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Notname
In art history, a ''Notname'' (, "necessity-name" 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, avoiding 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. 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 or 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 name of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Early Netherlandish Painting
Early Netherlandish painting, traditionally known as the Flemish Primitives, refers to the work of artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance period. It flourished especially in the cities of Bruges, Ghent, Mechelen, Leuven, Tournai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523,Spronk (1996), 7 although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568– Max J. Friedländer's acclaimed surveys run through Pieter Bruegel the Elder. Early Netherlandish painting coincides with the Early and High Italian Renaissance, but the early period (until about 1500) is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy. Beginning in the 1490s, as increasing numbers of Netherlandish and o ... [...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] |
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, virtuoso surface textures and innovative iconography of the early Northern Renaissance. Based in Cologne, a commercial and 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 believe he was born in Meersburg in south-west Germany around 1410, and that he spent some of his apprenticeship in the Low Cou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Campin
Robert Campin (c. 1375 – 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 the first great master of Early Netherlandish painting. 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'', Volume 116, No. 860, Nov. 1974. 634-646 A corpus of work is attached to the unidentified "Master of Flémalle,"Fragments remain probably from som ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Master Of Mary Of Burgundy
The Master of Mary of Burgundy was a Flemish illuminator, painter and draughtsman active between 1469-1483 in Flanders, probably in Ghent. His notname is derived from two books of hours attributed to him, the Vienna Hours of Mary of Burgundy and another books of hours, now in Berlin, also for Mary of Burgundy.Master of Mary of Burgundy . J. Paul Getty Trust. Retrieved 22 November 2017 He was influenced by advances in oil on canvas panel painting, especially the works and approach of , and may have been also a pain ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Amphora
An amphora (; grc, ἀμφορεύς, ''amphoreús''; English plural: amphorae or amphoras) is a type of container with a pointed bottom and characteristic shape and size which fit tightly (and therefore safely) against each other in storage rooms and packages, tied together with rope and delivered by land or sea. The size and shape have been determined from at least as early as the Neolithic Period. Amphorae were used in vast numbers for the transport and storage of various products, both liquid and dry, but mostly for wine. They are most often ceramic, but examples in metals and other materials have been found. Versions of the amphorae were one of many shapes used in Ancient Greek vase painting. The amphora complements a vase, the pithos, which makes available capacities between one-half and two and one-half tons. In contrast, the amphora holds under a half-ton, typically less than . The bodies of the two types have similar shapes. Where the pithos may have multiple sma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anonymous Was A Woman Award
The Anonymous Was A Woman Award is a grant program for women artists who are over 40 years of age, in part to counter sexism in the art world. It began in 1996 in direct response to the National Endowment for the Arts' decision to stop funding individual artists. The award comes with a grant of $25,000 and is designed to enable exceptional woman artists to further develop their work. Awardees are chosen on the basis of their past accomplishments, their originality and artistic growth, and the quality of their work. Since 1996, some 220 women have received the award and approximately 5.5 million USD has been awarded in total. The award was founded by a New York artist who originally chose to remain anonymous. She named the award in reference to a line from the Virginia Woolf book '' A Room of One's Own'' and in recognition of all the women artists through the ages who have remained anonymous for various reasons. Nominators, who include art writers, curators, art historians, and pr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pseudepigrapha
Pseudepigrapha (also anglicized as "pseudepigraph" or "pseudepigraphs") are falsely attributed works, texts whose claimed author is not the true author, or a work whose real author attributed it to a figure of the past.Bauckham, Richard; "Pseudo-Apostolic Letters", ''Journal of Biblical Literature'', Vo. 107, No. 3, September 1988, pp. 469–94. In biblical studies, the term ''pseudepigrapha'' can refer to an assorted collection of Jewish religious works thought to be written 300 BCE to 300 CE. They are distinguished by Protestants from the deuterocanonical books (Catholic and Orthodox) or Apocrypha (Protestant), the books that appear in extant copies of the Septuagint in the fourth century or later and the Vulgate, but not in the Hebrew Bible or in Protestant Bibles. The Catholic Church distinguishes only between the deuterocanonical and all other books; the latter are called biblical apocrypha, which in Catholic usage includes the pseudepigrapha. In addition, two books co ... [...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 ''I ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Simon Marmion
Simon Marmion (c. 1425 – 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] |
Hugo Van Der Goes
Hugo van der Goes (c. 1430/1440 – 1482) was one of the most significant and original Flemish painters of the late 15th century. Van der Goes was an important painter of altarpieces as well as portraits. He introduced important innovations in painting through his monumental style, use of a specific colour range and individualistic manner of portraiture. From 1483 onwards, the presence of his masterpiece, the Portinari Triptych, in Florence played a role in the development of realism and the use of colour in Italian Renaissance art.Till-Holger Borchert, ''Hugo van der Goes'' at Flemish Primitives Life Hugo van der Goes was likely born in or ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
