602:
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944:
912:
956:
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561:
533:
692:
31:
998:
760:
746:
648:
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143:
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517:
678:
333:, a work very close in design and execution both to Schongauer's own engravings and to the production of Schongauer's painting workshop. Some engravers whose prints are often copies of Schongauer's, and whose original compositions are close to his style, are assumed to have been pupils of his. These include Master i.e, attributed with 55 prints by Lehrs, 31 copies of his master, Master BM, and Master A G, attributed with 34 prints, 13 copies of his master.
1029:
1852:
318:(but not engravings), who was with him from 1488 to 1490. The painted portrait of Schongauer, with his coat of arms at top left, is unusual for a fifteenth-century artist, but the panel now in Munich appears to be made well after his death, and is perhaps a copy of a drawing or painting made at the date on the painting, 1483. It is attributed to Hans Burgkmair the Elder, and the lost original may have been by his father,
247:, long displayed in the church in Colmar it was made for, but moved to the Dominican church nearby in 1973, is dated 1473 (his only dated painting). Its style corresponds with the earliest of his engravings, which have been placed in a broadly agreed sequence based on their technique and style, both of which show considerable development. In some cases a
341:
One hundred and sixteen engravings are generally recognised as by his hand. Many of his pupils' plates as well as his own are signed, M†S, as are many copies probably by artists with no connection to him. He is thought to have begun signing engravings in the early 1470s. The rarest survives in three
484:
possess good collections of
Schongauer's prints, most of which are relatively common for fifteenth-century prints, although impressions vary in quality a good deal. The different watermarks found suggest that impressions were printed over considerable periods, with most made when the copper plates
173:
in 1445, which probably required a residence of five years. He presumably taught his son the art of engraving, which is a distinct and difficult skill that goldsmiths had long used on metal vessels. Two of his brothers worked as goldsmiths in Colmar, while another also became a painter. Colmar is
386:
From his family background and time at university he was no doubt familiar with the emerging bourgeoisie of trade and the professions who provided the core market for high quality engravings, but the subjects from classical mythology so popular in German prints of the next century, and already
390:
The generally agreed sequence of his engravings shows an increasing sophistication of technique, but the most crowded and detailed, but highly organized, compositions are placed rather early, with "late-Gothic complexity" giving way to simpler compositions with more empty space and "an almost
353:, which may reflect his background in a goldsmith's house. A print of an elephant is a unique venture into the popular "prodigy" genre; it turns out that an elephant was indeed being toured around Germany in 1483, before drowning in a canal near
1055:
This painting, in Munich, appears to be a 16th-century copy, possibly by Hans
Burgkmair, of a lost original painting or drawing, presumably of 1483 (the date on the painting), perhaps by Thoman Burgkmair. See Hutchison, 6 note 2; Shestack,
852:
within. These are regarded as largely the work of the master, while the twenty-four panels from the doors of an altarpiece for the
Dominican church are regarded as mainly painted by the workshop, no doubt to his designs. A
462:
limitations both of setting and type" and that he "actualises an idea of beauty which in its nearer approach to more absolute ideals appeals to a far more universal appreciation" than earlier engravers such as Master E. S.
466:
With Master E.S., he was the first northern printmaker not only to have his prints very widely copied by other printmakers, but to have his designs taken by painters, sculptors and artists in all media. The demons in his
601:
1157:
Hutchison, 6; Shestack, biography. Once thought to be around 1440 or even earlier, his birthdate has been moved later in recent scholarship, based on working backwards from the few known dates. Bartrum, 20 has "c.
204:
and others, and had perhaps studied in the
Netherlands, and Schongauer's few surviving pictures reflect this. This was probably around 1466 and 1469; he was recorded as back in Colmar in 1469. His older brother
375:, initially intended to be used by craftsmen in various media, including woodcarvers and goldsmiths, as patterns for the elaborate and sophisticated designs. There are also two prints of metalwork objects, a
1012:
1825:
185:
in 1465, but seems to have left after a year. At this time university students often began at the age of twelve or thirteen. He was traditionally thought to have been trained as an engraver by
911:
840:
in Colmar possesses the largest collection. Two double-sided shutters (probably made to surround a sculpted central section) from the "Orlier
Altarpiece", dated c. 1470–75, show the
1271:
or Canary
Islands dragon tree, then very much a rare newcomer found in a few gardens in Iberia. One of the demons attacking Saint Anthony is said to based on an Iberian species of
83:, a younger artist who collected his work. Schongauer is the first German painter to be a significant engraver, although he seems to have had the family background and training in
982:
943:
131:
did close copies of 58 engravings, exactly half of
Schongauer's output, and took motifs or figures from more, as well as apparently engraving some drawings that are now lost.
