(fl Fontainebleau, c. 1543–4). French engraver. He has been identified as Jean Vignay, a painter employed at the château of Fontainebleau between 1537 and 1540 at the rate of 20 sols a day, or as Jean Vaquet, another painter who worked at Fontainebleau between 1540 and 1550 and received 13 livres a month (Adhémar). Herbet, who emphasized the problems involved in such attributions based on payment records, attributed 28 reproductive engravings to this master. The Master seems to have specialized in reproducing the decorations in Fontainebleau and the works of Giulio Romano (?1499–1546), Rosso Fiorentino, Andrea del Sarto (1486–1530) and Polidoro da Caravaggio (c. 1499–c. 1543). According to Zerner, he introduced the Flemish-style panoramic landscape to Fontainebleau. His manner of engraving developed over the years, becoming close to that of Antonio Fantuzzi, but there is originality in his rather strange, minutely detailed sense of line. Master JG. See Gourmont, (1).Master J.S. See Silber, jonas.Master L.Cz. [?L.Cm.] (fl c. 1485–1500). German printmaker and painter. Ten of the twelve surviving engravings by this artist are signed with the monogram. Two are also dated: a design for a decorative piece, the Maiden and the Unicorn (1492; see Lehrs, no. 12), and SSPeter and Paul (1497; l 9). The early engravings, for example St George (c. 1485–90; l 7), are somewhat derivative of Martin Schongauer and the Housebook Master; later works, such as the Temptation of Christ (late 1490s; l 2), show the Master's own style. As he used aquatint to achieve tone, so that his engravings resemble painting, it is thought that he was not a goldsmith but a painter. Consequently he has been attributed with the works of the Master of the Strache Altar, named from four Passion scenes (c. 1485–90), of which three—Christ before Pilate (Berlin, Gemäldegal.), the Flagellation (Paris, Louvre) and Christ Carrying the Cross (Nuremberg, Ger. Nmus.)—were in the collection of Hugo Strache. The suggestion that they were on two wings forming part of an Agony in the Garden (after 1497–before 1504; Darmstadt, Hess. Landesmus.) cannot be correct, as the latter was not painted until the end of the 15th century and the measurements do not correspond.
From The Grove Encyclopedia of Northern Renaissance Art in Oxford Reference.
Subjects: Renaissance Art.