Artists' biographies : Hans MIELICH
Hans Mielich or Zentz (* 1516 in Munich, † March 10 the same place in 1573), also called Muelich or Müelich was a German painter and draftsman of the late Renaissance, known primarily for his portraits, miniatures and illuminations. He worked for over 30 years as a painter of the wealthy middle class in Munich and is valid until the present day as one of the most important artists in the history of the city. The best-known work of his school is the high altar of the Cathedral of Our Lady of Ingolstadt. He was born as the son of Mielich proven since 1509 in Munich painter Wolfgang City and received his early education in his workshop, where he came from 1528 including Louis Refinger and Barthel Beham in contact. Around 1536 he moved to Regensburg, where he was under the influence of Albrecht Altdorfer and the Danube school. No later than 1540, he returned to Munich in 1541, he traveled at the request of Duke Wilhelm IV of Bavaria to Rome. After his return Mielich remained for the rest of his life based in his native town. On 11 July 1543 he took on the Munich painters' guild. The acquaintance with the arts communicate Albrecht V, who sent him from 1545/46 more and more business and with whom he soon became a close friend, was Mielich estimated at a court painter whose artistic horizons and education about the then-common guild practice went and allowed him to connect to the wealthy patricians. In 1558 it elected the leader of the guild. A proven in 1570 in Legnica and 1613 who died of the same name, court painter to Duke Henry XI. was probably Mielichs son. Hans was in the old Bavarian Mielich time as the most important visual artists of Munich. Many of his commissioned works have religious themes, and he also created a wealth of portraits and history paintings. During his time in Regensburg Mielich developed after the initial impact by Barthel Beham an expressive color style that is initially reflected in the illustration of the title page of the book Freedom (1536). Among the early works of religious art of this period included the Descent from the Cross (1536), which shows his commitment to the tradition of Bavarian late Gothic. That same year, resulting portrait of Saint Jerome and the Calvary (1539) already indicate that of Altdorfer and the Danube school received stimulation to the mannerism of the depiction of nature. In Rome Mielich contemporary religious painting had become acquainted with the early Italian mannerist. He owed them the appearance of the naked human body, its movement and expression of the possibilities of the figure in perspective space. The unfinished Mocking of Christ and burial (1543) on an altar in the Church of Our Lady Passion opened this creative period, which includes the Ligsalz epitaph (1540) with the conversion of Saul, Christ triumphant and St. Martin and the Beggar. Many portraits like that of Pankraz from Freyberg to Hohenaschau and his wife Maria Kitscher (1545) and the double portrait of Duke Albrecht and Anne of Austria (1546) emerged as altarpieces. It Mielich the preferred forms of representation as a half-length or Hüftbild. The 1554 portrait painted grave of Leonhard von Eck attacked again on the Italian Renaissance, at the top of Michelangelo's Last Judgment Mielich quoted in the Sistine Chapel. In this section, he sought a synthesis of Italian art with the style of Dürer, which he realized in a number of devotional and Epitaphgemälden. Other portraits of this period show Fröschl Peter (1540), William IV on his deathbed (1550), Hans and Elsbeth Tucher (1551) and finally to full-length figure of the Duke Ladislaus Hague (1556/57). At the end of the middle period was more work to Mielichs mannerist traits. A masterpiece of the late period and the major work of the Counter-Reformation in southern Germany is the high altar of the Cathedral of Our Lady at Ingolstadt. Mielich more than 90 individual pictures of the altar created change in the years 1560-1572 together with the members of his workshop. The hand started drawing preliminary surpass the later elaborations still in their flowing movement representation in the Italian style. In addition to panel paintings in his time already fully developed oil and mixed media drawings Mielich produced as a precursor to the woodcuts. One of the best-known works in this genre is the camp of the Emperor Charles V against Ingolstadt (1546), the Christopher Zwikopf section 1549 of wood. In the field of miniature treasures inventories fell Albrecht (1546-55) and his wife Anna (1552-55), who held the artifacts and relics of the ducal pair in water color drawings, and the artistic heritage of Cipriano de Rore's motets (1557-59, 300 pages) and the Penitential Psalms of Orlando di Lasso (1560-71, 400 pages). With the latter he had a composer's artistic friendship. Finally, some designs for gold necklaces, pendants, and a ceremonial dagger are received that are attributed Mielich.
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