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Stoss, Veit (c. 1450–1533)| German sculptor and painter. He was active in Nuremberg and Poland. He carved a wooden altarpiece with high relief panels in St Mary's, Kraków, a complicated design with numerous figures that centres on the Death of the Virgin (1477–89). |
| Stoss was born in Nuremberg and returned there from Poland. The figure of St Roch about 1510 in Sta Annunziata, Florence, shows his characteristic Flemish realism and bold drapery. Most of his sculptures were brightly painted. |
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| It was these two precursors, in the author's view, that were "harmoniously blended in a revised configuration" (24), thus producing the normative type; and it was this type that furnished the stage for artistic innovation and the experiments in plastic form by Niclas Gerhaerts van Leyden and Michael Pacher, the theatrical spaces of Veit Stoss and Tilman Riemenschneider, and the riotous swirling rhythms of the Zwettl Master. No museum in Germany devoted to the art of the Middle Ages would present an exhibition that includes contemporary imitations of works by Veit Stoss (1447/48-1533) and Tilman Riemenschneider (1468-1531), two of the most significant sculptors of the Late Gothic period, without a corresponding reference. Mary's Cathedral, the magnificence on every surface, the golden stars on a heavenly nighttime blue-sky ceiling, the central crucifix, the reredos at the High Altar created by Veit Stoss between 1477 and 1489, produce a sense of beatific calm mixed with awe. |
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