Alexander Thomson investigates the life and work of this German sculptor
Veit Stoss (born before 1450, died 1533) was a German sculptor, famed for his religious carvings of expressive and emotional characters. His penchant for creativity and eye for detail propelled him to prominence, along with his ability towork across a wide range of media, including stone, wood and paint. In this article, the author presents an overview of his somewhat turbulent life, and draws on some examples of his most celebrated pieces.
Perhaps most notably, Stoss’ focus on the human experience is considered by many historians to be a key contributor to one of Europe’s greatest cultural transitions – from the fanciful superstition of the Gothic aesthetic, to the more grounded realism of the Renaissance expression. This interval period has been referred to by some historians as the late Gothic Baroque period, of which Stoss is considered a master. Yet despite this success, his life was marred by a number of scandals that almost drew his illustrious career to a swift close.
The coming of a master carver
Perhaps partly due to his gradual recession from public life, there is surprisingly little first-hand information surrounding Stoss’ early years. He is widely believed to have been born near Stuttgart in Germany, though some historians contest that he was born near the Swiss town of Arau, as this was the birthplace of his brother. He trained as an artist in Nuremberg, Germany, where he met and married Barbara Hertz.
Stoss then moved to Kraków, Poland, where he and his ever- expanding family would live and work for almost 20 years. This was at a time when the Roman Catholic Church was a powerful institution across much of Europe – a position it helped establish and maintain through cultural influence and artistic patronage. As such, much of Stoss’ formative work was embellishing places of worship, where art was used to impress a spiritual and moral authority on the congregation. There is no better example of Stoss’ work than the Triptych at St Mary’s Church in Kraków. The sheer scale and magnificence of the piece is perhaps surpassed only by the warm glow of candlelight that reflects off the incredible gild work.
Financial difficulties and reputational struggles
With this said, you could be forgiven for assuming that Stoss’ life was a relatively steady ascendency to fame. After all, history has a way of remembering the achievements of its makers, rather than their failures – especially when they are set in wood or stone. But such was the notoriety of Stoss’ misdeeds that his narrative is one of successes and failures hewn together in almost equal measure.
By the turn of the 14th century, Stoss returned from Poland to live in Nuremberg. Along with his wife and eight children, he settled to work on small commissions with wood and stone, unaware of the chain of events that would brand him an outcast from civil society. Stoss was plunged into financial ruin when his life savings were suddenly defrauded. Although challenging to determine exactly why this happened, historians have postulated several theories based on the context of his time and other details of his life.
The manner of his work was expensive. He had a large workshop and took on ambitious projects that took time to produce. Expensive tools and materials would have only exacerbated problems, especially if payment was delayed or insufficient. As such, Stoss may have secured financial help from lenders, putting him in debt and making his situation evermore precarious. It wasn’t uncommon for artists of the time to turn to financiers for help, and this led to a growth of unscrupulous lenders looking to entrap cash-strapped artists with shady deals.
In desperation, Stoss turned to forgery to try to regain his financial standing. Despite his credentials as a master craftsman, he wasn’t good enough to evade the authorities, and was found guilty of forging seals and documents of financial significance. He was punished severely. Imprisoned and publicly humiliated, his fame as a successful sculpture only added to the infamy of his transgression. A mark of his tragic fall was branded on both his cheeks, and he was banned from leaving the city without prior consent.
Despite these restrictions and negative publicity, Stoss’ reputation carried through. He continued to receive high- profile commissions, including painting the altar of Tilman Riemenschneider in Münnerstadt, and regular work for a rich merchant called Florentine Rahael Torrigiani, who commissioned a number of church sculptures for the purpose of securing his place in heaven. This included the now famous Tobias and the Angel.Carved in lime wood, it depicts the biblical story of Tobit as he is guided on his travels by the Archangel Raphael. This can be seen in the Germanisches National Museum in Nuremberg.
Although he was able to continue his work, it is said that his vigour for carving never fully recovered, and he lived out his last days in sadness, taking his misfortunes to the grave.
