(fl Nuremberg, c. 1420–40). German painter. He is named after an altarpiece of Passion scenes (1429; ex-Franciscan church, Bamberg; Munich, Bayer. Nmus.) in which the style is derived from that of the Nuremberg Master of the Altarpiece of the Virgin (fl 1400–10; c. 1410; Nuremberg, Ger. Nmus.). The Master of the Bamberg Altar collaborated with the Master of the Deichsler Altarpiece in the Imhoff Altar (c. 1418–22; Nuremberg, Lorenzkirche; see master of the Imhoff altar). The Man of Sorrows with the Virgin and St John (Nuremberg, Ger. Nmus.) by the Master of the Bamberg Altar forms the reverse panel of the Imhoff Altar. It is a good example of his solemn style, with figure mass and simplicity of composition. Another of his paintings, the Man of Sorrows Standing with the Virgin (c. 1420; Nuremberg, Ger. Nmus.), shows his mastery of restrained presentation of a devotional subject. Like the Master of the Deichsler Altarpiece (possibly Berthold Landauer), he was strongly dependent for his facial types and figure style on Bohemian painting, particularly that of the Master of Trbon though his more block-like figure forms and solidity of figure grouping contrast with the elegant, elongated figures of the Master of Trbon moving further away from the International Gothic style of Prague. In his work may be traced some influence from late-14th-century north Italian painting, such as that of Altichiero (fl 1369).
From The Grove Encyclopedia of Northern Renaissance Art in Oxford Reference.
Subjects: Renaissance Art.