Gothic and Early Renaissance Art


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Gothic and Early Renaissance
Villard de Honnecourt
Illuminated Manuscripts

Simone Martini
Pietro Lorenzetti
Ambrogio Lorenzetti

Francesco Traini
Giovanni da Milano
Jean Pucelle
Melchior Broederlam
Limbourg brothers
Gentile da Fabriano
Illuminated Manuscripts    
Stefan Lochner
Nicolas Bataille
Bonaventura Berlinghieri
Altichiero da Zevio
Beauneveu Andre
Andrea da Firenze
Barnaba da Modena
Lippo Memmi
Fra Angelico
Konrad of Soest

Bartolo di Fredi
Hubert van Eyck
Jan van Eyck
Bernat Martorell

Hans Memling
Rogier van der Weyden
Hugo van der Goes
Gerard David
Antonello da Messina

Piero della Francesca
Pedro Berruguete
Jaume Huguet
Nicolas Froment

Robert Campin
Konrad Witz

Derick Baegert
Master E.S.
Martin Schongauer
Israhel van Meckenem

Bartolome Bermejo
Fernando Gallego

Hans Multscher

Barthelemy d'Eyck
Dieric Bouts

Andrea Mantegna
Hans Holbein the Elder

Michael Pacher

Quentin Massys
Lorenzo Monaco
Jean Fouquet
Jacopo Bellini
Mr of the Glatz Madonna
Mr Theodoric
Torriti Jacopo
Mr Bertram of Munden Maso di Banco
Taddeo Gaddi
Mr of the Kaufmann Crucifixion
Tommaso da Modena
Mr of Wittingau
Mr of the Narbonne Parament
Malouel Jean
Mr of the Wilton Dyptych
Borrassa Lluis
Mr of the Ortenberg Altar
Filippo Brunelleschi
Joos van Gent
Mr of the Westminster Altar
Mr of the of Robert de Lisle
Mr of Cologne Workshop
Mr of St. Veronica 
Mr of the Paradise Garden Westphalian Master
Mr of the Schloss Tirol Altar
Norwegian Master
Lukas Moser
Master of the Albrecht Altar
Frances Nicolas
Lluis Dalmau
Marco Zoppo
Mr of the Rohan Book of Hours
Mr of Alkmaar
Mr Francke
Bernat Martorell Nuno Goncalves
Martinus Opifex
Juan de Levi
Mr of the Lower Saxon Workshop

Master of the Rohan Book of Hours

Master of Alkmaar

Master Francke

The separate flowering of the German Late Gothic


While painting in broad areas of Germany had been dominated in the 1460s by fairly similar "Netherlandicizing" traits, towards the end of the 15th century artists in the south of the country increasingly began to emancipate themselves from such influences. Production flourished as private individuals and guilds competed with each other to crown all the main and subsidiary altars in their city and parish churches with al-tarpieces. Many cities saw the emergence of specialized workshops of high technical quality. Leading centres such as Vienna, Regensburg, Nuremberg, Augsburg, Ulm, Nordlin-gen, Mainz and Colmar, not to mention Basle and above all Strasburg, became magnets for artists in their own right. They no longer needed to refer back to the Netherlands, particularly since Cologne lay much closer and the focus across Europe was now shifting towards Italy. Augsburg in particular began to orient itself increasingly towards the South.


The anonymity of the Gothic artist

An artist's social standing varied considerably even between one German city and another, and in particular between the North and Italy. Just how early on the Italian painters had risen above the status of pure artisans can be seen from the fact that we know almost all the leading artists of the 14th century by name. While Vasari and other early writers on art played their part in this, they themselves lived over 200 years after Giotto and had to rely upon earlier records. They were thereby helped by signatures, which artists in the North were much slower to employ. Although isolated names are known to us from the 14th century (Theodoric, Bertram), the majority of artists — including many of the most prominent — remained nameless even in the final phase of Early Netherlandish painting in the early 16th century.
In order to distinguish between these anonymous artists, about a century ago makeshift names were invented for them, inspired either by the characteristics or, more commonly, the subject (Master of the Life of the Virgin), patron (Master Boucicaut), location, original location or even previous owner of particularly important works. Even amongst museum curators, there is a tendency to choose works by known masters over those by anonymous artists — something for which the works themselves give not the slightest grounds. Without the Master Boucicaut (active 1405—1420) or the Master of the Rohan Book of Hours (active c. 1420-1430), the history of French painting could not be written, not that of Bohemia without the painter of the Glatz Madonna (Master of the Glatz Madonna), the Master Hohenfurt or the Master of Wittingau.


Master of the Rohan Book of Hours
Lament over the Dead Christ
c. 1418
Bibliotheque Nationale, Paris


Master of the Rohan Book of Hours
Louis II of Anjou
c. 1415
Bibliotheque Nationale, Paris


Master of Alkmaar
Netherlandish painter (active c. 1500-1515)


Master of Alkmaar
Scenes from the Life of Joachim and Anna
c. 1500
Frans Halsmuseum,

Master Francke
German painter (early 15th century, active in Hamburg)

Master Francke
Birth of Jesus
Kunsthalle, Hamburg


Master Francke
Vir Dolorum (Man of Sorrows)
c. 1420
Museum der Bildenden Künste, Leipzig


Master Francke
Adoration of the Magi
Kunsthalle, Hamburg


Master Francke
Vir Dolorum (Man of Sorrows)
c. 1430
Kunsthalle, Hamburg