Leonhard Vogt

This article deals with the carpenter and sculptor Leonhard Vogt. For the doctor, see Leonhard Voigt .

Vogt's signature on the altar in Dickenreishausen

Leonhard Vogt (actually Johann Leonhard Vogt ; born November 25, 1837 in Memmingen ; † April 26, 1928 there ) was a German cabinet maker , altar builder and sculptor .

In addition to the craft production of furniture , numerous church furnishings such as altars , pulpits and baptismal fonts that can be assigned to the style of historicism were created in his studio at the end of the 19th and early 20th centuries . The furnishings he created are mainly located in Protestant churches in the Bavarian administrative district of Swabia and, from the 1880s onwards, played a dominant role in the church landscape within the Protestant art of historicism , especially for the area around the Memmingen dean's office .

life and work

Vogthaus (Hintere Gerbergasse 13)

Vogt was born in Memmingen in Upper Swabia . He came from a traditional carpentry family that can be traced back to the 18th century in Memmingen. Like his father of the same name, who died in 1841, he also learned the carpentry trade. On February 1, 1861, he registered his own business in house number 749 in Hinteren Gerbergasse (today house number 13). In this building, known as the Vogthaus , Leonhard Vogt had his own workshop and apartment. On September 8, 1864, he married his wife Mathilde (née Sturm), with whom he had a total of five children: Johann Leonhard (1865), Aline Mathilde (1866), Wilhelmine (1870), Emma (1874) and Karl (1880). After the father's business was transferred to the first-born son Johann Leonhard jr on September 19, 1901. passed over, Vogt gradually retired from professional life and lived as a privateer in his hometown until his death on April 26, 1928 .

His second son Karl Vogt also inherited his father’s artistic legacy and received training as an academic sculptor at the Eberle sculpture school at the Royal Academy of Fine Arts in Munich , which he joined on October 21, 1901.

The studio for Christian art

Advertisement for the Christian art studio from the Christian Kunstblatt from 1890

Like his ancestors and relatives, Leonhard Vogt initially worked as a cabinet maker and cabinet maker. In 1881 he received a grant from the regional council to attend the drawing school in Partenkirchen . Then Vogt converted his company into an art joinery, which, in addition to the joinery, also had its own sculptor's workshop and craft furniture production in house no. 578 in Kramerstraße (today house number 27). The branch in Kramerstrasse also contained a magazine for trading in various wooden products.

In addition to the craft furniture production, Leonhard Vogt's workshop mainly produced church furnishings, mainly for Protestant churches, from this point on. The company was now run and advertised under the name Atelier for Christian Art , which can be seen in a full-page advertisement from the 1890 Christian Art Journal . This advertisement is a “ pasticcio made of Gothic shapes and set pieces, it shows u. a. the view into a Gothic choir with a sky-storming, filigree altar. "

The studio for Christian art was mainly specialized in the production of historicist church furnishings. Reiner Sörries writes that Vogt's altars are “in neo-Gothic shapes and are consciously based on medieval, German models”, which fully corresponded to the contemporary understanding of art of the late 19th century. In contrast to the generally of Nazarenertum marked tendency in the church art of the late 19th century, containing Vogt's but no altars Retabelbilder but are almost invariably sculpturally decorated and offered the Nazarene Art no space. In addition to the predominantly neo-Gothic furnishings, other historicizing styles, such as neo- baroque , also belonged to the repertoire of the Vogt'schen Werkstätte.

plant

Hans Stark and Hans Herlin, late Gothic choir stalls (1501–1507), choir, St. Martin , Memmingen

Leonhard Vogt's studio gained more and more influence from the late 1880s, especially in the Swabian Protestant region. Significantly, almost all historicist church furnishings in this area at the end of the 19th century were made by him. In the dean's office in Memmingen, all new sacred furnishings in Protestant churches were carried out by Vogt or his workshop from this time on. This resulted in numerous works that can be ascribed to Leonhard Vogt through signatures , invoice receipts and design drawings until the beginning of the 20th century .

The first verifiable work by Vogt is the altar made in 1887 for the children's teaching church in Memmingen. Numerous other pieces of equipment followed for some of the Evangelical Lutheran communities that historically belonged to the territory of this formerly free imperial city . Including Woringen (1892), Frickenhausen (1893), Arlesried (1896) and Dickenreishausen (1898).

