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_dBAKER
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042 _alccopycat
050 0 4 _aND588.M25
_bM33 1994
082 0 4 _a759.03
100 1 _aMacGregor, Neil,
_d1946-
_eauthor.
_9407684
245 1 2 _aA victim of anonymity :
_bthe Master of the Saint Bartholomew Altarpiece /
_cNeil MacGregor.
264 1 _aNew York, N.Y. :
_bThames and Hudson,
_c1994.
300 _a48 pages :
_billustrations ;
_c22 cm.
336 _atext
_btxt
_2rdacontent
337 _aunmediated
_bn
_2rdamedia
338 _avolume
_bnc
_2rdacarrier
490 1 _aTwenty-fifth of the Walter Neurath memorial lectures
504 _aIncludes bibliographical references (pages 46-48).
520 _aAre there miscarriages of justice in art history? Neil MacGregor believes there are. However great an artist, if his name is lost he will not receive a fair verdict from posterity. No exhibition will be devoted to his work; no books will be written about him; he will not even figure in indexes.
520 8 _aAmong these neglected geniuses is the 15th-century painter known only as the Master of the Saint Bartholomew Altarpiece. He may have been Netherlandish or German; he may or may not have been a monk. On stylistic grounds an oeuvre of half a dozen paintings, three of them large altarpieces, are attributed to him, and from them a vivid, if hypothetical, personality can be built up: emotional, compassionate, observant, original, humorous.
520 8 _aAll that is certain is that he was a great painter whose name, if known, would rank with Botticelli or Holbein. In A Victim of Anonymity, the Director of the National Gallery, London, corrects the judgment of history by demonstrating the power of this unacknowledged master. MacGregor makes us look closely at works that are all too easily passed over, showing us a peerless artist whose paintings derive their fame from nothing but their own superlative merits.
588 _aMachine converted from AACR2 source record.
600 0 0 _aMaster of the Saint Bartholomew Altarpiece,
_dactive 15th century
_9407685
650 0 _aArt, European
_9314022
830 0 _aWalter Neurath memorial lectures ;
_v25th.
_91038386
907 _a.b10643655
_b11-07-17
_c27-10-15
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