20:
107:, biblical source or physical location can probably be attributed to one individual or workshop, but because of lack of surviving documentary record, the name of that individual is lost. Groupings of works under a given notname can often be contentious; in specific cases art historians have argued that the reality may be a group or school of artists working under a common influence or commercial demand. Linking a generically titled old master with a historical person is usually a tempting and exciting prospect, and would establish an art historian's reputation.
170:, French and German painters and illuminators, the problem is particularly acute and stems from a number of factors. Primarily, the practice of signing and dating works is rarely seen in the region until the 1420s, and the inventories of collectors were uninterested in the artist's names. Many of the unidentified late 14th and early 15th-century northern artists were of the first rank, but because they have not been attached to any historical person, have suffered from academic neglect. It is probably a truism to say that, as
74:
80:, "necessity-name" or "contingency-name") is an invented name given to an artist whose identity has been lost. The practice arose from the need to give such artists and their typically untitled, or generically titled works, an acceptable if unsatisfactory grouping, avoiding confusion when cataloging. The phrases
35:
174:
put it, "much of what cannot be firmly attributed remains less studied". Some art historians believe that this has led to a lack of caution in connecting works with historical persons, and that such connections often hang on thin threads of circumstantial evidence. The identities of a number of
110:
The given notname usually depends on the artist's location, the most distinctive feature of their work, or the theme or iconographic element they are best associated with. Some notnames are created based on a single artwork, called
175:
well-known artists have been founded on the basis of a single signed, documented or otherwise attributed work, with similar works sharing close style or within a geographical range also attached to that name. Examples include
75:
99:
The practice of using generic names for unidentified artists is most common in the study of art of the antiquity, especially of the Roman era or with artists of the
103:
until about 1430. Typically a pseudonym is applied after commonality is established for a grouping of works, of which a similarity of theme, style,
263:
236:
136:
128:
357:
116:
42:
124:
19:
46:
292:
Moore, Mary B. (1 January 2006). "Satyrs By The Berlin
Painter And A New Interpretation Of His Namepiece".
167:
372:
279:
140:
200:
68:
260:
119:(active c. 1480 to c. 1510) so named after his distinctive way of painting grass and trees, the
156:
100:
8:
377:
301:
132:
120:
353:
176:
267:
205:
184:
144:
143:(c. 1470 – c. 1480), named after a manuscript owned by one of his patrons. The
24:
366:
188:
180:
148:
104:
54:
305:
171:
34:
112:
28:
139:(active c. 1475 – 1500) named after his most famous panel, and the
152:
131:(active c. 1483 – c. 1527) both named after scenes from the
92:are sometimes used to describe anonymous masters;
270:". J. Paul Getty Museum. Retrieved July 13, 2013
364:
147:(active c. 490s – c. 460s BCE) was named by Sir
123:whose activity is dated c. 1440 – 1450, the
166:In the case of 14th and early 15th-century
16:Name given to an artist with no known name
352:. Oxford: Oxford University Press, 2008.
137:Master of the Prado Adoration of the Magi
33:
18:
365:
291:
222:
220:
67:
129:Master of the Legend of the Magdalen
127:(active c. 1463 to c. 1490) and the
312:
13:
321:
217:
14:
389:
261:Vienna Master of Mary of Burgundy
141:Vienna Master of Mary of Burgundy
117:Master of the Embroidered Foliage
43:Master of the Embroidered Foliage
125:Master of the Life of the Virgin
39:Virgin and Child in a Landscape
330:
285:
280:Perseus Project. Berlin F 2160
273:
253:
229:
1:
211:
47:Minneapolis Institute of Arts
7:
194:
10:
394:
342:
201:List of anonymous masters
350:Northern Renaissance art
135:attributed to them, the
159:, the Berlin Painter's
115:. Examples include the
157:Antikensammlung Berlin
96:was at one time used.
50:
31:
69:[ˈnoːtˌnaːmə]
37:
22:
101:Northern Renaissance
151:for a large lidded
86:name of convenience
266:2013-01-24 at the
133:Life of the Virgin
121:Master of Sierentz
51:
32:
373:Anonymous artists
241:www.akg-images.de
177:Hugo van der Goes
385:
337:
334:
328:
325:
319:
316:
310:
309:
289:
283:
277:
271:
257:
251:
250:
248:
247:
233:
227:
224:
82:provisional name
79:
78:
77:
71:
66:
393:
392:
388:
387:
386:
384:
383:
382:
363:
362:
345:
340:
335:
331:
326:
322:
317:
313:
290:
286:
278:
274:
268:Wayback Machine
258:
254:
245:
243:
235:
234:
230:
225:
218:
214:
197:
90:emergency names
73:
72:
64:
17:
12:
11:
5:
391:
381:
380:
375:
361:
360:
344:
341:
339:
338:
329:
320:
311:
284:
272:
252:
237:"akg-images -"
228:
215:
213:
210:
209:
208:
206:Pseudepigrapha
203:
196:
193:
185:Stefan Lochner
145:Berlin Painter
25:Berlin Painter
15:
9:
6:
4:
3:
2:
390:
379:
376:
374:
371:
370:
368:
359:
358:0-1928-4269-2
355:
351:
348:Nash, Susie.
347:
346:
333:
324:
315:
307:
303:
299:
295:
288:
281:
276:
269:
265:
262:
256:
242:
238:
232:
223:
221:
216:
207:
204:
202:
199:
198:
192:
190:
189:Simon Marmion
186:
182:
181:Robert Campin
178:
173:
169:
168:Netherlandish
164:
162:
158:
154:
150:
146:
142:
138:
134:
130:
126:
122:
118:
114:
108:
106:
102:
97:
95:
91:
87:
83:
76:
70:
62:
61:
56:
49:, Minneapolis
48:
44:
40:
36:
30:
26:
21:
349:
332:
323:
314:
297:
294:Antike Kunst
293:
287:
275:
255:
244:. Retrieved
240:
231:
165:
160:
149:John Beazley
109:
98:
93:
89:
85:
81:
59:
58:
52:
38:
336:Nash, 22–23
105:iconography
55:art history
45:1492–1498.
378:Pseudonyms
367:Categories
246:2021-11-04
212:References
172:Susie Nash
94:nonce name
318:Nash, 123
300:: 17–28.
161:namepiece
113:namepiece
29:Name vase
23:Image on
327:Nash, 44
306:41321335
264:Archived
226:Nash, 22
195:See also
343:Sources
155:in the
153:amphora
65:German:
60:Notname
356:
304:
41:, the
302:JSTOR
354:ISBN
187:and
88:and
57:, a
53:In
27:'s
369::
298:49
296:.
239:.
219:^
191:.
183:,
179:,
163:.
84:,
308:.
282:.
259:"
249:.
63:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
