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281:, which is highly valued, not for the text, but for its remarkable collection of 1,809 spirited illustrations. Wolgemut and Wilhelm Pleydenwurff were first commissioned to provide the illustrations in 1487 and 1488, and a further contract of 29 December 1491 commissioned manuscript layouts of the text and illustrations. A further contact of 1492 stipulated that Koberger should provide a locked room for the blocks to be kept safely. A drawing by Wolgemut for the elaborate frontispiece, dated 1490, is in the
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168:, depicting volume and shading to a much greater extent than before. Many are remarkable for their vigour and clever adaptation to the special necessities of the technique of woodcut. Nonetheless, they were very often hand-coloured before or after sale. His pupil Dürer was to build on and to so surpass his achievement that it is often overlooked.
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in
Nuremberg. He worked with Gabriel Malesskircher in Munich early in 1471, leaving the city after unsuccessfully suing Malesskircher's daughter for breach of contract, claiming she had broken off their engagement. He then returned to his late father's workshop in Nuremberg, which his mother had
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at this time. The production of woodcuts was a large part of the work of the workshop, the blocks being cut from
Wolgemut's designs. They were mostly made to supply the many publishers in Nuremberg with book illustrations, with the most attractive also being sold separately. Wolgemut's woodcuts
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The importance of
Wolgemut as an artist rests not only on his own individual works, but also on the fact that he was the head of a large workshop, in which many different branches of the fine arts were carried on by a great number of pupil-assistants, including Albrecht Dürer, who completed an
285:. As with other books of the period, many of the woodcuts, showing towns, battles or kings were used more than once in the book, with the text labels merely changed. The book is large, with a double-page woodcut measuring about 342x500mm.
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worked as an assistant, and from 1491 a partner, to
Wolgemut. Some consider Wilhelm a finer artist than Wolgemut, however he died in January 1494, when he was probably still in his thirties. Wilhelm's
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Two large and copiously illustrated books have woodcuts supplied by
Wolgemut and his stepson Wilhelm Pleydenwurff; both were printed and published by Germany's largest publisher, the Nuremberger
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on canvas. As a portrait-painter he enjoyed much repute, and some of his works of this class are very admirable for their realistic vigour and minute finish.
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friars at
Nuremberg, now moved into the museum; it consists of a great many panels, with figures of locally venerated saints.
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Wolgemut trained with his father
Valentin Wolgemut (who died in 1469 or 1470) and is thought to have been an assistant to
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gallery, a decorative work of much beauty. In 1479 he painted the retable of the high altar in the church of St Mary at
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with a large series of paintings; some on the ceiling are on panel, and others on the walls are painted thinly in
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large altar-pieces and other sacred paintings were executed, and also elaborate carved painted wood
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One or more of the preceding sentences incorporates text from a publication now in the
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remains unclear, though works in various media have been attributed to him.
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In 1472 he married
Pleydenwurff's widow and took over his workshop; her son
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1491; image is a woodcut from
Wolgemut's workshop with added hand-colouring
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Outside
Germany Wolgemut's paintings are scarce: the Royal Institution at
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Wolgemut was a leader among the artists reviving the standards of German
528:. Vol. 28 (11th ed.). Cambridge University Press. p. 769.
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130:; 1434 – 30 November 1519) was a German painter and
601:(in German and English). Basel: Christoph Merian. pp. 42–45.
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influence, and he may have traveled within Flanders (modern
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In 1501 Wolgemut was employed to decorate the town hall at
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The Age of Dürer and Holbein: German Drawings 1400-1550
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apprenticeship with him between 1486 and 1489. In his
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Peringsdörffer altar, Annunciation and Betlehem scene
546:. London: British Museum Publications. p. 56.
263:, who was also Dürer's godfather. The first is the
251:. Woodcut "Der Judenbrand" by Michael Wolgemut and
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297:consisting of four panels, dated 1465, now in the
16:15th to 16th-century German painter and printmaker
599:Jewish Switzerland: 50 Objects Tell Their Stories
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138:. He is best known as having taught the young
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470:Learn how and when to remove this message
293:The earliest known work by Wolgemut is a
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655:. British Museum Press.
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329:Pilate washing his Hands
179:and surrounding areas).
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525:Encyclopædia Britannica
454:more precise citations.
245:Schedelsche Weltchronik
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253:Wilhelm Pleydenwulff
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69:(1519-11-30)
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690:1519 deaths
685:1434 births
633:29 December
460:August 2020
452:introducing
307:Augustinian
679:Categories
435:references
416:References
132:printmaker
128:Wohlgemuth
94:printmaker
86:Occupation
337:Schwabach
325:Liverpool
289:Paintings
183:Biography
166:engraving
136:Nuremberg
80:Nuremberg
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216:Woodcuts
154:retables
112:Children
107:'s widow
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303:Zwickau
295:retable
273:Schedel
177:Belgium
173:Flemish
161:woodcut
149:atelier
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