Master of Marie’s life – Wikipedia

The Master of the life of Mary , in German Master of Mary Life (Active from around 1463 to 1490) is the name of agreement given to a German Gothic painter, living in Cologne. He is also known as Master of Wilten and of Johann van Duyren , but this last identification does not consensus ^{[ first ]} .

It should not be confused with other painters designated by similar convention names: the “master of the life of Marie d’Aix-la-Chapelle”, a Norwegian painter of XIII ^{It is} century also called “Master of the life of Mary”, the Venetian painter at the end of XV ^{It is} century Giovanni Francesco da Rimini, sometimes called “Master of the scenes of the life of the Virgin”, or the three painters of xv ^{It is} And xvi ^{It is} centuries called “master of the death of the Virgin”.

Triptych with Crucifixion , around 1460, chapel of the Bernkastel-Kues hospital

‘ TERSLEGENALTAR ». TRPTYQUE YOU CHANNOINE GRADARD ter stunning the monte, verse 1480, Wallraf-Richartz Museum Museum.

His workshop is identified by his masterpiece, a series of eight representations of traditional scenes from the life of the Virgin Mary, painted for the Sainte-Ursule church ( Ursulakirche ) of Cologne. Seven are today exhibited at the Alte Pinakothek in Munich, and one at the National Gallery in London, which also holds the four exterior panels of a Werden altarpiece – whose central panels are probably lost. Other works of the workshop of the master of the life of Marie or her workshop have been identified:

• a triptych with Crucifixion For the chapel of the Bernkastel-Kues hospital, created around 1460 on an order from Cardinal Nicolas de Cues, represented as a donor.
• a Magi Adoration Exhibited at the Nuremberg Nationalmuseum Germanisches;
• a Crucifixion , a Disposition of Christ and an Virgin and child with Saint Bernard au Wallraf-Richartz Museum the Cologne;
• a Virgin of the Apocalypse (Bamberg, New residence );
• and Calvary, with Saint André, Saint Mathieu and a kneeling canon kept at the Palais des Beaux-Arts in Lille,
• a triptych with a Lamentation , called ” TERSLEGENALTAR », Don de Gerhard Ter Steghen de Monte, canon of Saint-André and professor of theology at the university. He died in 1480, and the altarpiece had to be finished shortly after. It is the kneeling donor who respects the right hand of Christ respectfully. On the shutters, the apostle André presents a nephew of the donor, and the apostle Matthias another nephew.

The influence of Dutch painters (Dirk Bouts, Rogier Van der Weyden) is perceptible in his work, and inclines to think that he was trained in painting in the Netherlands. His name remains unknown, like that of all painters of the Cologne school, except Stefan Lochner. Nevertheless, he seems to have been one of the most recognized painters of this school: the style of other painters active in the same city at that time indicates that he exerted a certain influence on them. Tables which were attributed to it previously are now considered to be made by these other painters, as for example the Mary coronation , attributed to the master of the passion of Lyversberg ^{[ 2 ]} . These interactions are discussed by Hans M. Schmitt ^{[ 3 ]} .

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  The meeting of Joachim and Anne at the Golden Porte ( Encounter by Joachim and Anna on the golden gate ), around 1460, wood painting, 85 × 106 cm , Munich, Alte Pinakothek.

Bibliography [ modifier | Modifier and code ]

• (of) Schmidt, Hans M., The master of Marienlebens and his circle: Studies on late Gothic painting in Cologne , Düsseldorf, Schwann, 1978.

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