Portret van Martin Schaffner

De 36 bekendste schilderijen van Martin Schaffner, een selectie uit de galerie

Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 36 werken van Martin Schaffner in onze catalogus

Kortom

Van alle originele werken die Martin Schaffner heeft nagelaten, is Eitel Hans I. Besserer von Schnürpflingen (1529) het bekendst, in de collectie van het Bayerische Staatsgemäldesammlungen, München. Direct daarna volgen Portrait of a Man with Rosary (1521) en Wolfgang I. Count of Oettingen (1508). Onze catalogus bevat 36 werken van Martin Schaffner; de galerie heeft de 36 meest bewonderde werken ter wereld bewaard, elk voorzien van de datum, het museum en het verhaal erachter.

1478 – 1548, Ulm Meeste werken: Bayerische Staatsgemäldesammlungen

De top 10 schilderijen van Martin Schaffner: de selectie van de galerie

1
Eitel Hans I. Besserer von Schnürpflingen (1529) door Martin Schaffner

Eitel Hans I. Besserer von Schnürpflingen

1529 · Oil On Panel · Bayerische Staatsgemäldesammlungen, München

A man sits in the quiet weight of 1529. He is Eitel Hans I. Besserer von Schnürpflingen, captured in a moment of stillness that feels heavy with the gravity of his station. The light enters from the upper left, a soft, directional glow that carves the contours of a face marked by experience. His gaze is directed toward the right, looking past the viewer into an unseen space. He wears…

2
Portrait of a Man with Rosary (1521) door Martin Schaffner

Portrait of a Man with Rosary

1521 · Oil On Panel · Kunsthistorisches Museum, Wenen

The portrait presents a middle-aged man in a three-quarter view, positioned from the waist up against a solid, deep teal-blue background. He wears a red beret and a central red doublet, partially covered by a black cloak lined with fur. His sleeves exhibit a patterned design in shades of grey and white. The man's hands are positioned to hold a red rosary, which hangs against his clothing. Light enters from…

