Master of Messkirch

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Dreikönigsbild, Messkirch

As Master of Meßkirch (active 1515-1540), an unnamed known is German painter of the Renaissance called.

Facts and assumptions about the resume

The artist got his emergency name after the altars (one high altar and ten side altars) painted between 1536 and 1540 for the collegiate church of St. Martin in Meßkirch . His origins and training are unclear, but today it is mostly assumed that he was formed in the Dürer area . One thinks in particular of Hans von Kulmbach and Hans Schäufelein . Since echoes of the Ulm School of Painting can also be seen in his works , it stands to reason that he received his first training in one of the workshops there. As his works from the beginning of the 1530s show, he also seems to have been familiar with examples of northern Italian painting.

Early on he was for Count Eitel Friedrich III. von Hohenzollern in Veringenstadt . He then worked for the baron and later Count Gottfried Werner von Zimmer and his wife Apollonia von Henneberg at their residence in Messkirch. The count gave the order to equip the church with eight to twelve winged altars.

The question of identity

To date, research has not clearly succeeded in clarifying the identity of the master von Meßkirch. The attempted assignment to the painters Jörg or Jerg Ziegler , Wilhelm Ziegler and Marx Weiß von Balingen is rejected by a majority today. Another suggestion is identification with Peter Strüb the Elder. J. There is evidence that he worked in Veringenstadt between 1528 and 1540 and is named there as a quite wealthy painter. There the father Peter Strüb d. Ä. and his older sons Jakob and Hans, the latter known as Masters of Sigmaringen , each of which was a large painter's workshop, which was influenced by the Ulmian style, which can also be seen in the works of the Master of Messkirch. However, the art historian Bernd Konrad does not believe that the assumption that the master von Messkirch must be the youngest Strüb brother Peter is not certain. Because a comparison with the pictures of the master from Sigmaringen shows that these are older and of not so high quality. More recent research by Anna Moraht-Fromm and Hans Westhoff brings Joseph Weiß back into focus.

Works

The earliest works associated with the master of Messkirch date from around 1520. These are the two portraits of Eitelfriedrich III. von Zollern and his wife Johanna Corsselaar van Witthem (now the Vatican Museums). No other portraits have survived besides pictures of the donors on his altars. Other early works around 1520 are “Four Scenes from the Life of the Virgin”, split-off exterior and interior images of two wings of an altar shrine. The original location is not known (today the Princely Hohenzoller Collections, Sigmaringen Castle). A school relationship with Hans Baldung is particularly read from the portrayal of the white-robed Moor in the worship scene . But also in comparison to the adoration of the central panel of the Meßkirchner high altar retable from 1535/38, enormous artistic development by the master von Meßkirch.

Bubenhofer epitaph

After that he worked for the gentlemen von Bubenhofen . An epitaph dated 1522/23 (today Gemäldegalerie Alte Meister , Kassel) was possibly created for the Cistercian monastery in Bebenhausen, whose cloister served as the burial place for three members of the house. A background image for a lamentation relief (today St. Mauritius, Winterlingen- Harthausen) dates from the mid-1520s .

It was around this time that the master of Messkirch came into contact with the gentlemen of Zimmer for the first time . These were not initially limited to this artist. After the father Johann Werner the Elder (approx. 1455–1496) by Emperor Friedrich III. was placed under imperial ban and the family had to go into exile in Switzerland, the sons managed to regain their position and in 1538 even rose to the rank of count. Gottfried Werner von Zimmer , who had already succeeded in marrying the higher-ranking Apollonia, Countess von Henneberg after a bride kidnapped, quickly expanded his rule. He modernized Wildenstein Castle and had it painted by an unknown painter, including scenes from “The Bernese and the Giant Sigenot”. At the end of the 1520s, St. Martin was rebuilt in Meßkirch . In 1518 he and Apollonia von Henneberg commissioned a panel painting with the crucifixion of Christ from Hans Strüb . The Lords of Zimmer met the master of Messkirch through the Lords of Bubenhofen, from whom they had acquired Falkenstein Castle in 1516 , or through the Zollern, with whom they got through the marriage of Gottfried Werner's daughter Anna to Count Jos Niklas II Zollern were related. Early works from this period are “The Crucifixion of Christ”, around 1530 (today Schwäbisch Hall, Würth Collection, Johanniterkirche) and the “Sigmaringer Hausaltärchen” around 1531 (today Sigmaringen, Princely Hohenzollern collections), probably a wedding gift from Apollonia von Henneberg to them Daughter Anna and her son-in-law Jos Niklas.

