( fl Ghent and/or Bruges, c. 1490–1500). South Netherlandish painter. Friedländer assembled the Master’s small oeuvre in 1926: the artist is named after a diptych with the Adoration of the Magi (Kiev, Mus. W. & Orient. A.), previously in the Khanenko (Chanjenko) collection. Other works published by Friedländer consist of a half-length Virgin and Child (Dessau, Staatl. Gal.), a drastically cut down triptych of the Adoration of the Magi, also depicted half-length (Saint-Omer, Mus. Hôtel Sandelin), and, finally, a Virgin Suckling the Child in a Landscape (Stuttgart, Staatsgal.), with a background similar to the landscapes of Gerard David and Joachim Patinir. However, there is no general agreement concerning these attributions. Neither Winkler nor Fenyö accepted the Stuttgart and Dessau panels as by the Khanenko Master, while Fenyö added to the Master’s corpus another Adoration of the Magi (Budapest, priv. col., see Fenyö, pp. 24–6), previously given to Hugo van der Goes. He noted that the Master’s style was shaped by that of Hugo van der Goes and Hans Memling, but that its main source was the oeuvre of the Master of Flémalle. The moon-shaped head of the Virgin, which is indeed reminiscent of the Master of Flémalle, recurs in the Dessau, Kiev, Saint-Omer and Stuttgart compositions. Boon’s suggestion that the Khanenko Master and the Master of the Turin Crucifixion are identical has not found general acceptance. However, an Adoration (Hulshorst, W. H. de Monchy priv. col.), questioned by Friedländer, was exhibited in 1970 as by the Master of the Turin Crucifixion (Amsterdam, P. de Boer, no cat. no.).

Part of the Masters, anonymous, and monogrammists family