Wolfgang Katzheimer the elder (German: Wolfgang Katzheimer der Ältere; c. 1430 — 1508, Bamberg) [1] was a German painter, draftsman, and designer. From 1465 he was master of a workshop in Bamberg that produced paintings and woodcarvings.
Very little of his work has survived: two stone carvings that he designed and 22 woodcuts based on his drawings. [1] No surviving paintings can with certainty be attributed to him. [1]
Katzheimer had two sons, Wolfgang Katzheimer the younger and Bernhard Katzheimer, who were both minor artists. [1] It is possible that he was a close relative of the painter Lorenz Katzheimer, who was likely the anonymous master known as Master L. Cz. [2]
Gerard David was an Early Netherlandish painter and manuscript illuminator known for his brilliant use of color. Only a bare outline of his life survives, although some facts are known. He may have been the Meester gheraet van brugghe who became a master of the Antwerp guild in 1515. He was very successful in his lifetime and probably ran two workshops, in Antwerp and Bruges. Like many painters of his period, his reputation diminished in the 17th century until he was rediscovered in the 19th century.
Hans Holbein the Elder was a German painter.
Lucas Cranach the Elder was a German Renaissance painter and printmaker in woodcut and engraving. He was court painter to the Electors of Saxony for most of his career, and is known for his portraits, both of German princes and those of the leaders of the Protestant Reformation, whose cause he embraced with enthusiasm. He was a close friend of Martin Luther. Cranach also painted religious subjects, first in the Catholic tradition, and later trying to find new ways of conveying Lutheran religious concerns in art. He continued throughout his career to paint nude subjects drawn from mythology and religion.
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.
Renaissance art is the painting, sculpture, and decorative arts of the period of European history known as the Renaissance, which emerged as a distinct style in Italy in about AD 1400, in parallel with developments which occurred in philosophy, literature, music, science, and technology. Renaissance art took as its foundation the art of Classical antiquity, perceived as the noblest of ancient traditions, but transformed that tradition by absorbing recent developments in the art of Northern Europe and by applying contemporary scientific knowledge. Along with Renaissance humanist philosophy, it spread throughout Europe, affecting both artists and their patrons with the development of new techniques and new artistic sensibilities. For art historians, Renaissance art marks the transition of Europe from the medieval period to the Early Modern age.
Tilman Riemenschneider was a German woodcarver and sculptor active in Würzburg from 1483. He was one of the most prolific and versatile sculptors of the transition period between the Late Gothic, to which he essentially belonged, and Northern Renaissance art, a master in limewood and stone. He was also a local politician in the council of Würzburg.
Dirck Jaspersz. van Baburen was a Dutch painter and one of the Utrecht Caravaggisti.
Martin Schongauer, also known as Martin Schön or Hübsch Martin by his contemporaries, was an Alsatian engraver and painter. He was the most important printmaker north of the Alps before Albrecht Dürer, a younger artist who collected his work. Schongauer is the first German painter to be a significant engraver, although he seems to have had the family background and training in goldsmithing which was usual for early engravers.
Hugo van der Goes was one of the most significant and original Early Netherlandish 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.
The Master of Saint Giles was a Franco-Flemish painter active, probably in Paris, about 1500, working in a delicate Late Gothic manner, with rendering of textures and light and faithful depictions of actual interiors that show his affinities with Netherlandish painting. It is not clear whether the Master of Saint Giles was a French painter who trained in the Low Countries, or a Netherlander who emigrated to France.
Frans Pourbus the Elder was a Flemish Renaissance painter who is known primarily for his portraits and religious compositions, as well as a few genre scenes. He was the son of the prominent Bruges painter and cartographer Pieter Pourbus and the father of Frans Pourbus the Younger who became an international portraitist of the European ruling class.
Master Francke O.P. was a North German Gothic painter and Dominican friar, born ca. 1380 in the Lower Rhine region or possibly Zutphen in the Netherlands, who died ca. 1440, probably in Hamburg, where he was based at the end of his known career. He is called "Fratre Francone Zutphanico" in one document. He may have trained as an illuminator and painter in France or the Netherlands, and later worked in Münster, before joining in St John's Priory in Hamburg by 1424 at the latest.
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 Affligem or Master of the Joseph Sequence was an accomplished painter of the South Netherlandish school, apparently working in Brussels, whose name is not known, but whose hand can be detected in a number of surviving paintings on panel. The pseudonym Master of the Joseph Sequence was given him as a name of convenience in 1923 by Walter Friedländer, who identified a series of tondi illustrating the Legend of St Joseph, which had become scattered among several museums, as all coming from the same painter. Subsequently Friedländer attributed to the same workshop eight further panels with scenes from two other sequences, the Life of Christ and the Life of the Virgin These came from the abbey of Affligem in Brabant, providing the alternate name for the artist.
Colijn de Coter was an early Netherlandish painter who produced mainly altarpieces. He worked primarily in Brussels and Antwerp. His name was sometimes given as Colijn van Brusele, indicating that he hailed from Brussels or at least that he lived there most of his active life. He also signed several paintings with Coliin de Coter pinxit me in Brabancia Bruselle.
Master L. Cz. was an anonymous late 15th-century German Renaissance printmaker. Only twelve engravings by his hand are extant, but their virtuosity establishes him as a talented artist whose work marks a stylistic transition between that of Martin Schongauer and Albrecht Dürer.
The Master of the Drapery Studies, also known as Master of the Coburg Roundels is the notname given to the "very productive" and "multifaceted" late 15th-century author of some 30 surviving paintings and over 150 surviving drawings. Indeed, according to the J. Paul Getty Museum, up to 180 surviving drawings "have been attributed to this master, comprising one of the most extensive bodies of drawn work of any northern European artist before Albrecht Dürer." Conversely, it has been suggested at least once that both the Master of the Drapery Studies and the Master of the Coburg Roundels may be two separate persons and that their body of work is attributable to a whole circle of artists.
Paul Juvenel the Elder (1579–1643) was a German painter.