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Altar in Beerbach

Altar in Beerbach Evangelical parish church, interior to the east

Altar in Beerbach

Info

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.


----------------------------------------------


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: Beerbach

Realization: Wolgemut, Werkstatt

Material: Holz

Altar in Beerbach ev. Pfarrkirche, Chorraum

Altar in Beerbach

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

Location: Beerbach

Realization: Wolgemut, Werkstatt

Material: Wood

photo 2014, Theo Noll

Altar in Beerbach Lutheran parish church, winged altar, (altar shrine shortened in 1875, chantry changed)

Altar in Beerbach

Info

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

Location: Beerbach

Realization: Wolgemut, Werkstatt

Material: Holz

Altar in Beerbach Lutheran parish church, winged altar, detail: Mary with child between, St. Catherine and St. Barbara, (altar shrine shortened in 1875, chantry changed)

Altar in Beerbach

Info

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

Location: Beerbach

Realization: Wolgemut, Werkstatt

Material: Holz

Altar in Beerbach Lutheran Parish Church, right side wing, St. George and St. Sebastian

Altar in Beerbach

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

Location: Beerbach

Realization: Wolgemut, Werkstatt

Material: Holz

photo 2014, Pablo de la Riestra

Altar in Beerbach Lutheran Parish Church, right side wing, St. George and St. Sebastian, detail

Altar in Beerbach

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

Location: Beerbach

Realization: Wolgemut, Werkstatt

Material: Holz

photo 2014, Pablo de la Riestra

Altar in Beerbach Lutheran parish church, left wing, Joachim, Anna, Jesus child and Mary as child

Altar in Beerbach

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

Location: Beerbach

Realization: Wolgemut, Werkstatt

Material: Wood

photo 2014, Pablo de la Riestra

Altar in Beerbach Lutheran parish church, painted right wing, offering in the temple

Altar in Beerbach

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

Location: Beerbach

Realization: Wolgemut, Werkstatt

Material: Holz

photo 2014, Pablo de la Riestra

Altar in Beerbach Original design for Beerbach: a window from 1505 after a design by Hans Baldung Grien (formerly in the cloister of the Nuremberg Carmelite monastery)

Altar in Beerbach

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

Altar in Beerbach Lutheran parish church, painted right wing, offering in the temple, castle depiction in the background

Altar in Beerbach

Info

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

Location: Beerbach

Realization: Wolgemut, Werkstatt

Material: Holz

Altar in Beerbach Lutheran parish church, painted left wing, Visitation

Altar in Beerbach

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

Location: Beerbach

Realization: Wolgemut, Werkstatt

Material: Wood

photo 2014, Pablo de la Riestra

Altar in Beerbach Luthrn Parish Church, exterior view

Altar in Beerbach

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

Location: Beerbach

Realization: Wolgemut, Werkstatt

Material: Wood

photo 2014, Pablo de la Riestra

Werkstatt
Wolgemut

Further works

Imperial window
Imperial window
Peter´s Altar
Peter´s Altar
Ascension of Christ
Ascension of Christ
Man of Sorrows between Saints Philip and James Minor
Man of Sorrows between Saints Philip and James Minor
St Catherine's reredos of Levinus Memminger
St Catherine's reredos of Levinus Memminger
Crucifixion of Christ
Crucifixion of Christ
Cross altar
Cross altar
Epiphany altar
Epiphany altar
High Altar (Schwabach)
High Altar (Schwabach)
High altar / Schwabach / first conversion
High altar / Schwabach / first conversion
High Altar / Schwabach / Second Conversion
High Altar / Schwabach / Second Conversion
Altar in Beerbach
Altar in Beerbach

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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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