1835:
876:
carried by Joseph, and the flask of water in the niche in the wall, can be treated as allusions to the theology of the subject, in the tradition of
Netherlandish painting.
181:
Most unusually for a Gothic or
Renaissance artist, he was sent to university, presumably with the intention of turning him into a priest or lawyer, and matriculated at the
560:
691:
189:, but scholars now doubt this, partly because Schongauer's prints took some time to develop the technical advances that a pupil of Master E. S. would have been taught.
391:
classical orderliness and decorum". But some of the busy early prints were his most popular and influential, as shown by the number of copies of them. These include
1710:
303:. In Germany DĂĽrer, whose prints became known over the decade following, was seen as the next leader of the tradition Schongauer had dominated for twenty years.
284:
in the cathedral there, and was recorded as a citizen there in June 1489. This was the largest mural painting north of the Alps, and was incomplete at his death.
127:, attributes 116 engravings to him, with many also being copied by other artists (including his monogram), as was common in the period. His prolific contemporary
933:
833:, but Schongauer gives it a treatment very much in the Netherlandish style. It has been cut down at the top and sides to fit the elaborate later carved frame.
997:
451:. He also developed a burin technique producing deeper lines on the plate, which meant that more impressions could be taken before the plate became worn.
955:
291:, travelled to Colmar to meet him, only to find he had died. DĂĽrer was an admirer who collected his drawings and no doubt prints. His own print of the
273:
are unclear, and though his prints spread his fame widely across Europe, he may have relied more on the income from his "major vocation" of painting.
212:
His earlier engravings also show clear influences from several Early
Netherlandish painters, suggesting that he followed the traditional pattern of a
799:
647:
1714:
1167:
Four per Hutchison, 6 – her note 3 explains that the 5th son, Caspar, is mentioned only by one source of the next century; five per Bartrum, 20
326:
532:
773:
759:
745:
432:
with each figure occupying its own sheet, often thought to be his last prints, the background is only represented by a simple groundline.
108:
926:
523:
502:
469:
393:
103:
872:
is close in style to his engravings, and not much larger than some. Many everyday details, such as the grapes in the basket, the
134:
There are some fine drawings, including ones dated and signed with his monogram, and a surviving few paintings in oil and fresco.
1791:, 1967, National Gallery of Art (Catalogue), LOC 67-29080 (no page numbers; a biography is followed by numbered entries, 34–115)
817:
261:
243:
412:
There are a number of series of engravings which show this development, from the twelve "crowded and turbulent" scenes in the
342:
impressions, and unlike most other printmakers of the century, examples have probably survived of all the engravings he made.
1897:
1768:
345:
The great majority of his subjects are religious, but there are a handful of comic scenes of ordinary life such as the early
94:
but none dated, which were well known not only in Germany, but also in Italy and even made their way to England and Spain.
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1922:
1333:
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1887:
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237:
He returned to Colmar and had established a workshop by 1471, when payments were made for an altarpiece for the
1806:
1782:
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30:
1917:
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and today displayed in the Dominican church nearby. This is a German subject, associated in particular with
822:
705:
230:
1794:
197:
142:
117:
516:
1932:
1902:
1882:
902:
The Breisach frescos remain on the west and south walls of the cathedral, though "in ruinous condition".
1937:
1842:
17:
1066:
447:, and was the first engraver to curve parallel lines, probably by rotating the plate against a steady
280:
in 1491, perhaps before reaching the age of forty. He had been engaged since 1488 in painting a large
1892:
661:
228:, presumably made in front of the painting. Various details of costume, and the exotic plants in the
218:
travelling at the end of his training. One drawing, dated 1469, is a copy of the figure of Christ in
1676:
322:, who very plausibly met Schongauer in Augsburg, where Schongauer is recorded as at least visiting.
