Identifier: dictionaryofpain05brya (find matches)
Title: Dictionary of painters and engravers
Year: 1903 (1900s)
Authors: Bryan, Michael, 1757-1821 Williamson, George Charles, 1858-1942
Subjects: Painters Engravers
Publisher: London, G. Bell
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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seems clear that Schongauer, in additionto learning the goldsmiths craft, as a foundationfor his skill as an engraver, received his trainingas a painter in the Netherlands. Lambert Lombard,in a letter to Vasari, describes him as a pupil ofRogier van der Weyden, whose influence is ap-parent in Schongauers masterpiece, The Madonnaof the Rose Garden, dated on the back 1473, inSt. Martins Church, Colmar. An old copy of thispicture, on a small 6cale, in the collection of Mrs.Gardner at Boston, preserves the complete com-position of the original, which has been greatly cutdown. In 1477 Schongauer bought a new house.In 1488 be founded an anniversary mass for hieparents and himself at St Martins. In 1489 hewas a citizen of Breisach, and there be died, ap-parently unmarried, in 1491 (probably on February2, certainly before June). He seems to havepainted his own portrait in 1483 : a copy of this,much later, by Burgkmair, is in the Munich Gal-lery, another old copy, with the date 1453, at Siena.
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, J//r ( f/r/i/i in a ■ Srf/rti r/ ■ Ar,/r.f ZTrtrm the fumUi/l/ftru. Jtartin </t/ /,<i»/irr in i/ir PAINTEES AND ENGKAVERS. No picture is certified by signature or documentas Schongauers work. The pictures nearest tohim in style, after the Colmar Madonna, are twosmall Holy Families, at Munich and Vienna, andan Adoration of the Shepherds, at Berlin. Twowings of an altar-piece from Isenheim, represent-ing the Annunciation on one side, The Virginadoring Christ and St. Anthony on the other, arethe best pictures called by his name in the ColmarMuseum ; the Passion, in sixteen subjects, is aBchool work; so is the so-called SchongauerAltar in the Ulm Minster. There are more than ahundred engravings authenticated by his signature,the initials M.S., with a cross, one arm of whichis hooked. Schongauers Madonnas and Saintsare distinguished by their tenderness, purity, andreverence ; his type of Christ is also most refined.He was not a consummate draughtsman, but inthe techni

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