Master of the Stauffenberg Altarpiece the outer panels next to a Crucifixion and have been identified by their coats of arms. When opened the Stauffenberg altarpiece shows, from left to right, the Annunciation, the Descent from the Cross and the Nativity — two joys of Mary framing one of her sorrows. It was kept in the Monastery of St. Anthony in Isenheim near Colmar for which Matthias Grünewald subsequently painted his Isenheim Altarpiece. Master of the Stauffenberg Altarpiece The Master of the Stauffenberg Altarpiece () is a 15th-century Anonymous Master from Alsace or nearby who was stylistically influenced by Rogier van der Weyden. His name
Early Netherlandish painting both sides or with the reverse bearing family emblems, crests or ancillary outline sketches. In the case of single panels, the markings on the reverse are often wholly unrelated to the obverse and may be later additions, or as Campbell speculates, "done for the artist's amusement". Painting each side of a panel was practical since it prevented the wood from warping. Usually the frames of hinged works were constructed before the individual panels were worked on. Glue binder was often used as an inexpensive alternative to oil. Many works using this medium were produced but few survive today because of