Master I. A. M. of Zwolle

His work is characterized by crowded and active scenes of people, graded tones and crisp strokes.

[1] This obscure artist was a painter in Zwolle, but none of his works have survived, so it is impossible to prove a connection on stylistic grounds.

A. M. is a record that his son, also named Johan, was paid to print several engravings for the city of Zwolle in 1545; these were possibly plates inherited from his father.

A. M. produced original and inventive compositions in a style that has been variously described as "lively", "dramatic", "turbulent" "refined" and marked by "Dutch swagger".

A. M.'s early work appears to have been Rogier van der Weyden, although he was also influenced by Martin Schongauer.

[3] This is partially supported by records that Johan van den Minnesten was commissioned to paint several relief sculptures.

[1] His most involved work was a series of passion engravings, of which only The Last Supper, The Agony in the Garden, and The Betrayal of Christ survive.

The essence of printmaking is the production of multiple images, so most of these works exist in more than one copy and are in the collections of several museums.

In particular the painter Gian Francesco da Tolmezzo based his fresco in Provesano (c. 1496) upon The Betrayal of Christ.

The Betrayal of Christ, (c. 1485). 35.6 x 27.2 cm (sheet size). This is one of a series of Passion prints by Master I. A. M. – others include The Last Supper and The Agony in the Garden . [ 1 ]
The signature of Master I. A. M. as it appears on The Madonna Seated, the Christ Child Holding the Cross . The object depicted is a medieval gold drill, the insignia of a goldsmith. Initially it was believed to represent a weaver's shuttle . [ 1 ]
The Madonna Seated, the Christ Child Holding a Cross . Engraving, 21.8 x 17.7 cm (sheet size).
Allegory of the Transience of Life ,( c. 1480 –90), 33.3 x 22.6 cm, engraving printed on vellum, with hand-colouring. British Museum