Hinrik Funhof
Hinrik Funhof († 1485 ) in Hamburg was a North German painter of the late Gothic period. Carl Georg Heise, who worked first 1918 on the painting Funhofs, Funhof counts together with Master Bertram and Master Francke of the highlights of Hamburg's illustration of the period. Next Funhofs include four panels of the high altar of the Lüneburg St Johannis Church of quality and state of preservation forth the most valuable of Lower Saxony paintings of the second half of the 15th century.
Life
Hinrik Funhof seems to have been Westphalian origin. He probably came from the town of Werne, today the district of Unna. There, the wealthy bourgeois family Funhof ( Vunhoff ) has been demonstrated in the 15th century. The name was derived apparently from the Lages of the court at the Funne ago and is alone in the field Werne detectable. Since the first name Hinrik not appear in any of the documents received there is speculation that his father had already been resident in Hamburg, especially Hinriks Kyneke sister lived there.
Was first documented Hinrik Funhof 1475, when he received a payment by the Council.
The assumption Funhof got married Gherburg Bornemann, Hans Bornemann's Widow ( 1473/74 ), and thereby acquired its official painter, is not clear. So Johann Martin Lappenberg assumed that Funhof have instead of the widow Bornemann married one of his daughters. Subsequently Gherburg Absolon Stumme took second husband after turn Funhoff was 1485 died ( of the plague? ).
What is certain is that Funhof was from 1480 to 1482 Older man the Brotherhood of Saint Thomas Aquinas to St. John's.
Prove the Hamburg city bills that Funhof 1475-1483 numerous commissions for the city council said - small and large works mostly for practical use, such as about 1475 pictures on shields and flags. 1483 painted Funhof for the St. Mary's Church, a bunting. Documentary evidence are 1479-1484 larger payments for one altarpiece in the St. George 's Church, which, however, is no longer known today.
At the same time painted Funhof probably a Mary in the ears dress (Hamburger Kunsthalle )
1484 and 1485 Funhof payments received by the Brotherhood of Our Lady, crowning glory for a job at the Hamburger Mary's Cathedral. Since 1485 the amount was paid to Funhofs wife, the painter must probably have died around the turn of the year. This is confirmed in the Book of the Dead of the St. Joost Brotherhood in spring 1485th
The Funhofweg in Hamburg- Barmbek is named after him.
Style
On the basis of stylistic comparisons go, the art historians believe that Funhof must have spent his years of travel in the Netherlands. So already the influence of Dierk Bouts was very early found on the altarpieces in the Lüneburg St John's Church. This long before the authorship was clear Funhofs. After Carl Georg Heise's view Funhof has worked in Bouts workshop. Others consider the influence of Memling as significant. So Funhof have learned from the Memling " assembly technology ," the merging of various visual narratives that are structured by an architectural frame. Also, the ideal of beauty slender women could Memling, have been if not taken over by Rogier van der Weyden.
Effect
As undisputed applies Funhofs influence on the introduction of Dutch principles of representation in Hamburg and their transformation into a local, Low German form of language.
Works (selection)
From Funhofs works only a few have been preserved, including
- Mary in the ears dress, about 1480, owned by the Hamburger Kunsthalle;
- Wedding at Cana, 1481, in German private ownership;
- The outer sides of the wings of the altar of 1482 in St. John's Church in Lüneburg