German painter, pupil of Jacopo de’ Barbari and follower of Dürer. He worked in Nuremberg and probably for a time in Cracow, Poland. His works include the Tucher altarpiece designed by Dürer in St Sebald’s church, Nuremberg, altarpieces in churches in Cracow, Adoration of the Magi, and portraits.
Hans von Kulmbach was a pupil of D�rer. With Matthias Gr�newald and Hans Burgkmair, only Kulmbach could compete with D�rer and Baldung for monumental breadth of vision.
This small double-sided panel bears a portrait of a man on one side and a depiction of a girl making a garland on the reverse. The identity of the young man is not known. Rather than a portrait, the girl on the reverse side is a female type, symbolizing a lover or perspective bride.
This is among the relatively few extant early sixteenth-century panels that join a portrait with an emblematic or allegorical subject on the verso.
This drawing represents a sense of modeling that emphasizes the contrast of light and shade on the body.
This small double-sided panel bears a portrait of a man on one side and a depiction of a girl making a garland on the reverse. The identity of the young man is not known. Rather than a portrait, the girl on the reverse side is a female type, symbolizing a lover or perspective bride.
This is among the relatively few extant early sixteenth-century panels that join a portrait with an emblematic or allegorical subject on the verso.
This painting shows Christ rising to heaven above a compact group of the twelve apostles and the Virgin Mary. Only the feet and lower legs are visible. St Peter, identifiable by his baldness and the yellow of his cloak and the Virgin Mary kneel in the immediate foreground arranged symmetrically around the composition’s vertical axis.
It can be noted that the composition borrows from Albrecht D�rer’s Ascension in the Small Passio woodcut series. However, it departs from D�rer and returns to an earlier tradition with the symmetrical placement of Peter and Mary in the foreground, as e.g. in Schäufelein’s woodcut.
This detail shows examples of “overdrawing,” the linear application of brown and black paint to emphasize contours.
The painting belongs to a series depicting the stories from the life of Sts Peter and Paul.
Suggested listening (streaming mp3, 3 minutes):
Guillaume Dufay: Aurea luce, hymn for the feast of Sts Peter and Paul
