Johann Georg Lindt
Johann Georg Lindt (* 4. March 1734 in Obervellach ; † 13. July 1795 in Burghausen ) one was sculptor of the rococo .
Life
Johann Georg Lindt was born on March 4, 1734 in Obervellach, Carinthia, as the illegitimate child of the country nobleman Johann Hieronymus von Lindt and Barbara Grübler. His mother later married the mining hat man Christian Moriz in Lind an der Drau. Lindt grew up here. Nothing is known about his apprenticeship and hiking time.
In 1758 he married 18-year-old Maria Franziska Schnabl in Burghausen, Bavaria. The wife was the daughter of a sculptor Johann Jakob Schnabl, who died in 1756. At this point in time, Lindt was also working as a journeyman in the workshop. The marriage with the daughter of the sculptor Schnabl enabled Lindt to take over the workshop. He received sculptor justice and citizenship of the city. The young couple had three children, all of whom died in childhood. In 1763 Lindt moved the workshop, originally in the Grüben , to what is now known as the Sculptor's House in the Messerzeile.
Lindt received its first major order around 1761. He was able to build the altars of the Marienberg pilgrimage church for Abbot Emanuel II von Raitenhaslach . This also strengthened the workshop economically. He was now highly regarded as a citizen and was later elected to the external council of Burghausen in 1785. He also took on a teaching post at the Burghausen drawing school. By this time the orders had already fallen sharply. The reasons for this were the financial situation of the state and the church institutions. Lindt felt this as early as 1768, with the reorganization of the clergy in Munich. For the first time, the ecclesiastical council rejected an altar design by Lindt and demanded that it be simplified. If the costs were primarily argued here, the electoral mandate of 1770 declared war on “superfluous stuckador and other often inconsistent and ridiculous adornments” in favor of a “noble simplicity appropriate to the veneration of the sanctuary”.
Lindt now designed the altars much more simply. But you are still committed to the baroque. Around 1775 these orders dried up completely. In 1777 Bavaria ceded the Innviertel to Austria , Burghausen became a border town and lost half of the hinterland. The increased economic decline of the city and the simultaneous enlightenment rationalism of the electoral clergy put an end to the sculpting and altar building tradition of Burghausen. One of Lindt's last verifiable work is the tomb of the Count of Closen in St. Georg in Gern , which was created in 1780 . At the same time, it is the only one that is committed to classicism . Johann Georg Lindt died on July 13, 1795 at the age of 62 in Burghausen.
Client
Abbot Emanuel II. Mayr von Raitenhaslach was the first important client. He put his trust in sculptor Lindt when he initially commissioned him to build the altar in the abbot's chapel of the new prelature of the Raitenhaslach Abbey, in order to then have the main altar and the two side altars of the new Marienberg pilgrimage church made for him. Lindt worked on these altars and their rich sculptural jewelry from 1761 to 1764. Marienberg was his first major altar commission and should remain his main work.
A second important client was the pastor of Höslwang , Joseph Guidobald Graf von Spaur. Lindt was able to provide him with a design for the high altar as early as 1761 and then, after 1764, executed all the altars in the parish church in Höslwang . The biographer Carl Graepler suspects that the pastor, impressed by Ignaz Günther's altar sculptures in Rott am Inn , recommended this work to Lindt for study. In any case, Ignaz Günther's role model is evident in Lindt's work.
No client was the Burghausen church lord and councilor Baron Karl von Lippert. In the strictly centrally regulated ecclesiastical building industry of the Electorate, the drafts and applications for new altars in the Burghausen Rent Office initially went through his desk. He was therefore an important reference person for Lindt. It seems that he did not discriminate against the local master Lindt in his work area Burghausen, the neighboring Ach and the churches in the care court of Kling . The actual initiators and builders for these applications were always the incumbent rural pastors.
Area of activity, working method and artistic performance
For public, that is mostly church orders, Lindt was guaranteed the local sphere of activity around Burghausen and in the Kling nursing court. He was also called in where there were no or only few qualified sculptors in neighboring nursing courts. This is the case for the pulpit in Ostermiething (1761) or the sculptures in Kastl (around 1775). He was not known beyond these narrow boundaries.
As shown above, every altar design and cost estimate were sent to the approval authority in Munich, the electoral clergy. From the files that have been preserved, it can be seen that Lindt was the author of the entire work, but only offered the sculptural works. The altar carpenter, the sculptor , the barrel painter and the painter of the altar sheet therefore worked on the completed work . Not the designer and sculptor Lindt, but the barrel painter was the highest paid master.
Carl Graepler assesses the artistic achievement of the master from Burghausen as follows:
“Lindt doesn't revolutionize, doesn't bring anything that others haven't already had. Nor can one apply the standard by which the art of the great, which proves to be perfect down to the last detail, to be applied to one's work. But he creates his life's work in a way that seems to be true to the medieval work, which is both a climax and a conclusion for Burghausen's sculptural tradition. In doing so, he reaches a level of artistic quality that, even if it does not come close to that of the very great masters, clearly stands out above the rank of no less contemporary. "
Works (selection)
- Statue of Sebastian in St. Jakob , Burghausen (1759)
- Figure of St. Magdalena in Heiligkreuz , Burghausen (1759)
- Chapel altar in Raitenhaslach monastery , abbot's chapel in the new prelature (1762)
- High altar, Anna altar and Bernhard altar of the Marienberg pilgrimage church (around 1762)
- Gravestone of Maria Anna von Heppenstein in St. Jakob, Burghausen (1766)
- High altar (1766), Laurentius altar (around 1768/73). Sebastian Altar (around 1768/73), four free-standing figures (around 1769/70, two of them from Eggstätt), altar of the Antonius Chapel (around 1775/76) in St. Nikolaus in Höslwang
- Crucifix in the Capuchin Church of St. Anna in Burghausen (around 1770)
- High altar (1771), two side altars (1772), two oratorios and door pieces in the choir (1772), four oratorios in the nave (1774), larger stucco work (1772) in the Visitation of Mary in Hochburg-Ach
- Figure group of hll. Sebastian, Anna, Joachim and Joseph in Assumption of Mary in Kastl (1775)
- Guardian angel group in facade niche above the church portal of the Holy Guardian Angel monastery in Burghausen (around 1775)
literature
- Carl Graepler: Johann Georg Lindt - A contribution to the history of Bavarian sculpture in the 18th century. Dissertation, Munich 1954 ( digitized version ).
Web links
- Biography and complete catalog raisonné of Johann Georg Lindt on sueddeutscher-barock.ch
Individual evidence
- ↑ Mandate de anno 1770 in terms of concurrentiae for the construction of churches and rectories . In: Collection of the newest and most remarkable Churbaierischen Generalien and Landesverordnung . Munich 1771, p. 493 .
| personal data | |
|---|---|
| SURNAME | Lindt, Johann Georg |
| BRIEF DESCRIPTION | Rococo sculptor |
| DATE OF BIRTH | March 4, 1734 |
| PLACE OF BIRTH | Obervellach |
| DATE OF DEATH | July 13, 1795 |
| Place of death | Burghausen |