COURTESY OF WIKIMEDIA COMMONS/PIRKHEIMER. Tobias and the Angel, 1516
The evolution of Stoss’ style
By considering the entirety of Stoss’ work, a steady development in his style becomes evident. Indeed, the change of mood expressed in his pieces appears to mirror the vagaries of his personal life. His earlier works expressed a playful dramatisation that showed a sentimentality in his subjects. Using the full depth of the pieces of wood, which was typically lime wood, Stoss fashioned his characters with detailed facial expressions and animated gesticulation. In particular, his focus on carving human anatomies and detailed clothing showed a fondness for exhibiting the human form and helped establish his reputation as an early proponent of Renaissance style. As an example, the altarpiece in St Mary’s Basilica presents an animated scene whereby the 12 apostles react to the death and ascension of the Virgin Mary.
Although a departure from his original taste, his later works show a continuation of his growth as an artist, setting him comfortably within the changing attitudes of European society. Under the emerging Renaissance movement, artists were exploring a more realistic form of expression. As such, he demonstrated a reserved, yielding style, influenced by his study of other artists around him, while retaining his hallmark of emotive expression. Stoss became interested in the works of Albrecht Dürer – a contemporary Renaissance artist, whose use of mathematics to determine accurate perspectives drove him to prominence as part of the Northern Renaissance movement. For instance, in the altarpiece of the Virgin Mary in St Lorenz Church in Nuremberg, Stoss’ matured style is evident from the range of complex poses, and his use of perspective to achieve a realistic form.
Stoss’ new-found style was viewed favourably by his contemporaries. Dürer paid homage to Stoss by stating: ‘In matters of art, it is necessary to study the works of others who have already achieved distinction.’ Other endorsements included that of Hartmann Schedal, a German physician and humanist, who is said to have appreciated the detail of Stoss’ altarpieces in inspiring the faithful and devoted.
Despite his midlife setbacks, these endorsements from the artistic community helped to found Veit Stoss’ legacy and influence, thereby establishing him as one of the greatest carvers of his age. Upon reflection, it was perhaps fortuitous that he never achieved financial security or an enduring celebrity while alive. Rather than resting on his laurels, he was constantly indebted to the steady march of popular taste, thereby adhering his work to the edifice of the Renaissance transition.
Other notable works
1. TOMB OF KING KAZIMIERZ IV JAGIELLON
Location: Wawel Cathedral, Kraków, Poland
Date: Completed between 1492 and 1496
Description: This is a richly detailed sculptural tomb made from marble, showcasing Stoss’ skill in funerary art.
2. THE ALTARPIECE OF ST PETER AND ST PAUL
Location: St Sebald Church, Nuremberg, Germany
Date: Early 16th century
Description: This altarpiece is known for its elaborate carvings and the intricate detail of its figures.
3. ST MARY NATIVITY ALTAR
Location: Bamberg, Germany
Date: Completed in 1523
Description: A triptych formed of a central panel and side panels, depicting the Nativity of the Virgin Mary in a basswood carved relief
An enduring legacy
Stoss was a prolific sculptor, with a career stretching from his early years to the end of his life. The exact number of his artworks is unknown – in part due to misattribution of his works through the centuries. Despite business debts and a tarnished family name, his son Stanisław Stwosz (also known as Stanislaus Stoss) continued Stoss’ work as a sculptor and artist. It is believed that Stwosz accompanied his father on several projects where he would have received valuable experience, eventually seeing through the completion of a number of works begun by his father.
Stoss’ achievements made a significant contribution to the progression of art and form, as he lived through one of the most marked cultural transitions in European history. While the Renaissance movement asserted its influence, his early narratives of expression, pathos and emotion gave way to a more restrained and observational style, bridging two significant periods in art history.
Perhaps his greatest legacy is his resilient character. Despite living through financial and reputational ruin, with a dogged determination he recovered his former professional standing and ultimately achieved redemption – even if he never felt it himself. It is a great testament to the quality of his work and his strength of mind. His work now exists in museums across Europe, where they are studied, preserved and exhibited for the benefit of all.