Master of the Aachen Altar

As a master of the Aachen Altar is a Cologne between 1495 and 1520, named after a different opinion between 1480 and 1520, detectable anonymous, late Gothic painter who was named after his main work, the Passionstriptychon issued in the Aachen Cathedral Treasury, named. It belongs next to the Master of St. Severin and the Master of the Ursula legend to the group of painters who embraced a late Gothic form and sense of style were obliged still active at the turn of the 16th century in Cologne. This original and interesting artist stands on the threshold of modern times and can be considered the last important representative of late Gothic painting in Cologne apply.

Like all Cologne painters of the second half of the 15th century is also the Master of the Aachen Altar do not identify with any of those in the archives contemporary artist name. So far, it has not been possible to securely connect one of the works referred to in the documents with a painter name. Since reliable data and sources are nearly absent, his artistic work was recognized with the help of style critical comparisons.

What his work from that of his contemporaries apart is the vital temperament, which tells in his pictures. His expression is found in the restless ebb and flow of the actors, the crowded, turbulent compositions, the specific of rich contrasts, atmospheric landscapes and the novel for its time visual ideas, as well as the beam strength of his colors. Surprising, often drastic incursions, the naturalistic described disease characteristics of a syphilitic and a mongoloid child at the Aachen Altar, characterize his work. As a portraitist of the Master of the Aachen Altar proved his ability to differentiated persons account of how living near and realistic execution of the founders portraits on the reredos in Liverpool as well as the portrait of John the Younger of melem, son of originating from Cologne Frankfurt patrician John of melem shows. This image is now on display in the Alte Pinakothek in Munich and is also attributed to the Master of the Aachen Altar. That Johann close the Younger as well as his father, the Cologne Mayor and wholesale merchant Hermann Rinck, were among his clients, next was a great altarpiece for a religious house of the Carmelites and a mural for the Cologne family Hard Rath leave, to the esteem in which the artist enjoyed.

The roots of the Master of the Aachen Altar in Cologne painting is beyond question. The proximity to the Master of the Holy Kinship, which showed both the stylistic as well as in the acquisition of visual ideas and motifs, confirms the assumption that the Master of the Aachen Altar was trained in the workshop of the clan master. Even the Master of St. Severin went from an important influence on the Master of the Aachen Altar how matches in the figure style and a similar painting style show. A possible workforce as a journeyman in the workshop possible. The mature works of the Master of the Aachen Altar, namely Marie panels let, close to significant influences of the Master of the Bartholomew Altar. In addition, the painter has important suggestions from the Dutch painting, about the art of Hugo van der Goes received and processed.

The effect that the Master himself had on later artists, does not seem to have been large. However, some works Bartholomäus Bruyn the Elder betray an accurate knowledge of the works of the Master of the Aachen Altar and prove that Bruyn has repeatedly dealt with the compositions of the older master.

Works

Only a relatively small number of works can be taken as hand for the master to complete: two Passionsretabel, a ruined wall paintings, two drawings and seven individual panels, some larger format. Between the earliest surviving image - of which occurred shortly before 1495 Adoration of the Magi in Bonn - and the Aachen Altar as a mature work in 1515 /20, there is the creative life of the Master, which includes about a period of twenty years. A larger workshop operation can not be accepted for the Master of the Aachen Altar. Only small, the number of works that show workshop character.

• Passionstriptychon (so-called " Aachen Altar" ) Aachen Cathedral Treasury. To 1515-1520. Maybe with the Cologne for the Carmelite church testified cross altar identical. The founder of the Carmelite habit can not be identified. For those in the older literature uncritically accepted and generally argued thesis Theodericus de Gouda was the founder, there is no evidence.
• Adoration of the Magi, Berlin, Gemäldegalerie. To 1505-1510. After identification of the house brand bottom left panel is a foundation of Cologne Johann Petit family, probably for the Cologne Charterhouse.
• Adoration of the Magi, pen and ink sketch, Paris, Cabinet des Dessins du Musée du Louvre. To 1505-1510. The drawing is to be regarded as a preliminary to the panel "The Adoration of the Magi" in Berlin.
• Raising of Lazarus, Pen And Ink, Berlin, Prints and Drawings. To 1510-1515.
• Adoration of the Magi, Bonn, Rhineland Museum (on loan ). Between 1493-1495.
• Salvator Mundi Christ, Cologne, Wallraf- Richartz Museum. To 1505-1510.
• Passionstriptychon ( middle panel: Calvary London, National Gallery Left wing, inner:. Hand wash Pilati, outside: Mass of Saint Gregory, Liverpool, Walker Art Gallery Right wing, inner:. Lamentation of Christ, outside: Kneeling Donors, Liverpool, Walker Art Gallery). To 1505-1510. Probably from Dallem for St. Columba made ​​as a foundation of the couple Hermann Rinck and Gertrud shown on the right wing tip and identified by coats of arms in Cologne.
• The portrait of John of melem, Munich, Alte Pinakothek. From the age of the Frankfurt merchant Johann (II ) of melem who is born to 1455-60 and shown the age of 37 here according to the inscription, the result is the approximate dating of around 1495th
• Madonna and Child with angels playing instruments, Munich, Alte Pinakothek. To 1515th
• Madonna and Child between St. Catherine and St. Ursula, privately owned. To 1510.
• Mass of Saint Gregory, Utrecht, Museum Catharijneconvent. To 1510-1515.