De selectie van Martin Schaffner gaat verder, van 11 tot 36

11First Wettenhausen Altar: Christ before Pilate Reverse: Christ in Limbo (1515) door Martin SchaffnerFirst Wettenhausen Altar: Christ before Pilate Reverse: Christ in Limbo1515 · Bayerische Staatsgemäldesammlungen 12Departure of Christ from Mary (1507) door Martin SchaffnerDeparture of Christ from Mary1507 · Bayerische Staatsgemäldesammlungen 13Saint Anthony, Tempted by the Devil in the Form of a Woman, Salem Altar Panel 4 (1517) door Martin SchaffnerSaint Anthony, Tempted by the Devil in the Form of a Woman, Salem Altar Panel 41517 · Staatliche Kunsthalle Karlsruhe 14The Temptation of St. Anthony by Demons, Salemer Altar Panel 2 (1517) door Martin SchaffnerThe Temptation of St. Anthony by Demons, Salemer Altar Panel 21517 · Staatliche Kunsthalle Karlsruhe 15Saint Anthony, Praying Before the Deceased St. Paul, Salem Altar Panel 1 (1517) door Martin SchaffnerSaint Anthony, Praying Before the Deceased St. Paul, Salem Altar Panel 11517 · Staatliche Kunsthalle Karlsruhe 16Saints Peter and Paul with the Sudarium of Saint Veronica (Vera Icon) (1518) door Martin SchaffnerSaints Peter and Paul with the Sudarium of Saint Veronica (Vera Icon)1518 · Staatliche Kunsthalle Karlsruhe 17Saint Anthony, Tempted by Three Devils in Female Form, Salem Altar Panel 3 (1517) door Martin SchaffnerSaint Anthony, Tempted by Three Devils in Female Form, Salem Altar Panel 31517 · Staatliche Kunsthalle Karlsruhe 18Plague Altarpiece: Angry God the Father and Virgin Mary (1514) door Martin SchaffnerPlague Altarpiece: Angry God the Father and Virgin Mary1514 · Bayerische Staatsgemäldesammlungen 19Plague Altarpiece: Christ with Saints Roch and Sebastian (1514) door Martin SchaffnerPlague Altarpiece: Christ with Saints Roch and Sebastian1514 · Bayerische Staatsgemäldesammlungen 20Wettenhauser High Altar: Presentation in the Temple Reverse: formerly Relief with Adoration of the Shepherds (1523) door Martin SchaffnerWettenhauser High Altar: Presentation in the Temple Reverse: formerly Relief with Adoration of the Shepherds1523 · Bayerische Staatsgemäldesammlungen 21Wettenhauser High Altar: Annunciation to Mary Reverse: Farewell of Christ (left half) (1523) door Martin SchaffnerWettenhauser High Altar: Annunciation to Mary Reverse: Farewell of Christ (left half)1523 · Bayerische Staatsgemäldesammlungen 22Battle of Saint George with the Dragon (1532) door Martin SchaffnerBattle of Saint George with the Dragon1532 · Bayerische Staatsgemäldesammlungen 23Wettenhauser High Altar: Death of Mary Reverse: Farewell of Christ (right half) with Donor Ulrich Hieber (1523) door Martin SchaffnerWettenhauser High Altar: Death of Mary Reverse: Farewell of Christ (right half) with Donor Ulrich Hieber1523 · Bayerische Staatsgemäldesammlungen 24Wettenhauser High Altar: Descent of the Holy Spirit Reverse Side: formerly Relief with Adoration of the Magi (1523) door Martin SchaffnerWettenhauser High Altar: Descent of the Holy Spirit Reverse Side: formerly Relief with Adoration of the Magi1523 · Bayerische Staatsgemäldesammlungen 25male portrait (1524) door Martin Schaffnermale portrait1524 26Painted tabletop for Erasmus Stedelin (detail) (1533) door Martin SchaffnerPainted tabletop for Erasmus Stedelin (detail)1533 · Staatliche Museen 27Painted tabletop for Erasmus Stedelin (detail) (1533) door Martin SchaffnerPainted tabletop for Erasmus Stedelin (detail)1533 · Staatliche Museen 28Anweiler epitaph door Martin SchaffnerAnweiler epitaph 29The Adoration of the Magi door Martin SchaffnerThe Adoration of the MagiBayerische Staatsgemäldesammlungen 30Adoration of the Magi door Martin SchaffnerAdoration of the Magi 31Bildnis des Eitel Besserer Martin Schaffner door Martin SchaffnerBildnis des Eitel Besserer Martin Schaffner 32The Adoration of the Magi. door Martin SchaffnerThe Adoration of the Magi.Nationaal Museum in Warschau 33Painted tabletop for Erasmus Stedelin, detail woman with musical instruments door Martin SchaffnerPainted tabletop for Erasmus Stedelin, detail woman with musical instruments 34Drachenkampf des Hl. Georg door Martin SchaffnerDrachenkampf des Hl. Georg 35Farewell Christ from his mother door Martin SchaffnerFarewell Christ from his mother 36Painted tabletop for Erasmus Stedelin (1533) door Martin SchaffnerPainted tabletop for Erasmus Stedelin1533 · Staatliche Museen

De onderwerpen die de aandacht van Martin Schaffner troffen

De vier onderwerpen die het meest voorkomen in deze originelen, elk met zijn mooiste voorbeeld.

De musea waar de originele werken van Martin Schaffner worden bewaard

De 5 musea met de meeste schilderijen op deze pagina.

