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Marienberg
Fortress. The claim that both of his hands were broken during the torture, which ended his artistic career, is today considered to be a legend without base in fact. It probably only originated in the 19th century after his "rediscovery". Together with the rest of the council, Tilman was set free after two months, with loss of most of his property. The only order he is known to have received after this was work in 1527 for a Benedictine nunnery at Kitzingen. Until his death on 7 July 1531 at Würzburg, he led a retired life with his fourth wife. His son Jörg from his second marriage continued the workshop after his death.
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617:), which hightend the liveliness of the figures and attracted more admiration than the sculptural work itself. Curiously, Riemenschneider didn't employ any painters like other sculptor's workshops. Instead he worked regularly with painters who had their own business, like Jakob Mülholzer (cooperation verifiable from 1490/91–1514/15) und Martin Schwarz (lived c. 1460–1511). The reasons for shifting to a new type of art, where the wood remained visible, are still debated by art historians.
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By 1500, he had developed an outstanding reputation as an artist and had become a wealthy Würzburg citizen. Not only did he own a number of houses, but he also was a landowner with his own vineyards. His flourishing workshop is estimated to have provided work for as many as 40 employees. Between 1501
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serves as an apprentice with a master sculptor who is socially prominent in the town where he worked and whose character appears to be loosely based on that of
Riemenschneider. He serves both as an artistic inspiration for Goldmund and as a foil for the less restrained temperament of Goldmund. Hesse
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style. Notably the tomb for Lorenz von Bibra (see below) is considered as one of the pieces marking the transition from Gothic to
Renaissance art. Riemenschneider's early success as a sculptor was due to the plasticity of his works, with great care being taken of modeling the folds of garments. This
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to fight the revolting peasants. On 4 June 1525, the peasant's army was destroyed, with 8,000 killed, just outside Würzburg by the troops of Georg, Steward of
Waldburg-Zeil, and the bishop. After the town surrendered, the full town council, including Riemenschneider, was incarcerated and tortured in
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In 1483, he settled in Würzburg. On 7 December 1483, he joined the Saint Luke's Guild of painters, sculptors, and glass workers as a painter's assistant. On 28 February 1485, he married Anna
Schmidt (born Uchenhofer), a widow of a master goldsmith with three sons. This marriage not only brought him
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His work is equally characterized by the expressiveness of the figurines' faces (often shown with an inward look, as in the presumed self-portrait). The emphasis on expression of inner emotions sets
Riemenschneider's work apart from that of his immediate predecessors, although his later work show
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In 1494, Riemenschneider's first wife died, leaving him with three stepsons and a daughter. In keeping with the times and his status, he remarried Anna
Rappolt in 1497. They had two daughters and three sons, all of whom seem to have inherited their father's artistic talent. In 1495, he created a
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His increasing engagement in local politics at a time of heavy order volume meant that his employees and apprentices took a more prominent role in the creation of the workshop's output. Art historians have been able to identify specific figures as the work of individual workers.
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Riemenschneider likely came to Würzburg for the first time at the age of 18 in 1478/79. His uncle served as notary and financial advisor to the bishop there, but he did not stay for long. Around 1473, Riemenschneider learned the trade of sculpting and woodcarving, likely in
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and 1517 he had twelve apprentices registered, more than any other in Würzburg, and in 1508 he stated three stone sculptors would work for him. For that timespan alone at least a dozen retables are known to have been made by
Riemenschneider's workshop.
373:. This may be the type of work he started out with before obtaining large church commissions. He then received numerous orders from the town councils of Würzburg and neighboring towns. The earliest large work attributed to him is the
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389:, which is described in the church guide book as "about 1490", but its style compared to other works of that date is rather primitive, suggesting it may be an earlier work, sometimes dated from 1485. In 1490, the town council of
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Also in 1485, Riemenschneider became a citizen of Würzburg, which made it possible to attain the status of master craftsman, and opened a workshop in
Franziskanergasse, in the home of his wife.
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Riemenschneider is seen today as one of the first sculptors of the 15th century who did not have all his figures painted. Prior to the 1490s, almost every sculpture had been polychromed and
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1214:"Dreamily she gazes out from her glass case, far away from our world... in her gracefulness and distinction she is refined to a degree of perfection far above that of mankind today."
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Specifically the reflections of light in the eyes in the panel paintings by
Schwarz are similar to the painted eyes of Riemenschneider's figures. Marincola in Chapuis 1999, S. 107f.
