Wikipedia

Master I. A. M. of Zwolle

Master I. A. M. of Zwolle(known works 1470–1490, lifetime estimated asc. 1440–1504[2]) was an anonymousDutchgoldsmithandengraverwho signed many of his works with his initialsI. A. M.orI. A.,and added "Zwolle"to some. His work is characterized by crowded and active scenes of people, graded tones and crisp strokes. Only 26 works by his hand are extant.[1]

The Betrayal of Christ,(c. 1485). 35.6 x 27.2 cm (sheet size). This is one of a series ofPassion printsby Master I. A. M. – others includeThe Last SupperandThe Agony in the Garden.[1]

Identity

edit

One theory of Master I. A. M.'s identity points toJohan van den Minnesten(also spelled Mynnesten, b.c. 1440,d. 1504)[3]as the artist behind the engravings.[1]This obscure artist was a painter inZwolle,but none of his works have survived, so it is impossible to prove a connection on stylistic grounds. The only link between him and Master I. A. M. is a record that his son, also named Johan, was paid to print several engravings for the city of Zwolle in 1545; these were possibly plates inherited from his father.[1]

The signature of Master I. A. M. as it appears onThe Madonna Seated, the Christ Child Holding the Cross.The object depicted is a medieval gold drill, the insignia of a goldsmith. Initially it was believed to represent aweaver's shuttle.[1]

Another theory posits that Master I.A.M's prints were produced by two collaborating artists, one who designed the prints and another who engraved and printed them. In this theory I. A. M. could stand for "Johannes Aurifaber Meester" (Master John the Goldsmith), possiblyJohannes Ludolphi,agoldsmithwho arrived in Zwolle in 1479.[1][4]One variation of this theory supposes that the signature contains the marks of both artists: I. A. M. would be Johann van den Minnesten's signature, while the image of a drill is thehallmarkof the goldsmith / engraver.[1]This collaborative theory would explain the vast differences in composition between the still and simpleThe Madonna Seated, the Christ Child Holding the Crossand themanneristicallydynamicThe Betrayal of Christ.[1]

Work

edit
The Madonna Seated, the Christ Child Holding a Cross.Engraving, 21.8 x 17.7 cm (sheet size).
Allegory of the Transience of Life,(c. 1480–90), 33.3 x 22.6 cm, engraving printed on vellum, with hand-colouring.British Museum

Master I. A. M. produced original and inventive compositions in a style that has been variously described as "lively", "dramatic", "turbulent" "refined" and marked by "Dutch swagger".[5]His engraving technique was careful and neat but tending to dryness. Later prints show more dramatic use of tonal contrasts, in drapery and other areas. His faces mostly have Dutch peasant features, sometimes bordering on the grotesque. The major influence upon Master I. A. M.'s early work appears to have beenRogier van der Weyden,although he was also influenced byMartin Schongauer.Hieronymous Bosch,a contemporary, also appears to have influenced thegrotesquefigures inThe Betrayal of Christ:Bosch'sChrist Carrying the Crossof Vienna is particularly similar.[3]

The artist's style appears to have changed dramatically around 1485; the drapery of his figures became more sculptural, separated into broad planes like contemporary wood sculptures, as opposed to his earlier and more fluid style.[3]This has generated speculation among scholars that some of these later prints were either designs for woodrelief sculptures,or were based upon reliefs that are now lost.[3]This is partially supported by records that Johan van den Minnesten was commissioned to paint several relief sculptures.[1]

His most involved work was a series ofpassionengravings, of which onlyThe Last Supper,The Agony in the Garden,andThe Betrayal of Christsurvive.

List of works

edit

Dimensions given are that of the image. The essence ofprintmakingis the production of multiple images, so most of these works exist in more than one copy and are in the collections of several museums. As with most 15th-centuryprints,surviving impressions of his works are rare - the threePassionprints survive in 8,8 and 20 impressions only.[1]The works can only be approximately dated, if at all, because so little is known about Master I. A. M.'s life. None of the prints were titled, so they are given generic or descriptive titles that vary slightly between sources. The individual impressions also vary in sheet size.

