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Nuremberg Madonna

Nuremberg Madonna

Nuremberg Madonna

around 1515


Master Jörg and Workshop


"The folds of the heavily elongated figure's robe flow thinly and tautly upwards, just as her hands wringing in a pathetic gesture in front of her chest and the position of her head lead her gaze upwards. Her swelling silhouette and the finely tuned interplay of horizontal, vertical and diagonal axes of movement and composition set the slender figure into delicate vertical oscillations. The proportions are impossible to reconcile with the massive Brucke shrine saints. Yet the figures of the Annengruppe in Lorenz, whose heads sit on comparably long necks, are clearly more elongated. The childlike type of the face, which refrains from any signs of mourning, is very close to that of the Maria of the Little Pietà. She also has elegiac sentiment in common with her. Despite its almost ethereal appearance, the sculpture remains strikingly physical and plastic. The same applies to the design of the coat with the small sweeps of the hem edges and the emphatically two-dimensional sections which, like the loosely falling veil of the bonnet, are defined in the shoulder area by the familiar thin, forking, now even more graphic and energetic-looking folds. Broken or thicker folds are now almost completely absent. Instead, where the fabric is pushed together at the neck and sleeves of the dress, there is a quantitative compression of the fine-grained folds into honeycomb-like motifs. We know all this in a similar form from the Annenschrein, the Little Pietà or the Christ figures in Bruck and especially in St. Jobst, although formally simpler and more reduced than in the Nuremberg Madonna.


Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken.

Hans von Kulmbach and the Art around Dürer, Petersberg 2022, p.121



see also: Crucifix from St. Jobst


Location: Nuremberg, GNM, inventory number Pl.O.210

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

photo 2022, Theo Noll

Nuremberg Madonna Detailed view

Nuremberg Madonna

around 1515

Detailed view


Master Jörg and Workshop


"The folds of the heavily elongated figure's robe flow thinly and tautly upwards, just as her hands wringing in a pathetic gesture in front of her chest and the position of her head lead her gaze upwards. Her swelling silhouette and the finely tuned interplay of horizontal, vertical and diagonal axes of movement and composition set the slender figure into delicate vertical oscillations. The proportions are impossible to reconcile with the massive Brucke shrine saints. Yet the figures of the Annengruppe in Lorenz, whose heads sit on comparably long necks, are clearly more elongated. The childlike type of the face, which refrains from any signs of mourning, is very close to that of the Maria of the Little Pietà. She also has elegiac sentiment in common with her. Despite its almost ethereal appearance, the sculpture remains strikingly physical and plastic. The same applies to the design of the coat with the small sweeps of the hem edges and the emphatically two-dimensional sections which, like the loosely falling veil of the bonnet, are defined in the shoulder area by the familiar thin, forking, now even more graphic and energetic-looking folds. Broken or thicker folds are now almost completely absent. Instead, where the fabric is pushed together at the neck and sleeves of the dress, there is a quantitative compression of the fine-grained folds into honeycomb-like motifs. We know all this in a similar form from the Annenschrein, the Little Pietà or the Christ figures in Bruck and especially in St. Jobst, although formally simpler and more reduced than in the Nuremberg Madonna.


Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken.

Hans von Kulmbach and the Art around Dürer, Petersberg 2022, p.121



see also: Crucifix from St. Jobst


Location: Nuremberg, GNM, inventory number Pl.O.210

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

photo 2022, Theo Noll

Nuremberg Madonna Detaild view with folds of the gown

Nuremberg Madonna

around 1515

Detaild view with folds of the gown


Master Jörg and Workshop


"The folds of the heavily elongated figure's robe flow thinly and tautly upwards, just as her hands wringing in a pathetic gesture in front of her chest and the position of her head lead her gaze upwards. Her swelling silhouette and the finely tuned interplay of horizontal, vertical and diagonal axes of movement and composition set the slender figure into delicate vertical oscillations. The proportions are impossible to reconcile with the massive Brucke shrine saints. Yet the figures of the Annengruppe in Lorenz, whose heads sit on comparably long necks, are clearly more elongated. The childlike type of the face, which refrains from any signs of mourning, is very close to that of the Maria of the Little Pietà. She also has elegiac sentiment in common with her. Despite its almost ethereal appearance, the sculpture remains strikingly physical and plastic. The same applies to the design of the coat with the small sweeps of the hem edges and the emphatically two-dimensional sections which, like the loosely falling veil of the bonnet, are defined in the shoulder area by the familiar thin, forking, now even more graphic and energetic-looking folds. Broken or thicker folds are now almost completely absent. Instead, where the fabric is pushed together at the neck and sleeves of the dress, there is a quantitative compression of the fine-grained folds into honeycomb-like motifs. We know all this in a similar form from the Annenschrein, the Little Pietà or the Christ figures in Bruck and especially in St. Jobst, although formally simpler and more reduced than in the Nuremberg Madonna.


Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken.

Hans von Kulmbach and the Art around Dürer, Petersberg 2022, p.121



see also: Crucifix from St. Jobst


Location: Nuremberg, GNM, inventory number Pl.O.210

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

photo 2022, Theo Noll

Nuremberg Madonna Detailed view

Nuremberg Madonna

around 1515

Detailed view


Master Jörg and Workshop


"The folds of the heavily elongated figure's robe flow thinly and tautly upwards, just as her hands wringing in a pathetic gesture in front of her chest and the position of her head lead her gaze upwards. Her swelling silhouette and the finely tuned interplay of horizontal, vertical and diagonal axes of movement and composition set the slender figure into delicate vertical oscillations. The proportions are impossible to reconcile with the massive Brucke shrine saints. Yet the figures of the Annengruppe in Lorenz, whose heads sit on comparably long necks, are clearly more elongated. The childlike type of the face, which refrains from any signs of mourning, is very close to that of the Maria of the Little Pietà. She also has elegiac sentiment in common with her. Despite its almost ethereal appearance, the sculpture remains strikingly physical and plastic. The same applies to the design of the coat with the small sweeps of the hem edges and the emphatically two-dimensional sections which, like the loosely falling veil of the bonnet, are defined in the shoulder area by the familiar thin, forking, now even more graphic and energetic-looking folds. Broken or thicker folds are now almost completely absent. Instead, where the fabric is pushed together at the neck and sleeves of the dress, there is a quantitative compression of the fine-grained folds into honeycomb-like motifs. We know all this in a similar form from the Annenschrein, the Little Pietà or the Christ figures in Bruck and especially in St. Jobst, although formally simpler and more reduced than in the Nuremberg Madonna.


Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken.

Hans von Kulmbach and the Art around Dürer, Petersberg 2022, p.121



see also: Crucifix from St. Jobst


Location: Nuremberg, GNM, inventory number Pl.O.210

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

photo 2022, Theo Noll

Nuremberg Madonna Side view

Nuremberg Madonna

around 1515

Side view


Master Jörg and Workshop


"The folds of the heavily elongated figure's robe flow thinly and tautly upwards, just as her hands wringing in a pathetic gesture in front of her chest and the position of her head lead her gaze upwards. Her swelling silhouette and the finely tuned interplay of horizontal, vertical and diagonal axes of movement and composition set the slender figure into delicate vertical oscillations. The proportions are impossible to reconcile with the massive Brucke shrine saints. Yet the figures of the Annengruppe in Lorenz, whose heads sit on comparably long necks, are clearly more elongated. The childlike type of the face, which refrains from any signs of mourning, is very close to that of the Maria of the Little Pietà. She also has elegiac sentiment in common with her. Despite its almost ethereal appearance, the sculpture remains strikingly physical and plastic. The same applies to the design of the coat with the small sweeps of the hem edges and the emphatically two-dimensional sections which, like the loosely falling veil of the bonnet, are defined in the shoulder area by the familiar thin, forking, now even more graphic and energetic-looking folds. Broken or thicker folds are now almost completely absent. Instead, where the fabric is pushed together at the neck and sleeves of the dress, there is a quantitative compression of the fine-grained folds into honeycomb-like motifs. We know all this in a similar form from the Annenschrein, the Little Pietà or the Christ figures in Bruck and especially in St. Jobst, although formally simpler and more reduced than in the Nuremberg Madonna.


Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken.

