Adriaen Isenbrandt

Adriaen Isenbrandt or Adriaen Ysenbrandt was a painter in Bruges, in the final years of Early Netherlandish painting, and the first of the Dutch and Flemish Renaissance painting of the Northern Renaissance. Documentary evidence suggests he was a significant and successful artist of his period, even though no specific works by his hand are clearly documented. Art historians have conjectured that he operated a large workshop specializing in religious subjects and devotional paintings, which were executed in a conservative style in the tradition of the Early Netherlandish painting of the previous century. By his time, the new booming economy of Antwerp had made this the centre of painting in the Low Countries, but the previous centre of Bruges retained considerable prestige.
He was believed by Georges Hulin de Loo to be the same person as the anonymous Master of the Seven Sorrows of the Virgin or Pseudo-Mostaert. Other art historians doubt that any works can be reliably attributed to him, and the number of paintings attributed to him by major museums has been in decline for many decades.