Austrian painter. He is named from four wing panels (1499; Grossgmain, nr Salzburg, Maria Himmelfahrt) of a dismantled altar of the Virgin and two very tall panels depicting the Virgin and Child and Salvator mundi perhaps produced in conjunction with them. The wing panels depict the Presentation in the Temple, Christ among the Doctors, the Descent of the Holy Ghost and the Death of the Virgin; the normally exposed faces have been destroyed apart from a few fragments that have been removed. The close stylistic relation with the work of Rueland Frueauf I was noted early on and superseded the incorrect attribution to bartholomäus Zeitblom. The independent Master of Grossgmain is now widely regarded as the ‘dominant personality in a workshop that must probably be seen as an extension or a branch of the Frueauf workshop’ (Demus). His origin in the artistic milieu of Salzburg is not usually contested. The common use of the same punch for the decoration of the backgrounds of paintings confirms a direct link with Frueauf (Zimmermann), of whom he is thought to have been a pupil.
From The Grove Encyclopedia of Northern Renaissance Art in Oxford Reference.
Subjects: Renaissance Art.