Master L. Cz.

Only twelve engravings by his hand are extant, but their virtuosity establishes him as a talented artist whose work marks a stylistic transition between that of Martin Schongauer and Albrecht Dürer.

[4] This theory was eventually rejected on the basis of his painterly style and German iconography, and the father of Lucas Cranach the Elder was proposed as another possibility.

today is most often associated with the anonymous artist known as the Master of the Strache Altar, to whom four paintings of passion scenes have been ascribed.

[4][9] Lorenz was probably a relative of Wolfgang Katzheimer, another Bamberg artist whose works show marked similarities to those of the Master of the Strache Altar.

soon began to move away from the "all-purpose medieval foliage" of Master E. S., placing the figures in Two Women on a Bridge and St. George and the Dragon (both c. 1485–90) in relatively naturalistic landscapes.

[4][5] It draws inspiration from the compositions of Michael Pacher and Master E. S., but marks a step forward from these models by integrating the monumental confrontation between good and evil into a fully realized landscape setting apparently observed from nature.

[4] Beyond providing specific models for later artists, the sheer size, ambition, and technical inventiveness of Master L.

's late work suggests his most important contribution: that he "developed a new concept of engraving as a medium capable of rivaling painting.