Hans Klocker

Hans Klocker
Gais before 1474 – after 1500
Madonna
Carved lime wood & polychromy
Around 1480/90
Height 77 cm

This extremely high-quality Madonna made of pine wood shows typical characteristics of the late Gothic master sculptor Hans Klocker. He is one of the most important carvers in South Tyrol of the late 15th century and was mainly active in the Brixen and Bozen area. Klocker’s oeuvre is characterised by block-like closed bodies and realism rich in detail. Mary’s restrainedly moving body is rendered particularly dynamic and majestic by the voluminous crease configurations of the drapery of the overgarment. The masterly rendering of the folds is characteristic of this Austrian carver, who borrowed from Hans Multscher and Michael Pacher. However, the deeply carved folds with steep ridges are particularly impressive here and manifest the extraordinary talent of the master carver. Noteworthy is the “folded-in” crease above the knee of the right foot, which is placed on the face on the crescent moon. Comparable here are the figures on the reliefs at the wings of the Tramin altar of the Valentine Church (Bavarian National Museum MA 1952.1-6) from c. 1485-90. The broad folded-over inner side of the mantle is presented in an angularly modelled drapery. The Madonna of the Flügelalter from Zams from c. 1485 (Bode Museum, Berlin) bears a strong resemblance, also showing an expansive bowl fold with complex creases and corner folds. The veil draped over the head, which is often seen in Klocker’s Madonna figures, forms a dynamic counterpoint. Striking examples for comparison are the Madonna figures in the altar shrine of St. Valentin in Villnöß around 1500. Long locks of hair resting on the shoulders emerge from under the loosely draped cloth, carved in typical late Gothic style. Another striking aspect is the crescent moon with a large-proportioned face consisting of a prominent nose, high cheekbones, and bulging lips, over which Mary triumphs.
The central figure presented to the viewer is the naked baby Jesus, whom Mary cradles in her arms with a tender gesture. He holds a globe and is depicted in a jaunty sideways position, almost as if he were kicking his little feet and arms. With his left hand he grasps his mother’s coat in a childlike gesture and nestles against her breast. At the same time, he looks down at the viewer, indicating that this figure was probably designed to be seen from below. The child’s snail-like curls frame his chubby-idealised face, which is typical of this period. The high-quality carving of the curls corresponds to that of the child on the Tramin altar. Klocker’s figures are characterised by thin, crescent-shaped brows, large almond-shaped eyes, plump faces with a small chin area including dimples, and ring-shaped neck folds. These skin folds emphasise the humanity of the figures and introduce a degree of realism.
Particularly remarkable is the original polychromy, not only of the shimmering skin parts with vividly reddened cheeks, but also the painting of the voluminous overgarment. It sparkles in a luminous mint green on the outside and in a splendid blue as a successful contrast on the inside, visible through the masterfully draped, sweeping bowl fold.
Overall, the Madonna conveys a balance between dynamic movement through the drapery as well as the perky Christ Child, and an aura of kindness and calm with which Mary looks down on the intercessors.

Bibliography:
Erich Egg, Gothic in Tyrol. The Winged Altars, Innsbruck 1985.
Gisela Scheffler, Hans Klocker. Observations on the Carved Altar of the Pacher Period in South Tyrol, Innsbruck 1967.