Stefan Lochner - Knowledge (XXG)

246: 767:; his pictures are often set in shallow space, while his backgrounds give little indication of distance and often dissolve into solid gold. Thus, and given his harmonious colour schemes, Lochner is usually described as one of the last exponents of the International Gothic. This is not to say his paintings lack contemporary northern sophistication; his arrangements are often innovative. The worlds he paints are hushed, according to Snyder, achieved with the symmetry of subdued use of colour and the often repeated stylistic element of circles. Angels form circles around the heavenly figures; the heavenly figures' heads are highly circular and they wear round haloes. According to Snyder, the viewer is slowly "drawn into empathy with the revolving forms". 1284: 1336: 1040: 1379: 631:, then expensive and difficult to source. His figures are regularly outlined with red paint. He was innovative in his rendering of flesh tones, which he built up using lead whites to give pale complexions with almost porcelain qualities. In this, he refers to an older tradition of indicating women of high nobility whose paleness was associated with a life spent indoors, "shielded from toiling in the fields, which was the lot of most". In particular, this technique follows the Master of Veronica, although the earlier painter's figures had an almost yellowish, ivory hue. Lochner's Madonnas tend to be clothed in saturated blues which resonate with surrounding yellow, red and green paint. According to 1308: 1361: 76: 600:) style, already considered dated and old-fashioned by the 1440s, yet is widely regarded as innovative. He introduced a number of progressions to painting in Cologne, especially by filling his backgrounds and landscapes with specific and elaborate details, and by rendering his figures with more bulk and volume. Wellesz described his paintings as evidencing an "intensity of feeling which gives a very special and very moving quality to his work. His devotion is reflected in his figures: it charges with symbolic meaning the smallest details of his paintings; and, in a hidden, almost magical way, it speaks from the concord of his pure and glowing colours." 732: 1394: 1258: 55: 40: 371:, art historians have attributed other paintings to Lochner, although a number have questioned whether the diary entry was authentically made by Dürer. Documentary evidence linking the paintings and miniatures with the historical Lochner has also been challenged, most notably by the art historian Michael Wolfson in 1996. In either case, the extent of Lochner's direct hand, as opposed to those of workshop members or followers, is debated. Some panels formerly attributed to him are now thought to date from after 1451, the year of his death. 1239: 932: 500: 639: 385: 322: 514:, active until 1420. After his arrival Lochner, who was earlier exposed to the Netherlandish painters and already working in oils, eclipsed other artists in the city. According to the art historian Emmy Wellesz, after Lochner's arrival "painting in Cologne became infused with a new life", perhaps enriched by the earlier exposure to the Netherlandish artists. He became widely celebrated as the most capable and modern painter in the city, where he was known as "Maister Steffan zu Cöln". 173: 748:, Lochner closely detailed the fall and gradient of light. According to the art historian Brigitte Corley, the clothes of "protagonists change their hues in delicate reaction to the influx of light, reds being transformed through a symphony of pink tonalities to a dusty greyish white, greens to a warm pale yellow, and lemon shading through oranges to a saturated red". Lochner employed the notion of supernatural illumination not just from van Eyck but also from von Soest's 1088:"iconic, almost timeless" atmospheres enhanced by the then old-fashioned gold backgrounds. Lochner's figures have idealised facial features typical of medieval portraiture. His subjects, females in particular, usually have high foreheads, long noses, small rounded chins, tucked blond curls and prominent ears typical of the late Gothic, giving them the characteristic monumentality of 13th-century art, placing them on seemingly similar shallow backgrounds. 1063: 404: 538:, and the "zome Alden Gryne". Historians have speculated whether these acquisitions indicate a need to house a growing group of assistants due to his rising commercial success. It is likely that he lived in one house and worked in the other. The purchases may have caused a strain; in around 1447 he seems to have encountered financial difficulties, and he was forced to remortgage the homes. Second mortgages were taken out in 1448. 584:

presumed he was by then already ill; plague was widespread in the area. On 22 September Saint Alban parish requested permission to burn victims in the lot next to his house – there was no longer room in their cemetery. Lochner died sometime between this date and December 1451 when creditors took possession of his house. Records from 1451 do not mention Lysbeth, who was presumably already dead.

448:. Georg and Alhet Lochner were citizens and died there in 1451. A "Stefan" is referred to as "Stefan Lochner of Constance" in two documents dated 1444 and 1448. However, there is no archival evidence that he was there, and his style bears no trace of the art in that region. There are no further records of him or his family in the town except for a mention of Lochners (a fairly uncommon name) in the village of 2763: 547: 716:(white), and there are few deviations in the finished work. He often rearranged drapery fold lines or to denote perspective, enlarged or diminished the size of figures. The underdrawings reveal a draughtsman of skill, dynamism, and confidence; the figures appear fully formed with little evidence of reworking. Many are extremely detailed and precisely modelled, for example, St Ursula's brooch in the 1026:. The lines of the folds in the garments closely match those of the painting, although the technical ability does not. The Paris drawing has blotches of paint indicating that it was a study piece for workshop members. The London piece is superior, but its lines are more rigid, lacking Lochner's fluidity, and so its attribution has been relegated to a draughtsman closely associated with Lochner. 428:

his 24 June 1447 registration as a citizen of Cologne; his December 1447 election to the municipal council; his Christmas 1450 re-election to that post; an August 1451 correspondence with the city council; a 22 September 1451 announcement of the setting up of a plague graveyard next to his property, and finally, court records dated 7 January 1452 detailing the appropriation of his property.

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similarities to attributed panels. He writes that the illustrations "are not a peripheral phenomenon. On the contrary, they address several of the concerns articulated in Lochner's paintings and formulate them anew. There is little doubt that these exquisite images stem from the same mind." The text of the Darmstadt book is written in Cologne vernacular, the Berlin book in Latin.

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Netherlandish painters. In this way, he placed the lighter "gaiety" of Lochner's Madonna paintings from the beginning of his career with the more stern and pessimistic crucifixions and doom panels at the end. Today, art historians think the reverse to be true; the dramatic and innovative polyptychs came first, and the single Madonnas and panels of saints are from his mid-career.

