He was influenced by advances in oil on canvas panel painting, especially the works and approach of Hugo van der Goes, and may have been also a painter himself. His illuminations are characterised by a tendency towards a dark palette,[2] an aesthetic favoured by the court of the time, as well as innovative uses of trompe-l'œil devices in both his miniatures and border decorations. While a relatively small number of works have been attributed to him, the master is seen as one of the chief innovators of late 15th century manuscript illumination.
Livre de prière de Charles le Téméraire, J. Paul Getty Museum, Ms. 37. La Déposition de croix, fol. 111v
One of the most talented and innovative artists of his generation, he is known to have been influenced by contemporary panel painters, including van der Goes, Justus van Gent, Rogier van der Weyden, and Jan van Eyck,[3] although in tone and style only, direct figurative borrowings are rare,[2] and he may himself have been a panel painter - both van Eyck and Rogier are known to have worked on illuminations.
During his career he made a number of iconographic and formal innovations, and is today seen as the main innovator in bringing about a new style of Flemish illumination in the 1470s and 1480s.[4] He was highly regarded by wealthy and powerful patrons in his lifetime, and followed by a great number of imitators.[5] A small number of extant drawings are also attributed to him.[6]
The master's illustrations in the Hours of Mary of Burgundy can be characterised by the use of everyday devotional objects, including books and rosary beads, as well as domestic settings, to frame images of the Virgin and Child, thereby bringing the sacred into domestic, earthly spaces.[7]
From the Book of Charles the Bold
He achieved the modeling of figures and objects by building layers of paint in thin but visible strokes, rather than the then convention of hatching. One of his characteristic techniques was to place religious scenes behind a window, create an illusion of depth, and with the scene in the background intended as the main focus of interest. The two most well known examples of this are the "Virgin and Child" and "Christ nailed to the Cross" miniatures for the Mary of Burgundy book.[4]
Pächt, Otto. "The Master of Mary of Burgundy". The Burlington Magazine for Connoisseurs, Volume 85, No. 501, 1944
Pächt, Otto.The Master of Mary of Burgundy, Faber & Faber, 1948
van Buren, Anne. "The Master of Mary of Burgundy and His Colleagues: The State of Research and Questions of Method". Zeitschrift für Kunstgeschichte, 38. Bd., H. 3/4, 1975
Woods, Kim. Viewing Renaissance Art. Yale University Press, 2007. ISBN978-0-3001-2343-2
May 04, 2024
master, mary, burgundy, flemish, illuminator, painter, draughtsman, active, between, 1469, 1483, flanders, probably, ghent, notname, derived, from, books, hours, attributed, vienna, hours, mary, burgundy, another, books, hours, berlin, also, mary, burgundy, fo. The Master of Mary of Burgundy was a Flemish illuminator painter and draughtsman active between 1469 1483 in Flanders probably in Ghent His notname is derived from two books of hours attributed to him the Vienna Hours of Mary of Burgundy and another books of hours now in Berlin also for Mary of Burgundy 1 Folio Hours of Mary of Burgundy He was influenced by advances in oil on canvas panel painting especially the works and approach of Hugo van der Goes and may have been also a painter himself His illuminations are characterised by a tendency towards a dark palette 2 an aesthetic favoured by the court of the time as well as innovative uses of trompe l œil devices in both his miniatures and border decorations While a relatively small number of works have been attributed to him the master is seen as one of the chief innovators of late 15th century manuscript illumination Contents 1 Attribution 2 Style 3 Notes 4 SourcesAttribution edit nbsp Livre de priere de Charles le Temeraire J Paul Getty Museum Ms 37 La Deposition de croix fol 111v One of the most talented and innovative artists of his generation he is known to have been influenced by contemporary panel painters including van der Goes Justus van Gent Rogier van der Weyden and Jan van Eyck 3 although in tone and style only direct figurative borrowings are rare 2 and he may himself have been a panel painter both van Eyck and Rogier are known to have worked on illuminations Other works attributed to the master include miniatures in the Prayer Book of Charles the Bold Ms 37 in the J Paul Getty Museum and the Hours of Engelbert of Nassau in the Bodleian Library in Oxford Style editDuring his career he made a number of iconographic and formal innovations and is today seen as the main innovator in bringing about a new style of Flemish illumination in the 1470s and 1480s 4 He was highly regarded by wealthy and powerful patrons in his lifetime and followed by a great number of imitators 5 A small number of extant drawings are also attributed to him 6 The master s illustrations in the Hours of Mary of Burgundy can be characterised by the use of everyday devotional objects including books and rosary beads as well as domestic settings to frame images of the Virgin and Child thereby bringing the sacred into domestic earthly spaces 7 nbsp From the Book of Charles the Bold He achieved the modeling of figures and objects by building layers of paint in thin but visible strokes rather than the then convention of hatching One of his characteristic techniques was to place religious scenes behind a window create an illusion of depth and with the scene in the background intended as the main focus of interest The two most well known examples of this are the Virgin and Child and Christ nailed to the Cross miniatures for the Mary of Burgundy book 4 The master collaborated with a number of artists of the earlier generation including Lieven van Lathem Simon Marmion and Nicolas Spierinc but soon surpassed them 1 Notes edit a b Master of Mary of Burgundy J Paul Getty Trust Retrieved 22 November 2017 a b Schmidt Hans Masters anonymous and monogrammists permanent dead link Oxford University Press Grove Art Online Retrieved 25 November 2017 Pacht 296 299 a b Pacht 299 Pacht 300 van Buren 292 Woods 112Sources editPacht Otto The Master of Mary of Burgundy The Burlington Magazine for Connoisseurs Volume 85 No 501 1944 Pacht Otto The Master of Mary of Burgundy Faber amp Faber 1948 van Buren Anne The Master of Mary of Burgundy and His Colleagues The State of Research and Questions of Method Zeitschrift fur Kunstgeschichte 38 Bd H 3 4 1975 Walther Ingo Codices Illustres Berlin Taschen Verlag 2001 ISBN 978 3 8228 6023 6 Woods Kim Viewing Renaissance Art Yale University Press 2007 ISBN 978 0 3001 2343 2 Retrieved from https en wikipedia org w index php title Master of Mary of Burgundy amp oldid 1169582183, wikipedia, wiki, book, books, library,
