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chiaroscuro woodcut. Bartrum assigns them "towards the end" of the 16th century. No surviving paintings are attributed to him, although a few drawings have been, tentatively. As with most artists in woodcut, art historians now consider that
Wechtlin probably just designed the woodcuts, leaving the block-cutting to a specialist "formschneider" who pasted the design to the wood and chiselled the white areas away. The quality of the final woodcuts, which varies considerably, depended on the skill of the cutter as well as the artist.
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208:. His prints, recognised as a group, remained unattributed to any documented artist until 1851, when his name on the title page of a book he illustrated was connected with the monogram and the few documentary records. A similar monogram was used by the glass-painter Jacob Wechtlin, perhaps a brother.
173:
looking very similar to the
Emperor, by both Cranach and Burgkmair. Wechtlin's twelve prints were the largest individual contribution to the corpus of about sixty German chiaroscuro woodcuts from the early 16th century - the technique was probably invented by Burgkmair in 1508. Unlike Burgkmair's
90:
rather than book illustrations), apparently made in the period 1505-15, and is mainly remembered for his twelve chiaroscuro woodcuts, which are all extremely rare. The dating of these has been much discussed by art-historians, as part of the very tangled issue of the development of the German
110:, "by far his most impressive" and "one of the most powerful of the German Renaissance", which is the only one for which there is evidence of dating, as it is copied in a book of 1512. Four of his chiaroscuro prints are somewhat ostentatiously classical, two on the very obscure subjects of
230:, "perhaps the most influential book illustrations ever produced in Europe", though the attribution to him is not universally agreed. This was the first printed Virgil with illustrations. These crowded compositions retain many Gothic features, compared for example with
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and his calls for a crusade; indeed the style of armour the knight wears is often called "Maximilian armour". Other early chiaroscuro woodcuts were equestrian portraits of similar knightly figures, a portrait of
Maximilian by
256:(literally "Field-book of the Wound-doctor", 1517, 1st edn.), a manual for the military surgeon (see Commons). These have sometimes been coloured by hand, but are printed in black and white. His
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His monogram, used only on eleven of his chiaroscuro prints, consists in its fullest form of his initials "Io V" between two diagonally crossed pilgrim's staves, with a flower in the centre, on a
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52:, then in Germany and now in France, where his father, also called Hans Wechtlin, was a cloth merchant. Most of his identified works are woodcut book illustrations, the first, scenes from the
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often frankly garish colours, Wechtlin's colour woodcuts use only two blocks and muted colours. In both the
Cleveland and Cincinnati impressions of the
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58:, are from a Strasbourg book of 1502, and the last is a Strasbourg title-page of 1526. In 1505 he began a year of employment as a painter to
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for the 1526 edition, produced when he was probably in his forties, is the last known trace of him. He is not to be confused with
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40:, printed in two or more colours, during their period in fashion, though most of his output was of book illustrations.
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147:, from whom the figures of Pyramus and Thisbe are directly borrowed. His woodcut technique is based on that of
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there are black line blocks and a "greyish-blue" tone block; other tone blocks are described as "blue-grey" (
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238:. They were copied in many other book editions and about thirty years later in a famous series of
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Bartrum, 65. He was known by the invented name "Johann Ulrich
Pilgrim" until this point.
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129:
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Peters, 69. Illustrated in Landau & Parshall, 186-189, also
Bartrum & Peters.
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are his only certainly surviving work. He was the most prolific producer of German
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plaques by the "Master of the Aeneid Series", one of many such derivative works.
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74:. He became a citizen of Strasbourg in 1514, and by 1519 was a master of the
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was a German
Renaissance artist, active between at least 1502 and 1526, whose
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Peters, 69, and see link at illustration note for a colour image of
Cleveland
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His best known book illustrations in his own time were 135 woodcuts from
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Variant contemporary spellings are
Veuchtelin, Wächtlin, or Wechtle
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33:
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Better-known today are the often rather gruesome woodcuts for
158:(illustrated above) is in the chivalrous spirit influenced by
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457:
Imagining
Childhood: Themes in the Imagery of Childhood
397:, for a full discussion of the origin of the technique.
