). Gemäldegalerie - Staatliche Museen zu Berlin Preußischer Kulturbesitz, Berlin 2000, ISBN 3-88609-310-7 (exhibition catalog, Staatliche Museen zu Berlin, Gemäldegalerie, March 17 - June 18, 2000).
• Thesy Teplitzky: The "Altar of the Holy Kinship " in the Wallraf-Richartz Museum. Considerations on dating, figure program and reason for the foundation , Wallraf-Richartz-Jahrbuch, 57, 1996, pp. 231–247
• Frank Günter Zehnder: Gothic painting in Cologne, Altkölner Bilder von 1300-1550 , ( picture booklets for the Wallraf-Richartz-Museum collection No. 2), Cologne 1993

Web links

Commons : Younger Kinship Master  - Collection of images, videos and audio files

• deutschefotothek.de: Master of the Holy Kinship the Younger
• bildindex.de: Master of the Holy Kinship (the younger)
• kollerauktionen.ch: Master of the holy clan dJ

Individual evidence

1. ↑ Marga Kessler-van den Heuvel: Master of the holy clan the younger.
2. ↑ Marga Kessler-van den Heuvel: The Richtericher-Altar from the master of the holy clan the younger . In: Peter Ludwig (Ed.): Aachener Kunstblätter . tape 54-55 (1986-1987) . M. Dumont Schauberg, Cologne, p. 260 , doi : 10.11588 / AKB.1986.0.36212 ( uni-heidelberg.de ).
3. ↑ H. Rode: The names of the masters of the Holy Kinship and of St. Severin, Wallraf-Richartz Jahrbuch 31, 1969, p. 249 ff.
4. ↑ larousse.fr: Maitre de la Sainte Parenté
5. ↑ Bildindex.de: Master of the holy clan (the younger)
6. ↑ Marga Kessler-van den Heuvel: The Richtericher-Altar from the master of the holy clan the younger . In: Peter Ludwig (Ed.): Aachener Kunstblätter . tape 54-55 (1986-1987) . M. Dumont Schauberg, Cologne, p. 270 , doi : 10.11588 / AKB.1986.0.36212 ( uni-heidelberg.de ).
7. ↑ larousse.fr: Maitre de la Sainte Parenté
8. ↑ Bildindex.de: Master of the holy clan (the younger)
9. ↑ Ulrike Nürnberger: Turn of Time. Two Cologne painters around 1500. Younger master of the Holy Kinship, master of the Aachen altar (= pictures in focus ). Gemäldegalerie - Staatliche Museen zu Berlin Preußischer Kulturbesitz, Berlin 2000, ISBN 3-88609-310-7 (exhibition catalog, Staatliche Museen zu Berlin, Gemäldegalerie, March 17 - June 18, 2000).
10. ↑ Thesy Teplitzky: Money, Art, Power. A Cologne family between the Middle Ages and the Renaissance: The Hackeney Family Foundations, Cologne 2012
11. ↑ rp-online.de: The Hackeney family: illustrated book about the Fuggers of Cologne
12. ↑ Thesy Teplitzky: The "Altar of the Holy Kinship" in the Wallraf-Richartz-Museum. Considerations on dating, figure program and reason for the foundation, Wallraf-Richartz-Jahrbuch, 57, 1996, p. 244.
13. ↑ Thesy Teplitzky: The "Altar of the Holy Kinship" in the Wallraf-Richartz-Museum. Considerations on dating, figure program and reason for the foundation, Wallraf-Richartz-Jahrbuch, 57, 1996, p. 238. bildindex.de: Altar Hackeney
14. ↑ Thesy Teplitzky: The "Altar of the Holy Kinship " in the Wallraf-Richartz Museum. Considerations on dating, figure program and the occasion of the foundation. In: Wallraf-Richartz-Jahrbuch. 57, 1996, p. 238 ( bildindex.de: Altar Hackeney ).
15. ↑ Thesy Teplitzky: The "Altar of the Holy Kinship" in the Wallraf-Richartz Museum. Considerations on dating, figure program and foundation occasion . In: Friends of the Wallraf-Richartz-Museum and the Museum Ludwig eV (Hrsg.): Wallraf-Richartz-Jahrbuch . tape 57 . Dumont, 1996, ISSN  0083-7105 , pp. 231-247 , JSTOR : 24661633 .
16. ↑ bildindex.de: Altar Hackeney
17. ↑ Thesy Teplitzky: The "Altar of the Holy Kinship" in the Wallraf-Richartz-Museum. Considerations on dating, figure program and reason for the foundation, Wallraf-Richartz-Jahrbuch, 57, 1996, p. 240f.
18. ↑ www2.culture.gouv.fr: Reredos of the Seven Joys of Mary
19. ↑ objektkatalog.gnm.de: Altar of the Seven Joys of Mary
20. ↑ Kulturelles-erbe-koeln.de : Intercession picture with spiritual donor
21. ↑ kunstbeziehung.goldecker.de: Epitaph of Jakob Udemann
22. ↑ object catalog of the collection of the Germanisches Nationalmuseum: Epitaph of Jakob Udemann
23. ↑ bildindex.de: Gregorsmesse
24. ↑ bildindex.de: Gregorsmesse
25. ↑ Kulturelles-erbe-koeln.de : Sebastian Altar
26. ↑ larousse.fr: Maitre de la Sainte Parenté
27. ^ "Circumcision of Christ", Alte Pinakothek, Room III, n ° WAF 652.
28. ^ Wallraf-Richartz-Museum & Fondation Corboud, Cologne, inv. No. WRM 0853.
29. ↑ Marga Kessler-van den Heuvel: The Richtericher-Altar from the master of the holy clan the younger, in: Aachener Kunstblätter, Vol. 54–55, 1986–1987, pp. 260–274, journals.ub.uni-heidelberg.de
30. ↑ Martyres de Quirin et Balbine , Museum Suermondt-Ludwig, inv. 311.
31. ^ Wallraf-Richartz-Museum & Fondation Corboud, painting collection, inv. WRM 0159. Lamentation of Christ with founder
32. ↑ "Adoration des mages" at WebArt, "Trinité" in WebArt, Vente Sotheby's du 23 janvier 2013, Lot 8 and Sotheby's Lot 4846127 .