Tilmann Riemenschneider c. 1480-1531, attributed to his workshop Madonna c. 1515/20 Carved from linden wood Height 38 cm This Madonna figure combines the formal language of the Late Gothic with a lifelike conception of the figure and is attributed to the workshop of Tilmann Riemenschneider. The sculptor, who worked primarily in Würzburg, created numerous sacred works for both ecclesiastical and secular patrons. His training, presumably acquired in Strasbourg and Ulm, exposed him to artistic traditions that also shaped the work of Michel Erhart and Niklaus Weckmann. Characteristic of his work are the nuanced rendering of faces, the meticulous detailing of the hair, and the richly flowing folds of the robes. The natural wood finish of this Madonna allows these sculptural qualities to stand out particularly clearly. Riemenschneider’s oeuvre includes numerous sculptures that have survived to this day without a painted finish. Mary wears a wreath, textured with indentations, over her long, flowing hair. The densely fanned strands of hair frame her oval face and elongated neck. Short, prominent eyebrows above almond-shaped eyes, a straight nose, and a small, full mouth define her features. The slightly suggested double chin and the fine wrinkles on her neck lend her a lifelike appearance. The infant Jesus rests in her arms in a slightly reclined posture. Thick curls surround his round head, while his playfully bent arms and legs enliven the depiction. With his left hand, he appears to be reaching for his mother’s cloak. This gesture emphasizes the intimate bond between mother and child. Mary stands on a crescent moon with her upper body upright and her gaze directed forward. This motif offers a point of comparison to the Sandstone Madonna of 1493 in Würzburg’s Neumünster. Particularly striking is the rich drapery: below the Child, the loosely draped cloak forms a deep bowl fold with interlocking angular folds. Zigzag-shaped folds and a curved triangular fold above the knee of the supporting leg are reminiscent of drapery treatments in Riemenschneider’s work, such as in the Saint Elizabeth of Thuringia from around 1510 at the Germanisches Nationalmuseum in Nuremberg (Inv. No. Pl.O.2413). Tubular, open-ended fold edges transition into diagonal lines and draw the eye to the protruding knee. The raised hem of the cloak above reveals the shoe. The interplay between Mary’s serene posture and the flowing drapery lends the figure a dynamic elegance. Bibliography: Michael Baxandall, The Art of the Woodcarvers: Tilman Riemenschneider, Veit Stoß, and Their Contemporaries, Munich 1984. Claudia Lichte (ed.), Tilman Riemenschneider: Works from His Prime, Regensburg 2004.