217:. One of Dürer's diary entries became key, 400 years later, in the 20th-century establishment of Lochner's identity. Only two attributed works are dated, and none are signed. His influence on successive generations of northern artists was substantial. Apart from the many direct copies made in the later 15th century, echoes of his panels can be seen in works by 987: 1133: 1002:

There are extant liturgical vestments containing embroidered figures, including that of St. Barbara, in Lochner's style and with similar facial types. This has led to some speculation whether Lochner provided the models. In addition, a number of contemporary stained glass panels are similar in style,

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and became a financial, religious and artistic centre. The city had a long tradition of producing high-quality visual art, and in the 14th century, its output was considered to be equal to that of Vienna and Prague. Cologne's artists concentrated on more personal and intimate subject matters, and the

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He seemingly rejected some aspects of van Eyckian realism, notably in his depictions of shadows, and his unwillingness to apply transparent glazes. As a colourist, Lochner was more inclined towards the International Gothic style, even if this inhibited realism. He did not utilise the newly developed

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Lochner's identity and reputation were lost until a revival of 15th-century art during the early 19th-century romantic period. Despite extensive historical research, attribution remains difficult; for centuries a number of associated works were grouped and loosely attributed to the Dombild Master, a

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now at Darmstadt; the others are the Berlin Book of Prayers of c. 1444, and the Anholt Prayerbook, completed in the 1450s. The manuscripts are very small (Berlin: 9.3 cm x 7 cm, Darmstadt: 10.7 cm x 8 cm, Anholt: 9 cm x 8 cm) and similar in layout and colourisation and

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The primary sources relating to Lochner's life are a June 1442 payment by the city of Cologne in relation to Friedrich's visit; deeds of 27 October 1442 and 28 August 1444 outlining the transfer of ownership of the house at Roggendorf; October 1444 deeds for the purchase of two houses in st Alban;

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and the Master of Saint Veronica. From the former Lochner drew his realism in depicting naturalistic backgrounds, objects, and clothes. From the latter, he adopted the somewhat antiquated manner of depicting figures, especially females, with doll-like, eloquent and sensitive features to present

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There was an outbreak of plague in 1451, and there are no surviving records of him after Christmas of that year. On 16 August 1451 the council of Meersburg was informed by officials in Cologne that Lochner would be unable to attend to the will and estate of his parents, recently deceased. It is

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The outline of the historical Stefan Lochner's life has been established from a small number of records, mostly relating to commissions, payments and property transfers. There are no documents relating to his early life, a contributing factor being the loss of archival records from his supposed

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became one of the first art historians to try to place Lochner's works in chronological order. His reasoning was based on the assumption that Lochner developed from the early idealised forms usually associated with early 15th-century Cologne and later absorbed the techniques and realism of the

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The art historian Ingo Walther detects Lochner's hand in the "pious intimacy and soulfulness of the figures, always expressed so gently and elegantly, even in the extremely small format of the pictures". Chapuis agrees with the attribution, noting how many of the miniatures share thematic

851:, Lisbon, dated 1445. As secular works grew in demand and religious works became unfashionable in later centuries, 15th-century polyptychs were often broken up and sold as individual works, especially if a panel or section contained an image that could pass as a secular portrait. 1335: 619:, this was carved into the chalk ground before gilding, and, in some paintings, elements had moulded additions applied to raise the surface to be gilded. He employed a number of techniques when gilding, to give different effects. These included laying the 871:

in Frankfurt. It is probably from early in his career, but in subject matter and background differs from other extant and attributed works. While the elements are arranged in typical harmony, the composition and tone are unusually dark and dramatic. The

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were drawn more rapidly and with less skill than the figures on the main panels, and their drapery is modelled with, according to the art historian Julien Chapuis, a certain "stiffness", while the cross hatching "achieves no clear definition of

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Billinge B": Billinge, Rachel; Campbell, Lorne; Dunkerton, Jill; Foister, Susan, et al., "Methods and Materials of Northern European Painting in the National Gallery, 1400–1550". National Gallery Technical Bulletin Vol 18, pp. 6–55, 1997,

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scrolls, gold foliage, flowers, berry-like fruits and round pods. The Darmstadt book includes a complete cycle of the Martyrdom of the Apostles. Its illustrations contain Lochner's characteristic application of deep blue, reminiscent of his

567:. The appointment implies that he had lived in Cologne since at least 1437, as only those who had been living in the city for ten years could take up the position. He had not taken up citizenship immediately, possibly to avoid paying the 12 1097:

during his visit to the Netherlands and seems to have borrowed a number of its compositional elements. The similarities include the manner in which the figures engage with their space and the emphasis on and rendering of elements such as

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to see an altarpiece by "Maister Steffan" some seventy years after Lochner's death. Although Dürer fails to mention specifically which of Maister Steffan's panels he had seen, his description matches exactly the centre panel of the

607:, preparing the surface in a way typical of other North German artists; in some works, he attached canvas to the panel support underneath the usual chalk ground. This was probably done where there were to be large areas of plain 770:

Because of the paucity of surviving attributed works, it is difficult to detect any evolution in Lochner's style. Art historians are unsure if his style became progressively more or less influenced by Netherlandish art. Recent

165:, a major occasion for the city. Records from the following years indicate growing wealth and the purchase of a number of properties around the city. Thereafter he seems to have over-extended his finances and fallen into debt. 579:

of Cologne. The role of municipal councillor could only be held for a one-year term, with two years vacated before reoccupation. Lochner was re-elected for a second term in the winter of 1450–51 but died in office.

161:. Records further indicate that his career developed quickly but was cut short by an early death. We know that he was commissioned around 1442 by the Cologne council to provide decorations for the visit of Emperor 854:

Wing panels and other fragments of Lochner's larger works are today spread across various museums and collections. Two surviving double-sided wing panels from an altarpiece with images of saints are in the London

1257: 1169:, where the gates of Heaven are similar, as is the rendering of the blessed. Albrecht Dürer knew of him before his stay in Cologne, and Van der Weyden saw his paintings during his travel to Italy. The latter's 517:

Lochner first appears in extant records in 1442, nine years before he died. He moved to Cologne where he received a commission from the city council for the provision of decorations for the visit of Emperor

2036: 522:. Lochner was seemingly well established and although other artists were involved in preparing for the event, he was responsible for the most important arrangements. The centrepiece seems to have been the 533:

Lochner bought a house with his wife Lysbeth around 1442. Nothing else is known about her and the couple apparently had no children. In 1444 he acquired two larger properties, the "zome Carbunckel", near

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discovered a 15th-century record that read "in 1380 there was an excellent painter in Cologne called Wilhelm, who had no equal in his art and who depicted human beings as if they were alive". In 1850

