around 1520
Evangelical parish church, interior to the east
photo 2014, Pablo de la Riestra
In the church, originally dedicated to St. Nicholas, there is a winged altar from around 1520, which in its painterly execution shows similarities to the Martha altar in Nuremberg's Lorenzkirche.
A design by Hans Baldung Grien for a stained glass painting of the Offering in the Temple, formerly in the cloister of the Nuremberg Carmelite monastery, today in the parish church of Großgündlach, dated 1505, was also used to depict the same theme on the Beerbach altar. The painting is attributed to the circle of Michael Wolgemut, cf. Hartmut Scholz, Entwurf und Ausführung, Berlin 1991, p. 311, note 693.
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As early as 1990, Eike Oellermann had discovered that the relief and predella figures are decorated with press brocade applications from two models of the Wolgemut workshop. From this it can first be concluded that the colour design of the sculptures was done by Wolgemut. And further Oellermann argues: "The altar wings also bear stylistic features (despite the large-scale retouching) of Wolgemut's art, such as the physiognomies of the heads, as well as in the landscape arrangements." (...)
All in all, therefore, the entire Beerbach Marian retable may be described as a product of Wolgemut's late workshop, although the panel paintings were certainly created without any major involvement by the master and the sculptures were supplied by an external carver.(...)
Manuel Teget-Welz
around 1520
ev. Pfarrkirche, Chorraum
In the church, originally dedicated to St. Nicholas, there is a winged altar from around 1520, which in its painterly execution shows similarities to the Martha altar in Nuremberg's Lorenzkirche.
A design by Hans Baldung Grien for a stained glass painting of the Offering in the Temple, formerly in the cloister of the Nuremberg Carmelite monastery, today in the parish church of Großgündlach, dated 1505, was also used to depict the same theme on the Beerbach altar. The painting is attributed to the circle of Michael Wolgemut, cf. Hartmut Scholz, Entwurf und Ausführung, Berlin 1991, p. 311, note 693.
----------------------------------------------
As early as 1990, Eike Oellermann had discovered that the relief and predella figures are decorated with press brocade applications from two models of the Wolgemut workshop. From this it can first be concluded that the colour design of the sculptures was done by Wolgemut. And further Oellermann argues: "The altar wings also bear stylistic features (despite the large-scale retouching) of Wolgemut's art, such as the physiognomies of the heads, as well as in the landscape arrangements." (...)
All in all, therefore, the entire Beerbach Marian retable may be described as a product of Wolgemut's late workshop, although the panel paintings were certainly created without any major involvement by the master and the sculptures were supplied by an external carver.(...)
Manuel Teget-Welz
photo 2014, Theo Noll
around 1520
Lutheran parish church, winged altar, (altar shrine shortened in 1875, chantry changed)
photo 2014, Pablo de la Riestra
In the church, originally dedicated to St. Nicholas, there is a winged altar from around 1520, which in its painterly execution shows similarities to the Martha altar in Nuremberg's Lorenzkirche.
A design by Hans Baldung Grien for a stained glass painting of the Offering in the Temple, formerly in the cloister of the Nuremberg Carmelite monastery, today in the parish church of Großgündlach, dated 1505, was also used to depict the same theme on the Beerbach altar. The painting is attributed to the circle of Michael Wolgemut, cf. Hartmut Scholz, Entwurf und Ausführung, Berlin 1991, p. 311, note 693.
----------------------------------------------
As early as 1990, Eike Oellermann had discovered that the relief and predella figures are decorated with press brocade applications from two models of the Wolgemut workshop. From this it can first be concluded that the colour design of the sculptures was done by Wolgemut. And further Oellermann argues: "The altar wings also bear stylistic features (despite the large-scale retouching) of Wolgemut's art, such as the physiognomies of the heads, as well as in the landscape arrangements." (...)
All in all, therefore, the entire Beerbach Marian retable may be described as a product of Wolgemut's late workshop, although the panel paintings were certainly created without any major involvement by the master and the sculptures were supplied by an external carver.(...)
