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・ Hans Croon
・ Hans Curschmann
・ Hans D. Ochs
・ Hans Daams
・ Hans Dahl
・ Hans Dahllöf
・ Hans Daigeler
・ Hans Dalborg
・ Hans Dally
・ Hans Dammers
・ Hans Daniel Johan Wallengren
・ Hans Daniel Ludwig Friedrich Hassenpflug
・ Hans Daniel Namuhuja
・ Hans Danuser (artist)
・ Hans Daubmann
Hans Daucher
・ Hans Daumiller
・ Hans Dauser
・ Hans Davidsson
・ Hans de Boer
・ Hans de Bruijn
・ Hans De Clercq
・ Hans de Jong
・ Hans de Koning
・ Hans de Koster
・ Hans de Salengre-Drabbe
・ Hans de Witte
・ Hans Decker
・ Hans Degen
・ Hans Deinzer


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Hans Daucher : ウィキペディア英語版
Hans Daucher

Hans Daucher (1486, Augsburg – 1538, Stuttgart) was a German Renaissance wood carver, sculptor and medal designer.
==Life==

Hans and his father, the sculptor and woodcarver Adolf Daucher (c.1460, Ulm – c.1524, Augsburg), both worked in Augsburg and belonged to the Ulm School. Either Hans or Adolf produced the altarpiece weighing 370 talents which has been on the high altar of the Evangelical Lutheran St. Annenkirche in Annaberg-Buchholz, though it was long thought to be a collaboration between them. Some of its materials originated in the Ore Mountains on the Czech border, 403 kilometres from Augsburg. In 1522 the work was unveiled in the 'Hauptchor' or upper choir of the church. The Solhofen limestone sculptures were surrounded by a framework made up of ten different types of Italian marble. Hans is also known to have worked independently on the Fugger Chapel in the same church after 1512 – its central ''Corpus Christi'' and ''Lamentation of Christ'' groups, the putti on the marble balustrade in front of the chapel and the choir stalls are his work.
Daucher's sculpture ''The Lamentation of Christ'', dated to around 1500, is in ''Notre-Dame-de-la-Nativité'' in the town of Saverne. Hans also worked between 1515 and 1516 on the late Gothic decoration of the Rathaus in Augsburg. Schindler considers the marble monument to the nobles of Hürnheim in Hochaltingen to be Daucher's masterpiece.〔(Herbert Schindler: ''Augsburger Renaissance, Hans Daucher und die Bildhauer der Fuggerkapelle bei St. Anna''. Bavaria Antiqua, 1985. )〕 He was so in demand that he had to maintain a large studio in Augsburg, with one area producing and processing huge marble blocks for his sculptures and another for melting and casting medals and cooling his large and small sculptures. It also included a desk with his drawing instruments, where he produced designs after living and dissected models – Daucher often dissected these himself, using a basement filled with ice tubs to preserve the specimens and bodies.

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