Item Number: 110843
Title: Der NAUMBURGER MEISTER : Bildhauer und Architekt im Europa der Kathedralen
Author: Krohm, Hartmut (et al)
Price: Not Available
Description: Petersberg: Imhof, 2011. 2 vols. 29cm., hardcover, 1568pp., 1570 illus. Exhibition catalogue. Summary; The sculptors and stonemasons associated with the name “Naumburg Master“ had an outstanding reputation throughout medieval Europe. From the 1220s on, German masters trained in the sculpture workshops of the Northern French cathedrals situated in Île de France, Champagne and Picardie. Their journey to Germany took them across the borders of the French kingdom via Mainz to Naumburg and Meissen. Their legacy is a body of work which is of outstanding quality and of worldwide importance. The sculptures of the west rood screen in Mainz Cathedral, the relief depicting the sharing of St. Martin’s coat in Bassenheim, the tomb slab of the Ritter von Hagen in Merseburg Cathedral, the statues in the choir and the octagon chapel of Meissen Cathedral and above all the unique west choir of Naumburg Cathedral with the Passion reliefs of the rood screen and the statues of the founders are impressive examples of the outstanding quality of workmanship from these medieval masters . There is wide consensus among researchers that the origin of the Naumburg Master as an architect and sculptor can probably be traced to 1211 and the beginning of construction work on Reims Cathedral. Lending evidence is the striking similarity between the rich inventory of sculptures and their novel interplay with the architectural setting of the cathedral and those exhibited by the west choir in Naumburg, notably the gallery in front of the windows. Many similar features adorn the choir area and nave and highlight the creative base of the Naumburg Master – from the intensification of figurative representation within the architectural context to an emphasis on mimic expressiveness aimed at an increased individualization. During the first half of the 13th century, Reims cathedral, which hosted the coronation of many French kings, became increasingly the focus of German building work, until it was eclipsed, in the middle of the century, by architectural activities in generating the metropolis of Paris. The adoption of designs and sculptural ideas from France was certainly not only due to a general fascination with the French cathedral creation, which eclipsed all previous architecture, but also to the high esteem in which the sacrally distinguished French royalty was held. A comparison of the works from Strasbourg, Bamberg, Magdeburg or Trier clearly reveals the direction and purpose of the Naumburg workshop. At the same time, it shows that the adoption of styles from the West was often accompanied by a late blossoming of local art, which can also be seen in Naumburg itself: impressive examples include the series of glass paintings in the west choir of the cathedral and the crucifixion group of the Church St. Maurice (now in the Berlin Sculpture Collection), which was carved shortly before the arrival of the Naumburg Master.
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