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Bergheim Altar

Bergheim Altar

Bergheim Altar

1515 1517


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar Left side panel: St. George and the dragon

Bergheim Altar

1515 1517

Left side panel: St. George and the dragon


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar Left side panel: St. George and the dragon, detail

Bergheim Altar

1515 1517

Left side panel: St. George and the dragon, detail


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar Dürer template, copperplate engraving from 1508: St. George and dragon (Image source: Georg-August-Universität Göttingen / Art history seminar and art collection of the university / Inventory number D 894)

Bergheim Altar

1515 1517

Dürer template, copperplate engraving from 1508: St. George and dragon (Image source: Georg-August-Universität Göttingen / Art history seminar and art collection of the university / Inventory number D 894)


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar Middle shrine: Annunciation / birth of Jesus with the arriving shepherds

Bergheim Altar

1515 1517

Middle shrine: Annunciation / birth of Jesus with the arriving shepherds


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar Annunciation

Bergheim Altar

1515 1517

Annunciation


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar Dürer template: The Life of Mary (1502-1510), Annunciation (woodcut)

Bergheim Altar

1515 1517

Dürer template: The Life of Mary (1502-1510), Annunciation (woodcut)


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 2024, Theo Noll

Bergheim Altar Dürer template: The Life of Mary (1502-1510), Annunciation (woodcut)

Bergheim Altar

1515 1517

Dürer template: The Life of Mary (1502-1510), Annunciation (woodcut)


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 2024, Theo Noll

Bergheim Altar Annunciation, oblique view

Bergheim Altar

1515 1517

Annunciation, oblique view


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar Annunciation, detailed view

Bergheim Altar

1515 1517

Annunciation, detailed view


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar Birth of Jesus with the arriving shephards

Bergheim Altar

1515 1517

Birth of Jesus with the arriving shephards


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar Dürer template: The life of Mary (1502-1510), Jesus' birth and adoration (woodcut)

Bergheim Altar

1515 1517

Dürer template: The life of Mary (1502-1510), Jesus' birth and adoration (woodcut)


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar Dürer template: The life of Mary (1502-1510), Jesus' birth and adoration (woodcut)

Bergheim Altar

1515 1517

Dürer template: The life of Mary (1502-1510), Jesus' birth and adoration (woodcut)


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar Birth of Jesus with Adoration of the Magi, oblique view

Bergheim Altar

1515 1517

Birth of Jesus with Adoration of the Magi, oblique view


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar right side panel: hermit in leafy dress, St. Onuphrius (?)

Bergheim Altar

1515 1517

right side panel: hermit in leafy dress, St. Onuphrius (?)


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar Right side panel: hermit in a dress of leaves, St. Onuphrius (?), detailed view

Bergheim Altar

1515 1517

Right side panel: hermit in a dress of leaves, St. Onuphrius (?), detailed view


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Bergheim Altar Right side panel: hermit in a dress of leaves, St. Onuphrius (?), detailed view

Bergheim Altar

1515 1517

Right side panel: hermit in a dress of leaves, St. Onuphrius (?), detailed view


Numerous engravings by Martin Schongauer and Albrecht Dürer provided the models for artists who transferred them to another visual medium. The Bergheim Altar is a typical example of the spread of print models. It is attributed to the carver Veit Wagner, who worked in the Strasbourg region between 1492 and 1510. For the church of Bergheim near Colmar he created an altar for which he was based heavily on Dürer engravings, namely St. George slaying the dragon, the Annunciation and the Adoration of the Shepherds. A certain harshness in the execution makes it clear how difficult it is to transfer the graphic original to a relief. The perspective spatial design achieved by staggering the levels is convincing. On the fourth panel Wagner depicted a praying hermit, possibly St. Onuphrius. (Musee Unterlinden, Colmar) The outside of the two wings, which were open to churchgoers when closed, are painted. Depicted are John the Baptist and John the Evangelist. Carver: Veit Wagner (1420 - c. 1517)

Location: France, Colmar, Musee Unterlinden

Depicted: Dürer, Rezeption

Material: Lime wood

photo 11. Jan 2024, Theo Noll

Rezeption
Dürer

Further works

Copy of St. Eustachius after Albrecht Dürer
Copy of St. Eustachius after Albrecht Dürer
Bergheim Altar
Bergheim Altar
Epitaph für den Priester Dr. 46 / 5.000 Epitaph for the priest Dr. Leonhard Oelhafen
Epitaph für den Priester Dr. 46 / 5.000 Epitaph for the priest Dr. Leonhard Oelhafen
Saint Pantaleon
Saint Pantaleon
Assumption and Coronation of Mary
Assumption and Coronation of Mary
Rhinoceros
Rhinoceros
The hare (Rome)
The hare (Rome)
San Huberto (actually Eustachius)
San Huberto (actually Eustachius)
Lamentation of Christ
Lamentation of Christ
Dürer's foundation plaque
Dürer's foundation plaque
Portrait of Michael Wolgemut
Portrait of Michael Wolgemut
The Flagellation of Christ
The Flagellation of Christ
Madonna degli Animali
Madonna degli Animali
Christ as the Man of Sorrows
Christ as the Man of Sorrows
Dürer statuette
Dürer statuette
polyhedron of Melencolia I
polyhedron of Melencolia I
Barbara Dürer
Barbara Dürer

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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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