Hans von Kulmbach and the Art around Dürer, Petersberg 2022, p.121



see also: Crucifix from St. Jobst


Location: Nuremberg, GNM, inventory number Pl.O.210

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

photo 2022, Theo Noll

Nuremberg Madonna Rear view

Nuremberg Madonna

around 1515

Rear view


Master Jörg and Workshop


"The folds of the heavily elongated figure's robe flow thinly and tautly upwards, just as her hands wringing in a pathetic gesture in front of her chest and the position of her head lead her gaze upwards. Her swelling silhouette and the finely tuned interplay of horizontal, vertical and diagonal axes of movement and composition set the slender figure into delicate vertical oscillations. The proportions are impossible to reconcile with the massive Brucke shrine saints. Yet the figures of the Annengruppe in Lorenz, whose heads sit on comparably long necks, are clearly more elongated. The childlike type of the face, which refrains from any signs of mourning, is very close to that of the Maria of the Little Pietà. She also has elegiac sentiment in common with her. Despite its almost ethereal appearance, the sculpture remains strikingly physical and plastic. The same applies to the design of the coat with the small sweeps of the hem edges and the emphatically two-dimensional sections which, like the loosely falling veil of the bonnet, are defined in the shoulder area by the familiar thin, forking, now even more graphic and energetic-looking folds. Broken or thicker folds are now almost completely absent. Instead, where the fabric is pushed together at the neck and sleeves of the dress, there is a quantitative compression of the fine-grained folds into honeycomb-like motifs. We know all this in a similar form from the Annenschrein, the Little Pietà or the Christ figures in Bruck and especially in St. Jobst, although formally simpler and more reduced than in the Nuremberg Madonna.


Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken.

Hans von Kulmbach and the Art around Dürer, Petersberg 2022, p.121



see also: Crucifix from St. Jobst


Location: Nuremberg, GNM, inventory number Pl.O.210

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

photo 2022, Theo Noll

Nuremberg Madonna Detailed view

Nuremberg Madonna

around 1515

Detailed view


Master Jörg and Workshop


"The folds of the heavily elongated figure's robe flow thinly and tautly upwards, just as her hands wringing in a pathetic gesture in front of her chest and the position of her head lead her gaze upwards. Her swelling silhouette and the finely tuned interplay of horizontal, vertical and diagonal axes of movement and composition set the slender figure into delicate vertical oscillations. The proportions are impossible to reconcile with the massive Brucke shrine saints. Yet the figures of the Annengruppe in Lorenz, whose heads sit on comparably long necks, are clearly more elongated. The childlike type of the face, which refrains from any signs of mourning, is very close to that of the Maria of the Little Pietà. She also has elegiac sentiment in common with her. Despite its almost ethereal appearance, the sculpture remains strikingly physical and plastic. The same applies to the design of the coat with the small sweeps of the hem edges and the emphatically two-dimensional sections which, like the loosely falling veil of the bonnet, are defined in the shoulder area by the familiar thin, forking, now even more graphic and energetic-looking folds. Broken or thicker folds are now almost completely absent. Instead, where the fabric is pushed together at the neck and sleeves of the dress, there is a quantitative compression of the fine-grained folds into honeycomb-like motifs. We know all this in a similar form from the Annenschrein, the Little Pietà or the Christ figures in Bruck and especially in St. Jobst, although formally simpler and more reduced than in the Nuremberg Madonna.


Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken.

Hans von Kulmbach and the Art around Dürer, Petersberg 2022, p.121



see also: Crucifix from St. Jobst


Location: Nuremberg, GNM, inventory number Pl.O.210

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

photo 2022, Theo Noll

Nuremberg Madonna Detailansicht

Nuremberg Madonna

around 1515

Detailansicht


Master Jörg and Workshop


"The folds of the heavily elongated figure's robe flow thinly and tautly upwards, just as her hands wringing in a pathetic gesture in front of her chest and the position of her head lead her gaze upwards. Her swelling silhouette and the finely tuned interplay of horizontal, vertical and diagonal axes of movement and composition set the slender figure into delicate vertical oscillations. The proportions are impossible to reconcile with the massive Brucke shrine saints. Yet the figures of the Annengruppe in Lorenz, whose heads sit on comparably long necks, are clearly more elongated. The childlike type of the face, which refrains from any signs of mourning, is very close to that of the Maria of the Little Pietà. She also has elegiac sentiment in common with her. Despite its almost ethereal appearance, the sculpture remains strikingly physical and plastic. The same applies to the design of the coat with the small sweeps of the hem edges and the emphatically two-dimensional sections which, like the loosely falling veil of the bonnet, are defined in the shoulder area by the familiar thin, forking, now even more graphic and energetic-looking folds. Broken or thicker folds are now almost completely absent. Instead, where the fabric is pushed together at the neck and sleeves of the dress, there is a quantitative compression of the fine-grained folds into honeycomb-like motifs. We know all this in a similar form from the Annenschrein, the Little Pietà or the Christ figures in Bruck and especially in St. Jobst, although formally simpler and more reduced than in the Nuremberg Madonna.


Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken.

Hans von Kulmbach and the Art around Dürer, Petersberg 2022, p.121



see also: Crucifix from St. Jobst


Location: Nürnberg, GNM, Inventarnummer Pl.O.210

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

photo 2022, Theo Noll

Nuremberg Madonna Detailed view

Nuremberg Madonna

around 1515

Detailed view


Master Jörg and Workshop


"The folds of the heavily elongated figure's robe flow thinly and tautly upwards, just as her hands wringing in a pathetic gesture in front of her chest and the position of her head lead her gaze upwards. Her swelling silhouette and the finely tuned interplay of horizontal, vertical and diagonal axes of movement and composition set the slender figure into delicate vertical oscillations. The proportions are impossible to reconcile with the massive Brucke shrine saints. Yet the figures of the Annengruppe in Lorenz, whose heads sit on comparably long necks, are clearly more elongated. The childlike type of the face, which refrains from any signs of mourning, is very close to that of the Maria of the Little Pietà. She also has elegiac sentiment in common with her. Despite its almost ethereal appearance, the sculpture remains strikingly physical and plastic. The same applies to the design of the coat with the small sweeps of the hem edges and the emphatically two-dimensional sections which, like the loosely falling veil of the bonnet, are defined in the shoulder area by the familiar thin, forking, now even more graphic and energetic-looking folds. Broken or thicker folds are now almost completely absent. Instead, where the fabric is pushed together at the neck and sleeves of the dress, there is a quantitative compression of the fine-grained folds into honeycomb-like motifs. We know all this in a similar form from the Annenschrein, the Little Pietà or the Christ figures in Bruck and especially in St. Jobst, although formally simpler and more reduced than in the Nuremberg Madonna.


Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken.

Hans von Kulmbach and the Art around Dürer, Petersberg 2022, p.121



see also: Crucifix from St. Jobst


Location: Nuremberg, GNM, inventory number Pl.O.210

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

photo 2022, Theo Noll

Nuremberg Madonna Comparison of images: left Maria, Small Pietà in St. Jacob's Church / right Nuremberg Madonna

Nuremberg Madonna

around 1515

Comparison of images: left Maria, Small Pietà in St. Jacob's Church / right Nuremberg Madonna


Master Jörg and Workshop


"The folds of the heavily elongated figure's robe flow thinly and tautly upwards, just as her hands wringing in a pathetic gesture in front of her chest and the position of her head lead her gaze upwards. Her swelling silhouette and the finely tuned interplay of horizontal, vertical and diagonal axes of movement and composition set the slender figure into delicate vertical oscillations. The proportions are impossible to reconcile with the massive Brucke shrine saints. Yet the figures of the Annengruppe in Lorenz, whose heads sit on comparably long necks, are clearly more elongated. The childlike type of the face, which refrains from any signs of mourning, is very close to that of the Maria of the Little Pietà. She also has elegiac sentiment in common with her. Despite its almost ethereal appearance, the sculpture remains strikingly physical and plastic. The same applies to the design of the coat with the small sweeps of the hem edges and the emphatically two-dimensional sections which, like the loosely falling veil of the bonnet, are defined in the shoulder area by the familiar thin, forking, now even more graphic and energetic-looking folds. Broken or thicker folds are now almost completely absent. Instead, where the fabric is pushed together at the neck and sleeves of the dress, there is a quantitative compression of the fine-grained folds into honeycomb-like motifs. We know all this in a similar form from the Annenschrein, the Little Pietà or the Christ figures in Bruck and especially in St. Jobst, although formally simpler and more reduced than in the Nuremberg Madonna.


Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken.

