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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] |
Anonymous Artists
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 ''Il ... [...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 Life Of The Virgin
__NOTOC__ The Master of the Life of the Virgin, in German the Meister des Marienlebens, (working ca. 1463 — ca. 1490), is the pseudonym given to a late Gothic German painter working in Cologne. He can also be known as the Master of Wilten, or Johann van Duyren, an identification not universally accepted. His workshop is identified by his masterwork, a series of eight depictions of conventional scenes from the Life of the Virgin Mary, painted for the Ursulakirche, Cologne; seven are in the Alte Pinakothek, Munich, and one in the National Gallery, London, who also have the four outer panels from an altarpiece from Werden, whose central panel appears to be lost. Further works recognizable by their style and handling are the ''Crucifixion of Christ'' for the hospital chapel, Bernkastel-Kues; the ''Adoration of the Magi'' in the Germanisches Nationalmuseum, Nuremberg; and the ''Crucifixion'' and ''Deposition of Christ'' at the Wallraf-Richartz Museum, Cologne. Through the detec ... [...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] |
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 about 1483 to around 1527. He has not been identified; his name of convenience is derived from a large, now-dispersed altarpiece with scenes from the life of Mary Magdalene, which has been dated to between 1515 and 1520 based on the costumes of the donor portraits. However other works attributed to him are extremely difficult to date with any accuracy. Many paintings have been linked with the triptych, which is thought to have been finished late in the artist's career. Other major works include his two Magdalen panels in London. He is not to be confused with the " Master of the Mansi Magdalen" (fl. ?Antwerp, c. 1515–25) or the Magdalen Master (fl. Florence, c. 1265–90). Some of his portraits suggest a possible link with artists in Brussels, and it is thought that he worked there, and headed a large workshop. An early influence app ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Berlin Painter
The Berlin Painter (active c. 490–460s BCE) is the Notname, conventional name given to an Attica, Attic Ancient Greece, Greek vase-painter who is widely regarded as a rival to the Kleophrades Painter, among the most talented vase painters of the early 5th century BCE (see Pottery of Ancient Greece). The Berlin Painter along with the Kleophrades Painter was educated by a member of the Pioneer Group, who introduced red-figure painting. Name vase The Berlin Painter was named by Sir John Beazley for a large lidded amphora in the Antikensammlung Berlin (the Berlin Painter's ''name vase''). Side A: satyr and Hermes. Hermes strides to the right swinging his arms. He holds a large kantharos and a kerykeion (herald's wand) in his forward hand, and a small oinochoe in his hand which he swings behind him. He is dressed in a short tunic and chlamys, and wears a winged cap and winged boots. A satyr stands in front of him facing right, his head turned to the left. He is holding a barbiton ... [...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 the ... [...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 the ... [...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 pre ... [...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 cons ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Art History
Art history is the study of aesthetic objects and visual expression in historical and stylistic context. Traditionally, the discipline of art history emphasized painting, drawing, sculpture, architecture, ceramics and decorative arts; yet today, art history examines broader aspects of visual culture, including the various visual and conceptual outcomes related to an ever-evolving definition of art. Art history encompasses the study of objects created by different cultures around the world and throughout history that convey meaning, importance or serve usefulness primarily through visual representations. As a discipline, art history is distinguished from art criticism, which is concerned with establishing a relative artistic value upon individual works with respect to others of comparable style or sanctioning an entire style or movement; and art theory or "philosophy of art", which is concerned with the fundamental nature of art. One branch of this area of study is aesthetics, wh ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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