TIMELINE OF WORLD HISTORY
 

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Masters of the Gothic Art

1 - 2 - 3 - 4 - 5 - 6 - 7
 
 
 
 
 
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Masters of the Gothic Art
 
 
 
1
Master M S
Master M Z
Master Thomas de Coloswar
Master of Alkmaar
Master of Avila
Master of Budapest

2
Master of Moulins
Master of Female Half-length
Master of Heiligenkreuz
Master of Hoogstraeten
Master of Saint Cecilia
Master of Saint Gilles
Master of San Francesco Bardi
Master of the Aix Annunciation
Master of the Aix-en-Chapel Altarpiece

3
Master of the Avignon School
Master of the Bambino Vispo
Master of the Castello Nativity
Master of the Catholic Kings
Master of the Joseph Legend
Master of the Housebook

4
Master of the Legend of St. Ursula
Master of the Life of St John the Baptist
Master of the Lyversberg Passion
Master of the Pfullendorf Altar
Master of the Saint Lucy Legend
Master of the Polling Panels
Master of the Tegernsee Passion
Master of the Trebon Altarpiece
Master of the Vienna Adoration
Master of the Virgo inter Virgines
Masters Bohemian

5-6
Master of the Votive Picture of St Lambrecht
Masters Austrian
Master Dutch
Masters Flemish

7
Masters French
Masters German
 
 
 
Master of the Life of Saint John the Baptist

Italian painter (active 1325-1350 in Rimini)


Scenes from the Life of Saint John the Baptist
1330-40
National Gallery of Art, Washington


The Baptism of Christ
probably 1330/1340




Madonna and Child with Angels
probably 1330/1340


Master of the Pfullendorf Altar

( fl c. 1500). German painter. He is named after a double-winged altarpiece (c. 1500), supposedly from the parish church at Pfullendorf, of which eight panels of the Life of the Virgin and Prophets have survived. In reconstruction the cycle presents two rows, one above the other, each with four panels depicting the Life of the Virgin (Sigmaringen, Fürst. Hohenzoll. Samml. & Hofbib.; Stuttgart, Staatsgal.; Frankfurt am Main, Städel. Kstinst. & Städt. Gal.), which together formed the second view of the altarpiece. When closed, it showed four scenes of the Passion (now almost completely destr.), on the reverse sides of the outer wings. The shrine that belonged to the third view is lost, but there is evidence that it contained carved relief figures of St Ottilie and a second female saint. The eight surviving half-length pictures of Prophets (Stuttgart, Staatsgal.) may have been next to the scenes from the Life of the Virgin, as the figures are positioned outside the picture axis of the painted scenes (Bushart), or may have formed the front and reverse of upper side extensions that covered the higher central shrine (Rettich).


The Birth of Mary
Staatsgalerie, Stuttgart


Master of the Lyversberg Passion

German painter (active 1460-1490 in Cologne)



Lyversberg Passion (detail)
Wallraf-Richartz Museum, Cologne


Lyversberg Passion (detail)
Wallraf-Richartz Museum, Cologne

 


Lyversberg Passion (detail)
Wallraf-Richartz Museum, Cologne



Lyversberg Passion (detail)
Wallraf-Richartz Museum, Cologne

 
 
 
 
 
Master of the Saint Lucy Legend

( fl c. 1475–1505). South Netherlandish painter and draughtsman. This name was coined by Friedländer to identify the artist responsible for a group of paintings linked stylistically to the panel of the Legend of St Lucy (1480; Bruges, St Jacob). Some 45 to 50 paintings are associated with this master, although variations among them suggest workshop participation in certain cases. Some silverpoint drawings have also been attributed to him (Roberts). Depictions of the city of Bruges in the background of some of his paintings record changes in the belfry, which was being remodelled from 1483 to c. 1502. Verhaegen noted four distinct forms of the belfry recorded in them, and on this and the stylistic evidence of the paintings themselves she proposed a chronology for the artist’s works. The Virgin among Holy Women (Brussels, Mus. A. Anc.), dated to c. 1490, typifies his mature style: ponderous figures occupy a shallow space near the picture plane in a static, symmetrical composition with lush foliage and brocaded garments that display a detailed rendering of surface textures characteristic of 15th-century Netherlandish art. The Master’s paintings are technically proficient reworkings of established themes. As a narrative, the Legend of St Lucy is unusual among the artist’s surviving works, as most of them are devotional images, including, in particular, many images of the Virgin, such as the Brussels Virgin among Holy Women, a Virgin and Child Enthroned (Los Angeles, CA, Co. Mus. A.) and a half-length Virgin and Child (Williamstown, MA, Clark A. Inst.). The static compositions, cool colours and subdued emotion of his works (e.g. the triptych of the Lamentation; Minneapolis, MN, Inst. A.) give his paintings a solemn, rather than expressive, effect.




