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Netherlandish, active probably third quarter 15th century
Hulin de Loo first isolated the work of this painter from the general production of Rogier van der Weyden's workshop, hypothesizing that it was by the young Hans Memling while a member of Rogier's shop. However, the paintings attributable to this hand, five scenes from the infancy of Christ and one from the life of Saint Francis, are instead by a contemporary of Memling active probably in the third quarter of the fifteenth century. This painter may indeed have belonged to Van der Weyden's workshop, since his paintings display a familiarity with Rogier's mature work, particularly the Columba altarpiece now in the Alte Pinakothek, Munich. He must have been of the same generation as Memling and the Master of the Saint Catherine Legend, the latter very possibly identical with Rogier's son Pieter van der Weyden. His paintings employ many of the motifs found in their paintings. He has here been named after The Adoration of the Magi in the Prado, which formed the centerpiece of Hulin de Loo's group of attributed works and is itself based on the central panel of the Columba altarpiece.
[Hand, John Oliver, and Martha Wolff. Early Netherlandish Painting. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1986: 155.]