Influences Stefan Lochner

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lochner s art seems indebted 2 broad sources; netherlandish artists van eyck , robert campin, , earlier german masters conrad von soest , master of saint veronica. former lochner drew realism in depicting naturalistic backgrounds, objects , clothes. latter adopted antiquated manner of depicting figures, females, doll-like, eloquent , sensitive features, present iconic, timeless atmospheres, enhanced old-fashioned gold backgrounds. lochner s figures have idealised facial features typical of medieval portraiture. subjects, females in particular, have high foreheads, long noses, small rounded chins, tucked blond curls , prominent ears typical of late gothic, giving them characteristic monumentality of 13th-century art, placing them on seemingly similar shallow backgrounds.


lochner saw van eyck s c. 1432 ghent altarpiece during visit netherlands , seems have borrowed number of compositional elements. similarities include manner in figures engage space , emphasis on , rendering of elements such brocades, gems , metals. figures in lochner s paintings directly borrowed ghent, , number of facial features match seen in van eyck. virgin violet has been compared van eyck s 1439 virgin @ fountain. in van eyck s work, lochner s angels sing or play musical instruments, including lutes , organs.


he seemingly rejected aspects of van eyckian realism, notably in depictions of shadows, , unwillingness apply transparent glazes. colourist, lochner more inclined towards international gothic style, if inhibited realism. did not utilise newly developed netherlandish techniques of representing perspective, rather indicated distance through diminution of parallel objects.








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