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530:. Only when his gravestone was discovered in 1822 between Würzburg Cathedral and Neumünster was his outstanding position in Gothic sculpture recognized by a wider audience. Unlike
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Since his rediscovery in the 19th century countless sculptural works from the region were attributed to him. The largest collection of his work, 81 pieces, can be found in the
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472:) of the town of Würzburg, an office he held until 1525. This office not only brought him social status, but it also helped him obtain many large and profitable commissions.
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carving first and only later turned to wood carving. Some wooden figures, though unmistakably his own work, show some signs of less-than-perfect choice of wood or handling.
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catalogue of the exhibition at Mainfränkisches Museum Würzburg and Cathedral Museum, Würzburg, Regensburg: Schnell & Steiner, 2004, ISBN 3-7954-1661-2 (German).
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four times. He married again, in 1520, a woman of whom only the first name, Margarethe, is known. In 1520/1, Riemenschneider was one of two mayors of Würzburg.
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views the Riemenschneider figures as showing the serious personal piety in Germany in the late fifteenth century and as harbingers of the coming
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from the high altar of the Franciscan church in Rothenburg o. d. T., c. 1485/1490, with original painting by Martin Schwarz (Bode Museum, Berlin)
164:, as well as tombs in stone, and statues. He was largely forgotten soon after his death, but rediscoved by art historians in the 19th century.
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characteristics, simplified forms with less volume that were easier to dublicate, and may be also a sign of restraint due to the upcoming
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Due to his loss of status, Riemenschneider was soon forgotten as an artist, other than for the two epitaphs of Bishops
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with six angels. It was set up in 1492. In 1491, the town council of Würzburg ordered two life-sized stone figures of
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way of sculpting the clothing as well as the typical oval faces and almond-shaped eyes were modelled on art from the
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describes Riemenschneider's statue of Mary with child which resides in the Pfarrkirche St Burkard in Würzburg as:
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Original central Ascension figures, and the upper relief of left wing today at Bayerisches Nationalmuseum, Munich,
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1226:(1973) centers around the search for a missing Riemenschneider sculpture. Most of the action takes place in
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the other relief of the left wing, and the four sitting Apostles from the predella in the Bode Museum, Berlin
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When Riemenschneider was about five years old, his father was involved in a violent political conflict, the
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from 1483. He was one of the most prolific and versatile sculptors of the transition period between the
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More high-profile work followed: In 1496 Riemenschneider received the commission by Prince-Bishop at
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booklet to the exhibition at Mainfränkisches Museum Würzburg and Cathedral Museum, Würzburg, 2004.
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In 1508, Riemenschneider married Margaretha Wurzbach. From 1509 until 1522 he was a member of the
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region of the 1470s, implying that Riemenschneider may have learned his trade either there or at
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property, but it also meant that he could end his apprenticeship and become a master craftsman.
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954:(Rothenburg ob der Tauber), limewood, 1510/1513, now in the Kurpfälzisches Museum, Heidelberg
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His earliest confirmed work is the gravestone of Eberhard von Grumbach in the parish church (
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Most of his subjects are religious, including several very large and spectacular carved wood
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The Trees of the Cross: Wood as Subject and Medium in Late Medieval Germany
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Tilman Riemenschneider. Werke seiner Blütezeit / Werke seiner Glaubenswelt,
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Tilman Riemenschneider. Werke seiner Blütezeit / Werke seiner Glaubenswelt,
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The sculptures and woodcarvings of Tilman Riemenschneider are in the late
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in Würzburg, including most stone sculptures from the city's churches.
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582:. Other traits of his style derive from his presumed apprenticeship in
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229: in this section. Unsourced material may be challenged and removed.
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In November 1504, Riemenschneider became a member of the sub-council (
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and stone. He was also a local politician in the council of Würzburg.
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Limewood carved figure of Saint George Fighting the Dragon, c. 1490 (
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Eve, from the Marienkapelle, both today in the Mainfränkische Museum
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1543:. Freunde Mainfränkischer Kunst und Geschichte e.V. Würzburg. 2004.
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from the Magdalene Altarpiece, Münnerstadt (1490–1492), limewood,
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Baxandall 1980, p. ? (German edition 1984, p. 188–195, 336).
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Schroll, Wien 1978, ISBN 3-7031-0472-4 (with Index to all vols.).
