Master of the Plump-Cheeked Madonnas instance of human
Identification of the oeuvre
In an article published in 2000, the Belgian art historian Didier Martens grouped eight paintings together under the notname Master of the Plump-Cheeked Madonnas.  The key work around which he built the identification was the Virgin and Child with Saints Dominic, Augustine, Margaret and Barbara (at that time in the collection of the Metropolitan Museum and since auctioned by Christie's on 29 January 2014, New York, lot 105).  On stylistic grounds Didier Martens attributed the works to an anonymous painter believed to have been active in Bruges during the first half of the 16th century. All of the works contain female figures which are characterised by their rounded, full faces.  It is this key feature that gave rise to the naming of the artist as the 'Master of the Plump-Cheeked Madonnas'.  In particular, the faces of the female figures in these works show a strong resemblance to each other: the forehead is high and clear, the eyes are half-closed, the eyelids are fat, the eyebrows are fine and curved, the nose ends on a straight edge and the nostrils are narrow.  Stylistically the paintings are close to the mature work of other Bruges painters such as Gerard David and Ambrosius Benson.
Whereas the artist was likely active in Bruges as is evidenced by the clear influence of the Bruges style on his work it does not necessarily mean that he was a native of Bruges.
type of example of manifestation of representation of