DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.67657#0681
552
Known Masters and their Immediate Followers.
THE MASTER OF THE YEAR 1515.
Nothing is known about the author of the following group of
engravings who has been styled by current authorities the Master of
1515 from the date on the print of Cleopatra (No. 1 in present
catalogue). It is even open to question whether more than one hand
is not responsible for the somewhat heterogeneous series of plates
classed under this name.
BIBLIOGRAPHY.
Bartsch. XIII, pp. 408-422 (36 Nos.).
Passavant. V, pp. 89-91 (46 Nos.).
ENGRAVINGS ATTRIBUTED TO THE MASTER
OF 1515.
In sentiment the three prints described below as Nos. 1-3 find
their nearest point of contact in the earlier work of Nicoletto da
Modena, while the direct influence of Purer is reflected here as in so
many other engravers of the period. The shading in parallels which
sills the background may be in some measure derived from Mantegna
and such of his followers as G. A. da Brescia and Nicoletto da
Modena. But the treatment of the figure has very little in common
with the school of Mantegna.
Thirty prints are attributed to the Master of 1515 in addition to
those described in the present catalogue. Among them P. 38 ( Victor^')
is clearly by Nicoletto da Modena, and had, in fact, been previously
described by Passavant under that name as well as under Giovanni
Antonio da Brescia. Then P. 46, though engraved in a somewhat similar
style to our Nos. 2 and 3, has been here described separately on the
grounds that it bears what is apparently the signature of a northern
engraver (W E N H G). Even among the rest we must confess to great
difficulty in accrediting all to the same hand. Nos. 1-3 below, B. 19
(Vienna, Alb.) and P. 39 (Dresden) show pure graver work, clearly
cut, free from burr and marked by some precision of draughtsman-
Known Masters and their Immediate Followers.
THE MASTER OF THE YEAR 1515.
Nothing is known about the author of the following group of
engravings who has been styled by current authorities the Master of
1515 from the date on the print of Cleopatra (No. 1 in present
catalogue). It is even open to question whether more than one hand
is not responsible for the somewhat heterogeneous series of plates
classed under this name.
BIBLIOGRAPHY.
Bartsch. XIII, pp. 408-422 (36 Nos.).
Passavant. V, pp. 89-91 (46 Nos.).
ENGRAVINGS ATTRIBUTED TO THE MASTER
OF 1515.
In sentiment the three prints described below as Nos. 1-3 find
their nearest point of contact in the earlier work of Nicoletto da
Modena, while the direct influence of Purer is reflected here as in so
many other engravers of the period. The shading in parallels which
sills the background may be in some measure derived from Mantegna
and such of his followers as G. A. da Brescia and Nicoletto da
Modena. But the treatment of the figure has very little in common
with the school of Mantegna.
Thirty prints are attributed to the Master of 1515 in addition to
those described in the present catalogue. Among them P. 38 ( Victor^')
is clearly by Nicoletto da Modena, and had, in fact, been previously
described by Passavant under that name as well as under Giovanni
Antonio da Brescia. Then P. 46, though engraved in a somewhat similar
style to our Nos. 2 and 3, has been here described separately on the
grounds that it bears what is apparently the signature of a northern
engraver (W E N H G). Even among the rest we must confess to great
difficulty in accrediting all to the same hand. Nos. 1-3 below, B. 19
(Vienna, Alb.) and P. 39 (Dresden) show pure graver work, clearly
cut, free from burr and marked by some precision of draughtsman-