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Notname
In art history, a (, "name of necessity" or "contingency name") is an invented name given to an artist whose identity has been lost. The practice arose from the need to give such artists and their typically untitled or generically titled works an acceptable if unsatisfactory grouping to avoid confusion when cataloging. The phrases provisional name, name of convenience, and emergency names are sometimes used to describe anonymous masters. Nonce name was at one time used. Historiography The practice of using generic names for unidentified artists is most common in the study of art of the antiquity, especially of the Roman era, and with artists of the Northern Renaissance until about 1430. Typically a pseudonym is applied after commonality is established for a grouping of works, of which a similarity of theme, style, iconography, biblical source or physical location can probably be attributed to one individual or workshop, but because of lack of surviving documentary record, the na ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anonymous Artists
In art history, an Notname, anonymous master is an Old Master whose work is known, but whose name is lost. Renaissance Only in the Renaissance did individual artists in Western Europe acquire personalities known by their peers (some listed by Vasari in his ''Lives of the Artists''), such as those known by: * Their true name or their father's name: ** Filippino Lippi after his father Fra Filippo Lippi * A chosen pseudonym, possibly linked to his birthplace or his father's trade: ** Giuliano da Sangallo worked on the gate of Saint Gall ** Antonio del Pollaiuolo, after his father, a chicken farmer (pollo in Italian) ** Jacopo del Sellaio, after his father, a saddler (''sellier'') ** The Della Robbias (after the Tuscan word ''robbia'', dyers' Rubia tinctorum, madder, and his father, the dyer Luca della Robbia) ** Masuccio Segondo, student of Masuccio Primo ** etc. * A surname attributed to him: ** Simone del Pollaiolo, Il Cronaca, who never stopped talking about the ruins he had seen in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Anonymous Masters
In art history, an anonymous master is an Old Master whose work is known, but whose name is lost. Renaissance Only in the Renaissance did individual artists in Western Europe acquire personalities known by their peers (some listed by Vasari in his ''Lives of the Artists''), such as those known by: * Their true name or their father's name: ** Filippino Lippi after his father Fra Filippo Lippi * A chosen pseudonym, possibly linked to his birthplace or his father's trade: ** Giuliano da Sangallo worked on the gate of Saint Gall ** Antonio del Pollaiuolo, after his father, a chicken farmer (pollo in Italian) ** Jacopo del Sellaio, after his father, a saddler (''sellier'') ** The Della Robbias (after the Tuscan word ''robbia'', dyers' madder, and his father, the dyer Luca della Robbia) ** Masuccio Segondo, student of Masuccio Primo ** etc. * A surname attributed to him: ** Il Cronaca, who never stopped talking about the ruins he had seen in Rome ** Daniele da Volterra, nicknamed ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Namepiece
In art history, a namepiece is an artwork after which an otherwise unnamed artist is named. There is a long history of giving notnames to artists whose identity has been lost. The Master of the Life of the Virgin (active c. 1463 to c. 1490) and the Master of the Legend of the Magdalen (active c. 1483 – c. 1527) both named after scenes from the Life of the Virgin attributed to them, the Master of the Prado Adoration of the Magi (active c. 1475 – 1500) named after his most famous panel, and the Vienna Master of Mary of Burgundy (c 1470 – c 1480), named after a manuscript owned by one of his patrons. The Berlin Painter (active c. 490s-c. 460s BCE) was named by Sir John Beazley for a large lidded amphora in the Antikensammlung Berlin, the Berlin Painter's ''namepiece''. Some more examples include: File:Attica, anfora con sairi ed hermes, da vulci, 500-490 ac ca. 02.JPG, Image on Berlin Painter's ''namepiece'' vase. File:Juan Dò Anuncio a los pastores.jpeg, ''Annunciation to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Master Of The Embroidered Foliage
The Master of the Embroidered Foliage (active – ) is the Notname for an Early Netherlandish painter or a group of painters who worked out of Bruges and Brussels. In 1926 the German art historian Max Jakob Friedländer attributed a group of paintings of the Virgin and Child in a landscape, in identical poses to the "Master of the Embroidered Foliage". The foliage painted in these works was likened by Friedländer to the repeated pattern of stitches in embroidery, thus the unusual name for the artist. The paintings show elements of previous works by Rogier van der Weyden and Hans Memling. Of the five paintings considered by Friedländer, three are in the United States, at the Philadelphia Museum of Art, Minneapolis Institute of Arts, and Clark Art Institute, and the other two in Europe, at the Groeningemuseum, Bruges, and the Musée des Beaux-Arts, Lille. Other paintings attributed to this group of artists are in the Louvre in Paris, the Detroit Institute of Arts, and in t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Master Of Sierentz
The Master of Sierentz was a painter who is seen as a successor of the Swiss painter Konrad Witz. He is mainly known for his two paintings of Saint Georg stabbing the dragon and Saint Martin of Tours dividing his coat in two sharing one half with a beggar which are assumed to have been painted between 1440 and 1450. Both works are exhibited in the Kunstmuseum Basel.Brinkmann, Bodo; Georgi, Katharina (2011), pp.279–281 The two panels were for some time assumed to have been the wings of a retable at a church in Sierentz, a locality near Basel, hence the artists Notname "Master of Sierentz".Brinkmann, Bodo; Georgi, Katharina (2011) p.282 But today, it can't be confirmed with certainty that the retables have stayed in Sierentz. The Master of Sierentz is not to be confused with the , who was initially seen as the painter of the two panels. The painting of the Saint Georg slaying the dragon The centre piece of the painting is Saint Georg slaying a dragon with a sword. Behind in th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Master Of The Legend Of The Magdalen
