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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
432:
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
386:". 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
225:
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
262:
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:
294:
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
480:
1013:
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
314:. 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.
449:
254:
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
1032:
844:
467:
250:, which suggests that the artist's family lived in the region and that Stoss was rather born in the town of Horben, located 30 km southeast of
470:
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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197:. 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
952:
861:
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796:
487:
Veit Stoss was buried at St. Johannis cemetery in
Nuremberg. His artistic legacy was continued by his son Stanisław.
458:
201:". He had a large workshop, and in addition to his own works there are a number by pupils. He is best known for the
601:
342:
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Veit Stoss in Nürnberg. Werke des
Meisters und seiner Schule in Nürnberg und Umgebung (catalogue of the exhibition)
425:
420:
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The Angel
Raphael and the young Tobias. Limewood. 97 cm (38 in), (Germanisches Nationalmuseum, Nuremberg)
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238:. 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
406:
977:
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341:. The High Altar underwent major restoration work in Poland and was put back in its place at
286:
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
393:
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as Wit Stwosz. The altar in Kraków was completed in 1489, and was the largest
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462:(now in Germanisches Nationalmuseum, Nuremberg), and a statue of Saint
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185:; before 1450 – about 20 September 1533) was a leading
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90:
66:
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St. Mary's Altar by Veit Stoss, Cracow 2010, detailed videodocument
913:
Skubiszewski, Piotr (1978). "Der Stil des Veit Stoss" (in German).
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291:
990:
808:
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509:. He is one of the singing sculptors in Act 3 Scene 2 inside the
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602:"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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574:Życie i twórczość Wita Stwosza (Life and Art of Wit Stwosz.)
463:
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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
1033:
Stoss carving in the Victoria and Albert Museum, London
814:(in German). Vol. 11. Herzberg: Bautz. cols. 1–5.
329: – the dismantled Altar was shipped to
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Biographisch-Bibliographisches Kirchenlexikon (BBKL)
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807:
424:. In 1506 he was arrested a second time. In 1507,
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517:. There is a Polish book (1913) and film (1961)
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405:in 1504, to paint and gild the altarpiece that
337:, hidden in the basement of the heavily bombed
893:
242:. Moreover, his brother was certainly born in
917:(2). Zeitschrift für Kunstgeschichte: 93–133.
789:The Limewood Sculptors of Renaissance Germany
1001:(11th ed.). Cambridge University Press.
912:
806:Bautz, Traugott, ed. (1996). "Stoss, Veit".
513:. He is shown chiseling at the tomb of King
333:around 1941. It was rediscovered in 1945 in
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843:: CS1 maint: location missing publisher (
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321: – the Governor-General of
29:
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745:. London: H. Jenkins Limited. p. 360
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898:. New York: Metropolitan Museum of Art.
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649:Maximilian I.: Kaiser, Künstler, Kämpfer
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539:
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896:Gothic and Renaissance Art in Nuremberg
627:. Simon and Schuster: New York. p. 307.
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441:; it seems Stoss's attempts to cast in
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715:"St. Johannisfriedhof > Prominente"
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317:During World War II, on the order of
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981:. New York: Robert Appleton Company.
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652:(in German). Amalthea. p. 233.
947:. Prentice-Hall / Harry N. Abrams.
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401:Despite the prohibition he went to
136:Blind Veit Stoss with granddaughter
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1038:Profile of Veit Stoss (Wit Stwosz)
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14:
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969:Herbermann, Charles, ed. (1913).
468:Basilica of Santissima Annunziata
390:and his civil rights reinstated.
683:Stoß, Veit - Deutsche Biographie
82:St. Johannis cemetery, Nuremberg
856:(in German). Verlag der Kunst.
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646:Grössing, Sigrid-Maria (2002).
71:Free Imperial City of Nuremberg
1028:Web Gallery of Art: STOSS Veit
1023:Story of the Cracow altarpiece
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525:) about Veit Stoss in Cracow.
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1069:16th-century German sculptors
1059:15th-century German sculptors
894:Schultz, Ellen, ed. (1986).
871:Kirkpatrick, Sidney (2010).
739:Piltz, Erasmus, ed. (1909).
