Stefan Lochner
1410–1451 · German painter of the Soft Style, active in Cologne
Stefan Lochner, also known as Meister Stephan, was a German painter of the early fifteenth century. He was probably born between about 1400 and 1410 in Meersburg, on Lake Constance, and died in Cologne in 1451, possibly of the plague. He is one of the leading masters of the so-called Soft Style, linked to International Gothic painting, and his work bridges that tradition and the early German Renaissance.
Little is known about his life. He worked in Cologne at least between 1442 and 1451, and he very probably lived there before that. He apparently sat on the city council. Commissioned by the city, he painted an altarpiece for the town hall chapel, now known as the Altar of the Patron Saints of Cologne, which is preserved in the cathedral.
His style combines soft, flowing garments, which can look cool and distant, with a striking realism in landscapes, fabrics and above all faces. The faces of the Magi on the cathedral altarpiece are thought to have been drawn from life. His works include the Madonna in the Rose Bower, about 1448, the Presentation in the Temple of 1447, and several Adorations of the Child, as well as triptychs and altarpieces on religious themes.
The Madonna in the Rose Bower is considered the best example of his output. His legacy lies in this blend of Gothic elegance and realistic observation, which makes him a key reference for understanding German painting of the mid-fifteenth century.
Works (9)
A religious work by the painter Stefan Lochner, made with oil and gold on canvas. The use of gold suggests a devotional purpose, common in religious painting of its period, although the available data do not specify the exact subject or the commission. It is held at the Hesse State Museum, whose catalogue may offer further detail on its iconography.
Panel attributed to Stefan Lochner, dated 1450 and made using mixed techniques. Its tall format, over two meters, suggests a devotional purpose, though no precise record of its commission is preserved. The violet of the title stands out as the chief colour to notice when viewing it, and the work is held at the Kolumba museum.
Religious painting in oil on panel, dated 1450 and attributed to Stefan Lochner. It depicts the Virgin Mary crowned by angels, a devotional subject common in painting of the period. A flower also appears among its motifs, though its meaning cannot be determined from the available information, so it is best described with caution.
This oil painting on oak panel, dated 1447, brings together three saints: Ambrose of Milan, Cecilia of Rome and Augustine of Hippo. Information about its commission and original location is not documented here, so the scene is best read with caution. It is now held at the Wallraf-Richartz Museum as a religious work of the fifteenth century.
This oak panel, painted in oil, depicts the crucifixion of Jesus of Nazareth together with saints. It is dated 1440 and is attributed to the painter Stefan Lochner. Its horizontal format, nearly two metres wide, allows a broad, orderly composition typical of the religious art of the period.
Where to see the work
- Wallraf–Richartz Museum Cologne · 3
- Calouste Gulbenkian Foundation Lisbon · 1
- Bavarian State Painting Collections Munich · 1
- Hessian State Museum Darmstadt Darmstadt · 1
- Cleveland Museum of Art Cleveland · 1
- Germanisches Nationalmuseum Nuremberg · 1
Curiosities
Strawberries with meaning
In the Madonna in the Rose Bower, the carpet of strawberry plants is not mere decoration. Their red fruit is associated with the martyrdom of Christ, and leaves made of three smaller leaflets recall the Trinity. The plant can also bear flowers and fruit at the same time, which was read as a picture of Mary's virginity. These are details that a viewer of the period would have recognised readily.
A peacock on the lute
One of the angels playing instruments in the same painting has wings with feathers resembling those of a peacock. This bird was associated with spiritual rebirth and resurrection, and its famous "thousand eyes" were interpreted as a symbol of God's omniscience. A seemingly decorative detail thus carries a very precise theological message.