'DURERSCHULER' HANS SUSS VON KULMBACH (NUREMBERG, RENAISSANCE, GERMAN).

摘要

The dissertation, "Durerschuler" Hans Suss von Kulmbach is a comprehensive connoisseurship study of the oeuvre of one of Albrecht Durer's foremost pupils. Building on the work of Franz Stadler and Friedrich Winkler, I am concerned with characterizing Kulmbach's artistic personality and development and with strictly defining the contours of his oeuvre. That oeuvre had become a "catch-all" for paintings, drawings, woodcuts and stained glass not immediately attributable to Durer or to the master's better-known pupils Hans Baldung Grien and Hans Leonhard Schaufelein. Numer- ous wrong attributions have long disguised the fact that Kulmbach's style is as characteristic as Baldung's or Schaufelein's and led one scholar to dramatically and wrongly reattribute a large body of Durer's drawings to the pupil and other scholars to claim that there is no logic to Kulmbach's development. The dissertation treats more than seventy drawings and paintings that have been wrongly given to Hans von Kulmbach. Several works, including two Designs for Triptychs in the Albertina that have been given to Kulmbach since 1919, are attributed here to Durer. Other drawings and paintings are attributed to Jacopo de' Barbari, to Lucas Cranach the Elder, to Hans Springinklee, who emerges as a painter of altarpieces, and to Wolf Traut, who emerges more clearly as a portrait painter with the attribution to him of three works including Portrait of a Young Man in the Germanisches Nationalmuseum in Nurnberg. It is argued that none of the large body of woodcuts generally considered to be Kulmbach's are by him and that Kulmbach did not come to Durer's workshop 1500-1501, as is generally accepted, finding his mature style soon thereafter, but that he came to Durer's workshop ca. 1504-1505, having learned the rudiments of his art in Wittenberg from Barbari and Cranach. Several new paintings are introduced to the Kulmbach literature.