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The banderole on the facade says "hier wohnte und schuf der große Bildschnitzer und Maler Michael Pacher †1498" Pacher was born around 1435 [2] near Brixen on the southern slopes of the Alps in the County of Tyrol. Little is known of his training. His earliest recorded work is an altarpiece that was dated 1465 and signed, but which is now lost.
The other is a late Gothic, carved wooden altarpiece made by Michael Pacher. [1] [2] Pacher made the altarpiece between 1471 and 1475. During the Baroque era, the altarpiece was considered out of date and replaced with a Baroque high altar. Pacher's altarpiece was placed in the St. Erasmus' chapel of the church.
In Christian art he has been especially honoured by the medieval Tyrolean painter Michael Pacher (1430–1498), who created an imperishable memorial to him, the high altar of St. Wolfgang. In the panel pictures which are now exhibited in the Old Pinakothek at Munich are depicted in an artistic manner the chief events in the saint's life.
The altarpiece was made by a main sculptor, who is often referred to by a notname as the Master of the Kefermarkt Altarpiece. [4] It has been assumed that he was the head of a workshop, which together with its main sculptor made two of the figures in the central section (Saint Wolfgang and Saint Peter ), the reliefs on the wings, and most of ...
Having borrowed the large architectural setting in the Temple of the Presentation, later scenes may show the high priest alone holding the baby, as he or a mohel performs the operation, as in the St Wolfgang altarpiece by Michael Pacher (1481), or Dürer's painting (right) and his influential woodcut from his series on the Life of the Virgin.
The central Madonna statue on the winged altar dates from the Late Gothic period (1495-1498) and was sculpted by Michael Pacher of Tyrol. [1] The staircase of the pulpit contains a marble lion from the 12th century standing over a man with a painful grimace on his face, pushing his sword into the belly of the lion.
Nativity images became increasing popular in panel paintings in the 15th century, although on altarpieces the Holy Family often had to share the picture space with donor portraits. In Early Netherlandish painting the usual simple shed, little changed from Late Antiquity, developed into an elaborate ruined temple, initially Romanesque in style ...
In art a predella (plural predelle) is the lowest part of an altarpiece, sometimes forming a platform or step, and the painting or sculpture along it, at the bottom of an altarpiece, sometimes with a single much larger main scene above, but often (especially in earlier examples), a polyptych or multipanel altarpiece. [1]