Manuel Teget-Welz
around 1520
Lutheran parish church, winged altar, detail: Mary with child between, St. Catherine and St. Barbara, (altar shrine shortened in 1875, chantry changed)
photo 2014, Pablo de la Riestra
In the church, originally dedicated to St. Nicholas, there is a winged altar from around 1520, which in its painterly execution shows similarities to the Martha altar in Nuremberg's Lorenzkirche.
A design by Hans Baldung Grien for a stained glass painting of the Offering in the Temple, formerly in the cloister of the Nuremberg Carmelite monastery, today in the parish church of Großgündlach, dated 1505, was also used to depict the same theme on the Beerbach altar. The painting is attributed to the circle of Michael Wolgemut, cf. Hartmut Scholz, Entwurf und Ausführung, Berlin 1991, p. 311, note 693.
----------------------------------------------
As early as 1990, Eike Oellermann had discovered that the relief and predella figures are decorated with press brocade applications from two models of the Wolgemut workshop. From this it can first be concluded that the colour design of the sculptures was done by Wolgemut. And further Oellermann argues: "The altar wings also bear stylistic features (despite the large-scale retouching) of Wolgemut's art, such as the physiognomies of the heads, as well as in the landscape arrangements." (...)
All in all, therefore, the entire Beerbach Marian retable may be described as a product of Wolgemut's late workshop, although the panel paintings were certainly created without any major involvement by the master and the sculptures were supplied by an external carver.(...)
Manuel Teget-Welz
around 1520
Lutheran Parish Church, right side wing, St. George and St. Sebastian
In the church, originally dedicated to St. Nicholas, there is a winged altar from around 1520, which in its painterly execution shows similarities to the Martha altar in Nuremberg's Lorenzkirche.
A design by Hans Baldung Grien for a stained glass painting of the Offering in the Temple, formerly in the cloister of the Nuremberg Carmelite monastery, today in the parish church of Großgündlach, dated 1505, was also used to depict the same theme on the Beerbach altar. The painting is attributed to the circle of Michael Wolgemut, cf. Hartmut Scholz, Entwurf und Ausführung, Berlin 1991, p. 311, note 693.
----------------------------------------------
As early as 1990, Eike Oellermann had discovered that the relief and predella figures are decorated with press brocade applications from two models of the Wolgemut workshop. From this it can first be concluded that the colour design of the sculptures was done by Wolgemut. And further Oellermann argues: "The altar wings also bear stylistic features (despite the large-scale retouching) of Wolgemut's art, such as the physiognomies of the heads, as well as in the landscape arrangements." (...)
All in all, therefore, the entire Beerbach Marian retable may be described as a product of Wolgemut's late workshop, although the panel paintings were certainly created without any major involvement by the master and the sculptures were supplied by an external carver.(...)
Manuel Teget-Welz
photo 2014, Pablo de la Riestra
around 1520
Lutheran Parish Church, right side wing, St. George and St. Sebastian, detail
In the church, originally dedicated to St. Nicholas, there is a winged altar from around 1520, which in its painterly execution shows similarities to the Martha altar in Nuremberg's Lorenzkirche.
A design by Hans Baldung Grien for a stained glass painting of the Offering in the Temple, formerly in the cloister of the Nuremberg Carmelite monastery, today in the parish church of Großgündlach, dated 1505, was also used to depict the same theme on the Beerbach altar. The painting is attributed to the circle of Michael Wolgemut, cf. Hartmut Scholz, Entwurf und Ausführung, Berlin 1991, p. 311, note 693.
----------------------------------------------
As early as 1990, Eike Oellermann had discovered that the relief and predella figures are decorated with press brocade applications from two models of the Wolgemut workshop. From this it can first be concluded that the colour design of the sculptures was done by Wolgemut. And further Oellermann argues: "The altar wings also bear stylistic features (despite the large-scale retouching) of Wolgemut's art, such as the physiognomies of the heads, as well as in the landscape arrangements." (...)
All in all, therefore, the entire Beerbach Marian retable may be described as a product of Wolgemut's late workshop, although the panel paintings were certainly created without any major involvement by the master and the sculptures were supplied by an external carver.(...)