139:. They show Italianate influence, especially from the
151:, though his wooded backgrounds owe more to Cranach.
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in 1506-7, where he must have met the court painter,
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Peters, 69. See: David Landau & Peter Parshall,
264:, another Strasbourg woodcut artist of the period.
102:(1517, 1st edn.), a manual for the military surgeon
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349:
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282:"Coloured version from Cleveland Museum of Art"
24:, reproduced in black-and-white. 26.8 x 18 cm.
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86:He left nineteen single-leaf wood-cuts (i.e.
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48:He was born in about 1480-85, presumably in
234:'s rather earlier painted illustrations to
459:, pp. 72-3, Yale University Press, 2006,
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106:His best known print is the chiaroscuro
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15:
569:, Cincinnati Art Museum, 1993, no. 38,
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565:Jane S Peters in KL Spangeberg (ed),
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553:German Renaissance Prints, 1490-1550
510:Examples, with commentary, from the
127:), as well the better known ones of
534:copy at Columbia University Library
419:(see External links), was added by
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590:Saint John on the island of Patmos
81:
14:
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182:and the Skull) and "grey-green" (
66:. After he left Nancy he was in
325:Skull Within an Ornamental Frame
108:Skull Within an Ornamental Frame
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417:St John on the Island of Patmos
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204:or plaque, a style copied from
567:Six Centuries of Master Prints
555:; British Museum Press, 1995,
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193:Another illustration to the
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616:16th-century German artists
170:Saint George and the Dragon
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425:JSTOR, Burlington Magazine
254:Feldtbuch der Wundartzney
195:Feldtbuch der Wundartzney
100:Feldtbuch der Wundartzney
60:René II, Duke of Lorraine
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123:(a famous Ancient Greek
611:Artists from Strasbourg
72:Lucas Cranach the Elder
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103:
25:
387:The Renaissance Print
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176:Knight and Halberdier
156:Knight and Halberdier
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22:Knight and Halberdier
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478:, and further pages
340:Cleveland impression
220:'s 1502 edition of
145:Marcantonio Raimondi
98:An illustration for
38:chiaroscuro woodcuts
28:Johann, Johannes or
523:Metropolitan Museum
115:Slaying the Serpent
20:Wechtlin's woodcut
606:German printmakers
517:2011-06-12 at the
512:Fitzwilliam Museum
474:2011-07-06 at the
250:Hans von Gersdorff
212:Book illustrations
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184:Pyramus and Thisbe
167:, and versions of
160:Emperor Maximilian
130:Pyramus and Thisbe
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252:'s (1455–1529)
218:Sebastian Brant
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82:Single woodcuts
76:painter's guild
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581:External links
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499:See section 16
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454:Erika Langmuir
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165:Hans Burgkmair
149:Albrecht Dürer
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55:Life of Christ
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290:. Retrieved
286:the original
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262:Hans Weiditz
258:frontispiece
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444:Bartrum, 65
314:Bartrum, 67
600:Categories
543:References
367:Peters, 69
292:2008-10-08
232:Botticelli
202:cartellino
141:engravings
125:gem-carver
120:Pyrgoteles
68:Wittenberg
50:Strasbourg
587:Cleveland
521:and the
515:Archived
472:Archived
423:in 1903
34:woodcuts
240:Limoges
180:Orpheus
136:Orpheus
78:there.
573:
559:
463:
393:
243:enamel
227:Aeneid
222:Virgil
88:prints
415:One,
268:Notes
236:Dante
186:).
113:Alcon
64:Nancy
571:ISBN
557:ISBN
488:here
486:and
484:here
480:here
469:here
461:ISBN
391:ISBN
154:His
133:and
117:and
44:Life
224:'s
143:of
62:in
602::
551:;
482:,
358:^
346:^
592:.
295:.
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