1912:
865:
837:
150:
1121:' count, followed by Shestack and Hutchison, though there is now doubt over one – see Bartrum, 20
1033:
1811:
Maria del Carmen Lacarra Ducay. 'Influencia de Martin Schongauer en los primitivos aragoneses',
489:
survives in some sixty impressions, though only seven are "of the first quality". For the large
635:
360:
1872:
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201:
182:
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128:
8:
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493:, the largest engraving yet made, the equivalent figures are about seventy and fifteen.
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677:
455:
249:
165:, the third of four or five sons of Caspar Schongauer, a goldsmith and patrician from
1802:
1778:
1760:
1746:
1587:
448:
234:, have suggested to some scholars that he also visited Spain, and possibly Portugal.
224:
206:
175:
1249:
444:
241:
church there, which is now in the museum and regarded as a workshop production. His
80:
474:
319:
35:
1828:, complete(?) set of images of the engravings in Austrian collections, mostly the
830:
668:
330:
238:
193:
112:. His style shows no trace of Italian influence, but a very clear and organised
1738:
1329:
1267:
1248:
Shestack, biography; Bartrum, 20. The date was actually added decades later by
849:
440:
372:
307:
95:
39:
90:
The bulk of Schongauer's surviving production is 116 engravings, all with his
1866:
1298:
1583:
A History of Engraving & Etching From the 15th Century to the Year 1914
892:
436:
192:
He is thought to have trained as a painter with Colmar's main local master
186:
99:
84:
169:
who moved to Colmar about 1440; Caspar became a master of the goldsmith's
880:
270:
214:
196:(d. 1472), a neighbour of his parents, who was greatly influenced by the
1856:
481:
459:
113:
72:
458:, Schongauer was one of the first German engravers to "rise above the
1829:
1262:
1118:
124:
1507:
Hutchison, 6–7; Shestack, # 37, 40, 41; Bartrum, 21; Snyder, 282–284
1028:
473:
established the hybrids of fish, bird and insect types followed by
421:
311:
277:
166:
91:
68:
53:
299:
series, includes the same two exotic trees as Schongauer's, as an
1851:
884:
826:
815:
Only a few of his paintings survived, the most notable being the
683:
380:
315:
1272:
1041:
888:
869:
376:
354:
162:
158:
65:
49:
1261:
Shestack, biography; Hutchison, 6 and note 6. The trees are a
428:, perhaps of around 1490. By the time of his pair showing the
873:
170:
387:
present in Italian ones, do not appear at all in his work.
76:
253:
is provided by copies in various media that can be dated.
1757:
Prints & People: A Social History of Printed Pictures
443:(lines in two directions) which was further developed by
34:
Possible portrait of Martin Schongauer, associated with
1462:
Snyder, 285; Shestack, 87; Bartrum, 8 on prodigy prints
1840:
895:) surfaced in 1988; it relates to the flowers in the
329:, has long been considered as the main author of the
424:, to the late circular Evangelist's symbols and the
1018:
Drawing of an old man with fur collar and hat, 1475
1319:Shestack, biography, #34, 35, 36, 37; Hutchison, 6
1773:Hutchison, Jane Campbell, in KL Spangeberg (ed),
1864:
64:("pretty Martin") by his contemporaries, was an
1789:Fifteenth Century Engravings of Northern Europe
1328:For example, Shestack, #s 68–73, copied on the
477:and other artists throughout the next century.
1759:, Metropolitan Museum of Art/Princeton, 1971,
1543:respectively, Shestack, #s 98–100 and #101–104
698:Wild Woman Holding a Shield with a Lion's Head
439:in the system of depicting volume by means of
325:Another of Schongauer's pupils, the painter
123:Recent scholarship, building on the work of
1813:Boletin del Museo e Instituto 'Camon Aznar'
1471:Shestack, biography, # 106–109; Snyder, 285
1297:. Les Dominicains de Colmar. Archived from
416:series, perhaps of about 1480, through the
209:had probably preceded him in the workshop.
1252:when he owned the drawing; Snyder, 280–281
265:, dated 1473, in carved frame from c. 1900
1498:Shestack, biography (quoted); Snyder, 285
1067:"Der hĂĽbsche Martin... Martin Schongauer"
1777:, Cincinnati Art Museum, 1993, nos 6–8,
1027:
359:
255:
141:
29:
174:now in France but was then part of the
71:and painter. He was the most important
14:
1865:
1586:. Dover Publications. pp. 28–29.
