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

665 21 1615 10 2331 document 1615 Buttery10MPhil.pdf application/pdf 0f553dd7f3d7d4b6aac3f8f401d318ea MD5 17757978 2011-07-19 16:21:10 http://etheses.bham.ac.uk//id/eprint/665/1/Buttery10MPhil.pdf 665 1 1 application/pdf application/pdf en public

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/1615 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/1615 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/1615 archive 4031 disk0/00/00/06/65 2010-07-05 14:27:32 2019-01-23 09:52:36 2010-07-05 14:27:32 thesis show 0 Buttery Ruth Marie University of Birmingham Tilman Riemenschneider's monochrome sculpture: an examination of its origin unpub N1 NB 10col_artl 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the back of the corpus demonstrate the likelihood of a connection between them. 2010-07 2009-09-18 graduation eng This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ubira@lists.bham.ac.uk public University of Birmingham School of Languages, Cultures, Art History and Music, Department of Art History, Curating and Visual Studies m_ph na 2010-07 graduation