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What distinguishes his work from his contemporaries is the vigorous temperament which he invested in his images. This manifests in the restless movement of his figures, densely packed scenes, turbulent compositions, rich oppositions, atmospheric landscapes, contemporary architectural themes, and the
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of a good twenty years. A longer period of activity cannot be attributed to the Master. Only a relatively small number of works can be identified fairly surely as the handiwork of the Master: two retables, a wall painting that has been destroyed, two drawings and seven single panels, some in larger
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and is usually ascribed to the Master of the Aachen Altar. That Johann von Melem the
Younger, as well as his father-in-law, the Mayor of Cologne and wholesale merchant Hermann Rinck were among the painter's clients in addition to creating the Aachen Altar for a Carmelite religious order and a wall
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also had an important influence on the Master of the Aachen Altar, as similarities in their figures and painting methods indicate. A partnership as journeymen in this workshop is possible. The mature works of the Master of the Aachen Altar, such as the Mary panels, show clear influence from the
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Like all the painters of
Cologne in the second half of the fifteenth century, the Master of the Aachen Altar cannot be identified with any of the artists named in archives of the period. Since sure dates and sources are almost entirely lacking, works must be attributed by means of stylistic
141:, which is clear both in stylistic matters and in the adoption of subjects and motifs, leads to the assumption that the Master of the Aachen Altar was educated in the workshop of the Master of the Holy Clan. The
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habit in the altarpiece cannot be identified with a known historical personage - there is no evidence at all for the idea that it is
Theodericus de Gouda, which is uncritically repeated in older literature.
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In his depiction of individuals, the Master of the Aachen Altar demonstrates an ability to create individualised portraits, as in the lifelike depiction of the establisher of a
326:. The subject, Frankfurt wholesaler Johann von Melem the Younger, was born in 1455-60 and the inscription gives his ages as 37 years, providing a rough date for the work.
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reveal a detailed awareness of the work of the Master of the Aachen Altar and suggest the Bruyn had frequently interacted with the compositions of the earlier Master.
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brightness of his colours. Surprising, often drastic external influences characterise his work, such as the naturalistic depictions of the symptoms of a
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354:. The panel is identified by the house mark at lower left as a donation of Johann Petit of Cologne, probably for the
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at the beginning of the sixteenth century and were
Cologne's last significant practitioners of late gothic painting.
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150:. Further afield, the painter has taken important hints from the Netherlandish painters, such as the art of
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The impact that the Master had on later painters does not seem to have been great. However, some works of
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The roots of the Master of the Aachen Altar in
Cologne painting is beyond question. His proximity to the
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Zeitenwende. Zwei Kölner Maler um 1500. Jüngerer
Meister der Heiligen Sippe, Meister des Aachener Altars
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355:
231:
109:, as well as the depiction of Johann von Melem the Younger, the son of the Cologne-born Patrician of
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Die
Darstellung der Syphilis auf dem sogenannten Aachener Altarbild der Kölner Malerschule (um 1510)
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443:(Ausstellungskatalog, Staatliche Museen zu Berlin, Gemäldegalerie, 17. März – 18. Juni 2000).
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435:). Gemäldegalerie – Staatliche Museen zu Berlin Preußischer Kulturbesitz, Berlin 2000,
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between 1495 and 1520 or 1480 and 1520, named for his master work, the
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129:, shows the high esteem which the Master of the Aachen Altar enjoyed.
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181:(1492-1497) and his last work, the Aachen altar (1515/1520), gives a
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identify them as
Hermann Rinck and his wife Gertrud von Dallem.
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by the kneeling donors depicted on the right panel, whose
254:. Probably identical with the altarpiece attested in the
230:, Walker Art Gallery, Liverpool. Probably a donation to
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he is part of a group of painters who were active in
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Mainz 2002 (Mainz, Universität, Dissertation, 2000).
376:Mary with Child between St Catherine and St Ursula
8:
26:: Centrepiece with the crucifixion of Christ
148:Master of the Saint Bartholomew Altarpiece
400:Mary with Child and Angels playing Music
169:The time between the earliest work, the
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18:
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455:Kataloge des Wallraf-Richartz-Museums.
