Juncker (family of sculptors)
Juncker is the name of a Franconian family of artists whose members worked from the end of the 16th century to the end of the 17th century.
Members of the Juncker dynasty (also Junker, Junckher, Yuncker, Guncker, Seaucker ) worked in Franconia at the representative offices of the regional elites.
As sculptors, they made portals , altars , baptismal fonts , tombs , pulpits , wayside shrines and chimneys with figurative decorations. Preferred materials were alabaster , sandstone , tuff and marble . Only a few terracotta and woodwork have survived. The stylistic features of her works go through Renaissance , Mannerism and Baroque and create a regional expression in large parts of Franconia.
Michael Juncker the Elder Ä.
The first mention of Michael Juncker d. Ä. can be found in Walldürn (Odenwald) in 1588 . Origin and place of training are unknown. The birth period of the children suggests their own year of birth between 1550 and 1560. The year of death of Michael Juncker, meanwhile a citizen of Miltenberg am Main, is around 1625. Larger works by him can be found in Weikersheim Castle (chimney of the knight's hall) and in the St. Burkhard Church in Messelhausen / Tauberfranken (portal, apostle altar, sacrament house ). Orientation is in the ornamental Floris style . Of the four known sons, three became sculptors and one Michael Juncker's workshop assistant.
Johannes (Hans) Juncker
He lived from approx. 1582 to approx. 1624 and was the “child prodigy” of the sculptor family. His first personal work, which he completed at the age of sixteen, is the altar of the village church in Darstadt near Ochsenfurt . After training with his father Michael and marriage in Miltenberg in 1606, Johannes Juncker was in the service of Archbishop of Mainz, Johann Schweikhard von Kronberg . In collaboration with architect Georg Ridinger and sculptor Johannes Juncker, the Johannisburg in Aschaffenburg was converted into the archbishop's second residence in the following years. One of the most important systems of the late Renaissance in Germany was created.
The youth work of Johannes Juncker consisted mainly of tuff and was based on the example of his father (examples in Würzburg , Arnstein , Aschaffenburg ). The preferred material for other creative phases of J. Juncker was alabaster. The “fine style” was characterized by a sweet softness (e.g. pulpit collegiate church Aschaffenburg). With the main altar of the castle chapel in Aschaffenburg, Juncker's style approached fellow artists like Hubert Gerhard . His figures were given more volume, a strong movement and overstretched limbs and thus mannerist features. In the following works, Johannes Juncker expressed intense intimacy (Magdalene Altar Aschaffenburg). Around 1624 the track of the sculptor is lost. His brother Zacharias based himself on the styles of Johannes Juncker and continued the family sculptural tradition.
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Zacharias Juncker the Elder Ä.
Zacharias lived from around 1578 to 1665. He was Michael Juncker's oldest son. After training in his father's company and marriage in 1606, he became a citizen of Würzburg in 1608. Around 1620 he returned to his very likely hometown Walldürn in order to create his main work for the pilgrimage church of St. Georg over several years . The Holy Blood Altar, whose rich, detailed jewelry forms are made of alabaster, is still today a repository for the miraculous corporal and thus the center of one of the great pilgrimages in Germany. Particularly noteworthy are four reliefs that illustrate episodes of the miraculous tradition and are considered independent compositions. Zacharias Juncker staged organic shapes with fruit cords, putti and volutes even more clearly than his brother, who was his role model. From Miltenberg, Zacharias supplied the area between Aschaffenburg and Ebrach with high-quality sculptures over the next four decades . His son Zacharias Juncker the Younger also ran a sculpture workshop in Miltenberg .
Zacharias Juncker the Elder J.
He lived from 1622/23 to 1685, was a master craftsman since 1654, worked for a long time on his father's orders (e.g. at the new gate of the Marienberg fortress in Würzburg, for which he also created the Keilstein masks on the inside of the gate in 1652). Works without the participation of the elder can only be named after his death. The cross altar in Bronnbach / Tauber monastery , which was built between 1667 and 1670, and several portals at Homburg Castle in front of the Höhe around 1680 are part of it. The use of sinuous columns and the freezing of the figures in motion (e.g. with the riding Landgrave in Homburg or with an angel torso in the Cathedral Treasury Museum in Würzburg) are stylistic innovations in the contemporary taste of the Baroque.
