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had left in plain wood ten years earlier, presumably according to his contract (unlike Stoss, his workshop did not include painters and gilders). Leaving wood sculpture unpainted was a new taste at the time, and "perhaps the tastes of the city council were somewhat provincial." He also created the
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Nuremberg refused to give him a public notice. But
Maximilian's intervention saved him from the dungeons and having his hands chopped off. He was able to resettle in Nuremberg from 1506, but was shunned by the council and received few large commissions from that time onwards. In 1512, the Emperor
364:". In 1503, he was arrested for forging the seal and signature of a fraudulent contractor and was sentenced to be branded on both of his cheeks and prohibited from leaving Nuremberg without the explicit permission of the city council. He was pardoned in 1506 by
203:
According to the contracts and other official documents written in the fifteenth and sixteenth centuries, Stoss was born in a place pronounced as Horb or Horbn. Most researchers identify this place with
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and married
Barbara Hertz. Their eldest son Andreas was born there before 1477, when Stoss moved to Kraków, the royal capital of Poland, where he was commissioned to produce the enormous
31:
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of its time. Like Stoss' other large works, it required a large workshop including specialized painters and gilders. Other important works from Stoss' period in Poland were the
458:
991:
Robin Pilch Craren (2012): VEIT STOSS/WIT STWOSZ CONTEXTUALIZED WITHIN THE POLISH TRADITION OF SCULPTURE IN THE LATE FIFTEENTH CENTURY, M A Thesis, fulltext, pictures, 118 pp
292:. The Polish court was more aware of Italian styles than Nuremberg patrons of that time, and some of Stoss' Polish work used Renaissance classical ornament.
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His exact date of birth is unknown though it must have been shortly before 1450. Nothing about his life is known for certain before 1473 when he moved to
1010:
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in
Florence. This wooden statue represents the saint in a traditional way: in the garb of a pilgrim, lifting his tunic to demonstrate the
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175:. His style emphasized pathos and emotion, helped by his virtuoso carving of billowing drapery; it has been called "late Gothic
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and resumed his work there as a sculptor. Between 1500 and 1503 he carved an altar, now lost, for the parish church of
930:
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Veit Stoss was buried at St. Johannis cemetery in
Nuremberg. His artistic legacy was continued by his son Stanisław.
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179:". He had a large workshop, and in addition to his own works there are a number by pupils. He is best known for the
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Veit Stoss in Nürnberg. Werke des
Meisters und seiner Schule in Nürnberg und Umgebung (catalogue of the exhibition)
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The Angel
Raphael and the young Tobias. Limewood. 97 cm (38 in), (Germanisches Nationalmuseum, Nuremberg)
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216:. However, there are artistic traces indicating that Stoss's early education could have taken place in the modern
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In 1496, Stoss returned to
Nuremberg with his wife and eight children. He reacquired his citizenship for three
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wrote a letter of pardon. The sole argument was made on the account of his genius. The council of the
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Poland, her people, history, industries, finance, science, literature, art, and social development
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asked Stoss to help with the planning of his tomb monument, which was eventually placed in the
384:
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319:. The High Altar underwent major restoration work in Poland and was put back in its place at
264:
Veit lived and worked in Kraków for almost twenty years, from 1477–1496. His name is usually
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Among the pupils of this great master who became famous were
Stanislaw Stwosz the younger...
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sculptor, mostly working with wood, whose career covered the transition between the late
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Northern
Renaissance Art: Painting, Sculpture, the Graphic Arts From 1350 to 1575
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During the period 1515–1520, Veit Stoss received a commission for sculptures by
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as Wit Stwosz. The altar in Kraków was completed in 1489, and was the largest
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440:(now in Germanisches Nationalmuseum, Nuremberg), and a statue of Saint
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163:; before 1450 – about 20 September 1533) was a leading
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77:
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St. Mary's Altar by Veit Stoss, Cracow 2010, detailed videodocument
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Skubiszewski, Piotr (1978). "Der Stil des Veit Stoss" (in German).
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487:. He is one of the singing sculptors in Act 3 Scene 2 inside the
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580:"Janusz Kębłowski, Wit Stwosz w Krakowie (Wit Stwosz in Krakow)"
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and called it "a miracle in wood", though misattributing it.
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552:Życie i twórczość Wita Stwosza (Life and Art of Wit Stwosz.)
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who was born in Kraków the next year was also a sculptor.
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and various other sculptures in Nuremberg, including the
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Stoss carving in the Victoria and Albert Museum, London
792:(in German). Vol. 11. Herzberg: Bautz. cols. 1–5.
307: – the dismantled Altar was shipped to
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Biographisch-Bibliographisches Kirchenlexikon (BBKL)
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402:. In 1506 he was arrested a second time. In 1507,
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495:. There is a Polish book (1913) and film (1961)
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383:in 1504, to paint and gild the altarpiece that
315:, hidden in the basement of the heavily bombed
871:
220:. Moreover, his brother was certainly born in
895:(2). Zeitschrift für Kunstgeschichte: 93–133.
767:The Limewood Sculptors of Renaissance Germany
979:(11th ed.). Cambridge University Press.
890:
784:Bautz, Traugott, ed. (1996). "Stoss, Veit".
491:. He is shown chiseling at the tomb of King
311:around 1941. It was rediscovered in 1945 in
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821:: CS1 maint: location missing publisher (
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299: – the Governor-General of
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723:. London: H. Jenkins Limited. p. 360
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876:. New York: Metropolitan Museum of Art.
