Riemenschneider in Situ presents the newest research on the work of one of the most famous late medieval and early Renaissance sculptors, Tilman Riemenschneider.
Riemenschneider in Situ presents the newest research on the work of one of the most famous late medieval and early Renaissance sculptors, Tilman Riemenschneider. Moving beyond questions of style, date, and workshop practice, this volume investigates the sculptor’s programs across the south German region of Franconia that survive in situ, within the particular contexts for which they were designed and in which they were originally experienced. In shifting the focus from fragmentary pieces in museum collections to extant installations in their original church settings, the volume contributes to a wave of scholarship interested in reanimating medieval artistic ensembles by considering them as complex visual environments. Together, the authors—conservators, museum professionals, and art historians—provide an essential and overdue study of Riemenschneider’s best-preserved pieces, while also making an important, collaborative addition to the broader discipline of pre-modern art history.
Katherine M. Boivin is Assistant Professor of Art History at Bard College. Her scholarship focuses on the dynamic interactions among architecture, figural arts, and human action in the medieval period.
Gregory C. Bryda is Assistant Professor of Art History at Columbia University, Barnard College. He teaches and publishes on the history of medieval art.
Eike und Karin Oellermann, Dedication to Hartmut Krohm
Julien Chapuis, Preface
Katherine M. Boivin and Gregory C. Bryda, Introduction
Part I: Place and Placement
Jeffrey Chipps Smith, The Historiography of Place in early Riemenschneider Scholarship
Katherine M. Boivin, Topographies of a Style
Thierry Greub, Placement, Judas, and Reliquary Cross: New Aspects on the Holy Blood Altar from Tilman Riemenschneider
Volker Schaible, Riemenschneider’s Marian Retable in the Church of Our Lady in Creglingen – Results From a Technical Art Historical Investigation
Part II: Dynamic Environments
Johannes Tripps, Space, Light, and Liturgical Plays as a Source of Inspiration for Riemenschneider’s Altarpieces
Mitchell B. Merback, Immanence and Intercession: Rooted Sanctity and the Creglingen Marienaltar
Tim Juckes, The Creglingen Altar and its Multimedia Environment: Metamorphoses of a Furnishing Ensemble in Sacred Space ca. 1460-1510
Reindert L. Falkenberg, ‘Horror Vacui’ – ‘Amor Vacui’: Riemenschneider’s Creglingen Retable in Situ
Part III: Surface and Composition
Hartmut Krohm, Fold Texture – Fold Rhetoric: Observations on Lighting Effects as an Artistic Factor in the Work of Riemenschneider and his Contemporaries
Michele Marincola & Anna Serotta, Riemenschneider’s Marien Altarpiece in the Church of Our Lord, Creglingen: A Review of its Restoration History and the Application of a New Examination Method
Matthias Weniger, The Münnerstadt Altarpiece: Once again on the question of its original appearance
Georg Habenicht, Riemenschneider’s Twelve Apostles Altarpiece in Windsheim
Assaf Pinkus, Compilatio at the Portal: The Last Judgment in Bern Cathedral
Hanns Hubach, Winand von Steeg (1371-1453): On Composition and Color 1415/20