Jacob Acker kõige kuulsam teos on Mourning John (1480). Meie kataloogis on 2 teost kunstnikult Jacob Acker; alljoonas on 2 kõige vaadeldavamat teost koos nende loomisaea, säilitaja museumi ja olulisuse selgitusega.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud november 2026.
Kõik Jacob Acker kuupäevaga teosed sellel lehel on pärinevad aastast 1480: siin on nende kõige kuulsamad.
Mourning John (1480)
Meie kataloogist leiate 2 teost kunstnikult Jacob Acker.
Ajalisel perioodil 1480: 2 2 sellel lehel olevat teost on sellest ajast, მათhulgas Mourning John.
To understand Jacob Acker, one must look at the lineage of the Ulm school, a family of painters that dominated the artistic landscape of southern Germany. He is often identified as Jacob Acker "the Younger," a distinction that places him within a multi-generational dynasty of craftsmen. This family tradition began with Jakob Acker "the Elder," who worked around 1400 and contributed stained glass to the Ulm Minster. The lineage continued through Hans Acker, who was active until 1461. Jacob operated in the second half of the 15th century, a period when the Ulm workshop style was a dominant force in regional religious art.
The historical record of his work is defined by what survived the religious upheavals of the 16th century. While much of his output was lost to the iconoclasm of the Reformation, his surviving contributions provide a clear window into the technical standards of the era. He was a painter of substance, tasked with the high-profile responsibility of decorating the most significant religious structures in the region.
The survival of Acker's work is a matter of historical chance. Much of his output was destroyed during the "Bilderstürmer" movement in 1531, when the people of Ulm burned paintings and organs in a massive fire. His lost works include the painted doors for the main pipe organ of Ulm Minster, a significant commission that vanished alongside the organ itself. What remains is a specific, tangible connection to the late Gothic period through his surviving altar.
His documented achievements include:
The Risstissen altar is the most concrete evidence of his hand. An inscription on the work confirms he completed the piece on the day of the holy cross in 1483. This altar survived because Risstissen remained Roman Catholic, escaping the radical Protestant influence that purged the art of nearby Ulm. It was originally part of a Gothic church that was replaced in the late 18th century, making the surviving pieces essential for studying the Ulm school's output.
Jacob Acker’s significance lies in his position within a specific, localized tradition. He was not a solitary figure working in a vacuum but a professional part of a family business that shaped the visual identity of Ulm. His work represents the transition of the late 15th century, a time when the craftsmanship of the Acker family helped define the aesthetic of the region. He was a painter of his time, working within the strictures of religious commission and the technical demands of the Ulm school.