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

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

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

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

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