  • The Adoration of the Magi35.3 x 24 cm
  • The Last Supper34.7 x 26.8 cm
  • The Agony in the Garden39.5 x 29.6 cm
  • The Betrayal of Christ34.1 x 26.8 cm
  • The Large Crucifixion with the Horsemen35.8 x 24.8 cm
  • The Lamentation over Christ(Pietà) 26.3 x 30 cm
  • Christ Blessing23.5 x 14.3 cm
  • The Virgin and Child with Cherries at the Window22.5 x 16.2 cm (irregular)
  • The Madonna Seated, the Christ Child Holding the Cross22.5 x 18 cm
  • The Virgin Standing on a Demon22.3 x 14.4 cm
  • The Virgin and Child, Turning over the Leaves of a Book23.8 x 19.5 cm
  • Saint Anne, the Virgin and Child on a Throne26.6 x 19.2 cm
  • Saint Augustine with the Heart, Pierced by an Arrow26.6 x 21 cm
  • Saint Bernard Kneeling before the Virgin32.6 x 26.1 cm
  • Saint Christopher on Horseback28.6 x 20.6 cm
  • Saint George20.5 x 13.8 cm
  • Mass of Saint Gregory10.2 x 6.4 cm (This particular engraving is a copy afterMaster W with the Key[6])
  • Mass of Saint Gregory15.2 x 12.4 cm
  • Mass of Saint Gregory32.3 x 22.4 cm
  • Allegory of the Transience of Life33.3 x 22.6 cm
  • Battle of Two Men with the Centaur15.7 x 22.2 cm
  • The Young Man and the Devil30.7 x 20.6 cm
  • Coat of Arms with a Greyhound Supported by a Savage7.7 cm in diameter
  • Gothic Canopy with Windows and Doors41.6 x 28.1 cm
  • The Crucifixion
  • Death''30.2 x 21.3 cm

Legacy

edit

Master I.A.M.'s prints were often copied by contemporary engravers,[3]but also by artists in other media. In particular the painterGian Francesco da Tolmezzobased his fresco in Provesano (c. 1496) uponThe Betrayal of Christ.[3]Francisco Henriquesalso based paintings upon I.A.M.'s engravings.[7]Lucas van Leidendeveloped his style from that of Master I.A.M. andAlbrecht Dürer.[4]

His prints were much sought after by prominent collectors. The English writerSamuel Pepysowned copies of thePietàandThe Last Supper,[1]andFerdinand Columbus(the son ofChristopher Columbus) owned a copy ofAllegory of the Transience of Life.[2]

References

edit
  1. ^abcdefghijkHutchison, Jane Campbell (1993). Spangenberg, Kristin L. (ed.).Six Centuries of Master Prints: treasures from the Herbert Greer French collection.Cincinnati:Cincinnati Art Museum.pp. 11–12.ISBN0-931537-15-0.
  2. ^abMaster I. A. M. of ZwolleArchived2011-08-11 at theWayback Machineon the Website of theBritish Museum
  3. ^abcdefShestack, Alan (1967).Fifteenth Century Engravings of Northern Europe.Washington, D. C.:National Gallery of Art, Washington.pp. (exhibition numbers) 134–137.
  4. ^abA Hyatt Mayor,Prints and People,Metropolitan Museum of Art/Princeton, 1971, no. 137,ISBN0-691-00326-2
  5. ^Shestack, Mayor, McDonald ops. cit
  6. ^Hollstein, F. W. H.Dutch and Flemish Engravings and Woodcuts, Volume 12: Masters and Monogrammists of the 15th Century.Amsterdam: Menno Hertzberger. p. 273.
  7. ^"Biography of Francisco Henriques on the Web Gallery of Art".Archivedfrom the original on 2016-03-03.Retrieved2021-07-11.
edit
Wikimedia Commons has media related toMaster I. A. M. of Zwolle.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Master_I._A._M._of_Zwolle&oldid=1156204404"