Hans von Kulmbach and the Art around Dürer, Petersberg 2022, p.121



see also: Crucifix from St. Jobst


Location: Nuremberg, GNM, inventory number Pl.O.210

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

photo 2022, Theo Noll

Nuremberg Madonna Detailed view

Nuremberg Madonna

around 1515

Detailed view


Master Jörg and Workshop


"The folds of the heavily elongated figure's robe flow thinly and tautly upwards, just as her hands wringing in a pathetic gesture in front of her chest and the position of her head lead her gaze upwards. Her swelling silhouette and the finely tuned interplay of horizontal, vertical and diagonal axes of movement and composition set the slender figure into delicate vertical oscillations. The proportions are impossible to reconcile with the massive Brucke shrine saints. Yet the figures of the Annengruppe in Lorenz, whose heads sit on comparably long necks, are clearly more elongated. The childlike type of the face, which refrains from any signs of mourning, is very close to that of the Maria of the Little Pietà. She also has elegiac sentiment in common with her. Despite its almost ethereal appearance, the sculpture remains strikingly physical and plastic. The same applies to the design of the coat with the small sweeps of the hem edges and the emphatically two-dimensional sections which, like the loosely falling veil of the bonnet, are defined in the shoulder area by the familiar thin, forking, now even more graphic and energetic-looking folds. Broken or thicker folds are now almost completely absent. Instead, where the fabric is pushed together at the neck and sleeves of the dress, there is a quantitative compression of the fine-grained folds into honeycomb-like motifs. We know all this in a similar form from the Annenschrein, the Little Pietà or the Christ figures in Bruck and especially in St. Jobst, although formally simpler and more reduced than in the Nuremberg Madonna.


Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken.

Hans von Kulmbach and the Art around Dürer, Petersberg 2022, p.121



see also: Crucifix from St. Jobst


Location: Nuremberg, GNM, inventory number Pl.O.210

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

photo 2022, Theo Noll

Nuremberg Madonna Side views

Nuremberg Madonna

around 1515

Side views


Master Jörg and Workshop


"The folds of the heavily elongated figure's robe flow thinly and tautly upwards, just as her hands wringing in a pathetic gesture in front of her chest and the position of her head lead her gaze upwards. Her swelling silhouette and the finely tuned interplay of horizontal, vertical and diagonal axes of movement and composition set the slender figure into delicate vertical oscillations. The proportions are impossible to reconcile with the massive Brucke shrine saints. Yet the figures of the Annengruppe in Lorenz, whose heads sit on comparably long necks, are clearly more elongated. The childlike type of the face, which refrains from any signs of mourning, is very close to that of the Maria of the Little Pietà. She also has elegiac sentiment in common with her. Despite its almost ethereal appearance, the sculpture remains strikingly physical and plastic. The same applies to the design of the coat with the small sweeps of the hem edges and the emphatically two-dimensional sections which, like the loosely falling veil of the bonnet, are defined in the shoulder area by the familiar thin, forking, now even more graphic and energetic-looking folds. Broken or thicker folds are now almost completely absent. Instead, where the fabric is pushed together at the neck and sleeves of the dress, there is a quantitative compression of the fine-grained folds into honeycomb-like motifs. We know all this in a similar form from the Annenschrein, the Little Pietà or the Christ figures in Bruck and especially in St. Jobst, although formally simpler and more reduced than in the Nuremberg Madonna.


Stefan Roller, Hans von Kulmbach und der Nürnberger Bildschnitzer Meister Jörg, in: Renaissance in Franken.

Hans von Kulmbach and the Art around Dürer, Petersberg 2022, p.121



see also: Crucifix from St. Jobst


Location: Nuremberg, GNM, inventory number Pl.O.210

Design: Herb (Meister Jörg Pildschnitzer), Georg

Realization: Herb (Meister Jörg Pildschnitzer), Georg

photo 2022, Theo Noll

Georg
Herb (Meister Jörg Pildschnitzer)

Further works

St. Anne´s Altar
St. Anne´s Altar
Heinrich and Ottilie
Heinrich and Ottilie
Little Pietà
Little Pietà
Crucifix
Crucifix
Nuremberg Madonna
Nuremberg Madonna
Rochus
Rochus

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A project of the Förderverein Kulturhistorisches Museum Nürnberg e.V. (Association for the Promotion of the Museum of Cultural History Nuremberg - registered association)

The Förderverein Kulturhistorisches Museum Nürnberg e.V. supports the establishment of a museum of cultural history in Nuremberg. In anticipation of this it presents selected works of Nuremberg art in digital form. The Association will be happy to welcome new members. You will find a declaration of membership on our website.

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