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Leinberger’s reliefs are noteworthy for the innovative use of spatial effects, a characteristic undoubtedly derived from contemporary artists such as Albrecht Altdorfer. In Leinberger’s Lamentation, Mary’s garment spills over the stage-like setting of the lower frame, creating a connection with the viewer. By contrast, the lightly carved, atmospheric landscape depicting the city of Jerusalem pushes the background into the distance.

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  • Title: Lamentation
  • Creator: Hans Leinberger
  • Date Created: c. 1516
  • Physical Dimensions: 15.6 × 11.1 × 1.1 cm
  • Technique and Material: Pearwood
  • Provenance: Acquired in Munich in 1905/06
  • Museum: Staatliche Museen zu Berlin, Skulpturensammlung und Museum für Byzantinische Kunst, Eigentum des Kaiser Friedrich Museumsvereins
  • Inv.-No.: M 63
  • ISIL-No.: DE-MUS-815614
  • External Link: http://www.smb.museum/museen-und-einrichtungen/skulpturensammlung-und-museum-fuer-byzantinische-kunst/home.html
  • Copyright: Photo © Staatliche Museen zu Berlin, Skulpturensammlung und Museum für Byzantinisch Kunst/ Antje Voigt; Text © Renaissance and Reformation: German Art in the Age of Dürer and Cranach, A Cooperation of the Los Angeles County Museum of Art, the Staatliche Museen zu Berlin, the Staatliche Kunstsammlungen Dresden, and the Bayerische Staatsgemäldesammlungen München, Catalogue of the Exhibition at the Los Angeles County Museum of Art, Nov 20, 2016 – March 26, 2017, Munich: Prestel, 2016; cat. no. 13 / Julien Chapuis
  • Catalogue: https://prestelpublishing.randomhouse.de/book/Renaissance-and-Reformation/Stephanie-Buck/Prestel-com/e504919.rhd
  • Artist Dates: c. 1475–85 (?)–1531 Landshut
  • Artist Biography: Leinberger was primarily active in the ducal seat of Landshut, where he is listed as a woodcarver in archives a number of times from 1513 to 1530. Perhaps the sculptor, who also produced works in metal, was involved in work on the tomb of Emperor Maximilian I in Innsbruck. Leinberger’s sculpture combines late Gothic and Mannerism into a highly individual formal idiom. The expressive drapery of his figures developed a proto-Baroque dynamic that was adopted by many of his successors in Bavaria.

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