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c. 1510, formerly Acholshausen, Mainfränkisches Museum, Würzburg
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St James the Elder, c. 1505, Bayerisches Nationalmuseum, München
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Tilman Riemenschneider: Master Sculptor of the Late Middle Ages
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Tilman Riemenschneider: Master Sculptor of the Late Middle Ages
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Adam, from the south portal of the Marienkapelle, c. 1491/1494
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St John the Baptist, c. 1490, Pfarrkirche St. Kilian, Haßfurt
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650:. Among his successors and/or pupils –beside his sons– were
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Tilman Riemenschneider – Werke seiner Blütezeit (German)
538:, Riemenschneider acquired true fame only posthumously.
351:, whose copper engravings served him later as examples.
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Tilman Riemenschneider was born around the year 1460 at
937:, limewood, c. 1510, Bayerisches Nationalmuseum, Munich
818:, limestone, partly gilded, sandstone (base), 1499/1513
793:, limewood (framing in pinewood), monochrome, 1495–1499
586:, where he grew up. It is assumed he learned stone and
1392:. New Haven: Yale University Press, 2023, pp. 130–161.
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Madonna and Child, 1493, Neumünster, Würzburg (detail)
1299:
Tilman Riemenschneider—The Sculptor and His Workshop
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of the Münnerstädter high altar, Bode Museum, Berlin
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Baxandall, p. ? (German edition 1984, p. 335).
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Franken – Kunst, Geschichte und Landschaft (German)
1309:(Originally in German, 2001, revised edition 2019).
413:for the south portal of the council's church, the
1246:, New Haven, London: Yale University Press, 1980.
427:for the parrish church of St Bernard, Würzburg).
401:, the parish church, which included a carving of
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634:places Riemenschneider's best work, such as the
48:Supposed self-portrait of Tilman Riemenschneider
1112:, c. 1495, formerly St Peter's church, Erfurt,
758:sandstone, 1491/1493, originally Marienkapelle
1244:The Limewood Sculptors of Renaissance Germany
811:Tomb of Emperor Henry II and Empress Cunigund
638:, in the same league as the oil paintings of
1593:
1301:, Königstein im Taunus: Langewiesche, 2004,
1191:cloister church of St. Afra, Maidbronn, 1525
697:Mainfränkisches Museum (Marienberg Fortress)
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27:German sculptor and woodcarver (c.1460–1531)
1336:, Vol. 13, New York: Robert Appleton, 1912.
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1360:Verlagsdruckerei Würzburg, Würzburg 1930.
1353:Verlagsdruckerei Würzburg, Würzburg 1925.
1292:10.1093/gao/9781884446054.article.T072085
771:, c. 1495, formerly St Peter's church in
289:Learn how and when to remove this message
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1276:Vincent Mayr, "Riemenschneider, Tilman"
1201:The character Goldmund in the 1930 book
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181:
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149:, to which he essentially belonged, and
1379:Claudia Lichte, Jürgen Lenssen (eds.),
1367:Schroll, Wien 1974, ISBN 3-7031-0227-6.
1346:4 volumes (the standard work, German):
1312:Claudia Lichte, Jürgen Lenssen (eds.),
718:Allerheiligenkirche, Kleinschwarzenlohe
1636:
1502:
871:Jakobskirche, Rothenburg ob der Tauber
853:, limewood except epitaph, around 1500
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945:St. Peter und Paul (Detwang), Detwang
714:Altar of the Farewell of the Apostles
1669:Sculptures by Tilman Riemenschneider
1222:'s first Vicky Bliss mystery novel,
1087:St Elisabeth of Thuringia, c. 1510,
636:Virgin listening to the Annunciation
227:adding citations to reliable sources
198:
1570:"2. Working methods and technique".
1261:, New York, Washington: NGA, 1999,
13:
1320:
889:Saint Anne and her three husbands,
881:, Würzburg, 1501/1505, now in the
741:, limewood, monochrome, 1490/1492
609:, usually by a painter (so-called
14:
1720:
1684:People from Heilbad Heiligenstadt
1452:National Gallery of Art exhibit:
1396:
1253:, catalogue of the exhibition at
137:1460 – 7 July 1531) was a German
1447:Mainfränkisches Museum, Würzburg
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1044:St Mark the Evangelist from the
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1553:For this and other dating, see
963:, Würzburg Cathedral, 1520/1522
214:needs additional citations for
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1435:New International Encyclopedia
996:near Würzburg, sandstone, 1525
690:
1:
1704:16th-century German sculptors
1699:15th-century German sculptors
1689:Burials at Würzburg Cathedral
1594:Dettelbacher, Werner (1974).
