The Master of the Saint Bartholomew Altarpiece (sometimes called the Master of the Saint Bartholomew Altar,) was an Early Netherlandish painter alert in Germany, mostly Cologne, between 1475/1480 and 1510. Despite his anonymity, he is one of the most recognizable artists of the forward Renaissance epoch in German art.
It has been said that the Master is the last “Gothic” painter to appear in in Cologne. Approximately twenty-five paintings have been qualified to him on the basis of his highly individual style, which does not seem to bear any affinity to that of any other bookish then sprightly locally. Despite the fact that he seems to have been the leading painter of his get older in Cologne, no evidence of any followers, or of a literary in the normal sense, may be found.
A number of influences, mainly Netherlandish, have been traced in the Master’s paintings. These count Dirck Bouts and Rogier van der Weyden, whose pretend to have may be seen in the Munich Madonna and Child when Saint Anne. Stylistically, the Master’s paintings are characterized by their use of bright, enamel-like colors and an affinity to the International Gothic style of painting.
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