Tilman Riemenschneider's monochrome sculpture: an examination of its origin

Buttery, Ruth Marie (2010). Tilman Riemenschneider's monochrome sculpture: an examination of its origin. University of Birmingham. M.Phil.

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Abstract

This thesis explores the origins of the monochrome works of Tilman Riemenschneider (c.1460-1531) to clarify if this was an intentional finish. It focuses on the sculptor’s Münnerstadt, Rothenberg and Creglingen altarpieces. The discussion which combines new observations with previous scholar’s theories, examines the nature of the monochrome glaze and Riemenschneider’s carving of detailed sculptural surfaces to enhance the monochrome altarpieces; places Riemenschneider’s use of the monochrome medium in its social context, addressing both religious and secular concerns; researches the influence of three-dimensional and two-dimensional media on Riemenschneider’s development of the monochrome aesthetic; and investigates a theory put forward by Michael Baxandall concerning the use of natural sunlight in Riemenschneider’s monochrome altarpieces. The examinations conclude that monochrome was indeed an intentional finish by Riemenschneider, which in my view is strengthened though out this discussion by new comparisons between Riemenschneider and Jan Borreman (a Netherlandish contemporary). Similarities of compositional design, such as spatial arrangements and the use of windows in the back of the corpus demonstrate the likelihood of a connection between them.

Type of Work:	Thesis (Masters by Research > M.Phil.)
Award Type:	Masters by Research > M.Phil.
Licence:
College/Faculty:	Colleges (2008 onwards) > College of Arts & Law
School or Department:	School of Languages, Cultures, Art History and Music, Department of Art History, Curating and Visual Studies
Funders:	None/not applicable
Subjects:	N Fine Arts > N Visual arts (General) For photography, see TR N Fine Arts > NB Sculpture
URI:	http://etheses.bham.ac.uk/id/eprint/665

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