Not yet working exclusively for the rooms, the master von Meßkirch painted the walls of the choir, the choir arch, the crossing pillars and the nave vault of the monastery church in Heiligkreuztal , some of them with lively works from the life of the Virgin Mary Childhood of Jesus.

From the second half of the 1530s, the surviving works indicate that the work was exclusively for the rooms, which in the meantime had become counts. He may also have been responsible for decorating the so-called Kirsner house in Rottweil, which Gottfried Werner von Zimmer acquired in 1537 or 1538. In the Zimmerische Chronik the master von Messkirch is not mentioned in a word, but Gottfried Werner had this house, according to the chronicle, “painted inside and out beautifully”. In Heiligkreuztal he had proven that the master of Messkirch was also able to do this.

Replica of the Wildenstein Altarpiece in the castle chapel at Wildenstein Castle

The “ Falkensteiner Altar ” painted around 1525 , the Wildensteiner Altar (1536) and the altars for the collegiate church of St. Martin in Meßkirch are considered to be the most important works of the master of Meßkirch. A total of twelve winged altars with seven individual images each are ascribed to the master von Meßkirch. Eight middle pictures and 58 of these panels have been preserved in numerous collections in Europe and America, including the Germanisches Nationalmuseum in Nuremberg, the Staatsgalerie Stuttgart , the Johanniterkirche and the Kunsthalle Würth in Schwäbisch Hall, the Princely Museum in Sigmaringen Castle , a private collection Bodman Castle , cities like Augsburg or Maastricht. The pictures of the Inzigkofer Altar came into the possession of the Fürstenbergers in the 19th century. A precious detail shows the donor of the altar, namely Magdalena Weinschenk, as an Augustinian. The paintings are of high artistic quality and art historical relevance.

The master of Messkirch painted saints on 80 representations. Albrecht Dürer was often a role model, the Messkirch master interpreted him, but not copied it. The representations often still have the classic Gothic gold background, but sometimes they are landscapes or buildings. Typically the figures and faces have a powerful individuality, expressive facial features, shaggy beards; beautiful hair, luxurious Renaissance clothing, interesting hats and wide coats are characteristic.

He is famous for his wealth of colors, his drawing skills and his balanced composition. Since there are great differences in quality in the works that are ascribed to the master, the question arises whether some pictures are the product of journeymen or employees of his painting workshop.

