Context: Mannerism is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, lasting until about 1580 in Italy, when the Baroque style began to replace it. Northern Mannerism continued into the early 17th century., Max Jakob Friedländer (5 July 1867, Berlin  11 October 1958, Amsterdam) was a German curator and art historian (not to be confused with the unrelated Walter Friedländer). He was a specialist in Early Netherlandish painting and the Northern Renaissance, who volunteered at the "Kupferstichkabinett" or prints collection of the Gemäldegalerie, Berlin in 1891 under Friedrich Lippmann. On Lippmann's recommendation, Wilhelm von Bode took him on as his assistant in 1896 for the paintings division. He was appointed deputy director under Bode in 1904 and became director himself from 1924 to 1932, working on his history "From Van Eyck to Bruegel" and the 14-volume (printed in 16, with supplements) survey "Early Netherlandish Painting". He also donated several works to the collection and worked in the art trade as an advisor, to Hermann Göring among others. He moved to Amsterdam in 1939. He attained the rank and title of geheimrat (privy councillor) under the German Empire., Antwerp Mannerism is the name given to the style of a group of largely anonymous painters active in the Southern Netherlands and principally in Antwerp in the beginning of the 16th century. The style bore no relation to Renaissance or Italian Mannerism, but the name suggests a peculiarity that was a reaction to the "classic" style of the earlier Flemish painters. 
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The term Antwerp Manierists' was first used in 1915 by Max Jakob Friedländer in his work "Die Antwerpener Manieristen von 1520", in which he made a first attempt to put order in the growing number of works from the Netherlands that were catalogued under the 'name of embarrassment 'pseudo-Herri met de Bles'. Friedländer used the term Antwerp Mannerism here as synonymous for "Antwerp style". Even though he added the location 'Antwerp' to name the artists and placed them in the year 1520, Friedländer made it clear that he did not intend to limit the group strictly to Antwerp and the time period to circae 1520, even though he was of the opinion that most of the "pseudo-Bles' works originated from Antwerp and Antwerp workshops. Friedländer placed the works attributed to the group in a time period between 1500 and 1530., Jan Mertens the Younger (died c. 1527) was a South Netherlandish painter, at the end of the period of Early Netherlandish painting. He was born and died in Antwerp. His father was the sculptor Jan Mertens the Elder, whose family is thought to have originated in Tournai. Mertens the Younger was apprenticed to the painter Jan Gossaert in 1505, and he became a master of the Antwerp painters' guild in 1509. He was the father-in-law (and perhaps teacher) of Pieter Coecke van Aelst, who married Mertenss daughter Anna before 1526, and whose work has been used as the basis for the identification of Mertens with the Master of 1518, an Antwerp painter named after the date inscribed on the painted wings of a carved wooden altarpiece of the Life of the Virgin in St. Mary's Church, Lübeck. , Jan van Dornicke was a South Netherlandish painter who was born about 1470 and died about 1527 . His first name is sometimes spelled `` Janssone '' , and his last name is sometimes spelled `` van Doornik '' or `` van Dornick '' . He was active in Antwerp from about 1509 to about 1525 . His paintings are classified stylistically as Antwerp Mannerism , and he may be the same person as the Master of 1518 . This Jan van Dornicke should not be confused with an eighteenth - century Dutch artist who had the same name ., The Master of 1518 is a Flemish painter belonging to the stylistic school of Antwerp Mannerism. A group of unsigned paintings is attributed to this artist on stylistic grounds, and his name is derived from the date inscribed on the painted wings of a carved wooden altarpiece of the Life of the Virgin in St. Mary's Church in Lübeck German. Although this artists identity is not known with certainty, some scholars believe that the Master of 1518 was either Jan Mertens the Younger or Jan van Dornicke, or that all three were the same person. His paintings are primarily crowded depictions of religious scenes combining Gothic and Renaissance styles. He frequently incorporated elaborate clothing and architectural ruins., Subject: jan van dornicke, Relation: country_of_citizenship, Options: (A) german empire (B) italy (C) lübeck (D) southern netherlands (E) teacher
Output: southern netherlands