Nuremberg Veit Stoss

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angelic salutation (1517–1518) in st. lorenz kirche, nuremberg



the angel raphael , young tobias. limewood. 97 cm (38 in), (germanisches nationalmuseum, nuremberg)


despite prohibition went münnerstadt in 1504, paint , gild altarpiece tilman riemenschneider had left in plain wood ten years earlier, presumably according contract (unlike stoss, workshop did not include painters , guilders). leaving wood sculpture unpainted new taste @ time, , perhaps tastes of city council provincial. created altar bamberg cathedral , various other sculptures in nuremberg, including annunciation , tobias , angel. in 1506 arrested second time. emperor maximilian wrote letter of pardon, rejected council of imperial free city nuremberg meddling in internal affairs. able resettle in nuremberg 1506, shunned council , received few large commissions time onwards. in 1512, emperor asked stoss planning of tomb monument, placed in hofkirche, innsbruck; seems stoss s attempts cast in brass unsuccessful.


during period 1515–1520, veit stoss received commission sculptures raffaele torrigiani, rich florentine merchant. in 1516 made tobias , angel (now in germanisches nationalmuseum, nuremberg), , statue of saint roch basilica of santissima annunziata in florence. wooden statue represents saint in traditional way: in garb of pilgrim, lifting tunic demonstrate plague sore in thigh. giorgio vasari, did not think of artists north of alps, praised in le vite , called miracle in wood , though misattributing it.


veit stoss buried @ st. johannis cemetery in nuremberg. artistic legacy continued son stanisław.








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