1495:
731:, limewood, polychromed, 1491
134:
113:
57:
1674:Wooden sculptures in Germany
1654:German Renaissance sculptors
1481:(BBC documentary, 2010). In
986:, limewood, around 1521/1524
914:, limewood, around 1505/1508
825:Altar of the Church Fathers,
735:Altarpiece of Mary Magdalene
194:
7:
1488:visits and comments on the
1108:Virgin of an Annunciation,
1089:Germanisches Nationalmuseum
766:Madonna of an Annunciation,
672:in Rothenburg ob der Tauber
546:Ascension of Mary Magdalene
377:in the church of St James (
10:
1725:
1365:Die späten Werke in Stein.
1259:Metropolitan Museum of Art
1233:
1189:The Lamentation of Christ,
1000:
893:Bayerisches Nationalmuseum
883:Victoria and Albert Museum
829:Altar of the Annunciation,
685:Bayerisches Nationalmuseum
558:Bayerisches Nationalmuseum
303:Heiligenstadt im Eichsfeld
64:Heiligenstadt im Eichsfeld
16:For the Bach scholar, see
15:
1372:Die späten Werke in Holz.
1333:The Catholic Encyclopedia
990:The Lamentation of Christ
512:Prince-Bishop of Würzburg
120:
109:
101:
93:
71:
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34:
1415:Tillmann Riemenschneider
1328:"Tilman Riemenschneider"
1228:Rothenburg ob der Tauber
1020:Creglingen, c. 1505/1508
762:, Mainfränkisches Museum
710:), limewood, around 1490
706:, church of Hassenbach (
668:Last Supper detail from
490:Detail of stone tomb of
387:Rothenburg ob der Tauber
238:"Tilman Riemenschneider"
176:Rothenburg ob der Tauber
151:Northern Renaissance art
20:. For the asteroid, see
1649:Medieval German artists
1557:, p. 132 and following.
1430:Riemenschneider, Tilman
1344:Tilman Riemenschneider.
1297:Iris Kalden-Rosenfeld,
1284:Oxford University Press
1255:National Gallery of Art
878:Mary Salome and Zebedee
704:Hassenbacher Vesperbild
451:Cunigunde of Luxembourg
141:and sculptor active in
1709:German Roman Catholics
1679:Painters from Würzburg
1249:Julien Chapuis (ed.),
1204:Narcissus and Goldmund
969:, pilgrim's church of
822:Altar of the Apostles,
799:Rudolf von Scherenberg
787:Creglingen altarpiece,
687:
673:
628:
612:
564:
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520:Rudolf von Scherenberg
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492:Rudolf von Scherenberg
467:
443:Rudolf von Scherenberg
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191:
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131:Tilman Riemenschneider
36:Tilman Riemenschneider
18:Albert Riemenschneider
1694:German male sculptors
1466:Spencer Museum of Art
1420:Catholic Encyclopedia
1406:Texts on Wikisource:
1224:Borrower of the Night
967:Madonna of the Rosary
926:Kurpfälzisches Museum
918:Altar of the Apostles
891:limewood, 1505/1510,
873:, limewood, 1501–1505
679:
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1470:University of Kansas
1018:Altar of the Virgin,
908:Altar of Virgin Mary
504:German Peasants' War
441:for his predecessor
223:improve this article
124:limewood altarpieces
22:6145 Riemenschneider
1486:Andrew Graham-Dixon
1164:Monumental tomb of
972:Maria im Weingarten
924:, 1509, now in the
806:, marble, 1496/1499
419:(erected in 1493).
314:Mainzer Stiftsfehde
88:, Holy Roman Empire
66:, Holy Roman Empire
1644:German woodcarvers
1326:Gerhard Gietmann,
1257:, Washington, and
992:, abbey church of
958:Epitaph of Bishop
804:Würzburg Cathedral
797:Epitaph of Bishop
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661:and Philipp Koch.
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528:Würzburg Cathedral
508:Konrad von Thüngen
500:
496:Würzburg Cathedral
457:(delivered 1513).
432:Würzburg Cathedral
192:
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1598:. Dumont Verlag.
1568:Grove Art Online:
1490:Holy Blood Altar.
1358:Die reifen Werke.
1351:Die frühen Werke.
