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Germany • 1390−1434

German painter of the 1st half of the XV century, originally from Ulm. Worked in Swabia. Moser is the author of "the Altar of the Magdalene" from the Church in Tiefenbronn, near Baden, and dated 1432 year. (perhaps from Filderstadt, where the artist had his Studio). In his only authentic work by the master combines the characteristic of "soft style" Convention forms with the freshness of observation of nature (the sea landscape on left leaf) and the search for a convincing spatial solutions that unites his work with painting of the early Dutch Renaissance.

Moser is the author of "the Altar of the Magdalene" from the TS. in Tiefenbronn, near Balena, and dated 1432, not 1431, as long considered. The inscription on the frame of the altar reads: "Lukas Moser, painter from Weil, master of this work; pray God for him" (perhaps from Filderstadt, where the artist had his Studio). The publication in 1969 of the scientific work in which the authenticity of the inscription on the frame was contested, and all the traditional view was questioned, entailed a laboratory study of the altar and in-depth study of the elements of the Liturgy. The altar, whose original form was due to his destiny (he replaced a mural on the wall of the South arm of the transept under the arch of complex shapes), made of oak (exclusive for South German material) and covered with parchment, and some parts with gold or silver plates (e.g., sea). It has undergone only two changes: in 1525, when the sculptural decoration of the frame has been replaced by "SV. Magdalene", which is here today; this resulted in an increase in the height of the frame and adding a small decorative frieze in the upper part of the doors. The second change occurred in 1891, when the altar was framed with a new frame that resulted in the destruction of some of the inscriptions, and the rest was rewritten, but without changing the shapes of letters and meaning of phrases. Face down on the altar represented many scenes from the history of St. Magdalene: on the left fixed leaf - "sea Voyage", on the main movable wings - "the Sleep of saints, in Marseilles" upstairs - "SV. Magdalene being the wife of the Prince", on the right the fixed wing - "the Last communion of St. Magdalene in the Cathedral of AIX". On the inner side of the movable wings shown "SV. March" - left and "St. Lazarus" - right; they are shown on a gold background, standing on a base of clouds, stars, and plenty of monsters that probably alludes to the Evangelical activity of the saints in Provence. In the lunette is depicted the Magdalene wiping the feet of Christ during the feast in Simon's house; predella decorated with a scene of "Christ with the wise and foolish virgins". This work's greatest quality is unmatched in Germany at that time. Today it is difficult to establish where it could learn from its author, probably in the Lower Rhine district; but some features of the iconography and style of the show that the artist was familiar with the innovations of the Dutch masters, particularly the Master of Flemalle. This is manifested in the symbolism of the figures of the portal and in the incompleteness of the Cathedral of AIX ("the Last communion of St. Magdalene in the Cathedral of AIX"); in a single composition two different scenes ("the Sleep of saints, in Marseilles" and "Last communion of St. Magdalene in the Cathedral of AIX"); in the image of water, which can be seen in modern Moser miniatures; the attention to light effects (e.g., shadow ring on the wall). The famous inscription on the frame: "Cry, art, cry and complain, ain't nobody solicits. Alas, it is," elicited numerous comments. It is not so much a protest traditional painter, does not accept the innovations, but rather the regret of the artist, conscious of their own importance and modernity in the environment, unable to appreciate it.

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