  • Augsburg, State Gallery of Old German Masters
    • Panels from the main altar from the collegiate church of St. Martin. 1536-1540
      • Saint Christopher.
      • St. Andrew.
  • Berlin, Gemäldegalerie
    • Side altars from the collegiate church of St. Martin. 1536-1540
      • Saint Catherine.
      • Saint Agnes.
      • Saint Paul.
      • Saint Crispinus.
      • Saint Crispianus.
      • Christ on the Mount of Olives.
      • The Lamentation and Entombment of Christ.
  • Coburg, Veste Coburg
    • Panel of the side altars from the collegiate church of St. Martin. 1536-1540
      • Saint Fabian.
  • Glauchau, museum and art collection at Hinterglauchau Castle
    • Saint Catherine (around 1517/18)
    • Side altars from the collegiate church of St. Martin. 1536-1540
      • The Flagellation of Christ.
      • The Archangel Michael as a soul weigher.
      • Saint Vitus.
      • Saint Lucia.
      • Saint Martin.
      • John the Baptist.
      • Saint Mary Magdalene.
  • Kassel, picture gallery
  • Kilchberg near Zurich , Haab collection
    • Panel of the side altars from the collegiate church of St. Martin. 1536-1540
      • The resurrection of Christ.
  • London, Courtauld Institute of Art
    • probably a panel of the side altars from the collegiate church of St. Martin. 1536-1540
      • Head of a saint (fragment). (attributed)
  • Maastricht, Bonnefanten Museum
    • Panel from the main altar from the collegiate church of St. Martin. 1536-1540
      • St. Werner, Bishop of Merseburg
  • Meßkirch, parish church of St. Martin
  • Minneapolis, Minneapolis Institute of Art
    • Panel of the side altars from the collegiate church of St. Martin. 1536-1540
      • The Elevation of Mary Magdalene.
  • Moscow, Pushkin Museum
    • Panel of the side altars from the collegiate church of St. Martin. 1536-1540
      • The crucifixion of Christ with donors.
  • formerly Munich, Böhler Collection
    • Panel of the side altars from the collegiate church of St. Martin. 1536-1540
      • Saint Laurence.
  • New Haven, Yale University Art Gallery
    • Panel of the side altars from the collegiate church of St. Martin. 1536-1540
      • Saint Gangolf.
  • Nuremberg, Germanic National Museum
    • Panel of the side altars from the collegiate church of St. Martin. 1536-1540
      • Christ carrying the cross.
  • Philadelphia, Philadelphia Museum of Art
    • Side altars from the collegiate church of St. Martin. 1536-1540
      • Saint Agatha.
      • Saint Ciriacus.
      • The holy Walpurgis.
      • Saint Eulalia.
      • Saint Stephen.
  • Schwäbisch Hall, Würth Art Gallery
    • The crucifixion of Christ. around 1530
    • Side altars from the collegiate church of St. Martin. 1536-1540
      • Saint Gerhard.
      • Saint Pelagius.
      • The holy martyrs Sebastian and Vitalis.
      • The holy martyrs John and Paul.
      • The Apostle James. d. Ä.
      • Saint Paul hermit.
      • The holy Afra.
      • Saint Anthony the Hermit.
      • Saint Gottfried of Amiens.
      • A holy bishop (Severin?).
      • Saint Jodokus.
  • St. Gallen , diocese administration
    • Side altars from the collegiate church of St. Martin. 1536-1540
      • The temptation of Christ.
      • The washing of the feet of Christ.
  • Stuttgart, State Gallery
    • Wildenstein Altarpiece (previously loaned to Donaueschingen, Princely Fürstenberg Collection , purchased in 2013)
    • Panels of the " Falkensteiner Altar ". around 1525
      • Saint George . (acquired 1929)
      • Saint John the Baptist. (acquired 1929)
      • Saint Anna Selbdritt with four female saints. (Earlier loan from Donaueschingen, purchase of Kunsthalle Würth 2013)
      • Saint Erasmus. (Earlier loan from Donaueschingen, purchase of Kunsthalle Würth 2013)
      • St. Andrew. (Earlier loan from Donaueschingen, purchase of Kunsthalle Würth 2013)
      • Saint Christopher. (Earlier loan from Donaueschingen, purchase of Kunsthalle Würth 2013)
      • Saints Sebastian and Rochus. (Earlier loan from Donaueschingen, purchase of Kunsthalle Würth 2013)
    • Panels from the main altar from the collegiate church of St. Martin. 1536–1540 (earlier loan from Donaueschingen, purchased in 2013)
      • Saint Martin with the founder Gottfried Werner Graf von Zimmer.
      • St. John the Baptist with the donor Apollonia von Henneberg
      • St. Mary Magdalene
    • Side altars from the collegiate church of St. Martin. 1536-1540
      • Saint Benedict as a hermit in prayer. (acquired 1866)
      • The holy Kunigunde. (acquired 1938)
      • Saint Pope Cornelius. (Loan from private collection)
      • Saint Bishop Cyprianus. (Loan from private collection)
      • Saint Dionysius, Bishop of Paris. (Loan from private collection)
  • Warsaw, Muzeum Narodowe
    • Panel of the side altars from the collegiate church of St. Martin. 1536-1540
      • The Mocking of Christ.

