The Master of Margaret of York is the Notname of an illuminator active in Bruges between 1470 and 1480. He owes his name to a devotional book he decorated for Margaret of York, wife of Charles the Bold, Duke of Burgundy. A large number of his illuminated books were executed for Louis de Gruuthuse. Several manuscripts have also been attributed to his assistants.
The style of this anonymous master was first characterized by the German art historian Friedrich Winkler in 1925. He was undoubtedly an illuminator working in Bruges. Although his name is linked to Margaret of York, Duchess of Burgundy and Countess of Flanders, he actually worked much more for Louis de Gruuthuse, Stadtholder of Holland and Zeeland, for whom he painted about fifteen manuscripts, mostly saints' lives and translations of classical works. The illuminator must have been very close to his patron, because he five times painted portraits or members of his family. So much so that another art historian, Ottokar Smital, preferred to call him the Master of Louis of Bruges. He also took orders from Anthony, bastard of Burgundy. [1] [2]
The style of the master and its application vary according to the subject of the miniature, and according to the importance of the work ordered. Thus, the characters are more or less detailed according to their importance in the story, some being limited to simple sketches. The landscapes and the settings are generally not very detailed, and the artist shows little concern with their lifelikeness. On the other hand, he highlights the action evoked by the text and the main characters by embodied and expressive faces. His style is often reminiscent of that of Lieven van Lathem. He doubtless worked with assistants in an atelier, entrusting the decoration and other less important elements to them. [1]
His production is so abundant and varied that historians tend to attribute part of it to his assistants, and have managed to distinguish certain artists such as the Master of Fitzwilliam 268 , with a more tense and agitated style, the Master of the Genealogia Deorum of Bruges, with a looser style, the Master of the Jardin de vertueuse consolation or the Master of the Life of Saint Colette of Ghent. [1] [2] His style has also been compared to that of the Master of the Moral Treatises , whom he influenced. [3]
Jean de Waurin or Wavrin was a medieval French chronicler and compiler, also a soldier and politician. He belonged to a noble family of Artois, and witnessed the Battle of Agincourt from the French side, but later fought on the Anglo-Burgundian side in the later stages of the Hundred Years' War. As a historian, he put together the first chronicle intended as a complete history of England, very extensive but largely undigested and uncritical. Written in French, in its second version it extends from 688 to 1471, though the added later period covering the Wars of the Roses shows a strong bias towards Burgundy's Yorkist allies. Strictly his subject is Great Britain, but essentially only England is covered, with a good deal on French and Burgundian events as well.
The Froissart of Louis of Gruuthuse is a heavily illustrated deluxe illuminated manuscript in four volumes, containing a French text of Froissart's Chronicles, written and illuminated in the first half of the 1470s in Bruges, Flanders, in modern Belgium. The text of Froissart's Chronicles is preserved in more than 150 manuscript copies. This is one of the most lavishly illuminated examples, commissioned by Louis of Gruuthuse, a Flemish nobleman and bibliophile. Several leading Flemish illuminators worked on the miniatures.
Louis de Bruges, Lord of Gruuthuse, Prince of Steenhuijs, Earl of Winchester, was a Flemish courtier, bibliophile, soldier and nobleman. He was awarded the title of Earl of Winchester by King Edward IV of England in 1472, and was Stadtholder of Holland and Zeeland 1462–77.
Simon Marmion was a French and Burgundian Early Netherlandish painter of panels and illuminated manuscripts. Marmion lived and worked in what is now France but for most of his lifetime was part of the Duchy of Burgundy in the Southern Netherlands.
Colard Mansion was a 15th-century Flemish scribe and printer who worked together with William Caxton. He is known as the first printer of a book with copper engravings, and as the printer of the first books in English and French.
Lucas Horenbout, often called Hornebolte in England, was a Flemish artist who moved to England in the mid-1520s and worked there as "King's Painter" and court miniaturist to King Henry VIII from 1525 until his death. He was trained in the final phase of Netherlandish illuminated manuscript painting, in which his father Gerard was an important figure, and was the founding painter of the long and distinct English tradition of portrait miniature painting. He has been suggested as the Master of the Cast Shadow Workshop, who produced royal portraits on panel in the 1520s or 1530s.
The Master of Anthony of Burgundy was a Flemish miniature painter active in Bruges between about 1460 and 1490, apparently running a large workshop, and producing some of the most sophisticated work of the final flowering of Flemish illumination. He was first identified by Winkler in 1921; his name is derived from one of his most elevated patrons, Anthony of Burgundy, Philip the Good's illegitimate son, though he also worked for the Dukes and other bibliophiles in Burgundian court circles, who had already been allocated "Masters" by art historians. His contributions to the heavily illustrated Froissart of Louis of Gruuthuse from the early 1470s, on which several of the leading illuminators of the day worked, show him excelling some more famous names, like Loiset Lyédet. The young Master of the Dresden Prayerbook worked as his assistant on this book, suggesting he was an apprentice; a number of other anonymous masters have been postulated as his pupils. Other works are in the libraries of Paris, Wrocław, Philadelphia, Munich, Cambridge University Library and elsewhere.
