Hans Springinklee (Biographical details)

Hans Springinklee (printmaker; painter/draughtsman; German; Male; 1490/95 - 1527 after)

Also known as

Springinklee, Hans

Biography

Painter, designer of woodcuts, block-cutter and miniaturist. Active in Nuremberg from 1512, died away from the city some time after 1527. Little is recorded of his life. He is best known as a pupil and, at times, slavish imitator of Albrecht Dürer. Neudorfer wrote in 1547 that he was famous as a painter and draughtsman and that he lived in Dürer's house in Nuremberg (Neudörfer, p. 144). He was in Constance in 1510 and 1511, when he illuminated the 'Missal of Bishop Hugo von Hohenlandenberg' and other manuscripts. During the 1510s Springinklee worked closely with Dürer, and through him became involved with the print projects of the Emperor Maximilian. In 1512 he designed the woodcut for Johann Stabius's horoscope of Maximilian, for which Dürer had probably received the commission. Both as Dürer's assistant and as a designer in his own right, he made a significant contribution to the 'Triumphal Arch' of 1515-17; two of his designs were rejected in favour of superior ones by Dürer (see Campbell Dodgson II, pp. 53 ff). He supplied twenty-three designs to the 'Triumph of Maximilian' of 1516-18 and four to 'Der Weisskunig' of 1514-16 (see 1837,0616.266 and 1849,1031.247, 1837,0616.308). Very little of his work is signed, but over 200 woodcuts of varying merit have been attributed to him. The majority are book illustrations published by Koberger in Nuremberg and Lyons. His best-known woodcuts are those for the 'Hortulus Animae', which were first published in Lyons in 1516 None of his prints is dated later than 1522, although some were published after this date (see C. Dodgson. II, p. 369, n. 1) and no engravings have been attributed to him. As a painter, his work is centred around a document of 1520, in which the Nuremberg Council commissioned "the young Springenclee" together with "other good painters" to decorate rooms in the castle on the occasion of the visit of the Emperor Charles V. Fifteen further unsigned paintings for churches in and around Nuremberg made before 1525 have been attributed to him.

Bibliography

New Hollstein, 2010, pp.xi-xiv