420:, and the circular coats of arms with
1836:Martin Schongauer exhibition catalogs
1613:Shestack, Introduction; Hutchinson, 6
1408:See Hutchison, 6 note 2; Shestack, 87
990:Bust of a Monk Assisting at Communion
805:Ornament with Owl Mocked by Day Birds
157:Schongauer was born about 1450–53 in
87:which was usual for early engravers.
1815:’, vol. xvii (1984), pp. 15–39.
1743:German Renaissance Prints, 1490–1550
1579:
1573:
1004:Bust of a Man in a Hat Gazing Upward
1580:Hind, Arthur M. (30 October 2011).
1089:"Martin Schongauer German engraver"
371:He also produced nine of the first
269:The economics of fifteenth-century
116:, which draws from both German and
24:
654:Madonna and Child in the Courtyard
25:
1949:
1819:
1212:Shestack, biography; Hutchison, 6
1203:Shestack, biography; Hutchison, 6
287:The following year DĂĽrer, on his
1850:
1631:Shestack, biography; Bartrum, 20
1011:
996:
981:
966:
954:
942:
925:
910:
857:in Berlin is attributed to him.
798:
784:
772:
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676:
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485:were showing signs of wear. The
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1334:St. Stephen's Cathedral, Vienna
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1179:
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1032:Statue of Martin Schongauer by
949:Mary, detail, Orlier altarpiece
314:-based painter and designer of
1775:Six Centuries of Master Prints
1745:; British Museum Press, 1995,
1689:"Altarpiece of the Dominicans"
1151:
1142:
1133:
1124:
1112:
1103:
1081:
1059:
1049:
920:, 17.5 x 11.5 cm, 1470–75
509:Peasant Family Going to Market
347:Peasant Family Going to Market
13:
1:
1732:
1622:Hyatt Major, 133; Snyder, 282
1295:"Une chronologie mouvementée"
779:Archangel of the Annunciation
487:Rest on the Flight into Egypt
336:
231:Rest on the Flight into Egypt
27:German artist (c. 1452–1491)
1898:15th-century German painters
810:
524:The Temptation of St Anthony
470:The Temptation of St Anthony
394:The Temptation of St Anthony
198:Early Netherlandish painting
137:
118:Early Netherlandish painting
7:
1691:at the Musée d´Unterlinden.
1679:at the Musée d´Unterlinden.
10:
1954:
1453:Shestack, #79; Snyder, 284
1148:Shestack, 119–205, 183–194
934:Adoration of the Shepherds
897:Madonna in the Rose Garden
823:St Martin's Church, Colmar
818:Madonna in the Rose Garden
1923:Leipzig University alumni
1801:, 1985, Harry N. Abrams,
1390:Bartrum, 21; Hutchison, 6
974:Portrait of a young woman
844:on the outer faces and a
629:, from the Passion series
567:Christ Carrying the Cross
491:Christ Carrying the Cross
407:Christ Carrying the Cross
262:Madonna of the Rose Bower
244:Madonna of the Rose Bower
1799:Northern Renaissance Art
1381:Bartrum, 35; Snyder, 282
1130:Shestack, biography, #34
1023:
918:Madonna, Angel and Child
891:leaves and flowers (now
866:Kunsthistorisches Museum
766:The Fifth Foolish Virgin
752:The First Foolish Virgin
426:Wise and Foolish Virgins
351:Two Apprentices Fighting
151:Kunsthistorisches Museum
60:("Martin beautiful") or
40:Hans Burgkmair the Elder
848:and Saint Anthony with
149:, 10.25 x 6.75 inches.
1928:15th-century engravers
1908:German Roman Catholics
1888:Alsatian-German people
1769:fully available online
1044:
906:Paintings and drawings
738:The Second Wise Virgin
368:
266:
154:
109:Trial of Saint Anthony
42:
1031:
724:The Third Wise Virgin
610:, engraving from the
569:, 28.8 x 43.3 cm
539:the Flight into Egypt
399:the Flight into Egypt
363:
259:
220:Rogier van der Weyden
202:Rogier van der Weyden
183:University of Leipzig
178:and German-speaking.
