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86:, all of whose realism is based on sculptural forms. Unlike Witz, he chose to depict only solid forms, especially those of the human figure, doing away with any suggestion of background. This can be seen in the central panel of his eponymous altarpiece, in which a painting of the
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Indeed, too little information exists to draw a more compelling portrait of the Master, or to suggest that he had any sort of career outside of
Nuremberg. Eight paintings in total, including some
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71:' church in Nuremberg), to another church in the same city. This move, and the accompanying restoration of the painting, was done under the auspices of the
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since the early 19th century; this has been known as the Tucher
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in a painting of 1445; even so, there is no indication that d'Eyck and the Master were the same artist.
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The Master's style is of a piece with that of his contemporaries such as
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63:. His name is derived from a painting which has been in that city's
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appears on the exterior, part of the setting for the
170:Master of the Tucher Altarpiece at Answers.com
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59:c. 1430–1450) was a German painter active in
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47:on wood panel. Frauenkirche, Nuremberg
98:. The figures stand against a tooled
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144:. Among these are the so-called
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53:Master of the Tucher Altarpiece
90:is flanked by scenes from the
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150:St. Sebaldus Church
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146:Haller Altarpiece
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