Nuremberg and its art to the end of the 18th century. (1905) (14797279543)

Identifier: nurembergitsartt00repa (find matches)
Title: Nuremberg and its art to the end of the 18th century.
Year: 1905 (1900s)
Authors: Rée, Paul Johannes, b. 1858 Palmer, G. H. (George Henry), b. 1871, tr
Subjects: Art
Publisher: London : H. Grevel & Co. New York : C. Scribner's Sons (etc., etc.)
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library



Text Appearing Before Image:
f 95, in 1533. Without Krafts warmth of feeling, he was genuinelyenthusiastic and strenuous. He devoted himself to a naturalism, that recoiledbefore no task and made him leap clear of the confining fetters of art as ithad come down to him. The chroniclers remark, that he made, for the Kingof Portugal, life-size coloured statues of Adam and Eve, in wood, so fashionedthat one was afraid that they were alive, shows what an impression was madeby his naturalism on his contemporaries. It is only necessary to see one ofhis life-size representations of the Crucified Christ (the best of them, formerlyin the court of the Hospital, is now in the Germanic Museum) to understandthese words at once. Stoss united religious fervour and naturalism, and is, inthis, like Donatello. His individual characteristics are best recognised in hisworks at Cracow: in his powerful Altar of the Virgin, and, before all, in theabsolutely original monument of Casimir IV. of Poland. Of his works at Nurem- viar SToss. 79
Text Appearing After Image:
Fig. 48. The Rosenkranztafel, wood-carving by Veit Stoss, in the Germanic Museum. Photograph by Miiller. berg, after the different Crucifixions, which are, unfortunately, generally spoiltby gilding, we must next examine some works in stone. They are the reliefs,exceptionally full of life, of the Last Supper, Christ praying on the Mount 8o VEIT STOSS. of Olives, and the Betrayal. These are wrongly ascribed to Kraft by theChronicler, though they not only bear the monogram of Stoss, but show hisworkmanship as plainly as a signature in every part. In these pieces we learnto know the artist as a portrait-sculptor also, for the figures of the Apostlesin the Last Supper rehef are likenesses of Town Councillors of the time.The vigorous presentment of the Last Judgment over the small door on thesouth side of the east choir of St. Sebalds is another excellently executedwork in stone, and a noteworthy example of his style. Nearly related to itis the exquisite relief in wood (fig. 48), the Rosenk