Exhibitions (selection)

From December 2017 to April 2018, the Staatsgalerie Stuttgart showed the painter's work as part of the exhibition Der Meister von Meßkirch. Catholic splendor in the Reformation period .

literature

  • Heinrich Feuerstein: The Master of Messkirch in the light of the latest finds and research . Urban, Freiburg i.Br. 1933.
  • Ingeborg Krummer-SchrothMaster of Messkirch. In: New German Biography (NDB). Volume 16, Duncker & Humblot, Berlin 1990, ISBN 3-428-00197-4 , p. 717 f. ( Digitized version ).
  • Anna Moraht-Fromm, Hans Westhoff: The master of Messkirch. Research on Southwest German painting of the 16th century. Süddeutsche Verlags-Gesellschaft, Ulm 1997, ISBN 3-88294-248-7 .
  • Staatsgalerie Stuttgart, Elsbeth Wiemann (ed.): The master of Messkirch. Catholic splendor in the Reformation period . Hirmer, Munich 2017, ISBN 978-3-7774-2918-2 .
  • Robby Joachim Götze: "The Katharinentafel - An early work by the master of Messkirch". In: Series of publications Heft 8, Museum and Art Collection Schloss Hinterglauchau, Glauchau, 1990, pp. 19–28, Figure 8

Web links

Commons : Meister von Meßkirch  - Album with pictures, videos and audio files

Individual evidence

  1. Ignaz Stösser (is): Culture and entertainment. Veringer put Strüb painters at the center of the city festival . In: Schwäbische Zeitung , June 7, 2008
  2. a b c d Vera Romeu (from right): The master of Messkirch is still impressive after 500 years. Armin Heim explains to a large audience the strengths and beauty of the paintings by the master from Messkirch . In: Schwäbische Zeitung of March 17, 2011
  3. Elsbeth Wiemann: The Master of Messkirch - work and work . In: Staatsgalerie Stuttgart, Elsbeth Wiemann (Hrsg.): The master of Messkirch . Catholic splendor in the Reformation period. Hirmer Verlag, Stuttgart 2017, ISBN 978-3-7774-3043-0 , pp. 25-43 . , P. 32
  4. Claus Grimm: "The Master of Messkirch: Joseph painter from Balingen", in Claus Grimm and Bernd Konrad: The Fürstenbergsammlungen, Donaueschingen. Old German and Swiss painters of the 15th and 16th centuries, 1990, p. 76f.
  5. Elsbeth Wiemann: The Master of Messkirch - work and work . In: Staatsgalerie Stuttgart, Elsbeth Wiemann (Hrsg.): The master of Messkirch . Catholic splendor in the Reformation period. Hirmer Verlag, Stuttgart 2017, ISBN 978-3-7774-3043-0 , pp. 25-43 . , P. 34
  6. Elsbeth Wiemann: The Master of Messkirch - work and work . In: Staatsgalerie Stuttgart, Elsbeth Wiemann (Hrsg.): The master of Messkirch . Catholic splendor in the Reformation period. Hirmer Verlag, Stuttgart 2017, ISBN 978-3-7774-3043-0 , pp. 25-43 . , P. 37
  7. Elsbeth Wiemann: The Master of Messkirch - work and work . In: Staatsgalerie Stuttgart, Elsbeth Wiemann (Hrsg.): The master of Messkirch . Catholic splendor in the Reformation period. Hirmer Verlag, Stuttgart 2017, ISBN 978-3-7774-3043-0 , pp. 25-43 . , P. 39
  8. a b Isabell Michelberger (imi): On the trail of the master of Messkirch . In: Südkurier , December 4, 2010
  9. ^ The nameless in Frankfurter Allgemeine Sonntagszeitung of December 10, 2017, p. 51.