(b Heidelberg, 1556; d Tübingen, 1607). German painter and woodcut designer. His training appears Swiss, but he is first documented in 1579 in Wildberg, in the duchy of Württemberg, painting an organ front. Shortly afterwards he was mentioned as the painter of epitaph pictures in Herrenberg (Stiftskirche) and in the vicinity of Tübingen (Derendingen). By 1583 at the latest he was connected with the court at Stuttgart. In 1586 he married the widow of the painter Hans Schickhardt (1512–85) in Tübingen, thereby acquiring a workshop and the rights and privileges of a painter. In Stuttgart he worked first as an illuminator, imaginatively creating richly decorated title pages for manuscripts, using ornamentation reminiscent of the decoration on Swiss painted glass. He was probably also employed in illustrating family record books, an art form that was flourishing in university towns at the time. Although he was not a salaried official of the court at Stuttgart, he was engaged for various specific tasks, mainly of a decorative nature. Between 1587 and 1591 he painted hunting scenes and history pictures relating to recent events in Württemberg, some of them very large canvases, for the apartment of Duke Ludwig VI of Württemberg (reg 1568–93) in the Altes Schloss at Stuttgart; the few surviving designs convey only a vague idea of the whole. Shortly afterwards he worked at the Neues Lusthaus at Stuttgart, contributing to an iconographically original programme devised by Hans Steiner and Wendel Dietterlin in which Züberlin was assigned hunting scenes in the Stromberg and Tübingen forests. A pen-and-ink drawing of a Badger-hunt in the Pleasure Gardens at Stuttgart (1588; Cologne, Wallraf-Richartz-Mus.) may have been part of preliminary work for wall paintings of this kind; it is notable for its factual accuracy and lively observation.
From The Grove Encyclopedia of Northern Renaissance Art in Oxford Reference.
Subjects: Renaissance Art.