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identified him as Philipp Kalf, based on a reading of a name inscribed on the cloth of a figure on the right of the centre panel. He misinterpreted markings on the stone floor pictured in

673:. He was heavily influenced by the art and process of metalwork and goldsmithing, especially in his painting of gold grounds, and it has been suggested that he may have once trained as a 1143:

The historical evidence suggests that Lochner's paintings were well known and widely copied during his lifetime, and remained so until the 16th century. Early examples in ink after his

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German Gothic art underwent a revival in the early 19th-century Romantic period when the work was seen as a climax of the late Gothic period. The German philosopher and critic

245: 906:. Several reveal the work of a number of hands, with weaker and less confident passages attributed to workshop members. The figures of Mary and Gabriel on the reverse of the 627:(mordant gilding) for the more decorative areas. His colour schemes tend to be bright and luminous, filled with varieties of red, blue and green pigments. He often employed 318:

was enthusiastic, emphasising Lochner's German "spirit and origin"; he described the Dombild as the "axis around which the ancient Netherlandish art resolves into the new".

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is also an early work and reminiscent of late medieval painting. It has a heavily ornamented gilded background and the smooth flowing quality of the 'soft' Gothic style.

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and colourisation. The work was for a period attributed to Lochner but is now generally accepted as bearing his strong influence. In 1954 Alfred Stange described the

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is recurrent, while several panels depict the Virgin and Child, often surrounded by a chorus of angels, or in earlier panels, blessed by a hovering representation of

635:, the artist "employed these four basic colours for his harmonies", but went beyond by using more subdued and deep hues in a technique referred to as "pure colour". 1152: 1019: 692:

Lochner seems to have prepared on paper before approaching his underdrawings; there is little evidence of reworking, even when positioning large groups of figures.

2033: 756:'s red robe, as yellow rays eventually become white. There is a real possibility that a number of the faces of saints are modelled on historical persons, i.e. as 455:

However records indicate that Lochner's talent was recognised from an early age. He may have been of Netherlandish origin or worked there for a master, possibly

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established two guiding hands, presumably Lochner and an exceptionally talented pupil, whom she concludes was in probability the principal artist behind the

958:. The extent of his association in each is debated; workshop members were probably heavily involved in their production. The most famous is the early 1450s 1102:, gems and metals. Some figures in Lochner's paintings are directly borrowed from Ghent, and a number of facial features match those seen in van Eyck. His 1189:

triptych; specifically, the king in the central panel with his back to the viewer, and the girl in the right-hand wing holding a basket containing doves.

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originally had six parts, painted on both sides, but have been sawn into twelve individual pictures, now divided between the Wallraf-Richartz Museum, the

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as Lochner's "best-known and most important pupil and follower", although research in 2014 indicates that the two may have collaborated on the panels.

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hit Cologne in 1451 and there, apart from the records of creditors, mention of Stephan Lochner ends; it is presumed he died that year, aged around 40.

526:, described by modern art historians as "the most important commission of the fifteenth century in Cologne". He is recorded as having been paid forty 492:

area became known for its production of small panels of "great lyrical charm and loveliness, which reflected the deep devotion of the writings of the

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During the 1430s, painting in Cologne had become conventional and somewhat old-fashioned, and still under the influence of the courtly style of the

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Eodem tempore 1380 Coloniae era pictor optimus, cui non fuit similis in arte sua, dictus fuit Wilhelmus, de pingit enim homines quasi viventes

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of the commissioners and their wives. Figures fitting this theory include St Ursula and St Gereon panels from the City Saints altarpiece.

2778: 2044: 970: 797: 326: 250: 146:, which often feature fanciful and blue-winged angels. Today some thirty-seven individual panels are attributed to him with confidence. 2930: 535: 1370: 519: 162: 731: 2940: 859:

and the Wallraf-Richartz Museum, Cologne (this is now sawn through so both sides can be displayed on a wall). The wings of the

299: 226: 2327:"Billinge A": Billinge, Rachel; Campbell, Lorne; Dunkerton, Jill; Foister, Susan. "A double-sided panel by Stephan Lochner". 986: 2884: 2358: 1351: 959: 936: 848: 467:; elements of their styles can be detected in the structure and colourisation of Lochner's mature works, especially in his 2950: 2935: 2816: 2744: 394: 2751: 2697: 2553: 632: 158: 2837: 1165: 1003:

and there has been debate whether he might have been responsible for church murals; the over-life-size figures of the

1227:. A counter view is that Lochner's workshop was producing to a deadline, and he delegated as a matter of expediency. 54: 2858: 436:

Through threadbare clues and supposition, mostly centred around a relatively wealthy couple that perished during a

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Schmid, Wolfgang; Holladay, Joan. "Reviewed: 'Painting and Patronage in Cologne, 1300–1500' by Brigitte Corley".

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examination of attributed works indicate that his development was not linear, suggesting that the more advanced

39: 2945: 2728: 1269: 1181: 915:". A number of drawings have been associated with him, but only one, a c. 1450 brush and ink on paper entitled 805: 511: 311: 61: 2844: 2851: 2876: 2794: 2690: 1121: 1112:. Similarly to those in van Eyck's work, Lochner's angels often sing or play musical instruments, including 1108: 931: 764: 646: 499: 339: 66: 2830: 2310: 2016: 551: 110:

period. His paintings combine that era's tendency toward long flowing lines and brilliant colours with the

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Schaefer, Iris; Von Saint-George, Caroline. "New Findings Concerning the Underdrawing of Stefan Lochner's

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are each extensively decorated in gold and blue. The borders are ornamented in bright colours and contain

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and Cologne, is heavily indebted to Lochner's style. The inner panels show sixteen scenes from the lives

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There are no signed paintings by Lochner, and his identity was not established until the 19th century.

