Master of Liesborn

As a master of Liesborn a late medieval painter is referred to, who was active in Westphalia 1460-1490. The unnamed artist received his Notnamen after the Passion altar, which he created in 1465 for the Benedictine Liesborn. It is believed that the painter Johann von Soest is identical.

Art and performance history

Near the altar of Liesborn only a few other plants can be obtained assign the Master of Liesborn, including a Passion altar in the church of Maria to the amount in Soest. Also, the Master and his workshop Lünener the altar and the altar Lipporger be attributed. His work has had great impact on the contemporary and subsequent Westphalian painter, for example in the works of the masters of 1473rd

The Master of Liesborn itself shows a strong influence from Dutch painters such as Dieric Bouts and Rogier van der Weyden. As in the Annunciation scene from Liesborn show his representation of architecture, correct perspective of the interior and details of furniture that relationship. The Master, however, was familiar with the Cologne painters such as the Master of the Life of Mary. The reference to the so-called Cologne school of painting can be seen especially in the sacred images of the altar from Liesborn.

A small number of paintings by the master of Liesborn is originally the Master of Cappenberg and thus January Baegert been attributed.

The high altar of the monastery church of Liesborn

The former Liesborner altar showed in the middle Christ on the Cross, and other scenes from the life of Mary and saints. The altar was probably not a winged altar, but the pictures were shown side by side. He is now only preserved in fragments. The 1704 already disassembled Liesborner altar was sold at the beginning of the 19th century in the course of secularization in probably more than 14 separate parts to private individuals. Significant cuts can be found today in the possession of the National Gallery, London and the Westphalian Art Association and the Westphalian State Museum in Munster, where they are counted among the " most beautiful and important paintings of the collection ."

Some of the parts of the Liesborner altar were then and the Master of Cappenberg or a workshop of the Master of Liesborner altar be partially attributed today.