145:
104:one of his engravings
33:
1918:Painters from Alsace
1480:Shestack, # 110, 111
582:Saint John on Patmos
306:His pupils included
129:Israhel van Meckenem
1725:Shestack, biography
1677:"Orlier Altarpiece"
1444:Shestack, biography
1426:Shestack, biography
1417:Shestack, # 116-122
1354:Shestack, biography
1345:Shestack, biography
1230:Shestack, biography
1221:Shestack, biography
1109:Shestack, biography
838:Musée d´Unterlinden
553:Death of the Virgin
403:Death of the Virgin
52:– 2 February 1491,
1933:Catholic engravers
1903:German draughtsmen
1883:People from Colmar
1534:Shestack, #s 90–97
1525:Shestack, #s 68–73
1516:Shestack, #s 51–82
1336:, datable to 1481.
1045:
1038:Unterlinden Museum
1034:Frédéric Bartholdi
711:The Ox of St. Luke
456:Arthur Mayger Hind
369:
297:Life of the Virgin
267:
250:terminus ante quem
155:
43:
1938:Catholic painters
1826:www.kulturpool.at
961:Orlier altarpiece
293:Flight into Egypt
225:Beaune Altarpiece
207:Ludwig Schongauer
176:Holy Roman Empire
56:), also known as
46:Martin Schongauer
16:(Redirected from
1945:
1893:German engravers
1855:
1854:
1846:
1755:A. Hyatt Mayor,
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1561:Hyatt Major, 130
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1435:Hyatt Major, 130
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1301:on 13 April 2019
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1091:. britannica.com
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475:Hieronymus Bosch
365:A Foolish Virgin
320:Thoman Burgkmair
36:Thoman Burgkmair
21:
1953:
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1948:
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1946:
1944:
1943:
1942:
1913:Gothic painters
1863:
1862:
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1849:
1841:
1822:
1787:Alan Shestack,
1739:Bartrum, Giulia
1735:
1730:
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1700:Snyder, 231–232
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1139:Ducay for Spain
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1069:. smb.museum
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58:Martin Schön
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38:and his son
1878:1491 deaths
1667:Snyder, 231
1658:Bartrum, 20
1570:Bartrum, 21
1363:Bartrum, 20
1284:Bartrum, 20
1194:Snyder, 230
1185:Snyder, 280
881:watercolour
862:Holy Family
641:St. Michael
627:Crucifixion
482:print rooms
430:Annuciation
367:, engraving
289:wanderjahre
276:He died in
271:printmaking
215:wanderjahre
1867:Categories
1832:in Vienna.
1807:0136235964
1783:0931537150
1733:References
1715:Getty page
1489:Bartrum, 8
976:, c. 1478
860:The small
792:The Censer
595:St. Martin
497:Engravings
337:Engravings
98:says that
73:printmaker
18:Schongauer
1830:Albertina
1305:5 January
1263:date palm
1119:Max Lehrs
1095:2 January
1073:2 January
1006:, drawing
887:study of
811:Paintings
608:Ecce Homo
295:, in his
239:Dominican
153:, Vienna.
138:Biography
125:Max Lehrs
106:, in the
937:, Berlin
855:Nativity
846:Nativity
422:wild men
316:woodcuts
312:Augsburg
278:Breisach
167:Augsburg
92:monogram
69:engraver
66:Alsatian
54:Breisach
885:gouache
864:in the
827:Cologne
684:Griffin
612:Passion
414:Passion
381:crosier
349:or the
301:hommage
102:copied
79:before
1843:Portal
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1781:
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1599:3 July
1590:
1273:lizard
1265:and a
1158:1450".
1042:Colmar
889:paeony
870:Vienna
614:series
480:Major
460:Gothic
397:, the
377:censer
355:Muiden
163:Alsace
159:Colmar
114:Gothic
96:Vasari
50:Colmar
1711:image
1024:Notes
874:wheat
449:burin
445:DĂĽrer
171:guild
1803:ISBN
1779:ISBN
1761:ISBN
1747:ISBN
1601:2014
1588:ISBN
1330:font
1307:2019
1097:2017
1075:2017
883:and
836:The
829:and
405:and
379:and
357:.
200:of
77:Alps
1857:Art
1332:of
868:in
222:'s
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879:A
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20:)
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