FISCHER, Johann Michael - b. 1692 Burglengenfeld, d. 1766 München - WGA

FISCHER, Johann Michael

(b. 1692 Burglengenfeld, d. 1766 München)

German architect, one of the most creative and prolific designers of late Baroque and Rococo churches in southern Germany.

Fischer was trained by his father, a mason. As an apprentice in Bohemia and Moravia beginning in 1713, he became familiar with the churches of the Dientzenhofer family and returned to Munich in 1718 to become foreman of city architecture. One of his earliest independent projects was the renovation of the Premonstratensian abbey church of Osterhofen (1726-29).

The major elements of Fischer’s churches are a centralized ground plan, with rounded-off interior angles, interconnecting spaces, and rhythmically undulating patches of lush decoration, the whole being brilliantly lit by large windows. His productivity was astounding; in 1735 alone he planned three outstanding churches - St. Michael’s in Berg-am-Laim, the pilgrimage church at Aufhausen, and the Augustinian church at Ingolstadt.

Fischer’s greatest work is generally considered to be the Benedictine abbey church at Ottobeuren (1748-55), a vast Rococo structure centred on three successive cupolas and lavishly - but elegantly - decorated with sculpture, stuccowork, and paint. The Benedictine abbey church of St. Marius and St. Arianus at Rott-am-Inn (1759-62) may be stylistically more significant, as its relative simplicity heralds the approach of Neoclassicism.

Interior view
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Interior view

The pilgrimage church of St. Anne in Haigerloch provides an impression of spatial harmony and of the coherence of the architecture, painting and sculpture. The plans for the church were provided by Johann Michael Fischer. The stuccoist Johann Michael Feuchtmayer the Younger, the sculptor Johann Georg Weckenmann (1727-1795) and the painter Meinrad von Ow (1712–1792) then transformed the little building into a magical world of art. Ideal proportions - the length of the nave is equals the width of the transept - unfold in front of the choir. It is like the curtain going up on a stage set.

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Interior view

Native architects such as Johann Michael Fiscer and the Asam brothers in Munich gradually superseded the Italian taste in Bavarian architecture. In 1739, two years after the foundation stone was laid for the parish church of St. Michael in Berg am Lain, Johann Michael Fischer took over the supervision of the site. He linked the congragation area with the choir, combining these two central areas with each other on the principle of the golden section. He then subdiied the choir into an ante-choir (the central space) and a laterally elliptical chancel, and the congregation area was given two short transept arms. This produced a completely new style of ground plan. The prominent red marbled three-quarter columns dominate the interior, they combine with Johann Baptist Zimmermann’s painting and plasterwork to creae distinctive theatrical effects.

The picture shows the west front of the church.

Interior view
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Interior view

Native architects such as Johann Michael Fiscer and the Asam brothers in Munich gradually superseded the Italian taste in Bavarian architecture. In 1739, two years after the foundation stone was laid for the parish church of St. Michael in Berg am Lain, Johann Michael Fischer took over the supervision of the site. He linked the congragation area with the choir, combining these two central areas with each other on the principle of the golden section. He then subdiied the choir into an ante-choir (the central space) and a laterally elliptical chancel, and the congregation area was given two short transept arms. This produced a completely new style of ground plan. The prominent red marbled three-quarter columns dominate the interior, they combine with Johann Baptist Zimmermann’s painting and plasterwork to creae distinctive theatrical effects.

The picture shows a view of the choir.

Interior view
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Interior view

The present buildings of Zwiefalten Abbey were constructed in German Baroque style from 1739–47 under the direction of Johann Michael Fischer, who began overseeing the work in 1741. The interior, considered a model of Baroque design, is filled with ornate chapels and gilded balustrades, dominated by the high altar, which combines a Gothic statue of the Virgin Mary dating from 1430 with Baroque additions (dating from about 1750) by Johann Joseph Christian (1706-1777). The elaborate frescoes are by Franz Joseph Spiegler (1691-1757), the stucco work by Johann Michael Feuchtmayer the Younger (1709-1772).

The painting on the huge ceiling extends across four bays and down over the arches.

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