681:. Notable and elaborate painted examples include the tooled gold border of the angelic concert in his 2915: 2801: 2536: 2341: 593: 488: 334:

Lochner's identity remained unknown for centuries, and no other known works were associated with the

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In 1447 the local painter's guild elected Lochner as their representative municipal councillor, or

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New insights into the Genesis of Stefan Lochner's 'Altarpiece of the Patron Saints of Cologne'

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that bear multiple similarities to Lochner's work, including in format, compositional motifs,

891: 480: 271: 214: 190: 135: 1387:(Matthew, Catherine of Alexandria and John the Evangelist), c. 1450. National Gallery, London 2647: 2186: 2182: 2020: 1326: 1318: 1314: 1298: 1290: 1274: 1093: 1084: 903: 868: 856: 772: 753: 654: 437: 1062: 2040: 1248: 955: 920: 864: 832: 556: 527: 302:

was instrumental in reviving Lochner's reputation. He wrote lengthy tracts comparing the

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Unlike the painters in the Low Countries, Lochner was not so concerned with delineating

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in south-west Germany around 1410, and that he spent some of his apprenticeship in the

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Lochner's art seems indebted to two broad sources; Netherlandish artists van Eyck and

2909: 2064: 1080: 951: 493: 456: 360: 283:. The altarpiece is referred to in a number of other records. It was repaired and re- 234: 2762: 1160: 678: 546: 460: 222: 270:

with a work mentioned in an account of a visit to Cologne in 1520 in the diary of

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of northern Europe, Lochner was one of the most important German painters before

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panels show letters used to denote the final colour to be applied, for example

677:. Evidence of his imitation of elements of their craft is apparent even in his 17: 2438: 1054: 899: 796: 1124:, but rather indicated distance through the diminution of parallel objects. 840: 803:, panel from the upper right of the "Martyrdom of the Apostles" wing of the 674: 666: 620: 604: 441: 154: 139: 115: 2068: 2607:

Da sah ich viel köstliche Dinge: Albrecht Dürers Reise in die Niederlande

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Left-hand wing of the two wings of the "Altarpiece of the Last Judgement"

693: 658: 1196:, a dismantled double set of wings now broken apart and divided between 1403: 1197: 1099: 721: 670: 616: 608: 568: 307: 284: 275: 198: 127: 2628:

Faries, Molly. "Robert Campin and Stefan Lochner. Any Connection", in

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Saints Ambroise, Augustin et Cécile with the donor Heynricus Zeuwelgyn

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The extant works repeatedly address the same scenes and themes. The

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Codices Illustres: The World's most famous Illuminated Manuscripts

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Early Netherlandish Paintings: Rediscovery, Reception and Research

1131: 985: 930: 795: 637: 498: 440:, thought to be his parents, Lochner is thought to have come from 320: 2682: 2457:

The Art of the Book from the Early Middle Ages to the Renaissance

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Research in 2014 by Iris Schaeffer into the underdrawings of the

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By the 1440s, Cologne was the largest and wealthiest city in the

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identified "Maister Steffan" with the historical Stefan Lochner.

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Corley, Brigitte. "A Plausible Provenance for Stefan Lochner?".

1113: 106:; c. 1410 – late 1451) was a German painter working in the late 2686: 233:

for its qualities, especially the "sweetness and grace" of his

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master with the historical Stefan Lochner think he was born in

2676: 138:. Extant works include single-panel oil paintings, devotional 738:, c. 1445–50. 100.5 x 58cm. Wallraf-Richartz Museum, Cologne 623:

with water for burnished passages, and with oil or varnish

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Lochner's major works include three large polyptychs: the

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Less is known of his life. Art historians associating the

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Stefan Lochner Meister zu Köln Herkunft – Werke – Wirkung

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Stechow, Wolfgang. "A Youthful Work by Stephan Lochner".

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Stefan Lochner: Image Making in Fifteenth-Century Cologne

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The Age of Dürer and Holbein: German Drawings 1400–1550

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to read 1410, which he took as the year of completion.

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Wolfson, Michael. "Hat Dürer das 'Dombild' gesehen?".

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Ridderbos, Bernhard; Van Buren, Anne; Van Veen, Henk.

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Locating Renaissance Art: Renaissance Art Reconsidered

2313:". National Gallery, London. Retrieved 16 August 2015 752:, where light emanating from Christ dissolves around 1011:

indicate his ability to work on a monumental scale.

825:. Only two attributed paintings are dated; the 1445 661:

on gold, usually to render metallic objects such as

483:. It controlled and taxed the passage of trade from 2868: 2770: 2720: 1022:were at times thought to be studies for the Munich 902:). In many instances Mary is enclosed in her usual 1179:, especially in the executioner's pose, while his 251:Triptych with the Virgin in the Garden of Paradise 2609:. Göttingen: Vandenhoeck & Ruprecht, 2007. 2480:. Amsterdam: Amsterdam University Press, 2005. 2071:, Frankfurt am Main. Retrieved 3 September 2014 1346:, c. 1445, 37.6 x 23.7 cm. Reverse of the 783:panels now divided between London and Cologne. 685:, and Gabriel's clasp on the outer wing of the 274:. The notoriously thrifty artist paid 5 silver 189:), centre panel. Tempera on oak, 260 × 285 cm. 2466:. New Haven, CT: Yale University Press, 2007. 2428:. Toronto: University of Toronto Press, 2012. 1139:, Master of the Heisterbach Altar, mid 15th c. 330:, c. 1440–42. Wallraf-Richartz Museum, Cologne 254:, c. 1445–50. Wallraf-Richartz-Museum, Cologne 2698: 2560:. Englewood Cliffs, NJ: Prentice-Hall, 1985. 2494:. London: British Museum Publications, 1988. 2363:The Fifteenth-Century Netherlandish Paintings 1859: 1857: 1855: 8: 2630:Robert Campin: New Directions in Scholarship 1449: 1447: 2572:The Bulletin of the Cleveland Museum of Art 1106:has often been compared to van Eyck's 1439 950:Lochner is associated with three surviving 2705: 2691: 2683: 1589:Journal of Historians of Netherlandish Art 2921:15th-century deaths from plague (disease) 2445:. Oxford: Oxford University Press, 2008. 2393:. Oxford: Oxford University Press, 2009. 1907: 1905: 1591:, November 2004. Retrieved 8 October 2015 1585:Image Making in Fifteenth-Century Cologne 1488: 1486: 1153:École nationale supérieure des Beaux-Arts 1120:Netherlandish techniques of representing 1020:École nationale supérieure des Beaux-Arts 2541:The Northern Renaissance (Art and Ideas) 2391:The Oxford Dictionary of Art and Artists 2242: 2240: 1091:Lochner probably saw van Eyck's c. 1432 878: 730: 545: 393:(wing panel), c. 1448–50, 45 × 14.8 cm. 244: 171: 2642:National Gallery exhibition catalogue. 1806: 1804: 1767: 1765: 1763: 1744: 1742: 1422: 1234: 990:Follower or workshop of Stefan Locher, 2115: 2113: 1657: 1655: 1653: 1651: 1632: 1630: 1628: 1626: 1624: 1428: 1426: 779:is of 1445, predating the more Gothic 268:Altarpiece of the City's Patron Saints 211:Altarpiece of the City's Patron Saints 183:Altarpiece of the City's Patron Saints 2348:. London: Thames & Hudson, 2011. 1966: 1964: 1962: 1818: 1816: 1714: 1712: 1522: 1520: 1518: 1516: 459:. Lochner's work seems influenced by 7: 2745:Altarpiece of the City Patron Saints 2506:Altarpiece of the City Patron Saints 2426:The Christ Child in Medieval Culture 2058:Altarflügel mit den Apostelmartyrien 2047:, Munich. Retrieved 3 September 2014 1402:, before 1450, 121.5 x 102 cm. 1367:Presentation of Christ in the Temple 1343:Presentation of Christ in the Temple 1214:Master of the Heisterbach Altarpiece 718:Altarpiece of the City Patron Saints 657:, Lochner often applied black cross- 2329:National Gallery Technical Bulletin 1185:includes two motifs from Lochner's 575:, and on 24 June 1447, he became a 2365:. London: National Gallery, 1998. 2189:, London. Retrieved 16 August 2015 2045:Bayerische Staatsgemäldesammlungen 2023:, London. Retrieved 8 October 2015 720:, which contains closely detailed 530:and ten shillings for his effort. 262:in an 1823 article identified the 25: 2459:. MA: John J. Burns Library, 2000 1371:Hessisches Landesmuseum Darmstadt 1083:, and the earlier German masters 923:, is attributed with confidence. 847:of the presentation scene at the 742:Perhaps influenced by van Eyck's 452:, two kilometres from Meersburg. 367:Based on their similarity to the 266:(meaning "Cathedral picture") or 2761: 2679:". Wallraf-Richartz-Museum, 2014 2657:. Cologne: Verlag Locher, 1993. 2593:The Masters, 76: Stephan Lochner 1392: 1377: 1359: 1334: 1306: 1282: 1256: 1237: 1061: 1038: 992:Virgin adoring the infant Christ 615:was to have a pattern such as a 402: 383: 225:. Lochner's work was praised by 74: 53: 38: 2600:Zeitschrift für Kunstgeschichte 2595:. London: Fratelli Fabbri, 1963 2543:. London: Phaidon Press, 2004. 2405:Zeitschrift für Kunstgeschichte 412:, Museum Boijmans Van Beuningen 29:German painter (c. 1410 – 1451) 2885:Prayer book of Stephan Lochner 2412:Key Figures in Medieval Europe 2300:Schaefer; Von Saint-George, 24 2291:Schaefer; Von Saint-George, 25 1352:Calouste Gulbenkian Foundation 994:, pen and black ink on paper. 960:Prayer book of Stephan Lochner 937:Prayer book of Stephan Lochner 849:Calouste Gulbenkian Foundation 571:fee. He was obliged to act as 1: 2859:Virgin with the Flowering Pea 2524:Stories of the German Artists 1956:Schaefe; Von Saint-George, 26 1155:. The influence of Lochner's 1014:Two drawings on paper in the 736:Saints Mark, Barbara and Luke 696:of the underdrawings for the 395:Museum Boijmans Van Beuningen 2926:15th-century German painters 2824:Virgin before a Grassy Bench 2644:Late Gothic Art from Cologne 1947:Schaefe; Von Saint-George, 7 898:or a dove (representing the 422:French occupation of Cologne 2817:Presentation at the Temple 2809:Presentation at the Temple 2632:. Turnhout: Brepols, 1996. 