Follower Of The "master Of 1499" (late XV - Early XVII Century), Blessing Christ

Follower of the "Master of 1499" (late XV - early XVII century)
Blessing Christ
Oil on copper, 29 x 28 cm
With frame, cm 62 x 68

The work under examination, a small painting on copper made during the mid-sixteenth century and preserved in important frame of the seventeenth century, shows substantial reminiscences with some faces of Christ painted in the early 16th century in the area between Antwerp and Ghent. In particular, they recall the portrait typologies of an anonymous painter from the southern Netherlands active around the end of the 15th century known as "De Meester van 1499" (late XV - early XVII century).
He owes his nickname to the work that is certainly attributed to him, the diptych of Abbot Christiaan de Hondt, now at the Royal Museum of Fine Arts in Antwerp. On the back, this masterpiece of the master is signed with the date 1499, which gave it its emergency name. In addition to this diptych, he is also credited with a second work, the Annunciation Diptych in the Gemäldegalerie of the Staatliche Museen in Berlin, shown here. Both diptychs are rather small for an oil painting and resemble miniatures. Bodo Brinkman suggested that the Maestro of 1499 would also have been the author of a miniature with the Madonna in the tides of Hastings and thus places him as a miniaturist who was part of the school of Gent-Bruges and, in addition to the illumination of the book, also small diptychs for private devotion and possibly other painting.
Contrary to what his old emergency name of the "Master of 1499" suggests, he is presumed to have worked in Ghent around 1500, although there is no certainty. The influence of Hugo van der Goes, which art historians say can be found in his work, is even more likely to have been in Ghent than Bruges. 
See for comparison the Christ Salvator Mundi in private collection in Budapest, the one in private collection in London or the panel with the profile of Christ published in the RKD. The three works are recorded as examples painted by a follower of the Master, but, as in our painting, they echo the elongated features of the face, the simplicity of the red cloaks and the general essentiality of the setting.

The object is in good condition

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