Museum Stad Werken van Martin Schaffner Schilderijen uit deze lijst
Bayerische Staatsgemäldesammlungen, MünchenBayerische Staatsgemäldesammlungen München 19 Eitel Hans I. Besserer von Schnürpflingen, Wolfgang I. Count of Oettingen, First Wettenhausen Altar: The Last Supper Reverse Side: Carrying of the Cross of Christ
Staatliche Kunsthalle Karlsruhe, KarlsruheStaatliche Kunsthalle Karlsruhe Karlsruhe 5 Saint Anthony, Tempted by the Devil in the Form of a Woman, Salem Altar Panel 4, The Temptation of St. Anthony by Demons, Salemer Altar Panel 2, Saint Anthony, Praying Before the Deceased St. Paul, Salem Altar Panel 1
Staatliche Museen, KasselStaatliche Museen Kassel 3 Painted tabletop for Erasmus Stedelin (detail), Painted tabletop for Erasmus Stedelin (detail), Painted tabletop for Erasmus Stedelin
Kunsthistorisches Museum, WenenKunsthistorisches Museum Wenen 1 Portrait of a Man with Rosary
Nationaal Museum in Warschau, WarschauNationaal Museum in Warschau Warschau 1 The Adoration of the Magi.

Martin Schaffner decennium voor decennium: het origineel dat elk tijdperk definieert

Werken per decennium

Kies een decennium om het origineel te zien dat dit tijdperk definieert.

Vragen van verzamelaars over de schilderijen van Martin Schaffner

Waar is Martin Schaffner het meest bekend om?Onthul het antwoord

Eitel Hans I. Besserer von Schnürpflingen (1529), Bayerische Staatsgemäldesammlungen, München. Portrait of a Man with Rosary (1521) en Wolfgang I. Count of Oettingen (1508) volgen.

Hoe oud was Martin Schaffner toen Eitel Hans I. Besserer von Schnürpflingen werd gemaakt?Onthul het antwoord

51 jaar oud: Eitel Hans I. Besserer von Schnürpflingen dateert uit 1529, en Martin Schaffner werd geboren in 1478.

Wat zijn de tien beroemdste schilderijen van Martin Schaffner?Onthul het antwoord

Eitel Hans I. Besserer von Schnürpflingen, Portrait of a Man with Rosary, Wolfgang I. Count of Oettingen, First Wettenhausen Altar: The Last Supper Reverse Side: Carrying of the Cross of Christ, First Wettenhausen Altar: Capture of Christ Reverse: Christ before Pilate, First Wettenhausen Altar: Washing of the Feet of Christ Reverse: not preserved, First Wettenhausen Altar: Departure of Christ Reverse Side: Scourging of Christ, First Wettenhausen Altar: Entry of Christ into Jerusalem Reverse: Crowning with Thorns of Christ, First Wettenhausen Altar: Christ before Caiaphas Reverse: Resurrection of Christ en First Wettenhausen Altar: Denial of Peter and Mockery of Christ Reverse: not preserved. De bovenstaande ranglijst vermeldt het jaar en het museum van elk werk.

Hoeveel schilderijen heeft Martin Schaffner nagelaten?Onthul het antwoord

Onze catalogus bevat 36 werken van Martin Schaffner, daterend van 1507 tot 1533.

In welke musea hangen de meesterwerken van Martin Schaffner?Onthul het antwoord

Voornamelijk in Bayerische Staatsgemäldesammlungen (München), Staatliche Kunsthalle Karlsruhe (Karlsruhe) en Staatliche Museen (Kassel). De bovenstaande museumtabel bevat een volledig overzicht.

In welke jaren schilderde Martin Schaffner de beroemdste werken?Onthul het antwoord

In 1510s: 15 van de 36 werken op deze pagina werden toen gemaakt, waaronder First Wettenhausen Altar: The Last Supper Reverse Side: Carrying of the Cross of Christ.

Wat zijn de eerste en de laatste beroemde originelen van Martin Schaffner?Onthul het antwoord

Op deze pagina is het vroegste Departure of Christ from Mary (1507) en het laatste Painted tabletop for Erasmus Stedelin (detail) (1533).

Welke onderwerpen koos Martin Schaffner het vaakst?Onthul het antwoord

Man (3), Dark background (2) en Religious (2), verspreid over de 36 werken op deze pagina.

Welke techniek gebruikte Martin Schaffner het meest?Onthul het antwoord

Oil On Panel, voor 3 van de 36 werken op deze pagina.