Manuel Teget-Welz
photo 2014, Pablo de la Riestra
around 1520
Lutheran parish church, left wing, Joachim, Anna, Jesus child and Mary as child
In the church, originally dedicated to St. Nicholas, there is a winged altar from around 1520, which in its painterly execution shows similarities to the Martha altar in Nuremberg's Lorenzkirche.
A design by Hans Baldung Grien for a stained glass painting of the Offering in the Temple, formerly in the cloister of the Nuremberg Carmelite monastery, today in the parish church of Großgündlach, dated 1505, was also used to depict the same theme on the Beerbach altar. The painting is attributed to the circle of Michael Wolgemut, cf. Hartmut Scholz, Entwurf und Ausführung, Berlin 1991, p. 311, note 693.
----------------------------------------------
As early as 1990, Eike Oellermann had discovered that the relief and predella figures are decorated with press brocade applications from two models of the Wolgemut workshop. From this it can first be concluded that the colour design of the sculptures was done by Wolgemut. And further Oellermann argues: "The altar wings also bear stylistic features (despite the large-scale retouching) of Wolgemut's art, such as the physiognomies of the heads, as well as in the landscape arrangements." (...)
All in all, therefore, the entire Beerbach Marian retable may be described as a product of Wolgemut's late workshop, although the panel paintings were certainly created without any major involvement by the master and the sculptures were supplied by an external carver.(...)
Manuel Teget-Welz
photo 2014, Pablo de la Riestra
around 1520
Lutheran parish church, painted right wing, offering in the temple
In the church, originally dedicated to St. Nicholas, there is a winged altar from around 1520, which in its painterly execution shows similarities to the Martha altar in Nuremberg's Lorenzkirche.
A design by Hans Baldung Grien for a stained glass painting of the Offering in the Temple, formerly in the cloister of the Nuremberg Carmelite monastery, today in the parish church of Großgündlach, dated 1505, was also used to depict the same theme on the Beerbach altar. The painting is attributed to the circle of Michael Wolgemut, cf. Hartmut Scholz, Entwurf und Ausführung, Berlin 1991, p. 311, note 693.
----------------------------------------------
As early as 1990, Eike Oellermann had discovered that the relief and predella figures are decorated with press brocade applications from two models of the Wolgemut workshop. From this it can first be concluded that the colour design of the sculptures was done by Wolgemut. And further Oellermann argues: "The altar wings also bear stylistic features (despite the large-scale retouching) of Wolgemut's art, such as the physiognomies of the heads, as well as in the landscape arrangements." (...)
All in all, therefore, the entire Beerbach Marian retable may be described as a product of Wolgemut's late workshop, although the panel paintings were certainly created without any major involvement by the master and the sculptures were supplied by an external carver.(...)
Manuel Teget-Welz
photo 2014, Pablo de la Riestra
around 1520
Original design for Beerbach: a window from 1505 after a design by Hans Baldung Grien (formerly in the cloister of the Nuremberg Carmelite monastery)
In the church, originally dedicated to St. Nicholas, there is a winged altar from around 1520, which in its painterly execution shows similarities to the Martha altar in Nuremberg's Lorenzkirche.
A design by Hans Baldung Grien for a stained glass painting of the Offering in the Temple, formerly in the cloister of the Nuremberg Carmelite monastery, today in the parish church of Großgündlach, dated 1505, was also used to depict the same theme on the Beerbach altar. The painting is attributed to the circle of Michael Wolgemut, cf. Hartmut Scholz, Entwurf und Ausführung, Berlin 1991, p. 311, note 693.
----------------------------------------------
As early as 1990, Eike Oellermann had discovered that the relief and predella figures are decorated with press brocade applications from two models of the Wolgemut workshop. From this it can first be concluded that the colour design of the sculptures was done by Wolgemut. And further Oellermann argues: "The altar wings also bear stylistic features (despite the large-scale retouching) of Wolgemut's art, such as the physiognomies of the heads, as well as in the landscape arrangements." (...)
All in all, therefore, the entire Beerbach Marian retable may be described as a product of Wolgemut's late workshop, although the panel paintings were certainly created without any major involvement by the master and the sculptures were supplied by an external carver.(...)
