Master I. A. M. of Zwolle (known works 1470–1490, lifetime estimated as ca. 1440–1504) was an anonymous Dutch goldsmith and engraver who signed many of his works with his initials I. A. M. or I. A., and added "Zwolle" to some. His work is characterized by crowded and active scenes of people, graded tones and crisp strokes. Only 26 works by his hand are extant. Identity One theory of Master I. A. M.'s identity points to Johan van den Minnesten (also spelled Mynnesten, b. , d. 1504) as the artist behind the engravings. This obscure artist was a painter in Zwolle, but none of his works have survived, so it is impossible to prove a connection on stylistic grounds. The only link between him and Master I. A. M. is a record that his son, also named Johan, was paid to print several engravings for the city of Zwolle in 1545; these were possibly plates inherited from his father. Another theory posits that Master I.A.M's prints were produced by two collaborating artists, one who designed the prints and another who engraved and printed them. In this theory I. A. M. could stand for "Johannes Aurifaber Meester" (Master John the Goldsmith), possibly Johannes Ludolphi, a goldsmith who arrived in Zwolle in 1479. One variation of this theory supposes that the signature contains the marks of both artists: I. A. M. would be Johann van den Minnesten's signature, while the image of a drill is the hallmark of the goldsmith / engraver. This collaborative theory would explain the vast differences in composition between the still and simple The Madonna Seated, the Christ Child Holding the Cross and the manneristically dynamic The Betrayal of Christ. Work Master I. A. M. produced original and inventive compositions in a style that has been variously described as "lively", "dramatic", "turbulent" "refined" and marked by "Dutch swagger". His engraving technique was careful and neat but tending to dryness. Later prints show more dramatic use of tonal contrasts, in drapery and other areas. His faces mostly have Dutch peasant features, sometimes bordering on the grotesque. The major influence upon Master I. A. M.'s early work appears to have been Rogier van der Weyden, although he was also influenced by Martin Schongauer. Hieronymous Bosch, a contemporary, also appears to have influenced the grotesque figures in The Betrayal of Christ: Bosch's Christ Carrying the Cross of Vienna is particularly similar.