GLESKER, Justus - b. ~1615 Hamelin, d. 1678 Frankfurt - WGA

GLESKER, Justus

(b. ~1615 Hamelin, d. 1678 Frankfurt)

Justus Glesker (also Klesecker), German sculptor and ivory carver. He was the son of the sculptor Jost Klesecker. He was trained by his father, then he traveled to the Netherlands and to Italy.

He received the first important large-scale commission in Franconia in 1648, the year of the peace treaty, for refurbishing the Bamberg Cathedral in the Baroque style. Here he created his main work, the Crucifixion group. Glesker lived at this time in Frankfurt, where he became a city captain. In 166971 he was also involved in the decoration of the Barfüsserkirche in Frankfurt.

Glesker was regarded as one of the best sculptors in Southern Germany. His work is difficult to categorize on the basis of conventional stylistic criteria. His knowledge of Roman art is translated by the mannerism of the 1630s and 1640s. In the naturalistic, anatomically detailed representations of the naked body, he reveals his exceptional artistic talents as well as his thorough training in the sculptural art of antiquity and the Italian Renaissance. These aspects of his work also made Glesker an isolated phenomenon in the stylistic development of contemporary sculpture.

Crucifixion group
Crucifixion group by

Crucifixion group

This is the principal work the Franconian sculptor. His work is difficult to categorize on the basis of conventional stylistic criteria. His knowledge of Roman art is translated by the mannerism of the 1630s and 1640s. In the naturalistic, anatomically detailed representations of the naked body, he reveals his exceptional artistic talents as well as his thorough training in the sculptural art of antiquity and the Italian Renaissance.

Mater Dolorosa from the Crucifixion group
Mater Dolorosa from the Crucifixion group by

Mater Dolorosa from the Crucifixion group

The artist’s knowledge of Roman art as translated by the mannerism of the 1630s and 1640s is most evident in the Mater Dolorosa from the Crucifixion. Not only is the shape of the body recognizable beneath the drapery, but the pose of the Virgin herself adopts the ‘figura serpentinate’ motif. The concentrated inner tension in which the grieving figure is frozen suggests a direct derivation of the classical contrapposto concept of movement.

St Sebastian
St Sebastian by

St Sebastian

This small ivory statuette shows St Sebastian, his suffering represented with striking Baroque pathos. The figure is extraordinarily rich in anatomical detail, developing an ingenious rhythm as the flow of movement is interrupted several times. Alessandro Vittoria’s St Sebastian must have served as a model for this ivory statuette.

In the naturalistic, anatomically detailed representations of the naked body, he reveals his exceptional artistic talents as well as his thorough training in the sculptural art of antiquity and the Italian Renaissance.

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