The Master of the Legend of the Magdalen (sometimes called the Master of the Magdalen Legend) was an Early Netherlandish painter active from circa 1483 to 1527. He has not been identified. His Notname (name of convenience) was coined by the art historian Max Friedländer and is derived from a large, now-dispersed polyptych with scenes from the life of Mary Magdalene. Based on the costumes of the donor portraits, this work has been dated to between 1515 and 1520. Many paintings have been attributed to the Master based on similarities with the polyptych. The Master painted religious subjects as well as portraits. The Master was not an innovator as his work relies heavily on the older Netherlandish style of Rogier van der Weyden with some inspiration from the innovations introduced in Netherlandish paintings by Bernard van Orley who had been in contact with contemporary Italian art. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Master Of The Prado Adoration Of The Magi
The Master of the Prado Adoration of the Magi was a Netherlandish painter active between c. 1475 and 1500 whose identity is now lost. He is thought to have originated from the southern Netherlands and is known for his vibrant colourisation in panels depicting scenes from the infancy of Christ, he is thought to have been a pupil of Rogier van der Weyden, and is named after a copy of the "Adoration of the Magi" panel from that painter's '' St Columba Altarpiece''. Although the Magi became a popular topic for northern painters in the second half of the 15th century and the Columba altarpiece was widely copied, the master is associated with van der Weyden's workshop because the copy is so close, it is believed he must have had access to a reproduction of the underdrawing. Six panels are today associated to the master; five showing scenes from Christ's infancy and one of Saint Francis. [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Berlin Painter
The Berlin Painter (active c. 490–460s BC) is the conventional name given to an Attic Greek vase painters who is widely regarded as among the most talented of his time. There are no painter signatures on any of the Berlin Painter's attributed works. From the surviving vases, it is safe to assume that he was a major painter, as there are over 400 vases and fragments attributed to him. The Berlin Painter along with his apparent rival the Kleophrades Painter was educated by a member of the Pioneer Group, who introduced red-figure painting. The Berlin Painter began working in the Late Archaic style and helped develop the Classic style. Over a long career he trained many younger vase-painters, including, probably, the Achilles Painter. The majority of his works have been found across Italy. This may suggest that they were created for export to the Italian market. Many of his valued works were preserved as élite grave goods in the necropoleis of Magna Graecia and Etruria, not ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Antikensammlung Berlin
The Antikensammlung Berlin (Berlin antiquities collection) is one of the most important collections of classical art in the world, now held in the Altes Museum and Pergamon Museum in Berlin, Germany. It contains thousands of ancient archaeological artefacts from the ancient Greek, Roman, Etruscan and Cypriot civilizations. Its main attraction is the Pergamon Altar and Greek and Roman architectural elements from Priene, Magnesia, Baalbek and Falerii. In addition, the collection includes a large number of ancient sculptures, vases, terracottas, bronzes, sarcophagi, engraved gems and metalwork. History of the collection Foundation The collection's foundations were laid in the time of the Brandenburg Elector Friedrich Wilhelm I by ancient sculptures looted in 1656 from the ''Villa Regia'' Palace in Warsaw. The obtained sculptures were purchased in Italy by Polish kings Sigismund III Vasa and Władysław IV Vasa. This core of the collection, originally housed at the Stadtsc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Simon Marmion
Simon Marmion ( – 24 or 25 December 1489) was a French and Burgundian Early Netherlandish painter of panels and illuminated manuscripts. Marmion lived and worked in what is now France but for most of his lifetime was part of the Duchy of Burgundy in the Southern Netherlands. Life Like many painters of his era, Marmion came from a family of artists, and both his father, Jean, and his brother Mille were painters. Marmion is recorded as working at Amiens between 1449 and 1454, and then at Valenciennes from 1458 until his death. He was patronized by Philip the Good, the Duke of Burgundy from 1454 when he was one of several artists called to Lille to work on the decorations for the Feast of the Pheasant. He was employed by several members of the ducal family, including Charles the Bold and Margaret of York. He was called "the prince of illuminators" by a near contemporary. Three years after his death his widow, Jeanne de Quaroube, married his pupil, the painter Jan Provoost, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stefan Lochner
Stefan Lochner (the ''Dombild Master'' or ''Master Stefan''; c. 1410 – late 1451) was a German painter working in the late International Gothic period. His paintings combine that era's tendency toward long flowing lines and brilliant colours with the Realism (arts), realism, virtuoso oil paint, surface textures and innovative iconography of the early Northern Renaissance. Based in Cologne, a commercial and Cologne School of Painting, artistic hub of northern Europe, Lochner was one of the most important German painters before Albrecht Dürer. Extant works include single-panel oil paintings, devotional polyptychs and illuminated manuscripts, which often feature fanciful and blue-winged angels. Today some thirty-seven individual panels are attributed to him with confidence.Chapuis, 103 Less is known of his life. Art historians associating the Dombild Altarpiece master with the historical Stefan Lochner think he was born in Meersburg in south-west Germany around 1410, and that he ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Campin
Robert Campin (Valenciennes (France) c. 1375 - Tournai (Belgium) 26 April 1444) now usually identified with the Master of Flémalle (earlier the Master of the Merode Triptych, before the discovery of three other similar panels), was a master painter who, along with Jan van Eyck, initiated the development of early Netherlandish painting, a key development in the early Northern Renaissance. While the existence of a highly successful painter called Robert Campin is relatively well documented for the period, no works can be certainly identified as by him through a signature or contemporary documentation. A group of paintings, none dated, have been long attributed to him, and a further group were once attributed to an unknown "Master of Flémalle". It is now usually thought that both groupings are by Campin, but this has been a matter of some controversy for decades.Campbell, Lorne. "Robert Campin, the Master of Flémalle and the Master of Mérode". ''The Burlington Magazine'', Vol. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
