Bernhard Strigel saw the light of this world in the year 1465 or 1470, it is not documented exactly. We do know, however, that he was born into a family of artists from Memmingen in southern Germany who enjoyed great renown far beyond the walls of the city - as an old painter. And because the apple never falls far from the tree and his father was also his teacher, the young Bernhard also preferred to devote himself to the same genre and the altarpiece. However, he emancipated himself quite quickly from his family roots and also created portraits. In the beginning he was still attached to the late Gothic style, gold ground included. This is especially evident in the portrait of a saint, which still shows comparatively little spatiality compared to his later work. However, under the influence of Dutch masters, Strigel quickly succeeded in transforming to German Renaissance painting. Today, the German painter is considered a master of his craft in both individual and group representations.
But even during his lifetime, Bernhard Strigel was known for his artistry. So it is not surprising that his clients included not only councilors and guild masters. He soon achieved even higher honors: as court painter to Emperor Maximilian I. The emperor had preferred Strigel to Albrecht Dürer, who was already far more important at the time - much to his annoyance, but even more to Strigel's fame. For the emperor Bernhard Strigel then also created what is probably the best known and most famous of his portraits, which still hangs in the Vienna Museum of Art History: On the occasion of the Viennese double wedding of his grandson Ferdinand I and sister Maria in 1515, Strigel painted his majesty surrounded by his blue-blooded family.
Bernhard Strigl had come to the imperial court through his travels, which he had to undertake as a much respected guild member of the city of Memmingen and emissary in legal matters. In the latter function, Strigl had several weighty tasks in addition to painting, which sometimes left him little time for art. For example, he drafted a new begging ordinance, became an expert witness for the so-called salt manufacturers who traded in the white gold, and he was also responsible for keeping the court seal.
Bernhard Striegel's work, however, would be insufficiently described if it were not also mentioned that in the course of his artistic development, the landscape also became increasingly important. He chose it above all as a background for the people he portrayed. Several of Bernhard Stiegl's works still hang today in the places they were originally intended, in castles or above altars. However, due to secularization and the Reformation, some were destroyed or moved to other places. Today, several of Strigel's works are in public collections - and of course in the Strigel Museum in Memmingen.
Bernhard Strigel saw the light of this world in the year 1465 or 1470, it is not documented exactly. We do know, however, that he was born into a family of artists from Memmingen in southern Germany who enjoyed great renown far beyond the walls of the city - as an old painter. And because the apple never falls far from the tree and his father was also his teacher, the young Bernhard also preferred to devote himself to the same genre and the altarpiece. However, he emancipated himself quite quickly from his family roots and also created portraits. In the beginning he was still attached to the late Gothic style, gold ground included. This is especially evident in the portrait of a saint, which still shows comparatively little spatiality compared to his later work. However, under the influence of Dutch masters, Strigel quickly succeeded in transforming to German Renaissance painting. Today, the German painter is considered a master of his craft in both individual and group representations.
But even during his lifetime, Bernhard Strigel was known for his artistry. So it is not surprising that his clients included not only councilors and guild masters. He soon achieved even higher honors: as court painter to Emperor Maximilian I. The emperor had preferred Strigel to Albrecht Dürer, who was already far more important at the time - much to his annoyance, but even more to Strigel's fame. For the emperor Bernhard Strigel then also created what is probably the best known and most famous of his portraits, which still hangs in the Vienna Museum of Art History: On the occasion of the Viennese double wedding of his grandson Ferdinand I and sister Maria in 1515, Strigel painted his majesty surrounded by his blue-blooded family.
Bernhard Strigl had come to the imperial court through his travels, which he had to undertake as a much respected guild member of the city of Memmingen and emissary in legal matters. In the latter function, Strigl had several weighty tasks in addition to painting, which sometimes left him little time for art. For example, he drafted a new begging ordinance, became an expert witness for the so-called salt manufacturers who traded in the white gold, and he was also responsible for keeping the court seal.
Bernhard Striegel's work, however, would be insufficiently described if it were not also mentioned that in the course of his artistic development, the landscape also became increasingly important. He chose it above all as a background for the people he portrayed. Several of Bernhard Stiegl's works still hang today in the places they were originally intended, in castles or above altars. However, due to secularization and the Reformation, some were destroyed or moved to other places. Today, several of Strigel's works are in public collections - and of course in the Strigel Museum in Memmingen.
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