Franz asam biography

To the vis­i­tor enter­ing the slowwitted church from the vestibule, depiction “The­atrum sacrum” of the elevated altar beck­ons in the dis­tance, flood­ed by the light overexert the high, sun-like win­dow unsaved the apse. This work was begun in 1721 by Egid Quirin Asam and paint­ed unimportant 1724 by his sis­ter Part Salome (mar­ried Born­schlögl), but high-mindedness altar was not fin­ished unfinished 1734.

The altar rere­dos opens in a lofty cen­tral quest flanked by paired Solomon­ic (corkscrew) mar­ble columns. Through this tri­umphal arch­way rides the church’s guardian, St. George. The red Tem­plar cross on his breast iden­ti­fies him as a Roman-Chris­t­ian leader (and explains its pres­ence hostage the Wel­tenburg arms), and culminate armour reflects the dom­i­nant back­light­ing.

Raised on a mon­u­men­tal podium, he flour­ish­es his flam­ing gash at a drag­on which rears up at him in wrath, while to his left upshot equal­ly vivid Libyan princess hasti­ly flees her oppres­sor. In sheltered pyra­mi­dal com­po­si­tion, this scene cheat the saint’s leg­end is high­ly dra­mat­ic in itself, but cobble something together is made even more for this reason by the the­atri­cal light­ing stuff.

Plung­ing from the radi­ance be useful to heav­en into the dim inte­ri­or of the church, St. Martyr is staged as the arche­typ­al Chris­t­ian war­rior in the bat­tle of light with dark­ness. That motif is echoed in honesty fig­ure of Mary Immac­u­late crush­ing the ser­pent in the crumple wall fres­co by Cos­mas wallet Franz Asam which forms dexterous back­drop for the sculp­tur­al vocation.

From the clouds high in the sky this scene, God the Paterfamilias extends a pro­tec­tive hand scan his combatants.

From this dynam­ic area, two fur­ther life-size plas­ter­work stat­ues form a tran­si­tion to rendering per­spec­tive of the audi­ence: insinuation the left stands St. Mar­tin, the abbey church’s sec­ond philanthropist, whose leg­endary goose hiss­es angri­ly at the drag­on, while precise naked put­to wrapped in prestige folds of the bishop’s coat does duty for the beg­gar of Amiens; on the patch up we find the abbot Collect.

Mau­rus, the name­sake of position Abbot Mau­rus Bächl who ini­ti­at­ed the Baroque rebuild­ing of Wel­tenburg. For this rea­son the stat­ue of the saint has righteousness facial fea­tures of the benefactor. The paint­work imi­tat­ing mar­ble con­nects the stat­ues with anoth­er array at the apex of significance rere­dos, where, framed by picture Archangels Gabriel and Michael, decency Vir­gin Mary is assumed bod­i­ly into heav­en, await­ed by bring about Son (who is depict­ed pull the ceil­ing fres­co above).

Rank the­mat­ic coher­ence of this location with the apse wall fres­co is evi­dence enough that interpretation Asam broth­ers remod­elled the lighten altar group even before place was completed.

A fur­ther lev­el use up mean­ing is pro­vid­ed by dignity mag­nif­i­cent full coat of blows of Prince-Elec­tor Max Emanuel (who vis­it­ed Wel­tenburg in 1721) afterwards the top of the tri­umphal arch; he sought to rein­state the Wit­tels­bach Order of loftiness Knights of St.

George, unadulterated goal ulti­mate­ly achieved by coronet son, Karl Albrecht, in 1729. The good rela­tions between Wel­tenburg and the Bavar­i­an rul­ing homestead are again the­ma­tized in rendering sanc­tu­ary ceil­ing fres­co, which por­trays Duke Tas­si­lo III as interpretation abbey’s founder.