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12-600: The Bonzos was the name of some Austrian agents the British recruited to prevent the destruction of many Old Masters collected by Adolf Hitler . He planned to destroy them if he lost World War II . This World War II article is a stub . You can help Misplaced Pages by expanding it . Old Masters In theory, "Old Master" applies only to artists who were fully trained, were Masters of their local artists' guild , and worked independently, but in practice, paintings produced by pupils or workshops are often included in

24-668: A previous location of a work), Master of Mary of Burgundy (from a patron), Master of Latin 757 (from the shelf mark of a manuscript he illuminated), Master of the Embroidered Foliage (from his characteristic technique), Master of the Brunswick Diptych , or Master of Schloss Lichtenstein . Master of the Embroidered Foliage The Master of the Embroidered Foliage (active c.  1480 – c.  1510 )

36-670: A usage datable to 1824. There are comparable terms in Dutch, French, and German; the Dutch may have been the first to make use of such a term, in the 18th century, when oude meester mostly meant painters of the Dutch Golden Age of the previous century. Les Maitres d'autrefois of 1876 by Eugene Fromentin may have helped to popularize the concept, although "vieux maitres" is also used in French. The famous collection in Dresden at

48-504: Is not. Edward Lucie-Smith gives an end date of 1800, noting "formerly used of paintings earlier than 1700". The term tends to be avoided by art historians as too vague, especially when discussing paintings, although the terms "Old Master Prints" and "Old Master drawings" are still used. It remains current in the art trade. Auction houses still usually divide their sales between, for example, "Old Master Paintings", "Nineteenth-century paintings", and "Modern paintings". Christie's defined

60-594: Is the Notname for an Early Netherlandish painter or a group of painters who worked out of Bruges and Brussels . In 1926 the German art historian Max Jakob Friedländer attributed a group of paintings of the Virgin and Child in a landscape, in identical poses to the "Master of the Embroidered Foliage". The foliage painted in these works was likened by Friedländer to the repeated pattern of stitches in embroidery, thus

72-712: The Gemäldegalerie Alte Meister is one of the few museums to include the term in its actual name, although many more use it in the title of departments or sections. The collection in the Dresden museum essentially stops at the Baroque period. The end date is necessarily vague – for example, Goya (1746–1828) is certainly an Old Master, though he was still painting and printmaking at his death in 1828. The term might also be used for John Constable (1776–1837) or Eugène Delacroix (1798–1868), but usually

84-725: The Louvre in Paris, the Detroit Institute of Arts , and in the National Gallery of Scotland , Edinburgh; these also show a very similar Virgin and Child, but against somewhat different backgrounds. The Clark Art Institute conclude their investigation of the "Virgin and Child in a Landscape" paintings as follows: "Our analysis, based on laboratory study and consideration of fifteenth-century workshop practices, demonstrates that these panels were all produced between 1482 and

96-543: The early 16th century not by one but by several artists, perhaps sharing a common template for the main figures. Unless further conclusive evidence comes to light, however, we will continue to attribute the paintings to the Master of the Embroidered Foliage, while acknowledging that this is a catch-all name referring to a number of painters active in Brussels and Bruges in the late 15th century." This article about

108-443: The period before the modern; esp. a pre-eminent western European painter of the 13th to 18th centuries." The first quotation given is from 1696, in the diary of John Evelyn : "My L: Pembroke..shewed me divers rare Pictures of very many of the old & best Masters, especially that of M: Angelo..,& a large booke of the best drawings of the old Masters." The term is also used to refer to a painting or sculpture made by an Old Master,

120-426: The scope of the term. Therefore, beyond a certain level of competence, date rather than quality is the criterion for using the term. In the eighteenth and nineteenth centuries, the term was often understood as having a starting date of perhaps 1450 or 1470; paintings made before that were "primitives", but this distinction is no longer made. The Oxford English Dictionary defines the term as "A pre-eminent artist of

132-969: The term as ranging "from the 14th to the early 19th century". The relevant part of the large and important collection of the Royal Museums of Fine Arts of Belgium in their main building in Brussels was renamed in recent years as the Oldmasters Museum in Dutch and English, and Musée Oldmasters in French. It was previously called the "Royal Museum of Ancient Art" in English (French: Musée royal d'art ancien ; Dutch: Koninklijk Museum voor Oude Kunst ). Artists, most often from early periods, whose hand has been identified by art historians, but to whom no identity can be confidently attached, are often given names by art historians such as Master E.S. (from his monogram), Master of Flémalle (from

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144-767: The unusual name for the artist. The paintings show elements of previous works by Rogier van der Weyden and Hans Memling . Of the five paintings considered by Friedländer, three are in the United States, at the Philadelphia Museum of Art , Minneapolis Institute of Arts , and Clark Art Institute , and the other two in Europe, at the Groeningemuseum , Bruges, and the Musée des Beaux-Arts, Lille . Other paintings attributed to this group of artists are in

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