Leonhard Vogt, Last Supper (1893), high altar, St. Mang , Kempten

Tilman Riemenschneider , Last Supper (1501/1505), Holy Blood Altar , St. Jakob , Rothenburg ob der Tauber

Vogt was also responsible for the restoration work between 1880 and 1901 on the choir stalls of St. Martin's Church in Memmingen , which is "next to the Ulm and Konstanzer the richest stalls from the late Gothic period in southern Germany" ( Georg Dehio ). This restoration project, which was headed by the Royal Conservatory General (the forerunner of today's Bavarian State Office for the Preservation of Monuments ) and which by today's standards represented an extremely progressive concept of monument , sparked real controversy among the important contemporary personalities of Munich's art and cultural life. Especially between Rudolf von Seitz and Georg von Hauberrisser , who took over the management of the project, a fierce debate arose about the question of how to proceed with monument preservation during such a restoration.

However, the scope of the Vogt'schen Werkstätte was not limited to the Memmingen area. So come u. a. a neo-baroque altar and a pulpit in wood swing as well as the neo-Gothic high altar of the Protestant parish church St. Anna in Augsburg completed in 1898 by him. Occasionally even Vogt's works can be found in Franconia . So z. B. a pulpit in the parish church of Wüstenselbitz from 1901.

The high altar of the Kempten parish church of St. Mang is considered to be his main work . This was carried out according to drafts by JM Schmietz, architect at the local construction management of St. Sebald in Nuremberg . The neo-Gothic altar made of solid oak contains several scenes from the life of Jesus, all of which were made of limewood. The altar is modeled on several late Gothic carved altars. For example, the communion scene in the predella is borrowed directly from Tilman Riemenschneider's Holy Blood Altar in Rothenburg ob der Tauber . In addition to various awards in Nuremberg and Munich, Vogt was also able to win the gold medal with this work at the great world exhibition in Chicago , the World's Columbian Exposition , in 1893. In 1896 the altar was sold to the parish of St. Mang in Kempten, where it is still located today.

Works (selection)

The following list contains some examples of sacred works by Leonhard Vogt and is intended to reflect a representative cross-section of his work as an art carpenter, altar builder and sculptor.

image	Originated	place	Object description
(More pictures)	1887	Children's teaching church , Memmingen (Location)	Neo-Gothic altar made of oak with the group of figures Christ blesses the children made of natural limewood.
(More pictures)	1892	Our women , Woringen (Location)	Neo-Gothic altar with crucifixion group ( Christ on the cross , Mary and John ) flanked by St. Peter (left) and St. Paulus (right) without color version.
(More pictures)	1893	St. Mang , Kempten (Location)	Neo-Gothic high altar made of oak based on the model of medieval carved altars (e.g. Holy Blood Altar in Rothenburg ob der Tauber by Tilman Riemenschneider). In the center of the cabinet a scene with the Passion group . In the reredos in iconographic order the scenes: Annunciation , birth of Jesus , entry of Jesus into Jerusalem and prayer of Christ on the Mount of Olives . The Lord's Supper is in the predella . In conversation Enge four angels and in the center of the Savior ( Salvator Mundi ). All sculptures are made of linden wood and not colored. The work was based on a design by the Nuremberg architect Jos. M. Schmitz made as an exhibit for the world exhibition in Chicago .
(More pictures)	1893	St. Vitus , Frickenhausen (Location)	Neo-Baroque, color-framed oak altar. In the center of the reredos is the crucified Jesus Christ , flanked by St. Peter (left) and St. Paul (right). Behind the crucifix is ​​a gilded relief with the heavenly Jerusalem .
(More pictures)	1896	St. Ursula , Arlesried (Location)	Simple, colored altar with retable crucifix in neo-Gothic style.
(More pictures)	1898	St. Agatha , Dickenreishausen (Location)	Neo-Gothic altar with reredos crucifix. In the reredos, St. Peter (left) and St. Paul (right). In the predella there is a relief of the Lamb of God ( Agnus Dei ). The altar and the sculptures are mostly colored.