2414:. London: Routledge, 2005. 2379:. Turnhout: Brepols, 2004. 2163:. Retrieved 24 October 2015 1583:Campbell Hutchison, Jane. " 954:; in Darmstadt, Berlin and 592:Lochner worked in the late 475:Move to Cologne and success 2967: 2282:Schaefer; Von Saint-George 837:Presentation in the Temple 777:Presentation in the Temple 306:favourably to the work of 287:in 1568, and mentioned in 2931:People from Bodenseekreis 2779:Madonna of the Rose Bower 2759: 2752:Martyrdom of the Apostles 2581:. Berlin: Taschen, 2014. 2574:, Volume 55, No. 10, 1968 2455:O'Neill, Robert Keating. 1323:Martyrdom of the Apostles 1295:Martyrdom of the Apostles 1270:Martyrdom of the Apostles 1247:, 107.5 x 190.3 cm. 1049:(diptych), c. 1420. 971:Virgin in the Rose Garden 369:Altar of the City Patrons 350:Johann Dominicus Fiorillo 327:Madonna of the Rose Bower 83:Martyrdom of the Apostles 47:Martyrdom of the Apostles 2558:Northern Renaissance Art 2526:. Wildside Press, 2010. 2519:, Volume 78, No. 2, 2003 2443:Northern Renaissance art 2039:4 September 2014 at the 1182:Saint Columba Altarpiece 1175:is similar to Lochner's 1051:Westphalian State Museum 845:smaller, earlier version 801:Martyrdom of St. Phillip 512:Master of Saint Veronica 293:Civitates Orbis Terrarum 241:Identity and attribution 2869:Illuminated manuscripts 2852:Miracle of the Musician 2838:Crucifixion with Saints 2653:Zehnder, Frank Günter. 2508:in Cologne Cathedral". 1245:Crucifixion with Saints 1072:(diptych), c. 1420 927:Illuminated manuscripts 694:Infrared reflectography 647:Wallraf-Richartz-Museum 340:Ferdinand Franz Wallraf 144:illuminated manuscripts 67:Wallraf-Richartz Museum 62:Last Judgement, c. 1435 2941:German Roman Catholics 2877:Berlin Book of Prayers 2795:Virgin with the Violet 1400:Virgin with the Violet 1225:Heisterbach Altarpiece 1194:Heisterbach Altarpiece 1177:Flaying of Bartholomew 1140: 1109:Virgin at the Fountain 1104:Virgin with the Violet 1009:Virgin with the Violet 999: 947: 887: 810: 739: 650: 560: 507: 420:birthplace during the 331: 255: 193: 2537:Smith, Jeffrey Chipps 2410:Emmerson, Richard K. 2342:Borchert, Till-Holger 1798:Schmid; Holladay, 491 1187:Adoration of the Magi 1172:Saint John Altarpiece 1135: 989: 934: 882: 799: 745:Madonna in the Church 734: 641: 603:Lochner painted with 549: 502: 465:Rogier van der Weyden 324: 248: 219:Rogier van der Weyden 187:Adoration of the Magi 175: 2951:International Gothic 2936:German male painters 2255:Ridderbos et al., 38 594:International Gothic 338:altarpiece. In 1816 209:, also known as the 124:Northern Renaissance 108:International Gothic 2462:Richardson, Carol. 1145:Virgin in Adoration 944:Derided by his Wife 773:dendrochronological 130:, a commercial and 2737:Dombild Altarpiece 2605:Unverfehrt, Gerd. 1265:Andrew the Apostle 1221:Dombild Altarpiece 1141: 1045:Conrad von Soest: 1000: 948: 888: 867:in Munich and the 839:from 1447, now in 835:, Munich, and the 815:Dombild Altarpiece 811: 740: 687:Dombild altarpiece 651: 561: 536:Saint Alban Church 524:Dombild Altarpiece 508: 505:Dombild Altarpiece 354:Johann Jakob Merlo 332: 300:Friedrich Schlegel 281:Dombild Altarpiece 256: 227:Friedrich Schlegel 203:Dombild Altarpiece 194: 178:Dombild Altarpiece 151:Dombild Altarpiece 2903: 2902: 2893:Anholt Prayerbook 2675:Schaefer, Iris. " 2663:978-3-9801801-1-5 2638:978-2-503-50500-8 2615:978-3-525-47010-7 2602:, Volume 49, 1986 2587:978-3-8365-5379-7 2566:978-0-13-183348-7 2549:978-0-7148-3867-0 2532:978-1-4344-0687-3 2512:, Volume 79, 2014 2500:978-0-7141-1639-6 2486:978-0-89236-816-7 2472:978-0-300-12188-9 2451:978-0-19-284269-5 2434:978-0-8020-9894-8 2424:Kenney, Theresa. 2420:978-0-415-97385-4 2407:, Volume 59, 1996 2399:978-0-19-953294-0 2385:978-2-503-50567-1 2375:Chapuis, Julien. 2371:978-0-300-07701-8 2354:978-0-500-23883-7 2346:Van Eyck to Dürer 1831:Billinge B, 20–21 1556:. See Chapuis, 33 1166:Gdansk Altarpiece 481:Holy Roman Empire 215:Cologne Cathedral 207:cathedral picture 191:Cologne Cathedral 16:(Redirected from 2958: 2765: 2707: 2700: 2693: 2684: 2648:National Gallery 2522:Singer, Hans W. 2490:Rowlands, John. 2314: 2307: 2301: 2298: 2292: 2289: 2283: 2280: 2274: 2271: 2265: 2262: 2256: 2253: 2247: 2244: 2235: 2232: 2226: 2223: 2217: 2214: 2208: 2205: 2199: 2196: 2190: 2187:National Gallery 2179: 2173: 2170: 2164: 2153: 2147: 2144: 2138: 2135: 2129: 2126: 2120: 2117: 2108: 2105: 2099: 2096: 2090: 2087: 2081: 2078: 2072: 2054: 2048: 2030: 2024: 2021:National Gallery 2015:Billinge A, 4; " 2013: 2007: 2004: 1998: 1995: 1989: 1986: 1980: 1977: 1971: 1968: 1957: 1954: 1948: 1945: 1939: 1936: 1930: 1927: 1921: 1918: 1912: 1909: 1900: 1897: 1891: 1888: 1882: 1879: 1873: 1870: 1864: 1861: 1850: 1847: 1841: 1838: 1832: 1829: 1823: 1820: 1811: 1808: 1799: 1796: 1790: 1787: 1781: 1778: 1772: 1769: 1758: 1755: 1749: 1746: 1737: 1734: 