Jean Miélot, also Jehan, was an author, translator, manuscript illuminator, scribe and priest, who served as secretary to Philip the Good, Duke of Burgundy from 1449 to Philip's death in 1467, and then to his son Charles the Bold. He also served as chaplain to Louis of Luxembourg, Count of St. Pol from 1468, after Philip's death. He was mainly employed in the production of de luxe illuminated manuscripts for Philip's library. He translated many works, both religious and secular, from Latin or Italian into French, as well as writing or compiling books himself, and composing verse. Between his own writings and his translations he produced some twenty-two works whilst working for Philip, which were widely disseminated, many being given printed editions in the years after his death, and influenced the development of French prose style.
The Master of James IV of Scotland was a Flemish manuscript illuminator and painter most likely based in Ghent, or perhaps Bruges. Circumstantial evidence, including several larger panel paintings, indicates that he may be identical with Gerard Horenbout. He was the leading illuminator of the penultimate generation of Flemish illuminators. The painter's name is derived from a portrait of James IV of Scotland which, together with one of his Queen Margaret Tudor, is in the Prayer book of James IV and Queen Margaret, a book of hours commissioned by James and now in Vienna. He has been called one of the finest illuminators active in Flanders around 1500, and contributed to many lavish and important books besides directing an active studio of his own.
The Turin–Milan Hours is a partially destroyed illuminated manuscript, which despite its name is not strictly a book of hours. It is of exceptional quality and importance, with a very complicated history both during and after its production. It contains several miniatures of about 1420 attributed to an artist known as "Hand G" who was probably either Jan van Eyck, his brother Hubert van Eyck, or an artist very closely associated with them. About a decade or so later Barthélemy d'Eyck may have worked on some miniatures. Of the several portions of the book, that kept in Turin was destroyed in a fire in 1904, though black-and-white photographs exist.
The Hours of Mary of Burgundy is a book of hours, a form of devotional book for lay-people, completed in Flanders around 1477, and now in the National Library of Austria. It was probably commissioned for Mary, the ruler of the Burgundian Netherlands and then the wealthiest woman in Europe. No records survive as to its commission. The book contains 187 folios, each measuring 225 by 150 millimetres. It consists of the Roman Liturgy of the Hours, 24 calendar roundels, 20 full-page miniatures and 16 quarter-page format illustrations. Its production began c. 1470, and includes miniatures by several artists, of which the foremost was the unidentified but influential illuminator known as the Master of Mary of Burgundy, who provides the book with its most meticulously detailed illustrations and borders. Other miniatures, considered of an older tradition, were contributed by Simon Marmion, Willem Vrelant and Lieven van Lathem. The majority of the calligraphy is attributed to Nicolas Spierinc, with whom the Master collaborated on other works and who may also have provided a number of illustrations.
Jean Wauquelin presenting his 'Chroniques de Hainaut' to Philip the Good is a presentation miniature believed to have been painted by the Flemish artist Rogier van der Weyden. It decorates the frontispiece to the Chroniques de Hainaut, MS KBR.9242, Jean Wauquelin's French translation of a three-volume history of the County of Hainaut originally written in Latin by the 14th-century Franciscan historian Jacques de Guyse.
The Hours of Joanna I of Castile is a sixteenth-century illuminated codex housed in the British Library, London, under call number Add MS 35313.
The Ghent-Bruges school is a distinctive style of manuscript illumination which was prevalent in the Southern Netherlands from about 1475 to about 1550. Though the name highlights the importance of Ghent and Bruges as centres for manuscript production, manuscripts in the style were produced in a wider area.
A presentation miniature or dedication miniature is a miniature painting often found in illuminated manuscripts, in which the patron or donor is presented with a book, normally to be interpreted as the book containing the miniature itself. The miniature is thus symbolic, and presumably represents an event in the future. Usually it is found at the start of the volume, as a frontispiece before the main text, but may also be placed at the end, as in the Vivian Bible, or at the start of a particular text in a collection.
The Chronicles of Hainaut is an illuminated manuscript in three volumes, tracing the history of the county of Hainaut up to the end of the 14th century. Its text was produced around 1446-1450 by Jean Wauquelin as a French translation of Annales historiae illustrium principum Hannoniæ, a three-volume Latin work produced by Jacques de Guise around 1390-1396. It was made for Philip the Good of Burgundy and is now in the Royal Library of Belgium in Brussels.
The Spinola Book of Hours is a sixteenth-century illuminated manuscript, consisting of 310 folios with 84 fully illustrated miniature paintings. This medieval manuscript was produced in the region between Bruges and Ghent in Flanders around 1510-1520. According to Thomas Kren, a former curator of the J. Paul Getty Museum, the artwork within the Spinola Hours can be attributed to five distinct artists. Forty-seven of these illuminated pages can be accredited to the 'Master of James IV'. The Spinola Hours bears a central coat-of-arms on the cover indicating it belonged to the Spinola family of Genoa. Today it is located at the J. Paul Getty Museum in Los Angeles.
The Master of the Vienna Chroniques d'Angleterre is the name conventionally given to a manuscript illuminator active in Bruges between 1470 and 1480. He owes his name to his work on several manuscripts, including one held by the Austrian National Library in Vienna, of Jean de Wavrin's Recueil des croniques d'Angleterre. He specialised in illuminating manuscripts on historical subjects.
The Master of the Jardin de vertueuse consolation is the Notname of an illuminator active in Bruges in the years 1450 to 1475. He owes his name to a work by Pierre d'Ailly of which the decoration has been attributed to him, Le Jardin de vertueuse consolation, executed for Louis de Gruuthuse and today preserved in the Bibliothèque nationale de France as ms. fr. 1026.
The Master of the Flemish Boethius was a miniaturist active in Flanders in the last quarter of the 15th century.
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