literature

• Vincent Mayr: The German Perugino. Observations and thoughts on the Riemenschneider picture of the 19th and 20th centuries. In: Musis et Litteris. Festschrift for Bernhard Rupprecht, Silvia Glaser, Andrea M. Kluxen (Eds.). Fink-Verlag, Munich 1993, ISBN 3-7705-2859-X , pp. 423-234, in particular pp. 428 f.
• Katharina von Miller: The controversy surrounding the restoration of the Memmingen choir stalls in the years 1890–1901. In: Memminger Geschichtsblätter. No. 55, 2006/2007. Memminger MedienCentrum, Druckerei und Verlags-AG, ISSN  0539-2896 , pp. 195–220.
• Andreas Schnurrenberger: Johann Leonhard Vogt. A Memmingen art carpenter of historicism. In: Memminger Geschichtsblätter. No. 59, 2012/2013. Memminger MedienCentrum, Druckerei und Verlags-AG, ISSN  0539-2896 , pp. 121–155.
• Reiner Sörries: Influence of Nazarene sentiments on the church art of Protestants in Bavarian Swabia. In: Yearbook of the Association for the History of the Augsburg Diocese. No. 24, 1990. Publishing house of the Association for Augsburg Diocesan History e. V., ISSN  0341-9916 , pp. 244-261, in particular pp. 256 ff.

Web links

Commons : Leonhard Vogt  - album with pictures, videos and audio files

Individual evidence

1. ↑ All information about the person and workshop of Leonhard Vogt, which is not documented, comes from the holdings of the Memmingen City Archives (StadtA MM) and was researched by Edmund Melzl and summarized in writing on July 13, 2001 (copy in the Memmingen City Archives).
2. ^ Sabine Rogg, Christoph Engelhard: Memmingen. Key to the city. Maximilian Dietrich Verlag, Memmingen 2007, ISBN 978-3-87164-166-4 , p. 111.
3. ^ Matriculation book of the Royal Academy of Fine Arts in Munich: Matriculation number 02367
4. ^ Article in the Memminger Zeitung of October 27, 1881 (StadtA MM): W. Spangenberg: Lokales. In: Memminger Zeitung. No. 256, 1881, p. 3.
5. ↑ Christian art paper for church, school and home, 1890.
6. ↑ ^{a b} Sörries 1990, p. 257.
7. ↑ Sörries 1990, p. 258.
8. ^ Julius Miedel: Guide through Memmingen and the surrounding area . First part. 3. Edition. Publishing and printing cooperative Memmingen, Memmingen 1929, p. 85.
9. ↑ Bruno Bushart, Georg Paula: Schwaben (= Georg Dehio: Handbook of German Art Monuments, Bavaria. Volume III). 2nd Edition. Deutscher Kunstverlag, Munich, Berlin 2008, ISBN 978-3-422-03116-6 , p. 1134.
10. ↑ Werner Mayer (Ed.): Frickenhausen - Unterallgäu . A village introduces itself . Memminger MedienCentrum, Druckerei und Verlags-AG, Memmingen 2008, p. 61.
11. ^ Wolfgang Müller: Chronicle of Dickenreishausen near Memmingen . Verlag der Otto'schen Buchdruckerei, Memmingen 1908, p. 60 f.
12. ↑ Walter Braun, Hilde Miedel (ed.): Opinions about Memmingen. Verlag für Heimatpflege, Kempten 1965, p. 81.
13. ↑ Miller 2006/2007, pp. 195 ff.
14. ↑ Bushart / Paula 2008, p. 493.
15. ↑ Bushart / Paula 2008, p. 67.
16. ^ Helmuth Meißner: Construction and equipment of Protestant churches in Upper Franconia in the 19th century . Schulze Verlag, Lichtenfels 2001, ISBN 3-87735-165-4 , p. 141.
17. ↑ ^{a b} Otto Nikolaus Witt (Ed.): Official catalog of the exhibition of the German Empire . Columbian World's Fair in Chicago . Reichsdruckerei, Berlin 1893, p. 22.
18. ↑ Mayr 1993, p. 429.
19. ↑ Wolfgang Haberl: Evangelical St. Mang Church Kempten . Self-published by the parish, Kempten 1972.
20. ^ Leaves for architecture and handicrafts . 9th year. A. Braun, Berlin 1888, p. 64 , plate 107 ( Textarchiv - Internet Archive , Textarchiv - Internet Archive - Carved altar for a Gothic church).