Austrian painter. Although he may initially have assisted Michael Pacher in his workshop in Bruneck, their kinship remains unproven. He was entrusted with parochial and judicial duties in Bruneck, which indicates his own successful career.
A considerable oeuvre has been attributed to him by stylistic comparisons with his only signed work, the Baptism (1483, Frauenkirche, Munich).
As a fulfillment of redemption, Christ, having broken open the gates of hell, has brought with him the pious figures of the Old Testament, holding Adam by the hand as the symbolical incorporation of the whole of humanity. Allusions to this forced invasion, a favoured incident of popular legends and mystery plays, are found even in the Divine Comedy; here it is indicated by cracked and broken stones. It is typical of medieval thinking that hell is represented as a well-guarded building of huge stones, a sort of immense fortified prison; the notions of release, heaven, enjoyment of the delights of Paradise, are conveyed by a fresh green meadow encircled by mountains and forests of fantastic shape, worthy of the imagination of a Tyrolese painter. As symbol of his triumph over death, Christ holds the banner of victory in his hand; the wounds on his hands and feet are clearly visible.
Obviously, every action of the devil against Christ is hopeless and can do no harm. It is ludicrous to see him lean out from his castle at the risk of losing his balance; the fires of hell illuminate his backside with a reddish glow, while he gnashes his teeth mixed with fangs, brandishes his two-pronged fork, and makes a threatening gesture with the blunt, fleshy fingers of his other hand. His head is like that of a he-goat, on his arms there are prickles reminiscent of a bat’s wings; the contours of a beak-like nose on his belly complete the phantom figure of horror created by the fantasy of the Middle Ages.
According to several scholars, Friedrich Pacher was the famous Michael Pacher’s relative and collaborator. His style developed under the influence of Michael.
This panel is one half of a predella which consisted of two parts for the representation of the most highly revered saints of the Franciscan order. The other side also depicts Franciscan saints. This panel adorned the lower, not very clearly visible, subordinate addition to a major altarpiece, hence the modest colour scheme content to forgo variety. Gaunt faces with strong cheek-bones, receding chins and thin lips are frequent in the master’s oeuvre. The minutely elaborate broken folds, particularly at the elbows of sleeves, reveal the important part of sculpture in the activities of Michael Pacher, the most outstanding member of the studio, and also the deep absorption of sculptural forms in his style of far-reaching influence. The text giving the names of the donors and the date in fine Gothic minuscules occupies an outstanding place in the lower image field.