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627:Maximilian I.: Kaiser, Künstler, Kämpfer
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874:Gothic and Renaissance Art in Nuremberg
605:. Simon and Schuster: New York. p. 307.
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419:; it seems Stoss's attempts to cast in
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693:"St. Johannisfriedhof > Prominente"
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295:During World War II, on the order of
959:. New York: Robert Appleton Company.
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630:(in German). Amalthea. p. 233.
925:. Prentice-Hall / Harry N. Abrams.
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379:Despite the prohibition he went to
123:Blind Veit Stoss with granddaughter
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1016:Profile of Veit Stoss (Wit Stwosz)
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14:
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947:Herbermann, Charles, ed. (1913).
446:Basilica of Santissima Annunziata
368:and his civil rights reinstated.
661:Stoß, Veit - Deutsche Biographie
69:St. Johannis cemetery, Nuremberg
834:(in German). Verlag der Kunst.
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624:Grössing, Sigrid-Maria (2002).
1006:Web Gallery of Art: STOSS Veit
1001:Story of the Cracow altarpiece
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503:) about Veit Stoss in Cracow.
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1047:16th-century German sculptors
1037:15th-century German sculptors
872:Schultz, Ellen, ed. (1986).
849:Kirkpatrick, Sidney (2010).
717:Piltz, Erasmus, ed. (1909).
501:The story of a yellow crakow
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830:Kepinski, Zdzislaw (1981).
534:Kępiński, Zbigniew (1981).
434:merchant. In 1516 he made
16:German sculptor (1447–1533)
10:
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1067:People from Horb am Neckar
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746:"Story of the Golden Boot"
473:Veit Stoss is featured in
807:R. Kahnsitz, ed. (1983).
769:. Yale University Press.
748:– via www.imdb.com.
248:(Ołtarz Wita Stwosza) at
131:National Museum in Warsaw
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857:. Simon & Schuster.
452:sore in his thigh. Even
976:Encyclopædia Britannica
555:Jagiellonian University
538:. Auriga. pp. 7–9.
497:Historia żółtej ciżemki
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1077:German Roman Catholics
1072:Artists from Nuremberg
921:Snyder, James (1985).
908:Cite journal requires
385:Tilman Riemenschneider
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1042:German male sculptors
956:Catholic Encyclopedia
601:Durant, Will (1957).
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280:, the marble tomb of
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853:Hitler's Holy Relics
811:(in German). Munich.
507:Notes and references
437:Tobias and the Angel
399:Tobias and the Angel
173:Northern Renaissance
92:Northern Renaissance
1057:15th-century births
970:"Stoss, Veit"
658:Weilandt, Gerhard.
428:Raffaele Torrigiani
423:were unsuccessful.
340:(1517–1518) in the
288:, and the altar of
252:in Kraków. His son
246:Altar of Veit Stoss
185:St. Mary's Basilica
105:Altar of Veit Stoss
1052:German woodcarvers
950:"Veit Stoss"
763:Baxandall, Michael
469:In popular culture
408:Imperial free city
404:Emperor Maximilian
377:
366:Emperor Maximilian
362:Assumption of Mary
346:
337:Angelic Salutation
282:Zbigniew Oleśnicki
274:tomb of Casimir IV
134:
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883:978-0-87099-466-1
864:978-1-4165-9062-0
637:978-3-85002-485-3
390:Bamberg Cathedral
342:St. Lorenz Kirche
323:ten years later.
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309:Nazi Germany
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224:in northern
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122:
1062:1533 deaths
668:25 February
664:(in German)
643:25 February
614:Snyder, 305
592:Kirkpatrick
559:(in Polish)
522:Snyder 1985
475:Judith Weir
381:Münnerstadt
344:, Nuremberg
301:that region
226:Switzerland
218:Switzerland
161:Vitus Stoss
127:Jan Matejko
88:Late Gothic
41:Before 1450
1026:Categories
832:Veit Stoss
727:18 January
702:18 January
536:Wit Stwosz
493:Casimir IV
432:Florentine
388:altar for
297:Hans Frank
242:polychrome
181:altarpiece
153:Wit Stwosz
137:Veit Stoss
23:Veit Stoss
817:cite book
682:Baxandall
430:, a rich
417:Innsbruck
413:Hofkirche
327:Nuremberg
266:polonized
260:In Kraków
254:Stanisław
238:Franconia
234:Nuremberg
210:Stuttgart
141:Veit Stoß
78:Sculpture
59:Nuremberg
765:(1980).
444:for the
360:of the "
270:triptych
171:and the
129:(1865),
84:Movement
756:Sources
459:Le Vite
313:Bavaria
286:Gniezno
244:wooden
214:Germany
177:Baroque
139:(also:
103:Wooden
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450:plague
354:Schwaz
350:gulden
193:Poland
189:Kraków
169:Gothic
165:German
149:Polish
145:Stuoss
113:Kraków
479:opera
421:brass
358:Tyrol
230:Aarau
222:Aarau
208:near
157:Latin
927:ISBN
914:help
878:ISBN
859:ISBN
836:ISBN
823:link
794:ISBN
771:ISBN
729:2018
704:2018
670:2022
645:2022
632:ISBN
442:Roch
396:and
199:Life
143:and
52:Died
38:Born
477:'s
303:of
284:in
276:in
236:in
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