Bruges Master from 1499

Master of 1499: Annunciation (Gabriel and the Virgin Mary)

The Bruges Master of 1499 , also Master of 1499 or Pseudo-Perréal , was a painter of the old Dutch school whose name is no longer known today, who probably worked in the Bruges - Ghent area at the turn of the 15th to the 16th century . He received his emergency name after the year 1499, which can be found on a wing of one of his works.

Life dates

Nothing is known about the origin and training of the Bruges master from 1499. According to Paul Eeckhout, he could have been born between 1440 and 1450.

style

Stylistically, the Bruges master from 1499 succeeds the painter Hugo van der Goes , but in some works also shows a stylistic relationship to the works of Jean Perréal , which is why he is also referred to as pseudo-Perréal in some older publications .

Meister von 1499: Donor portrait of the abbot Christiaan de Hondt

The 1499 diptych

The Bruges master received his emergency name , which is mostly in use today , from 1499 after a diptych dated 1499 , which he executed on behalf of Christiaan de Hondt, the abbot of the Cistercian monastery Ter Duijnen near Bruges. It is now in the Koninklijk Museum voor Schone Kunsten in Antwerp (Inv.-No .: 255 and 256). For the left wing he made a very exact copy of the picture Madonna in the church by Jan van Eyck , which is now in the Berlin Gemäldegalerie (Inv.-No .: 678). The right wing shows the kneeling founder Christiaan de Hondt. The outer wings, painted about twenty years later with the donor portrait of Robert de Clercq and Christ as Salvator Mundi (Inv.-No .: 530 and 531), are the work of a previously unknown painter.

Other works

For stylistic reasons, the painter, who was previously unknown by name, is still assigned a number of other works.

• A triptych depicting the coronation of Mariae - now owned by the Royal Collection in Hampton Court - was probably made a little earlier than the Antwerp diptych.
• A diptych with the depiction of the Annunciation (Inv.-No .: 548) kept in the Berlin Gemäldegalerie is generally considered a copy of a late, now-lost work by Hugo van der Goes and, like most of the artist's other pictures, is later than the only known dated work to date has been added.

Based on the Berlin diptych, the painter could also be assigned a few other works in the following period:

• A Holy Family with an angel in the Koninklijk Museum voor Schone Kunsten in Antwerp (Inv.-No .: 558),
• A Enthroned Madonna and Child with four female saints in the Virginia Museum of Fine Arts in Richmond (Inv No .: 57-39) and
• A Enthroned Madonna and Child and a donor couple in the Musée National du Louvre in Paris (Inv No .: RF 2370).

Pseudo-Perréal

Especially in the group gathered around the Berlin Diptych, Max J. Friedländer and Friedrich Winkler believed they recognized stylistic echoes of Jean Perréal, which is why they invented the emergency name Pseudo-Perréal , which is no longer in use today, for the Bruges master of 1499 .

Master of 1499: Virgo inter virgines (Enthroned Mary with the child and four female saints)

Painter of the Blessing Christ in Profile and more recent attributions

In addition, the (Bruges) master from 1499 is considered to be the painter of a representation of the Blessing Christ in profile , which probably goes back to a lost picture by Jan van Eyck, of which several copies have survived. Of these, in turn, the picture in the Berlin Gemäldegalerie (Inv.-No .: 528 A), which has been severely cropped on all sides, is considered to be a work by the Bruges master from 1499, while the other copies are assigned to a successor or workshop employee.

The more recent attributions to the painter, who is not known by name, also include a diptych formerly assigned to the Master of the Magdalene Legend with a depiction of Mary Enthroned with the Child and two angels on the left and a donor portrait of Margaretha van Oostenrijk on the right in Ghent , Museum voor Schone Kunsten (Inv.-No .: 1973-A) and a Saint Christophorus in Bourg-en-Bresse , Musée de Brou .

Art historical significance

Although the master of 1499 did not create a larger and independent work, by studying his pictures and their style, indications of the development of painting of his time can be gained, a time when small-format pictures and smaller two-part altars such as the diptych by Created in 1499 for private devotion, as part of a Devotio moderna , this popular new form of religiosity and devotion.

literature

• Bruges Master of 1499, or Pseudo-Pérreal . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 37 : Master with emergency names and monogramists . EA Seemann, Leipzig 1950, p. 57-58 .
• Wolfgang Kermer : Studies on the diptych in sacred painting: from the beginnings to the middle of the sixteenth century: with a catalog . Düsseldorf: Dr. Stehle, 1967 (Phil. Diss. Tübingen 1966), Part I: pp. 173–177; Part II: pp. 153–154, cat.-no. 156, fig. 190 (on the type of “Annunciation Diptychs” in general and the Berlin example in particular).

Web links

Commons : Bruges Masters from 1499  - collection of images, videos and audio files

• Triptych: The Coronation of Mary. The Royal Collection Her Majesty Queen Elizabeth II, RCIN 404758

Individual evidence

1. ↑ ^{a b c d} According to the Rijksbureau voor Kunsthistorische Documentatie .
2. ↑ ^{a b c} Bruges Master from 1499, or Pseudo-Pérreal . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 37 : Master with emergency names and monogramists . EA Seemann, Leipzig 1950, p. 57-58 .
3. ↑ Master of 1499. In: Art Encyclopedia. The Concise Grove Dictionary of Art. Oxford University Press, Inc.
4. ^ Paul Eeckhout, In: Roger van Schoute, Brigitte de Patoul (Ed.): De Vlaamse Primitieven. Davidsfonds, Leuven 1994, ISBN 90-6152-867-4 , p. 521 ff.
5. ↑ Irene Geismeier , In: Staatliche Museen zu Berlin (Hrsg.): Art of the Reformation. Henschelverlag Art and Society, Berlin 1983, ISBN 3-88520-113-5 , p. 118 f. Cat.-No .: B 63.1 (exhibition catalog, Altes Museum, Berlin (East), August 26, 2006 - November 13, 1983).
6. ^ W. Bode: Eyck, imitator of Jan van Eyck . In: Descriptive directory of the paintings in the Kaiser-Friedrich-Museum, Royal Museums in Berlin . 6th edition. Georg Reimer, Berlin 1906, p. 129 ( books.google.de ).
7. ^ Paul Eeckhout: Les trois diptyques du Maître de 1499. In: Musées Royaux des Beaux-Arts de Belgique. Bulletin. Volume 34/37, 1985/1988, ISSN  0027-3856 , pp. 49-62.
8. ↑ John Oliver Hand, Catherine A. Metzger, Ron Spronk: Prayers and portraits. Unfolding the Netherlandish diptych. National Gallery of Art et al., Washington DC 2006, ISBN 0-300-12155-5 (exhibition catalog, National Gallery of Art, Washington DC, November 12, 2006 - February 4, 2007; Koninklijk Museum voor Schone Kunsten, Antwerp, March 3 - May 27, 2007).