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dc.contributor.advisorKoerner, Joseph
dc.contributor.authorEzra, Ruth Madeline
dc.date.accessioned2021-08-04T05:01:00Z
dash.embargo.terms2027-11-10
dc.date.created2020
dc.date.issued2020-10-06
dc.date.submitted2020-11
dc.identifier.citationEzra, Ruth Madeline. 2020. Veit Stoss in Relief: The practitioner's view. Doctoral dissertation, Harvard University Graduate School of Arts and Sciences.
dc.identifier.other28150953
dc.identifier.urihttps://nrs.harvard.edu/URN-3:HUL.INSTREPOS:37368964*
dc.description.abstractThis dissertation offers a new reading of the multi-medial oeuvre of Nuremberg artist Veit Stoss (c. 1447–1533) and a new model for its reception. Eschewing the chronology of a traditional monograph, the study instead groups interpretations of Stoss’s works around common sculptural operations (cutting, hollowing, turning, holding the surface) and formal principles (ex uno lapide, concavity, axiality, planarity). It composes a portrait of Stoss as a sculptural thinker that takes the workshop as its primary setting; interpretations proceed from a practitioner’s stance rather than from the viewpoint of a patron or religious supplicant. To this end, the study’s three main sections consider Stoss’s work in dialogic relation to the output of other sculptors active in late-medieval Franconia circa 1500: the stonework of Adam Kraft, the brass casts of the Vischer foundry, and the limewood reliefs of Tilman Riemenschneider. In lieu of treatises or other written expressions of sculptural thinking to survive from the period, this dissertation reconstructs a mode of trained perception, a Denkstil, from the extant works themselves. It retrieves – for the reader’s benefit – a “practitioner’s formalism” once held in common by sculptors active in the late-medieval German-speaking lands. On the one hand, the study demonstrates the ways in which theories of relief and meta-commentaries on the sculptural medium were embodied in the carvings and casts of Franconian sculptors. On the other, it explores how devices born in the sculptor’s workshop migrated from three to two dimensions and how Stoss’s prints, paintings, and drawings – too often dismissed in celebrations of his carving – came to communicate thinking tools forged at his bench far beyond it.
dc.format.mimetypeapplication/pdf
dc.language.isoen
dash.licenseLAA
dc.subjectArt history
dc.subjectArt criticism
dc.titleVeit Stoss in Relief: The practitioner's view
dc.typeThesis or Dissertation
dash.depositing.authorEzra, Ruth Madeline
dash.embargo.until2027-11-10
dc.date.available2021-08-04T05:01:00Z
thesis.degree.date2020
thesis.degree.grantorHarvard University Graduate School of Arts and Sciences
thesis.degree.levelDoctoral
thesis.degree.namePh.D.
dc.contributor.committeeMemberPayne, Alina
dc.contributor.committeeMemberKinew, Shawon
dc.type.materialtext
thesis.degree.departmentHistory of Art and Architecture
dc.identifier.orcid0000-0003-1335-824X
dash.author.emailruthezra@gmail.com


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