( fl c. 1500). Netherlandish painter. He was named (by Friedländer) after a panel of the Death of the Virgin (c. 1500; Amsterdam, Rijksmus.), which portrays the Virgin and the Apostles in a complex interior space, warm and intimate in mood, and populated by small, gesturing figures with tiny hands and heads but bulky, drapery-clad torsos. Hoogewerff, however, preferred the name the Master of the Almshouse of the Seven Electors, after the institution that gave the painting to the Rijksmuseum. Hoogewerff also attributed some of the panels that Friedländer had grouped around this painter to another, shadowy artist: the Master of the Lantern. There is also disagreement over his domicile: Friedländer related him stylistically to Amsterdam, Hoogewerff to the Utrecht school of book illustrators (see UTRECHT, §2). The painter’s delicate execution, minute details and enclosed settings certainly recall a miniaturist tradition. A Last Supper (Amsterdam, Rijksmus.) attributed to him closely resembles an illumination of the same subject in the Hours of Catherine of Cleves (New York, Pierpont Morgan Lib., MS. M. 917, fol. 142v), which was executed in Utrecht c. 1440. The double portrait of a Utrecht burgomaster and his wife, Dirk Borre van Amerongen and Maria van Snellenberg (Rotterdam, Mus. Boymans–van Beuningen), also suggests that the artist had ties to that city. Furthermore, his small Adoration triptych (ex-Glitza priv. col., Hamburg) includes the distinctive tower of Utrecht Cathedral in the background of the right exterior shutter.

Part of the Masters, anonymous, and monogrammists family