This is Master of the Drapery Studies

The Master of the Drapery Studies (German: Meister der Gewandstudien), also known as Master of the Coburg Roundels (German: Meister der Coburger Rundblätter) is the notname supreme to the “very productive” and “multifaceted” late 15th-century author of some 30 unshakable paintings and higher than 150 permanent drawings. Indeed, according to the J. Paul Getty Museum, up to 180 long-lasting drawings “have been recognized to this master, comprising one of the most extensive bodies of drawn action of any northern European artiste before Albrecht Dürer.” Conversely, it has been suggested at least behind that both the Master of the Drapery Studies and the Master of the Coburg Roundels may be two separate persons and that their body of exploit is attributable to a summative circle of artists.

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Before they were solution to the Master, many of his drawings had been official by art historians to the likes of Dürer, Martin Schongauer or even the performer known as Matthias Grünewald, with whom he was at one point, wrongly, identified.

The Master of the Drapery Studies was first called the Master of the Coburg Roundels, after two round drawings from more or less 1485 kept in the print room of the Coburg Castle in Bavaria. Those works are stylistically partnered to many drawings and sketches representing “folds of clothing such as sleeves, loincloths, or even comprehensive garments”, from which the Master speedily drew his second notname. The name “Master of the Coburg Roundels” was first unlimited by Ernst Buchner (1892–1962) in 1927, the name “Master of the Drapery Studies” was first complete by Friedrich Winkler (1888–1965) in 1930.

By general consensus (including the proponents of the theory of the “circle of artists”), the Master of the Drapery Studies/of the Coburg Roundels was responsive in Strasbourg, Alsace, in the years 1475–1500, or 1470–1497, or 1470–1500. According to scholars such as the German Wilfried Franzen, the Master may be identical with Heinrich Lützelmann, the author of the ten panels of The Passion of Christ, a commission of the St. Magdalene Church in Strasbourg. Lützelmann may have been a student/disciple of Hans Hirtz, an influential painter recorded in Strasbourg from 1421 to 1463 and generally thought to be identical in imitation of the “Master of the Karlsruhe Passion”. According to Franzen, the Master of the Drapery Studies is with the author of a second Passion cycle (eight panels) now kept in the Landesmuseum in Mainz.

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The Musée de l’Œuvre Notre-Dame keeps at least two supplementary paintings certified to the Master (known in French as Maître des études de draperies or Maître des ronds de Cobourg). The Musée des Beaux-Arts of Dijon owns four panels, the J. Paul Getty Museum owns one, the National Museum in Kraków owns another one, as attain the Musée des Beaux-Arts of Lyon, and the Staatliche Kunsthalle in Karlsruhe (a triptych).

A large allocation of the drawings of the Master of the Drapery Studies are aligned to stained glass windows from the workshop of the Strasbourg-based master Peter Hemmel of Andlau, although it is disputed if they were made as copies after or as preparatory sketches before the fabrication of the windows. Hemmel, incidentally, also intended windows for the similar St Magdalene Church (in 1480–1481) for which the Master painted The Passion of Christ (between 1485 and 1490), his largest remaining single work. Several of the drawings of the Master are kept in well-known museums such as the Louvre, the British Museum, the Metropolitan Museum of Art, the Albertina, and the Unterlinden Museum.

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