Notname in the context of "Max J. Friedländer"

Master E. S. (c. 1420 – c. 1468; previously known as the Master of 1466) is an unidentified German engraver, goldsmith, and printmaker of the late Gothic period. He was the first major German artist of old master prints and was greatly copied and imitated. The name assigned to him by art historians, Master E. S., is derived from the monogram, E. S., which appears on eighteen of his prints (variants appear on others). The title, Master, is used for unidentified artists who operated independently. He was probably the first printmaker to place his initials on his work.

Remaining signed works by E. S. indicate that he was active in printmaking from 1450 to 1467, the latest date to appear on one of his prints. After this date, he is presumed to have died. He was the most distinguished German engraver before Martin Schongauer.

Early Netherlandish Painting (German: Die altniederländische Malerei) is a pioneering 14-volume series of illustrated books by the German art historian Max Jakob Friedländer (1867–1958). The first volume was published in 1924, and the series ran until 1937. It was the first comprehensive modern art-historical survey of Early Netherlandish painting, a term often used in art history to describe artists of the Low Countries during the 15th- and 16th-century Northern Renaissance.

Friedländer developed an interest in northern art of the period while director of the Kaiser-Friedrich-Museum in the late 1920s and early 1930s. The collection included a large selection of Flemish paintings, including Jan van Eyck's Madonna in the Church, Rogier van der Weyden's Miraflores Altarpiece and Saint John Altarpiece, and Hugo van der Goes's Adoration of the Magi. Friedländer was struck by the lack of biographical detail on even the most accomplished of the artists, some of whom were still identified by notnames, the sometimes poorly supported attributions, and general historical neglect.

Antwerp Mannerism refers to the style of a group of largely anonymous painters active in the southern Netherlands, principally in Antwerp, in roughly the first three decades of the 16th century. The movement marks the tail end of Early Netherlandish painting and an early phase within Dutch and Flemish Renaissance painting. The style bore no relation to Italian Mannerism, which it mostly predates by a few years, but the name suggests that it was a reaction to the "classic" style of the earlier Flemish painters, just as the Italian Mannerists were reacting to, or trying to go beyond, the classicism of High Renaissance art.

The Antwerp Mannerists' style is certainly "mannered", and "characterized by an artificial elegance. Their paintings typically feature elongated figures posed in affected, twisting, postures, colorful ornate costumes, fluttering drapery, Italianate architecture decorated with grotesque ornament, and crowded groups of figures...". Joseph Koerner notes "a diffuse sense of outlandishness in Antwerp art, of an exoticism both of subject and means ... evoking a non-localized elsewhere".

The Antiphon Painter (fl. 495–480 BC) is the Notname for an Athenian red-figure vase-painter active in ancient Greece during the early 5th century BC. He owes his name to a double Kalos inscription of Antiphon on the dinos stand in the Antique collection of Berlin (Inventory number F 2325). He learned his handicraft in the workshop of Euphronios and Onesimos. There he worked closely with them, the Kalmarer Painter and other painters.

There are about 100 drinking containers of his (primarily kylikes) known to us. They almost exclusively depict the life of the aristocratic youth of Athens. They are shown as athletes, in symposia, in komos scenes, and with their horses or in arms. Representations of women – in particular Hetairai – are rare, as are mythological topics. When he depicts mythological subjects, they are usually the heroic acts of Herakles or Theseus. One of his bowls possibly refers to the Battle of Marathon (Orvieto, Collection Faina).

The Bedford Master was a manuscript illuminator active in Paris during the fifteenth century. He is named for the work he did on two books illustrated for John of Lancaster, 1st Duke of Bedford between 1415 and 1435. One is the Bedford Hours, a book of hours in the British Library (Add. MS 18850); the other, the Salisbury Breviary, is in the Bibliothèque nationale de France (MS lat. 17294). Another manuscript is in the Royal Collection. The Bedford Master is known to have been the head of a workshop; his chief assistant is known as the Chief Associate of the Bedford Master.

Recent scholarship has tended to move from talking about the "Bedford Master" to the "Bedford Workshop" and even the Bedford Trend, a term introduced by Millard Meiss in 1967, which includes a wider period leading up to the key Bedford works. A "Master of the Bedford Trend" has also been attributed with some works. One possible candidate for the identity of the Bedford Master is "Haincelin of Hagenau" in Alsace, who was recorded in Paris between 1403 and 1424, and was perhaps the father of "Jean Haincelin", active between at least 1438 and 1449, and was perhaps the "Dunois Master" who has been given a group of late Bedford-style manuscripts.