ALL, MASTER OF
Chronological frameworkSecond and Third quarter of the 15th century
Geographical FrameworkCatalonia (regions of Alt Pirineu and Aran) and Andorra.
Tempera, gold and metal leaf on wood.
Profile and historiographical debate
All's master is a mid-15th century painter who worked in the Pyrenean region of the Diocese of Urgell and the Catalan territories of Comenge. The large number of works that are attributed to this master cover a wide geographical range within the Principality of Andorra and the Catalan territories of Alt Urgell, Cerdanya, Pallars Jussà and Vall d’Aran. His work falls within the international gothic style, but with extremely significant influences of Flemish painting. Given the strong relationship between some of his works and the works of Bernat Despuig and Jaume Cirera, it could be presumed that All’s master was trained in those painter’s workshop, which was placed in Barcelona and still active in the second quarter of the 15th century.
On the basis of geographical and stylistic reasons, the detailed professional, cultural and artistic curriculum of All’s master started being defined in the 1930s. It was Ch. R. Post who renamed this painter All’s master in 1941. In 1955 Josep Gudiol i Ricart associated this master with the painter Ramon Gonçalbo. This last painter, who came from La Seu d’Urgell, was placed in Barcelona and La Seu d’Urgell between 1428 and 1475. It seems worth considering this hypothesis due to geographical, chronological and stylistic reasons. Firstly, both painters worked in Alt Urgell. Secondly, Bernat Despuig and Jaume Cirera exercised a great influence on Ramon Gonçalbo’s artistic production. Finally, the relationship between these three painters is well-known through the existing documents.
Texto: Cèsar Favà
- Altarpiece of the Mare de Déu de Santa Maria d’All (Isòvol, la Cerdanya). Even though the altarpiece has now disappeared, photographic documentation is still available.
- Panel depicting the Virgin with Child, musician angels and liturgical singers from Santa Eulàlia d’Encamp (Andorra) (Museu Nacional d’Art de Catalunya, inv. n. 15793).
- Panels from the altarpiece of Santa Maria d’Arties (Naut Aran, Val d’Aran).
- Altarpiece of the Mare de Déu de Santa Maria d’Espui (la Torre de Capdella, Pallars Jussà), Detroit Institute of Arts (Michigan).
- Panel of santa Eulalia (Museu Nacional d’Art de Catalunya, inv. n. 5089), which is stored in the Council of Barcelona.
- Panels from a predella from Sant Miquel of La Seu d’Urgell (Museo Maricel de Sitges, inv. n. 91).
- Panels from a predella (Museo Maricel de Sitges, inv. n. 97).
- Two panels from an altarpiece of St. Peter depicting the Quo Vadis and the Crucifixion of St. Peter (Museo Maricel Sitges, inv. n. 95 and 96).
- Panel depicting the Calvary, which was previously stored in a Viennese private collection..
- Panel depicting the Calvary (private collection in Madrid).
- Two panels from a predella depicting the Virgen Dolorosa and St. Peter (Galería Bernat of Barcelona).
- Central panel from the altarpiece of sant Climent de Fórnols (la Vansa i Fórnols, Alt Urgell).
- Altarpiece of sant Martí de Gausac (Vielha e Mijaran, Val d’Aran). Even though the altarpiece has now disappeared, photographic documentation is still available.
- Panel depicting Ángel con la sagrada esponja (Patrimoni Cultural d’Andorra, inv. n. 1334), from Santa Eulàlia d’Encamp (Andorra).
- Central panel from an altarpiece devoted to a holy pope (Clement?).
- Panels from a predella. Even though these panels have now disappeared, photographic documentation from Coll de Nargó is still available.
POST VIII-II 1941: 608-612, figs. 288-290; POST IX-II 1947: 755, fig. 310; GUDIOL RICART 1955: 112; POST XIII 1966: 301, fig. 118; AINAUD 1976, s.p., núms. 114746 i 114747; GUDIOL-ALCOLEA 1986:194-195, cat. núms. 619-628, figs. 960 i s; VELA 1989: 22; AINAUD 1990: 85; BESERAN 2000: 173-174; BERLABÉ 2005: 315-317; ROS I 2005, cap. 4.1; COMPANY-PUIG 2006: 188-190; GASCÓN-FONT 2006: 36-43, esp. p. 42-43; VELASCO 2006: 29-30, n. 32; LÓPEZ- PUJOL -TARRÉS 2009: 200; VELASCO 2011: 51-55; FAVÀ 2013, s.p.; FAVÀ 2014: 70-90.