Tilman Riemenschneider's Assumption Essay

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Riemenschneider's Assumption
Tilman Riemenschneider created the Virgin’s assumption altarpiece meant for a church in Germany. The sculpture is often regarded as one of Riemenschneider’s greatest works. In the altarpiece, he incorporated forms and shapes that made his altarpiece stand out among other sculptures during his time. He utilized gothic forms which were intricate to highlight the features of the altarpiece. These intricate forms are visible in the sculpture’s canopy. In comparison to other sculptors such as Stoss, Tilman did not paint any of his figures or background to this altarpiece.
The Assumption of the Virgin is one unique sculpture due to the technique employed by Riemenschneider. He used endless lines running throughout the figures’ garments. These continuous and endless lines ensured that the Virgin’s Assumption sculpture illustrated fluid motion as none of the figures and elements were artistically stationary. The draperies on the bodies of the figures, in the altarpieces, float and flow. Riemenschneider ensures that the aforementioned elements, draperies and bodies, are interdependent; none functioning without the other.
Furthermore, the draperies are more than the descriptors in the altarpiece; they are also design elements. As design elements, the
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The first saint, on the right-hand side, represents a classical orator because his mouth is open. The youngest of the four, is the saint who resembles the Junius Brutus. The four are arranged in such manner that they relate to one another. In other words, the four have a psychological unity that Nanni excellently depicts. Nanni borrows a lot from Roman imperial portraiture in displaying the heads of the Saints. The sculpture, according to historians was not polychromed during its creation. Nanni did not paint his sculpture despite relying on colored stones to act as rich pattern background in the form of a

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