Anonymous Masters
In Europe, starting from the 13th century, the local artistic production was regulated by guilds and cooperatives of artists. In this context, there was no need to celebrate individual creativity thus, artworks were not signed.
How the study begins
When starting the study of an unknown master, historians begin by assigning a temporary name suggested by the type of artwork or the location of its discovery. In time, comparisons with artworks similar in style will refine the profiling of the artist or of his circle.
These artworks by the Master of Sant'Ivo, the Master of Teplice and the Master of the Fabriano's Magi, are identified through to the similarities between them and the artworks mentioned in the name of their Masters.
A first clue
In the quest to an attribution, the medium of an artwork can be a first clue in assessing its origin. For example, starting from the 14th century, ivory became popular in the production of religious icons or decorative elements across southern Germany and the south of France.
Monogrammers
A peculiar situation is carried by some Flemish artists between the 16th and 17th century. Although they used monograms or symbols to sign their artworks, their true name is still unknown. In this case, recognizing the stylistic influence from other artists can help to set the time and place of activity of these masters.
Monogrammist IS
For example, the Monogrammist IS was strongly influenced by Rembrandt's style. The works attributed to him are usually half length portraits of old people, of interiors and of food still life.
Two flute players (1640 ca.) by Bartolomeo Mendozzi, Bartoloemo della Leonessa (Maestro dell'incredulità di San Tommaso)Biennale Internazionale dell'Antiquariato di Firenze
The Master of the Incredulity of Saint Thomas
The Master of the Incredulity of Saint Thomas is named after a painting in the Galleria Borghese in Rome. The Master was a caravaggesque painter active in Rome in the 17th century: recent studies have identified him in the painter Bartolomeo Mendozzi.
St. Judas (0) by Bartolomeo Mendozzi, Bartoloemo della Leonessa (Maestro dell'incredulità di San Tommaso)Biennale Internazionale dell'Antiquariato di Firenze
In the study of more elaborate artworks, the materials used and the details in it are resourceful coordinates in hinting a date and a place of origin.
Judith and Olophernes (mid XVIII) by anonymousBiennale Internazionale dell'Antiquariato di Firenze
In the study of more elaborate artworks, the materials used and the details in it are resourceful coordinates in hinting a date and a place of origin.
The Italian style of the details of the dresses in this composition allow to date this artwork around the mid 18th century. In the same century, this kind of wax works became fashionable and the Neapolitan region was an important centre of production.
When combined to the style of an artwork, the presence of a specific theme or subject becomes a driver in the process of identifying the date of an artwork by an unknown artist.
This Flemish marble represents the "Woman of the Apocalypse" which is rendered in accordance to its iconographic tradition, which became popular in Northern Europe in the mid 15th century. However, the way the marble has been crafted allows to date the artwork around the 18th century.
We would like to thank: Alberto Di Castro, Longari Arte Milano, Salamon gallery, Giovanni Asioli Antiquari, Nicholas Hall, Giacometti Old Masters, Roberto Campobasso Antiquari and
Galerie Sismann.
Thanks to Luigi de Benedetto for curating the project.