Manuel Teget-Welz
Location: Gründlach and Beerbach / City of Lauf an der Pegnitz / District of Nürnberger Land
Realization: Wolgemut, Werkstatt
Material: Wood
photo 2018, Pablo de la Riestra, Theo Noll
around 1520
Lutheran parish church, painted right wing, offering in the temple, castle depiction in the background
photo 2014, Pablo de la Riestra
In the church, originally dedicated to St. Nicholas, there is a winged altar from around 1520, which in its painterly execution shows similarities to the Martha altar in Nuremberg's Lorenzkirche.
A design by Hans Baldung Grien for a stained glass painting of the Offering in the Temple, formerly in the cloister of the Nuremberg Carmelite monastery, today in the parish church of Großgündlach, dated 1505, was also used to depict the same theme on the Beerbach altar. The painting is attributed to the circle of Michael Wolgemut, cf. Hartmut Scholz, Entwurf und Ausführung, Berlin 1991, p. 311, note 693.
----------------------------------------------
As early as 1990, Eike Oellermann had discovered that the relief and predella figures are decorated with press brocade applications from two models of the Wolgemut workshop. From this it can first be concluded that the colour design of the sculptures was done by Wolgemut. And further Oellermann argues: "The altar wings also bear stylistic features (despite the large-scale retouching) of Wolgemut's art, such as the physiognomies of the heads, as well as in the landscape arrangements." (...)
All in all, therefore, the entire Beerbach Marian retable may be described as a product of Wolgemut's late workshop, although the panel paintings were certainly created without any major involvement by the master and the sculptures were supplied by an external carver.(...)
Manuel Teget-Welz
around 1520
Lutheran parish church, painted left wing, Visitation
In the church, originally dedicated to St. Nicholas, there is a winged altar from around 1520, which in its painterly execution shows similarities to the Martha altar in Nuremberg's Lorenzkirche.
A design by Hans Baldung Grien for a stained glass painting of the Offering in the Temple, formerly in the cloister of the Nuremberg Carmelite monastery, today in the parish church of Großgündlach, dated 1505, was also used to depict the same theme on the Beerbach altar. The painting is attributed to the circle of Michael Wolgemut, cf. Hartmut Scholz, Entwurf und Ausführung, Berlin 1991, p. 311, note 693.
----------------------------------------------
As early as 1990, Eike Oellermann had discovered that the relief and predella figures are decorated with press brocade applications from two models of the Wolgemut workshop. From this it can first be concluded that the colour design of the sculptures was done by Wolgemut. And further Oellermann argues: "The altar wings also bear stylistic features (despite the large-scale retouching) of Wolgemut's art, such as the physiognomies of the heads, as well as in the landscape arrangements." (...)
All in all, therefore, the entire Beerbach Marian retable may be described as a product of Wolgemut's late workshop, although the panel paintings were certainly created without any major involvement by the master and the sculptures were supplied by an external carver.(...)
Manuel Teget-Welz
photo 2014, Pablo de la Riestra
around 1520
Luthrn Parish Church, exterior view
In the church, originally dedicated to St. Nicholas, there is a winged altar from around 1520, which in its painterly execution shows similarities to the Martha altar in Nuremberg's Lorenzkirche.
A design by Hans Baldung Grien for a stained glass painting of the Offering in the Temple, formerly in the cloister of the Nuremberg Carmelite monastery, today in the parish church of Großgündlach, dated 1505, was also used to depict the same theme on the Beerbach altar. The painting is attributed to the circle of Michael Wolgemut, cf. Hartmut Scholz, Entwurf und Ausführung, Berlin 1991, p. 311, note 693.
----------------------------------------------
As early as 1990, Eike Oellermann had discovered that the relief and predella figures are decorated with press brocade applications from two models of the Wolgemut workshop. From this it can first be concluded that the colour design of the sculptures was done by Wolgemut. And further Oellermann argues: "The altar wings also bear stylistic features (despite the large-scale retouching) of Wolgemut's art, such as the physiognomies of the heads, as well as in the landscape arrangements." (...)
All in all, therefore, the entire Beerbach Marian retable may be described as a product of Wolgemut's late workshop, although the panel paintings were certainly created without any major involvement by the master and the sculptures were supplied by an external carver.(...)
Manuel Teget-Welz
photo 2014, Pablo de la Riestra
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