The Art of Nikolaus Glockendon: Imitation and Originality in the Art of Renaissance Germany

Debra Taylor Cashion
June 2010
Journal of Historians of Netherlandish Art;Jun2010, Vol. 2 Issue 1/2, p1
Academic Journal
Nikolaus Glockendon (ca. 1490/95-1533/34), the foremost illuminator of sixteenth-century Germany, made a career of copying the compositions of other artists, especially those of his Nuremberg contemporary Albrecht Dürer. Like Dürer, Glockendon was the acknowledged German master in his field, supported by elite patronage and impressively high fees, with a productivity attested to by a large body of identified works. This paper contextualizes Glockendon's imitative practice within the traditions of medieval art, the hierarchy of style in late medieval literature, the practice of finishing in illuminated manuscripts, the entrepreneurial trends in book illustration after the invention of printing, the contemporary conceptions of artistic property and conventions of exchange, and the documented standards of value in sixteenth-century German craftsmanship.


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