1728: 1725: 1719: 1716: 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2304: 2299: 2295: 2290: 2286: 2281: 2277: 2272: 2268: 2263: 2259: 2254: 2250: 2245: 2238: 2233: 2229: 2224: 2220: 2215: 2211: 2206: 2202: 2197: 2193: 2183:Stephan Lochner 2180: 2176: 2172:Chapuis, 182–84 2171: 2167: 2154: 2150: 2145: 2141: 2136: 2132: 2127: 2123: 2118: 2111: 2106: 2102: 2097: 2093: 2088: 2084: 2079: 2075: 2063:1 July 2013 at 2055: 2051: 2041:Wayback Machine 2031: 2027: 2014: 2010: 2005: 2001: 1996: 1992: 1987: 1983: 1978: 1974: 1969: 1960: 1955: 1951: 1946: 1942: 1937: 1933: 1928: 1924: 1919: 1915: 1911:Chapuis, 214–17 1910: 1903: 1898: 1894: 1889: 1885: 1880: 1876: 1871: 1867: 1862: 1853: 1848: 1844: 1839: 1835: 1830: 1826: 1821: 1814: 1809: 1802: 1797: 1793: 1788: 1784: 1779: 1775: 1770: 1761: 1757:Borchert, 70–71 1756: 1752: 1747: 1740: 1735: 1731: 1726: 1722: 1717: 1710: 1705: 1701: 1696: 1692: 1687: 1683: 1678: 1674: 1669: 1665: 1660: 1649: 1645:Chapuis, 293–98 1644: 1640: 1635: 1622: 1617: 1613: 1608: 1604: 1599: 1595: 1582: 1578: 1573: 1569: 1565:Unverfehrt, 107 1564: 1560: 1552: 1548: 1543: 1539: 1534: 1530: 1525: 1514: 1509: 1505: 1500: 1496: 1491: 1484: 1479: 1475: 1470: 1466: 1461: 1457: 1452: 1445: 1440: 1436: 1431: 1424: 1419: 1414: 1407: 1397: 1388: 1382: 1373: 1364: 1355: 1339: 1330: 1313:"Martyrdoms of 1311: 1302: 1287: 1278: 1261: 1252: 1249:Alte Pinakothek 1242: 1233: 1159:can be seen in 1130: 1077: 1076: 1075: 1074: 1073: 1066: 1058: 1057: 1043: 1032: 984: 929: 921:Musee du Louvre 919:and now in the 904:enclosed garden 865:Alte Pinakothek 833:Alte Pinakothek 794: 792:Panel paintings 789: 758:donor portraits 590: 557:Alte Pinakothek 544: 477: 434: 417: 416: 415: 414: 413: 407: 399: 398: 388: 377: 243: 201:taken from the 118:and innovative 89: 88: 87: 86: 85: 79: 71: 70: 58: 50: 49: 43: 30: 23: 22: 18:Stephan Lochner 15: 12: 11: 5: 2964: 2962: 2954: 2953: 2948: 2943: 2938: 2933: 2928: 2923: 2918: 2908: 2907: 2901: 2900: 2898: 2897: 2889: 2881: 2872: 2870: 2866: 2865: 2863: 2862: 2855: 2848: 2841: 2834: 2827: 2820: 2813: 2805: 2798: 2791: 2790:(c. 1446-1449) 2783: 2782:(c. 1440-1442) 2774: 2772: 2768: 2767: 2760: 2758: 2756: 2755: 2748: 2741: 2740:(c. 1440-1442) 2733: 2729:Last Judgement 2724: 2722: 2718: 2717: 2714:Stefan Lochner 2712: 2710: 2709: 2702: 2695: 2687: 2681: 2680: 2671: 2670:External links 2668: 2666: 2665: 2651: 2650:, London, 1972 2640: 2625: 2623: 2620: 2618: 2617: 2603: 2596: 2589: 2575: 2568: 2551: 2534: 2520: 2513: 2502: 2488: 2474: 2460: 2453: 2436: 2422: 2408: 2401: 2387: 2373: 2356: 2339: 2332: 2324: 2322: 2319: 2316: 2315: 2302: 2293: 2284: 2275: 2266: 2264:Richardson, 89 2257: 2248: 2246:Chapuis, 30–31 2236: 2227: 2218: 2209: 2200: 2191: 2174: 2165: 2161:British Museum 2148: 2139: 2130: 2128:Chapuis, 94–96 2121: 2109: 2100: 2091: 2082: 2073: 2049: 2025: 2008: 1999: 1990: 1981: 1972: 1958: 1949: 1940: 1931: 1922: 1913: 1901: 1892: 1883: 1874: 1865: 1851: 1849:Billinge A, 65 1842: 1840:Billinge B, 60 1833: 1824: 1812: 1800: 1791: 1789:Chapuis, 26–27 1782: 1773: 1759: 1750: 1738: 1729: 1720: 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1272: 1271: 1266: 1259: 1254: 1250: 1246: 1240: 1235: 1230: 1228: 1226: 1222: 1217: 1215: 1211: 1207: 1206:of the Virgin 1203: 1199: 1195: 1190: 1188: 1184: 1183: 1178: 1174: 1173: 1168: 1167: 1162: 1158: 1154: 1150: 1146: 1138: 1134: 1127: 1125: 1123: 1117: 1115: 1111: 1110: 1105: 1101: 1096: 1095: 1089: 1086: 1082: 1081:Robert Campin 1071: 1064: 1056: 1052: 1048: 1041: 1029: 1027: 1025: 1021: 1017: 1012: 1010: 1006: 997: 993: 988: 982:Other formats 981: 979: 975: 973: 972: 966: 961: 957: 953: 945: 943: 938: 933: 926: 924: 922: 918: 914: 909: 905: 901: 897: 893: 885: 881: 877: 875: 870: 869:Städel Museum 866: 862: 858: 852: 850: 846: 843:. There is a 842: 838: 834: 830: 829: 824: 820: 816: 808: 807: 802: 798: 791: 786: 784: 782: 778: 774: 768: 766: 761: 759: 755: 751: 747: 746: 737: 733: 729: 727: 723: 719: 715: 711: 707: 703: 699: 695: 690: 688: 684: 680: 679:underdrawings 676: 672: 668: 664: 660: 656: 648: 644: 640: 636: 634: 630: 626: 622: 618: 614: 611:. Where the 610: 606: 601: 599: 595: 587: 585: 581: 578: 574: 570: 566: 558: 554: 553: 548: 541: 539: 537: 531: 529: 525: 521: 520:Frederick III 515: 513: 506: 501: 497: 495: 490: 486: 482: 474: 472: 470: 466: 462: 458: 457:Robert Campin 453: 451: 447: 443: 439: 431: 429: 425: 423: 411: 410:Mary Magdalen 405: 396: 392: 386: 374: 372: 370: 365: 362: 361:Gustav Waagen 357: 355: 351: 347: 346: 341: 337: 329: 328: 323: 319: 317: 313: 309: 305: 301: 296: 294: 290: 286: 282: 277: 273: 269: 265: 261: 253: 252: 247: 240: 238: 236: 232: 228: 224: 220: 216: 212: 208: 204: 200: 192: 188: 184: 180: 179: 174: 170: 168: 164: 163:Frederick III 160: 159:Low Countries 156: 152: 147: 145: 141: 137: 133: 129: 125: 122:of the early 121: 117: 113: 109: 105: 104: 103:Master Stefan 99: 98: 93: 84: 77: 68: 64: 63: 56: 48: 41: 32: 27: 19: 2891: 2883: 2875: 2857: 2850: 2843: 2836: 2829: 2822: 2815: 2807: 2800: 2793: 2787:Annunciation 2785: 2777: 