Mary, Queen of Heaven
c. 1485-1500
National Gallery of Art, Washington



St Sebastian
1480-90
Gallery Robert Pintelon, Aalst

 


Legend of St Lucy
1480
Sint-Jacobskerk, Bruges


Scene from the St Lucy Legend
1480
Church of St Jacob, Bruges


St Nicholas Altarpiece (central panel)
1486-93
Groeninge Museum, Bruges



Virgin Surrounded by Female Saints
c. 1488
Musées Royaux des Beaux-Arts, Brussels


Lamentation
1490s
Groeninge Museum, Bruges

 
 
 
 
Master of the Polling Panels

( fl c. 1439–52). German painter. He was one of the most distinctive artists in early Bavarian painting and worked in the area around Munich and Kremsmünster. His oeuvre, which can be assembled with certainty on stylistic grounds, includes the panels of two winged altarpieces from the Augustinian monastery at Polling in Upper Bavaria, after which he is named. Four of these come from an altarpiece of scenes from the Life of the Virgin and are dated 1444. The altarpiece was donated by Duke Albert II of Bavaria (reg 1438–60) and his wife, Anna (1420–74). The surviving panels are an Annunciation and Adoration of the Magi (Munich, Alte Pin.) and a Nativity and Presentation in the Temple (Munich, Bayer. Nmus.). Two further panels come from an altarpiece of the Holy Cross; they are a Crucifixion and three scenes of the Discovery of the True Cross (Munich, Bayer. Nmus.). Four further panels from an altarpiece of the Life of the Virgin, dated 1439, are in the Stiftsgalerie, Kremsmünster. Two well-preserved panels with St Peter and St Paul are also extant (Cassani priv. col.).
 




Adoration of the Child
1444
Germanisches Nationalmuseum, Nuremberg



Prince Tassilo Rides to Hunting
1444
Alte Pinakothek, Munich



Master of the Tegernsee Passion

( fl c. 1440–60). German painter. He is named after the main altarpiece (1444–5) at the former Benedictine monastery of St Quirinus at Tegernsee. Since the altarpiece was documented as the tabula magna, he is also called the Master of the Tegernsee Tabula Magna. He was thought to be the Munich painter Gabriel Mälesskircher until it was demonstrated (Buchner, 1938–9) that he belonged to a generation preceding that of Mälesskircher, whose 13 altarpieces for the Tegernsee Monastery were painted from 1474. Recently discovered archival evidence (Liedke, 1982) points to the Munich painter Gabriel Angler the elder (c. 1405–?1462) as the artist in question. The centre of the now dismembered tabula magna consisted of two oblong panels set one above the other, the Crucifixion (Nuremberg, Ger. Nmus.) above Christ Carrying the Cross (Munich, Bayer. Nmus.). Four other Passion scenes appeared on the interior of the flanking wings, and four scenes from the Life of St Quirinus were seen when the wings were closed. The unidealized, rude and bulky figures reveal the Master to have been an unrestrained and highly expressive exponent of a particular kind of realism, also associated with the Master of the Tucher Altar and with Hans Multscher. In the late 17th century the backgrounds of the principal panels were repainted with dark and stormy skies, which produces an effect not altogether out of keeping with the original emotional tenor. In another large Crucifixion from Tegernsee (1439–40; Munich, Alte Pin.) he painted the scene in grisaille with an elaborate architectural frame, as if the painting were a stone retable.



Crucifixion, detail from right side
1440-45
Alte Pinakothek, Munich

 

Master of the Trebon Altarpiece

( fl last quarter of the 14th century). Bohemian painter. His name is taken from the small town (Ger. Wittingau) in south Bohemia from which his best-known work originated. This is the altarpiece painted for the church of St Giles in the Augustinian monastery in Trebon, which must have been executed after 1380, when work on the church vaults was begun. The three surviving panels (Prague, N.G., Convent of St George) are from the wings and show scenes from the Passion: the Agony in the Garden, with SS Catherine, Mary Magdalene and Margaret on the outer side, the Entombment with SS Giles, Gregory and Jerome, and the Resurrection with SS James the Less, Bartholomew and Philip. The modelling of the figures is achieved through a skilful use of colour and light, so that they appear to float in front of the stylized rocky backgrounds, giving the paintings a shimmering, visionary quality. The sense of depth is also conveyed by light, with a strong diagonal emphasis that reinforces the feeling of insubstantiality.




The Adoration of Jesus
Before 1380
Alsova Jihoceska Galeria, Hluboka


Master of the Vienna Adoration

Austrian painter (active around 1410)


Adoration
c. 1410
Museum of Fine Arts, Budapest


Master of the Virgo inter Virgines

( fl Delft, c. 1483–98). North Netherlandish painter and woodcut designer. He is named after the altarpiece of the Virgin with SS Catherine, Cecilia, Ursula and Barbara (Amsterdam, Rijksmus.), formerly in the convent at Konigsveld, near Delft. First distinguished as an individual artist in 1903 by Friedlander, who subsequently assembled a considerable oeuvre around the altarpiece in Amsterdam, the Master is the least concerned with elegance and the most uncompromisingly ‘realist’ of the early Netherlandish masters and has been characterized as a forerunner of the Dutch school.


Crucifixion
1490s
Galleria degli Uffizi, Florence

 
 
 
 
 
Bohemian Masters
 



The Madonna of St Vitus Cathedral in Prague
c. 1420
National Gallery, Prague



The Nativity
c. 1430
Museum of Fine Arts, Budapest


The Annunciation
c. 1410
Museum of Fine Arts, Budapest




St Bartholomew and St Thomas
1395
National Gallery, Prague

 
 
 

 
 
 
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