523:The story of a yellow crakow
348:
281:
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852:Kepinski, Zdzislaw (1981).
556:Kępiński, Zbigniew (1981).
456:merchant. In 1516 he made
16:German sculptor (1447–1533)
10:
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1089:People from Horb am Neckar
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768:"Story of the Golden Boot"
495:Veit Stoss is featured in
829:R. Kahnsitz, ed. (1983).
791:. Yale University Press.
770:– via www.imdb.com.
270:(Ołtarz Wita Stwosza) at
144:National Museum in Warsaw
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879:. Simon & Schuster.
474:sore in his thigh. Even
998:Encyclopædia Britannica
577:Jagiellonian University
560:. Auriga. pp. 7–9.
519:Historia żółtej ciżemki
220:
1099:German Roman Catholics
1094:Artists from Nuremberg
943:Snyder, James (1985).
930:Cite journal requires
407:Tilman Riemenschneider
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1064:German male sculptors
978:Catholic Encyclopedia
623:Durant, Will (1957).
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302:, the marble tomb of
162:German pronunciation:
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875:Hitler's Holy Relics
833:(in German). Munich.
529:Notes and references
459:Tobias and the Angel
421:Tobias and the Angel
195:Northern Renaissance
105:Northern Renaissance
1079:15th-century births
992:"Stoss, Veit"
680:Weilandt, Gerhard.
450:Raffaele Torrigiani
445:were unsuccessful.
362:(1517–1518) in the
310:, and the altar of
274:in Kraków. His son
268:Altar of Veit Stoss
207:St. Mary's Basilica
166:[faɪtʃtoːs]
118:Altar of Veit Stoss
1074:German woodcarvers
972:"Veit Stoss"
785:Baxandall, Michael
491:In popular culture
430:Imperial free city
426:Emperor Maximilian
399:
388:Emperor Maximilian
384:Assumption of Mary
368:
359:Angelic Salutation
304:Zbigniew Oleśnicki
296:tomb of Casimir IV
147:
129:
905:978-0-87099-466-1
886:978-1-4165-9062-0
659:978-3-85002-485-3
412:Bamberg Cathedral
364:St. Lorenz Kirche
345:ten years later.
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63:20 September 1533
53:Holy Roman Empire
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331:Nazi Germany
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246:in northern
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1084:1533 deaths
690:25 February
686:(in German)
665:25 February
636:Snyder, 305
614:Kirkpatrick
581:(in Polish)
544:Snyder 1985
497:Judith Weir
403:Münnerstadt
366:, Nuremberg
323:that region
248:Switzerland
240:Switzerland
183:Vitus Stoss
140:Jan Matejko
101:Late Gothic
41:Before 1450
1048:Categories
854:Veit Stoss
749:18 January
724:18 January
558:Wit Stwosz
515:Casimir IV
454:Florentine
410:altar for
319:Hans Frank
264:polychrome
203:altarpiece
175:Wit Stwosz
150:Veit Stoss
23:Veit Stoss
839:cite book
704:Baxandall
452:, a rich
439:Innsbruck
435:Hofkirche
349:Nuremberg
288:polonized
282:In Kraków
276:Stanisław
260:Franconia
256:Nuremberg
232:Stuttgart
154:Veit Stoß
91:Sculpture
67:Nuremberg
787:(1980).
466:for the
382:of the "
292:triptych
193:and the
142:(1865),
97:Movement
778:Sources
481:Le Vite
335:Bavaria
308:Gniezno
266:wooden
236:Germany
199:Baroque
152:(also:
116:Wooden
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472:plague
376:Schwaz
372:gulden
215:Poland
211:Kraków
191:Gothic
187:German
171:Polish
158:Stuoss
126:Kraków
501:opera
443:brass
380:Tyrol
252:Aarau
244:Aarau
230:near
179:Latin
73:, HRE
949:ISBN
936:help
900:ISBN
881:ISBN
858:ISBN
845:link
816:ISBN
793:ISBN
751:2018
726:2018
692:2022
667:2022
654:ISBN
464:Roch
418:and
221:Life
156:and
60:Died
38:Born
499:'s
325:of
306:in
298:in
258:in
234:in
209:in
205:in
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