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Detlef Zinke

(b ?Strasbourg, c. 1410; d Saarbrücken, before 1485).

German painter. He is recorded in 1438 as a master and in 1444 as a member of the guild of painters and goldsmiths in Strasbourg. In 1447, together with Hans Tieffental (fl 1391–1448), he undertook to paint and gild a stone crucifix (untraced) in Metz. Probably directly after this he entered the service of Count Johann III of Nassau-Saarbrücken (d 1472) as court painter and moved to Saarbrücken. In 1453 he concluded a contract for an extensive series of murals (destr.) showing scenes from the Lives of SS Ursula and Barbara (among others) for a newly built chapel in the church of the Carmelite convent in Metz. No further record of his work is known until his death.

Haller has been credited, however, with several panels from altarpieces that were of considerable significance in the evolution of painting in the Upper Rhine area and that influenced the work of Martin Schongauer (...


Janez Höfler

(fl Ulm, 1481–?1527).

German painter. He is recorded in Ulm between 1481 and 1514; later references come from 1522 and 1527. Around the same period in Ulm Felix Stocker was active as a goldsmith c. 1470 and Anton Stocker (d before 1503) was active as a painter between c. 1495 and 1500; the relationships are unknown. Jörg Stocker’s first authenticated work is a Christ Carrying the Cross (c. 1481–3; Ulm, Ulm. Mus.), with kneeling members of the Ulm patrician family Roth. The winged altarpiece for the Dorfkirche at Ennetach was commissioned by Graf Endres von Waldburg-Sonnenburg in 1496 (wings, Sigmaringen, Fürstl. Hohenzoll. Samml. & Hofbib.). The Christ Carrying the Cross on its outside panels is signed by Stocker’s pupil Martin Schaffner. Other works that can be connected with it on stylistic grounds include the panels of the Passion altarpiece for St Martin at Oberstadion and sections of a winged altarpiece at Schloss Gross-Allmendingen (both ...