Valentin Juncker
Valentin Juncker lived from around 1585 to 1651 and is mentioned in the book Die Ansbacher Hofbaumeister by Adolf Bayer, where his signature can be found among other things. Valentin Juncker had several children. His daughter Barbara Elisabeth Juncker was born on June 1, 1615 in Ansbach and married Hanß Habold on November 23, 1651 in Horkheim near Heilbronn. The descendants of these two were to a large extent officials and now live worldwide. When they married, their father Valentin Juncker was referred to as the deceased sculptor zu Onoltzbach (today Ansbach in Bavaria). According to Adolf Bayer, Valentin Juncker was a foreign artist who worked in Ansbach and had been there since 1609. Adolf Bayer refers to the Juncker family of sculptors, who gained great fame in Mainfranken, zu Miltenberg, Aschaffenburg and Walldürn. Valentin Juncker was probably a son of Michael Juncker the Elder. Ä. Valentin Juncker's works were, for example, a font made from Windsheim sulfuric acid limestone, which later came to the church in Merkendorf . According to Adolf Mayer, Valentin Juncker finally switched from sculpture to architecture in 1621 after receiving his fee, after drawing up plans, demolitions and sights for the Ansbach town hall. Thus he rose in the Bayreuth-Kulmbach principality to the Brandenburg court master builder, where he built the Scharffeneck Palace for Margrave Christian from 1624, showing his solidarity with the Aschaffenburg artist family Juncker. He was referred to as an “artful builder from the Princely Brandenburg region”. Valentin Juncker also created plans and a wooden model of the choir of St. Stephen's Church in Bamberg and worked for the Count of Mansfeld after 1628. The mayor of Ansbach, Wolfgang Seuboldt, helped him achieve the title of court architect, who commissioned him to build the Ansbach town hall.
Exhibitions
- May 10th to September 7th 2014: child prodigy with hammer and chisel - the sculptor Hans Juncker and the Aschaffenburger Schlossbau , Aschaffenburg Castle Museum , Johannisburg Castle .
literature
- Adolf Bayer: The Ansbach court builders building a Franconian residence. Schöningh, Würzburg 1951.
- Leo Bruhns: Würzburg sculptor of the Renaissance and the nascent Baroque 1540–1650 . Weinzinger, Munich 1923 ( individual representations of southern German art. Volume 5)
- Wolfgang Brückner : The adoration of the Holy Blood in Walldürn . Pattloch, Aschaffenburg 1958 ( publications by the History and Art Association of Aschaffenburg eV Volume 3)
- Max Herrmann von Freeden: The large chimney in Weikersheim - A work by Michael Juncker . In: Mainfränkisches Jahrbuch für Geschichte und Kunst . Volume 2. Friends of Mainfränkischer Kunst und Geschichte, Würzburg 1950, ISSN 0076-2725
- Werner Helmberger among others: Hans Juncker and the Aschaffenburger Schlosskapelle, Munich 2014.
- Christiane Kummer, Beatrize Söding: Art treasures in the St. Nikolauskirche in Eibelstadt . Heimatverein, Eibelstadt 2002 ( Heimatbogen. Volume 12)
- Cornelius Lange: Sculptor between late Renaissance and Baroque, Hans Juncker's origins, life and work, in: Thomas Richter (ed.): The sculptor Hans Juncker. Wunderkind between Renaissance and Baroque, Munich 2014 (exhibition catalog), pp. 67–103.
- Thomas Richter: "... a completely new hewn stone with a sculptor ... to have it made and manufactured by an artful sculptor." Hans Juncker's retrospective work in the Aschaffenburg collegiate church, in: Ders. (Ed.): The sculptor Hans Juncker. Wunderkind between Renaissance and Baroque, Munich 2014 (exhibition catalog), pp. 155–183.
- Ernst Schneider: Juncker, Hans. In: New German Biography (NDB). Volume 10, Duncker & Humblot, Berlin 1974, ISBN 3-428-00191-5 , p. 659 ( digitized version ).
- Ernst Schneider: Juncker, Zacharias the Elder. In: New German Biography (NDB). Volume 10, Duncker & Humblot, Berlin 1974, ISBN 3-428-00191-5 , pp. 659 f. ( Digitized version ).
- Beatrize Söding: Who is Hans Juncker? Reflections on style formation and the artistic horizon, in: Thomas Richter (ed.): The sculptor Hans Juncker. Child prodigy between Renaissance and Baroque, Munich 2014 (exhibition catalog), pp. 105–153.
- Achim Ullrich, Manuel Trummer: Late Renaissance - On the trail of the Juncker family of sculptors in the eastern Odenwald and in Franconia. In: The Odenwald . Journal of the Breuberg-Bundes 60/4, 2013, pp. 142–154.
- Rudolf Vierengel: New archival finds on the biography of the Frankish sculptor family Juncker . In: Aschaffenburg yearbook for history, regional studies and art of the Lower Maing area . Volume 3. Aschaffenburg History and Art Association, Aschaffenburg 1956, ISSN 0518-8520
Web links
Individual evidence
- ↑ Stefan Kummer : Architecture and fine arts from the beginnings of the Renaissance to the end of the Baroque. In: Ulrich Wagner (Hrsg.): History of the city of Würzburg. 4 volumes; Volume 2: From the Peasants' War in 1525 to the transition to the Kingdom of Bavaria in 1814. Theiss, Stuttgart 2004, ISBN 3-8062-1477-8 , pp. 576–678 and 942–952, here: pp. 613 and 623.
- ^ Announcement on the exhibition ( memento of August 15, 2014 in the Internet Archive ), accessed on September 3, 2014.