116:. This image is now on display in the
521:Archiv fĂĽr Dermatologie und Syphilis.
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275:, 1505-1510, Cabinet des Dessins du
523:Vol. 192 Nr. 2 (1950) pp. 164–174,
496:Die Schatzkammer des Aachener Domes
125:painting for the Cologne family of
59:Master of the legend of St. Ursula
14:
549:Der Meister des Aachener Altars,
483:Der Meister des Aachener Altars.
422:Der Meister des Aachener Altars.
494:Herta Lepie, Georg Minkenberg,
283:. This pen and ink sketch is a
362:Christ as Saviour of the World
37:is given to an anonymous late
1:
451:Katalog der Altkölner Malerei
256:Carmelite Cloister of Cologne
582:16th-century German painters
572:15th-century German painters
316:Portrait of Johann von Melem
198:, 1505-1510. Central panel:
179:Portrait of Johann von Melem
608:
291:panel displayed in Berlin.
35:Master of the Aachen Altar
498:, Brimberg, Aachen 1995,
248:Aachen Cathedral Treasury
51:Aachen Cathedral Treasury
390:Museum Catharijneconvent
334:Rheinisches Landesmuseum
222:. Right panel, interior
208:Pilate Washing his Hands
551:2002, cat. A 1, n. 3–5.
481:Marita to Berens-Jurk,
420:Marita to Berens-Jurk.
366:Wallraf-Richartz Museum
295:Resurrection of Lazarus
206:. Left panel, interior
159:Barthel Bruyn the Elder
139:Master of the Holy Clan
515:Egon Schmitz-Cliever,
465:). Wienand, Köln 1990.
344:Adoration of the Kings
330:Adoration of the Kings
289:Adoration of the Kings
273:Adoration of the Kings
171:Adoration of the Kings
133:Influences and impacts
73:
49:triptych owned by the
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224:Lamentation of Christ
94:on the Aachen Altar.
90:man and a child with
72:Mass of Saint Gregory
71:
22:
592:Artists from Cologne
447:Frank GĂĽnter Zehnder
433:Bilder im Blickpunkt
356:Cologne Charterhouse
232:St. Kolumba, Cologne
143:Master of St Severin
55:Master of St Severin
577:16th-century deaths
567:15th-century births
547:M. to Berens-Jurk,
485:Mainz 2002, passim.
427:Ulrike NĂĽrnberger.
299:Kupferstichkabinett
177:(1493-1495) or the
536:10.1007/BF00362168
386:Mass of St Gregory
380:Private collection
216:Walker Art Gallery
212:Mass of St Gregory
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41:painter active in
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587:Anonymous artists
258:. The donor in a
152:Hugo van der Goes
53:. Along with the
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200:National Gallery
196:Passion Triptych
114:Johann von Melem
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404:Alte Pinakothek
320:Alte Pinakothek
305:. Pen and ink.
277:Musée du Louvre
228:Kneeling Donors
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118:Alte Pinakothek
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16:German painter
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364:, 1505-1510,
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332:, 1493-1495,
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310:Single panels
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297:, 1510-1515,
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92:Down syndrome
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82:comparisons.
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243:Aachen Altar
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47:Aachen Altar
34:
29:
24:Aachen Altar
226:, exterior
210:, exterior
561:Categories
470:References
127:Hardenrath
88:syphilitic
529:0365-6020
463:0588-3431
260:Carmelite
220:Liverpool
186:formats:
111:Frankfurt
107:Liverpool
506:, p. 47.
457:Bd. 11,
402:, 1515,
378:, 1510,
287:for the
267:Drawings
190:Retables
57:and the
394:Utrecht
370:Cologne
340:(loan).
183:floruit
103:reredos
101:on the
63:Cologne
43:Cologne
32:notname
527:
502:
461:
439:
408:Munich
352:Berlin
324:Munich
303:Berlin
252:Aachen
204:London
122:Munich
39:gothic
285:study
281:Paris
165:Works
99:Stift
77:Style
525:ISSN
500:ISBN
459:ISSN
437:ISBN
338:Bonn
175:Bonn
30:The
532:doi
519:in
453:(=
431:(=
173:in
120:in
105:in
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