International Gothic is a period of Gothic art which began in Burgundy, France, and northern Italy in the late 14th and early 15th century. It then spread very widely across north-western and central regions of Europe, hence the name for the period, which was introduced by the French art historian Louis Courajod at the end of the 19th century.
Masolino da Panicale was an Italian painter. His best known works are probably his collaborations with Masaccio: Madonna with Child and St. Anne (1424) and the frescoes in the Brancacci Chapel (1424–1428).
Matthias Grünewald was a German Renaissance painter of religious works who ignored Renaissance classicism to continue the style of late medieval Central European art into the 16th century. His first name is also given as Mathis and his surname as Gothart or Neithardt.
Stefan Lochner was a German painter working in the late International Gothic period. His paintings combine that era's tendency toward long flowing lines and brilliant colours with the realism, virtuoso surface textures and innovative iconography of the early Northern Renaissance. Based in Cologne, a commercial and artistic hub of northern Europe, Lochner was one of the most important German painters before Albrecht Dürer. Extant works include single-panel oil paintings, devotional polyptychs and illuminated manuscripts, which often feature fanciful and blue-winged angels. Today some thirty-seven individual panels are attributed to him with confidence.
Hugo van der Goes was one of the most significant and original Flemish painters of the late 15th century. Van der Goes was an important painter of altarpieces as well as portraits. He introduced important innovations in painting through his monumental style, use of a specific colour range and individualistic manner of portraiture. From 1483 onwards, the presence of his masterpiece, the Portinari Triptych, in Florence played a role in the development of realism and the use of colour in Italian Renaissance art.
Henri Bellechose was a painter from the South Netherlands. He was one of the most significant artists at the beginning of panel painting in Northern Europe, and among the earliest artists of Early Netherlandish painting.
The decade of the 1420s in art involved some significant events.
The Master of the Life of the Virgin, in German the Meister des Marienlebens,, is the pseudonym given to a late Gothic German painter working in Cologne. He can also be known as the Master of Wilten, or Johann van Duyren, an identification not universally accepted.
The Master of Frankfurt was a Flemish Renaissance painter active in Antwerp between about 1480 and 1520. Although he probably never visited Frankfurt am Main, his name derives from two paintings commissioned from patrons in that city, the Holy Kinship in the Frankfurt Historical Museum and a Crucifixion in the Städel museum.
The Master of the Třeboň Altarpiece was a Bohemian painter active in Prague around 1380–1390. His name is derived from the Třeboň Altarpiece from the church of Saint Eligius at the Augustinian convent of Třeboň. The triptych depicts Christ on the Mount of Olives, The Tomb of Christ, and the Resurrection. It has been dated to around 1380, and is today held at the Convent of St. Agnes branch of the National Gallery in Prague.
The Master of the Saint Bartholomew Altarpiece was an Early Netherlandish painter active in Germany, mostly Cologne, between 1475/1480 and 1510. Despite his anonymity, he is one of the most recognizable artists of the early Renaissance period in German art.
Master Bertram (c.1345–c.1415), also known as Meister Bertram and Master of Minden, was a German International Gothic painter primarily of religious art.
Absolon Stumme was a Late Gothic painter from Northern Germany who worked in Hamburg.
The Master of the Malchin Altar was a northern German Late Gothic painter who was active in Hamburg in the first half of the 15th century.
The Grabow Altarpiece was painted by Master Bertram around 1379–1383. Originally located in St. Petri church, it is now in the Hamburger Kunsthalle in Hamburg, Germany.
Alfred Lichtwark was a German art historian, museum curator, and art educator in Hamburg. He is one of the founders of museum education and the art education movement.
The term Cologne School of Painting was first applied in the 19th century to describe old German paintings generally. It subsequently came to refer more specifically to painters who had their workshops in medieval Cologne and the lower-Rhine region from about 1300 to 1550.
The Pisa Altarpiece was a large multi-paneled altarpiece produced by Masaccio for the chapel of Saint Julian in the church of Santa Maria del Carmine in Pisa. The chapel was owned by the notary Giuliano di Colino, who commissioned the work on February 19, 1426 for the sum of 80 florins. Payment for the work was recorded on December 26 of that year. The altarpiece was dismantled and dispersed to various collections and museums in the 18th century, but an attempted reconstruction was made possible due to a detailed description of the work by Vasari in 1568.
The Master of the Tennenbach Altar, sometimes referred to as the Master of the Staufen Altar, was a Gothic painter active in the Upper Rhine in the second quarter of the 15th century whose real name is unknown. His working name is taken from the altar paintings he created, formerly in Tennenbach Abbey, a Cistercian monastery in the Black Forest in Baden-Württemberg, Germany. The work is also sometimes mistakenly known as the Staufen Altar from its supposed later location in Staufen im Breisgau.
Crucifixion from Nové Sady, is part of a larger altar polyptych called the Rajhrad Altarpiece. Its author is the last important personality of Czech panel painting of the pre-Hussite period, known as the Master of the Rajhrad Altarpiece. The painting is on display in the permanent exhibition of the National Gallery in Prague.
