1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration

1.383 / 5.000The altar was probably commissioned in 1503. After the master was branded on December 4 of that year, the workshop dissolved. The figures are therefore not the work of a workshop, but "the work of a sculptor, evidently a master and not a journeyman, who directly presupposes the stylistic development of Veit Stoss around 1500..." Alfred Schädler, 1981. "The extraordinarily high-quality sculptures in the shrine indicate that they were at least partially executed by the leading Nuremberg woodcarver of the time, Veit Stoss. The remaining sculptures are evidently products of his workshop." "According to Oellermann, an older painter sketched all the paintings on the outer pair of wings and began their execution with the Sermon of St. John. A younger painter then painted these panels differently and completed the scenes with the sermon, partially overpainting and making corrections. The inner wings, on which the reliefs are fixed, were signed and painted by the younger painter alone. In the predella, a third artist was at work, although the underdrawing still bore similarities to that of the older painter." (Oellermann 1983, pp. 142–155.)

Matthias Weniger in Michael Wolgemut / More than Dürer's Teacher, 2019

see also: Schwabach High Altar / First Transfiguration see also: Schwabach High Altar / Second Transfiguration