(fl c. 1470–90). North Netherlandish painter. He was one of the major artists active in Haarlem during the last quarter of the 15th century. He was named by Friedländer after the Vision of Augustus and the Tiburtine Sibyl (c. 1476; Frankfurt am Main, Städel. Kstinst. & Städt. Gal.); the unusual subject-matter relates to the doctrine of the Immaculate Conception, an issue then current among the theologians at the University of Leuven. It is likely to have been painted soon after the Master left the Leuven workshop of Dieric Bouts I, where he is thought to have trained. Notable departures from Bouts's style are evident in the isolation of groups within a broad courtyard and the slightly mannered treatment of the doll-like figures. Soon after the Master arrived in Haarlem (c. 1480–82), where he established a large workshop, he painted the Raising of Lazarus (Mexico City, Mus. S Carlos). The influence of paintings of the same subject by Haarlem artists such as Albert van Ouwater and Geertgen tot Sint Jans is evident in some of the figures. A number of smaller panels produced by the Master and his workshop depict the Virgin and Child seated in an enclosed garden before an expansive view of a palace complex that resembles the background in the Raising of Lazarus (e.g. Virgin and Child in a Garden; Hayward's Heath, Sussex, R. Clarke priv. col., see Friedländer, iii, pl. 95).
From The Grove Encyclopedia of Northern Renaissance Art in Oxford Reference.
Subjects: Renaissance Art.