Book Series VISTAS , vol. 4

Riemenschneider in Situ

Katherine M. Boivin, Gregory C. Bryda (eds)

  • Pages: 416 p.
  • Size:225 x 300 mm
  • Illustrations:33 b/w, 222 col., 1 maps b/w
  • Language(s):English
  • Publication Year:2022

  • c. € 175,00 EXCL. VAT RETAIL PRICE

Riemenschneider in Situ presents the newest research on the work of one of the most famous late medieval and early Renaissance sculptors, Tilman Riemenschneider.


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.


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.


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