Rothenburg and Würzburg, 21. – 24.06.2017
In 1980, Michael Baxandall introduced the sculptor Tilman Riemenschneider and his artistic milieu to English-speaking art historians — specialists and non-experts alike — with his book The Limewood Sculptors of Renaissance Germany. This publication appeared just a year prior to the first major exhibition of Riemenschneider’s early works in Würzburg’s Mainfränkisches Museum (1981). In the wake of Baxandall’s contribution, several major exhibitions, including those in Washington, Nuremberg, and Würzburg, have been dedicated to the sculptor vis-a-vis his contemporaries in southern Germany. These exhibitions and accompanying volumes have promoted inquiry into Riemenschneider’s commissions, his workshop practice, and the contemporary artistic climate. But they have also led the sculptor’s works that survive in situ—and thus too large, heavy, or fragile to travel—to receive comparatively less scholarly attention. The Riemenschneider in Situ conferen e aims to redress this gap in art historical scholarship not only by examining the in situ artworks themselves but also the physical and discursive spaces in which they were installed.