1240:Michael Baxandall
1174:Bamberg Cathedral
941:Crucifixion Altar
861:Eisingen, Bavaria
816:Bamberg Cathedral
789:Herrgottskirche,
455:Bamberg Cathedral
399:St Mary Magdalene
397:for the altar of
349:Martin Schongauer
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110:Years active
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1279:Grove Art Online
1220:Elizabeth Peters
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867:Holy Blood Altar
859:, St Nicolas in
840:Epitaph of Hans
748:Noli me Tangere,
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670:Holy Blood Altar
660:
642:. Art historian
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526:side by side in
524:Lorenz von Bibra
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435:Lorenz von Bibra
425:Virgin and Child
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1073:Grieving Mary,
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1022:
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1006:Holzskulpturen
1002:
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732:
711:
692:
689:
640:Albrecht Dürer
625:Mourning Women
566:
563:
550:Mary Magdalene
532:Albrecht Dürer
498:, (1496–1499).
403:Mary Magdalene
339:— possibly in
297:
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121:Known for
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1209:Hermann Hesse
1206:
1205:
1197:In literature
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775:(Thuringia),
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756:Adam and Eve,
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681:Saint Barbara
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644:Kenneth Clark
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449:and his wife
448:
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437:to carve the
436:
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416:Marienkapelle
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243:
240: –
239:
235:
234:Find sources:
228:
224:
218:
217:
212:This section
210:
206:
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177:
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1659:1460s births
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1371:
1364:
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1243:
1223:
1218:The plot of
1217:
1213:
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934:
917:
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831:carvings of
828:
824:
821:
809:
796:
786:
765:
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734:
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703:
694:
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669:
652:Peter Breuer
635:
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259:
252:
245:
233:
221:Please help
216:verification
213:
171:
159:
130:
129:
29:
1664:1531 deaths
1483:Episode one
1340:Justus Bier
1176:, 1499/1514
975: [
948: [
863:, 1500–1505
857:Crucifixion
845:, St. Leo,
833:St. Kilian,
739:Münnerstadt
721: [
691:Major works
655: [
648:Reformation
576:Upper Rhine
502:During the
393:ordered an
391:Münnerstadt
381:Sankt Jakob
365:Pfarrkirche
337:Upper Rhine
317: [
279:August 2017
188:Bode Museum
162:altarpieces
147:Late Gothic
94:Nationality
82:7 July 1531
1638:Categories
1496:References
1091:, Nürnberg
935:St Barbara
930:Heidelberg
912:Creglingen
791:Creglingen
600:iconoclasm
536:Veit Stoss
423:statue of
341:Strasbourg
249:newspapers
139:woodcarver
102:Occupation
78:1531-07-07
1170:Cunigunde
1110:alabaster
994:Maidbronn
922:Windsheim
851:Meiningen
842:von Bibra
836:Crucifix,
779:, Paris (
769:alabaster
729:Nuremberg
613:Fassmaler
596:mannerist
588:alabaster
584:Thuringia
552:sporting
307:Thuringia
195:Biography
190:, Berlin)
178:, 1501–05
1370:Vol. 4:
1363:Vol. 3:
1356:Vol. 2:
1349:Vol. 1:
1286:, 2003,
1166:Henry II
1046:predella
885:, London
760:Würzburg
560:, Munich
468:Unterrat
447:Henry II
325:Osterode
155:limewood
143:Würzburg
105:sculptor
86:Würzburg
1555:loc cit
1464:at the
1438:. 1905.
1423:. 1913.
1234:Sources
1116:, Paris
1001:Gallery
984:Volkach
982:, near
477:Oberrat
439:epitaph
395:retable
343:and/or
335:or the
263:scholar
1602:
1566:Mayr,
1305:
1265:
1114:Louvre
897:Munich
781:RF1384
777:Louvre
773:Erfurt
607:gilded
571:Gothic
510:, the
371:Rimpar
333:Swabia
265:
258:
251:
244:
236:
97:German
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952:]
849:near
847:Bibra
727:near
725:]
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385:) in
369:) at
321:]
270:JSTOR
256:books
1600:ISBN
1330:,
1303:ISBN
1263:ISBN
838:and
827:and
522:and
409:and
407:Adam
242:news
72:Died
60:1460
54:Born
1432:".
1417:".
1288:doi
1271:PDF
1207:by
1172:in
580:Ulm
565:Art
534:or
494:in
453:at
411:Eve
345:Ulm
225:by
174:in
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286:(
281:)
277:(
267:·
260:·
253:·
246:·
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133:(
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76:(
24:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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