Veit Stoss (also Veit Stoß), Polish Wit Stosz or
Wit Stwosz (born 1438/47, Swabia [Germany] — died 1533,
Nürnberg), one of the greatest sculptors and wood-carvers of 16th-century
Germany. His nervous, angular forms, realistic detail, and virtuoso
wood carving synthesized the sculptural styles of Flemish and Danubian
art and, together with the emotional force and dramatic realism of the
Dutch sculptor Nicolaus Gerhaert von Leyden, exercised tremendous influence
on the late Gothic sculpture of Germany, especially that of Nürnberg.
Stoss grew up in Nürnberg. From 1477 to 1496 he worked mainly in Poland,
Bohemia, and Hungary. His principal works are the majestic high altar,
carved in limewood and painted, of the Church of the Virgin Mary in
Kraków (1477–89) and the sculptured tombs of King Casimir IV and
Archbishop Zbigniew Olesnicki in the cathedrals of Kraków and Gniezno,
When he returned to Nürnberg, he was defrauded of his savings. Attempting
to regain them by forgery, he was discovered and branded, and he passed
an embittered old age encumbered with civic disabilities, even though the
Holy Roman emperor Maximilian I granted him full pardon. His work of this
period includes important wood and stone sculpture in the churches of St.
Sebaldus (1499, 1520) and St. Lorenz (1513, 1518) in Nürnberg and a
carved altar in Bamberg cathedral (1523). These late works reveal greater
restraint and compositional clarity, which probably derived from a study
of the works of the Nürnberg painter Albrecht Dürer.
From October of 1916 through January of 1917, Rudolf Steiner gave a series
of nine lectures known as the Art Course. These lectures were given
the title of:
The History of Art.
Click here to discover what Steiner said about
in the fourth lecture, or in the entire