Biography

The name of this artist is due to Post (1933) who, in History of Spanish Painting, attributed a group of panels in the Museum of Fine Arts in Budapest to this master. Not finding where these paintings came from, he decided to use the name of the place where they were located: Budapest. Both Post (1933) and Mayer (1922) considered that the Master of Budapest must be close to the school of Fernando Gallego, however, according to Silva Maroto (1990) "there is nothing in them [the paintings] that can relate their author to Gallego, nor even to his circle". Among the characteristics of the master, he highlights "the darkness of the flesh [...], the color and other features such as the greater softness of the modeling" (Silva Maroto, 1990), as well as the elongated canon of his figures. Although Post (1933) associated some of the paintings of the Master of Budapest to the geographical area of Catalonia, specifically, to the Cathedral of Barcelona, Silva Maroto (1990) is inclined to think that the focus of this artist was in Burgos, an opinion that we also share. There are several works by this painter in museums and collections. Examples include the panel of the Desposorios de la Virgen (Barcelona Cathedral) or the Lamentation (Museum of Fine Arts, Budapest).

Bibliography

• GAYA NUÑO, Juan Antonio (1958): La pintura española fuera de España (historia y catálogo), Espasa-Calpe, Madrid.
• MAYER, August L. (1922): Geschichte der spanischen Malerei, vol. 1, Leipzig, p. 139.
• SILVA MAROTO, María Pilar (1990): Pintura hispanoflamenca castellana: Burgos y Palencia. Obras en tabla y sarga, vol. II, Junta de Castilla y León, Valladolid, pp. 642-651.