Welke werken van Martin Schaffner hangen in het Bayerische Staatsgemäldesammlungen?Onthul het antwoord

Eitel Hans I. Besserer von Schnürpflingen, Wolfgang I. Count of Oettingen en First Wettenhausen Altar: The Last Supper Reverse Side: Carrying of the Cross of Christ: het Bayerische Staatsgemäldesammlungen, München herbergt 19 van de werken op deze pagina.

Martin Schaffner: leven en werk

Martin Schaffner: A Master of Detail in the Dawn of the Renaissance

Born in Ulm, Germany, around 1478, Martin Schaffner emerged as a significant figure within the burgeoning artistic landscape of the mid-15th century. While details surrounding his early life remain somewhat sparse – he was a man who largely worked behind the scenes, often serving as an assistant to more prominent masters – his output speaks volumes about his skill and dedication. Schaffner’s career unfolded primarily in Ulm, where he established himself as a respected painter and medallist, contributing significantly to the religious art that dominated the era. He wasn't a flamboyant innovator; rather, he was a meticulous craftsman, a master of detail who honed his abilities through diligent apprenticeship and a deep understanding of established artistic conventions.

Schaffner’s early training is believed to have been under Jörg Stocker, a renowned painter in Ulm. This association provided him with a solid foundation in the techniques of oil painting and fresco, crucial skills for creating the intricate scenes that would become his hallmark. However, it was through his work alongside other masters – particularly as an assistant – that he truly developed his distinctive style: one characterized by remarkable precision, vibrant colors, and a profound sense of realism. He wasn’t interested in grand gestures or revolutionary approaches; instead, he focused on faithfully rendering the subjects before him with painstaking accuracy.

Biblical Narratives and Tabletop Masterpieces

Schaffner's artistic output primarily revolved around religious themes, reflecting the prevailing devotional climate of the time. He frequently produced altarpieces – large-scale paintings intended for church interiors – depicting scenes from the Bible. These works are notable for their detailed depictions of figures, architectural settings, and symbolic elements. The “Adoration of the Magi,” a particularly striking example, showcases his mastery of perspective and color theory, creating a richly layered scene brimming with biblical significance. The painting exemplifies Early Netherlandish style, characterized by its meticulous detail and use of symbolism to convey theological messages.

Beyond altarpieces, Schaffner also excelled in producing smaller-scale works, often commissioned for private patrons. These included portraits – typically of wealthy merchants or members of the clergy – and intricately decorated tabletop scenes. The “Painted tabletop for Erasmus Stedelin” is a testament to his skill in creating miniature worlds within panels, depicting biblical narratives and allegorical figures with astonishing detail. These tabletop compositions were not merely decorative; they served as visual sermons, educating viewers on religious teachings through carefully arranged imagery.

Technique and Influences

Schaffner’s technique was rooted in the traditions of Northern European painting, particularly those practiced by artists working in Germany and the Netherlands. He employed oil paints with a remarkable degree of control, layering thin glazes to achieve luminous colors and subtle gradations of tone. His meticulous attention to detail is evident in every brushstroke, from the folds of clothing to the texture of fabrics. While he didn’t radically depart from established conventions, Schaffner demonstrated an exceptional ability to execute these techniques with unparalleled precision.

It's believed that his work was influenced by artists like Stefan Lochner and Hans Memling, both masters of detail and religious illustration. However, Schaffner developed a unique style characterized by a quiet solemnity and a focus on the human figure. He avoided dramatic compositions or overly expressive gestures, instead prioritizing clarity and accuracy in his depictions.

Legacy and Historical Significance

Martin Schaffner’s contribution to 15th-century art is often overshadowed by more flamboyant figures of the era, but his work holds considerable historical significance. He represents a crucial link between the Gothic and Renaissance periods, embodying the meticulous craftsmanship that characterized Northern European painting during this transitional time. His altarpieces and tabletop scenes provide valuable insights into the religious beliefs and artistic practices of the period.

Schaffner’s legacy lies not in groundbreaking innovations but in his unwavering commitment to excellence. He was a master of his craft, a diligent artist who dedicated his life to faithfully rendering the world around him with remarkable skill and precision. His work continues to be studied by art historians today as a testament to the enduring power of detail and the importance of craftsmanship in the creation of great art.