The painter and Franciscan conventual Martin Schwarz, active in Rothenburg around 1500, may not be among the most well-known German-speaking artists of the late 15th century, but his works exhibit a very high quality that distinguishes him from the many small, regionally active masters. It is no coincidence that Tilman Riemenschneider sought collaboration with the panel and façade painter Martin Schwarz. This monograph captures and interprets all available facts and archival materials related to Martin Schwarz, starting from the major Riemenschneider exhibition in 1981 and its catalog. This results in the image of a capable painter with solid training, whose significance, however, remained largely confined to the imperial city of Rothenburg and its immediate surroundings due to his clerical status. Some of Martin Schwarz's works may have been lost during the Reformation and secularization; however, a handful of panel paintings and façade paintings remain, which, after excluding many untenable attributions, form a well-defined oeuvre. The only exception is the frescoes in the sacristy of the Villingen Franciscan monastery, which, due to their poor state of preservation, do not allow for a definitive assessment. The documented work, including unique painting techniques such as press brocades, engraved gold grounds, etc., suggests that Martin Schwarz received his artistic training in the Upper Rhine region. Contrary to various speculations, however, a dependency on Martin Schongauer in the form of a teacher-student relationship has not been confirmed.