Articles by Tim Juckes
Ars, 2023
One of Central Europe's largest collections of late medieval art in a sacred context is found in ... more One of Central Europe's largest collections of late medieval art in a sacred context is found in the parish church of St. James in Levoča (Lőcse, Leutschau), a town in the Spiš region of Slovakia that was part of the historical kingdom of Hungary (Figs. 1-3). The church is noteworthy as an example of fourteenth-century architecture, but its exceptional status derives from its furnishings, which include extensive mural paintings and numerous winged altarpieces, along with a towering tabernacle, several
Riemenschneider in situ (ed. Katherine Boivin and Gregory Bryda), 2021
The Chapel of Our Lord (Herrgottskapelle) in Creglingen offers a rare chance to study an altarpie... more The Chapel of Our Lord (Herrgottskapelle) in Creglingen offers a rare chance to study an altarpiece by Riemenschneider in its medieval space and in conjunction with other contemporary furnishings. With its well-preserved architecture and array of integral artworks, the chapel in fact belongs to the richest pre-Reformation ensembles of its type. If it has rarely been investigated as such, then this reflects a discursive focus on Riemenschneider and his workshop's regional production: the "Creglingen Altarpiece" has been treated as an isolated masterpiece and biographical artefact; a single object has become almost synonymous with a multifaceted site. 2 Viewed from the perspective of the impressive altarpiece, with its unusual free-standing position in the middle of the nave, the space has appeared incongruous to many observers (Figs. 1, 2). Initial surprise at the degree of artistic sophistication in a remote setting has often given way to disquietthe chapel has been perceived as an inadequate framework: too modest in size, poorly lit, and lacking other furnishings of comparable quality. Doubts have also emerged on the ensemble's liturgical compatibility, since the retable's Marian focus seems to stray from the eucharistic raison d'être of the altar and its site. For these reasons, some have argued that the work was not made for Creglingen at all-that it was only transferred there after the Reformation. 3 My purpose here is to reconsider the issue by taking a reverse approach: I want to look at Riemen schneider's famous altarpiece from the perspective of its less famous environment. Thus, I will examine the space and its furnishings on their own terms as a late medieval ensemble, the components of which-while not the products of a single patron or workshop-potentially show interrelations on other levels, particularly in terms of their topographical and devotional functions.
How Do Images Work? Strategies of Visual Communication in Medieval Art. Proceedings from a Conference in Honour of Michael ViktorSchwarz (ed. Christine Beier, Tim Juckes, Assaf Pinkus), 2021
Barbara Schedl and Franz Zehetner (eds), St. Stephan in Wien. Die “Herzogswerkstatt", 2022
Mitteilungen des Vereins für Geschichte der Stadt Nürnberg, 2020
Die Lorenzkirche in Nürnberg wurde zwar immer wieder als Quelle zur Geschichte des vorreformatori... more Die Lorenzkirche in Nürnberg wurde zwar immer wieder als Quelle zur Geschichte des vorreformatorischen Sakralraums herangezogen, eine monographische Behandlung des mittelalterlichen Ensembles fehlt allerdings bis heute. 2 Unter den Aspekten, die infolge der unebenen Forschungslage weniger beachtet wurden, drängt sich indessen vor allem die Entwicklung der Chorschwelle auf, besonders weil diese facettenreiche Übergangszone zwischen Laien-und Klerikerbereich zuletzt in der Literatur mehrfach fokussiert wurde. 3 Während der Schwerpunkt meistens auf Räume mit Lettnern gesetzt wurde, zeigte Gerhard Weilandt die gleichfalls hohe Bedeutung der selben Zone für Anlagen ohne architektonische Trennvorrichtungen: In seiner Untersuchung der Sebalduskirche rekonstruierte er eine "Perlenkette" aus prominenten 1 Für Hinweise und Hilfe möchte ich mich bedanken bei:
Ars, 2020
Centrum vied o umení SAV -Ústav dejín umenia SAV Dúbravská cesta 9, SK-841 04 Bratislava 4, IČO: ... more Centrum vied o umení SAV -Ústav dejín umenia SAV Dúbravská cesta 9, SK-841 04 Bratislava 4, IČO: 00586986. Tel./Fax: 0421-2-54793895
Books by Tim Juckes
Book Reviews by Tim Juckes
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Articles by Tim Juckes
Books by Tim Juckes
Book Reviews by Tim Juckes