2750: 2743: 2735: 2727: 2713: 2654: 2643: 2629: 2606: 2599: 2592: 2578: 2571: 2557: 2540: 2523: 2516: 2509: 2505: 2491: 2477: 2463: 2456: 2442: 2425: 2411: 2404: 2390: 2376: 2362: 2345: 2328: 2311:Three Saints 2305: 2296: 2287: 2278: 2273:Chapuis, 239 2269: 2260: 2251: 2234:Chapuis, 182 2230: 2221: 2216:Chapuis, 207 2212: 2203: 2194: 2177: 2168: 2151: 2146:Chapuis, 188 2142: 2133: 2124: 2103: 2094: 2085: 2080:Chapuis, 130 2076: 2052: 2028: 2017:Three Saints 2011: 2002: 1993: 1988:Chapuis, 259 1984: 1975: 1952: 1943: 1938:Chapuis, 148 1934: 1929:Chapuis, 119 1925: 1920:Chapuis, 223 1916: 1895: 1886: 1881:Chapuis, 226 1877: 1868: 1845: 1836: 1827: 1794: 1785: 1776: 1753: 1748:Walther, 318 1732: 1723: 1702: 1697:Borchert, 71 1693: 1688:Stechow, 312 1684: 1679:Borchert, 70 1675: 1666: 1641: 1618:Chapuis, 293 1614: 1605: 1600:Chapuis, 261 1596: 1588: 1579: 1570: 1561: 1553: 1549: 1540: 1531: 1506: 1497: 1480:Rowlands, 28 1476: 1467: 1458: 1437: 1432:Chapuis, 103 1399: 1385:Three Saints 1384: 1366: 1347: 1341: 1322: 1294: 1268: 1244: 1224: 1220: 1218: 1193: 1191: 1186: 1180: 1176: 1170: 1164: 1161:Hans Memling 1156: 1144: 1142: 1136: 1118: 1116:and organs. 1107: 1103: 1092: 1090: 1078: 1069: 1047:St. Dorothea 1046: 1023: 1013: 1008: 1004: 1001: 991: 976: 969: 949: 940: 916: 907: 889: 883: 873: 860: 853: 836: 826: 822: 818: 814: 812: 804: 800: 780: 776: 769: 762: 749: 743: 741: 735: 717: 713: 709: 708:(yellow) or 705: 701: 697: 691: 686: 682: 652: 642: 633:James Snyder 602: 598:schöner Stil 597: 591: 582: 572: 564: 562: 550: 532: 523: 516: 509: 504: 478: 468: 461:Jan van Eyck 454: 435: 426: 418: 409: 390: 368: 366: 358: 345:Annunciation 343: 335: 333: 325: 303: 297: 292: 280: 267: 263: 260:J. F. Böhmer 257: 249: 223:Hans Memling 210: 206: 205:(in English 202: 195: 186: 182: 176: 148: 132:artistic hub 102: 101: 96: 95: 91: 90: 82: 81:Right wing, 60: 46: 31: 26: 2916:1451 deaths 2831:Crucifixion 2439:Nash, Susie 2337:online text 2137:Chapuis, 69 2119:Chapuis, 67 2107:Chapuis, 66 2098:O'Neill, 88 1979:Snyder, 220 1899:Snyder, 219 1890:Chapuis, 88 1771:Chapus, 156 1661:Chapuis, 27 1636:Chapuis, 26 1574:Chapuis, 19 1544:Chapuis, 16 1535:Chapuis, 17 1510:Chapuis, 14 1501:Chapuis, 37 1471:Chapuis, 28 1369:, c. 1447. 1348:Crucifixion 1329:, Frankfurt 1301:, Frankfurt 1277:, Frankfurt 1210:physiognomy 1147:are in the 1137:Crucifixion 1122:perspective 1068:von Soest, 874:Crucifixion 831:now in the 823:Crucifixion 765:perspective 750:Crucifixion 667:reliquaries 645:, c. 1450. 629:ultramarine 613:gold ground 552:Crucifixion 397:, Rotterdam 289:Georg Braun 213:) still in 126:. Based in 120:iconography 114:, virtuoso 45:Left wing, 2910:Categories 2721:Polyptychs 2225:Corley, 90 2198:Smith, 427 1997:Kenney, 88 1970:Wellesz, 4 1863:Corley, 94 1822:Wellesz, 6 1780:Singer, 16 1727:Corley, 80 1718:Wellesz, 3 1706:Chapuis, 1 1526:Wellesz, 2 1453:Corley, 78 1441:Wellesz, 7 1412:References 1291:Saint John 1070:St. Odilia 1030:Influences 900:Holy Ghost 432:Early life 391:Saint John 140:polyptychs 2888:(c. 1450) 2812:(c. 1447) 2732:(c. 1435) 1736:Nash, 206 1406:, Cologne 1202:of Christ 946:, c. 1450 841:Darmstadt 809:, c. 1435 675:goldsmith 649:, Cologne 442:Meersburg 359:In 1862, 314:. Later, 295:in 1572. 155:Meersburg 69:, Cologne 2517:Speculum 2061:Archived 2037:Archived 1354:, Lisbon 1251:, Munich 1100:brocades 1024:Nativity 1018:and the 965:acanthus 892:nativity 828:Nativity 722:garlands 671:chalices 663:brooches 659:hatching 573:Ratsherr 565:Ratsherr 559:, Munich 555:, 1445. 503:Detail, 485:Flanders 235:Madonnas 2896:(1450s) 2321:Sources 2157:Drawing 1231:Gallery 1198:Bamberg 1055:Münster 1005:Dombild 908:Dombild 726:diadems 617:brocade 609:gilding 577:burgher 569:guilder 444:, near 336:Dombild 312:Holbein 308:Raphael 304:Dombild 276:pfennig 264:Dombild 199:notname 128:Cologne 112:realism 2880:(1444) 2661: 2636: 2613: 2585: 2564: 2547: 2530: 2498: 2484: 2470: 2449: 2432: 2418: 2397: 2383: 2369: 2352: 1327:Städel 1299:Städel 1275:Städel 1128:Legacy 998:, 1445 956:Anholt 913:relief 817:; the 781:Saints 625:sizing 489:Saxony 450:Hagnau 438:plague 316:Goethe 285:gilded 231:Goethe 167:Plague 1417:Notes 1114:lutes 714:weiss 653:Like 588:Style 528:marks 94:(the 2659:ISBN 2634:ISBN 2611:ISBN 2583:ISBN 2562:ISBN 2545:ISBN 2528:ISBN 2496:ISBN 2482:ISBN 2468:ISBN 2447:ISBN 2430:ISBN 2416:ISBN 2395:ISBN 2381:ISBN 2367:ISBN 2350:ISBN 1317:and 1204:and 1192:The 1151:and 1007:and 787:Work 754:John 724:and 712:for 706:gelb 704:for 669:and 621:leaf 463:and 375:Life 229:and 221:and 181:(or 142:and 2185:". 2159:". 2067:". 2019:". 1587:". 1321:", 1293:", 1267:", 1163:'s 942:Job 939:", 896:God 605:oil 496:". 487:to 291:'s 185:or 100:or 2912:: 2646:. 2556:. 2539:. 2441:. 2361:. 2344:. 2239:^ 2112:^ 2043:. 1961:^ 1904:^ 1854:^ 1815:^ 1803:^ 1762:^ 1741:^ 1711:^ 1650:^ 1623:^ 1515:^ 1485:^ 1446:^ 1425:^ 1350:. 1053:, 974:. 728:. 689:. 424:. 237:. 65:. 2706:e 2699:t 2692:v 2309:" 2181:" 2155:" 2056:" 2032:" 935:" 710:w 702:g 596:( 20:)

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