![December on the calendar in Les Grandes Heures du duc de Berry [fr], f.6v, to which the artist may have contributed Grandes Heures du duc de Berry (BNF latin919) - Calendrier Decembre (f.6v).jpg](http://upload.wikimedia.org/wikipedia/commons/thumb/8/81/Grandes_Heures_du_duc_de_Berry_%28BNF_latin919%29_-_Calendrier_D%C3%A9cembre_%28f.6v%29.jpg/330px-Grandes_Heures_du_duc_de_Berry_%28BNF_latin919%29_-_Calendrier_D%C3%A9cembre_%28f.6v%29.jpg)
The Pseudo-Jacquemart (or Pseudo-Jacquemart de Hesdin) was an anonymous master illuminator active in Paris and Bourges between 1380 and 1415. He owed his name to his close collaboration with painter Jacquemart de Hesdin.
The Pseudo-Jacquemart (or Pseudo-Jacquemart de Hesdin) was an anonymous master illuminator active in Paris and Bourges between 1380 and 1415. He owed his name to his close collaboration with painter Jacquemart de Hesdin.
The artist designated as Pseudo-Jacquemart was perhaps of Flemish origin and was active in France from the end of the 14th century to the beginning of the 15th century. Art historian Millard Meiss was the first to distinguish this artist from his contemporary colleague Jacquemart de Hesdin. Pseudo-Jacquemart seems to have been in the employ of John, Duke of Berry, working in the shadow of other illuminators retained by the duke: Jean Pucelle, the Limbourg brothers, and Jacquemart, at the end of his career, from whom he borrowed his style. Pseudo-Jacquemart generally painted the decorations appended to miniatures: marginal scenes, small miniatures of calendars or initials for text. [2] [3] He also worked for other anonymous patrons on books of hours miniatures, in collaboration with other Parisian painters. [4]
Pseudo-Jacquemart is sometimes identified with Jacquemart de Hesdin. [3] The two painters are mentioned as working at the Palace of Poitiers at the request of John, Duke of Berry. In January 1398, a painter, named Jean de Holland, accused them of stealing pigments and models from his box. De Holland was finally killed and the two painters took refuge in the Abbey of Montierneuf at Poitiers where they were afforded asylum. The Duke of Berry eventually obtained a letter of remission for them in May 1398. [5]
Pseudo-Jacquemart's style tended to imitate that of the painters his work supplemented, but an individualized style with a more theatrical sense of composition than seen in Jacquemart de Hesdin's work, with a more assured stroke and a brighter palette is evident. [3]
Pseudo-Jacquemart collaborated with Jacquemart de Hesdin and others on the Duke of Berry's Petit Heures; [6] the Psalter of John of Berry , [7] and Les Grandes Heures du duc de Berry , for which, according to art historian Timothy Husband he may have produced as many as 17 miniatures, but the only surviving leaf is the "Carrying of the Cross". [8] Jean Le Noir painted the calendar leafs for the Duke's Petit Heures, which Pseudo-Jacquemart may have completed. [9]
Pseudo-Jacquemart contributed work to a Book of hours for the use of Rome for an unknown lady, in the form of ornamentation in collaboration with the Mazarine Master and the Luçon Master , [10] and some of the miniatures in the Bible Historial of Guiart des Moulins, (ff. 1, 3v-5v, 7–8, 10–16), attributed to a follower of Jacquemart de Hesdin, are sometimes identified with the Pseudo-Jacquemart. [11] He completed an Annunciation for the Book of hours for the use of Bourges, c. 1405–10, held at the British Library, [12] [13] and two miniatures for the Psalter for use in Evereux, c. 1390–1405: a jester (f.44r) and Office of the Dead (f.131r). [14] The Getty Center, Los Angeles, holds a Book of hours with two images attributed to the artist. [15] The artist may have contributed to a Breviary for the use of Saint-Ambroix de Bourges , in collaboration with the workshop of Boucicaut Master, c. 1410, BM Bourges Ms.0016. [16] He also contributed three miniatures for the La Légende dorée ( Golden Legend ) of Jacobus de Voragine, c. 1382. [17]
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International Gothic is a period of Gothic art which began in Burgundy, France, and northern Italy in the late 14th and early 15th century. It then spread very widely across Western Europe, hence the name for the period, which was introduced by the French art historian Louis Courajod at the end of the 19th century.
Hesdin is a commune in the Pas-de-Calais department in northern France.
The Limbourg brothers were famous Dutch miniature painters from the city of Nijmegen. They were active in the early 15th century in France and Burgundy, working in the style known as International Gothic. They created what is certainly the best-known late medieval illuminated manuscript, the Très Riches Heures du Duc de Berry.
John of Berry or John the Magnificent was Duke of Berry and Auvergne and Count of Poitiers and Montpensier. He was the third son of King John II of France and Bonne of Luxembourg; his brothers were King Charles V of France, Duke Louis I of Anjou and Duke Philip the Bold of Burgundy. He is primarily remembered as a collector of the important illuminated manuscripts and other works of art commissioned by him, such as the Très Riches Heures. His personal motto was Le temps venra.
The book of hours is a Christian devotional book popular in the Middle Ages. It is the most common type of surviving medieval illuminated manuscript. Like every manuscript, each manuscript book of hours is unique in one way or another, but most contain a similar collection of texts, prayers and psalms, often with appropriate decorations, for Christian devotion. Illumination or decoration is minimal in many examples, often restricted to decorated capital letters at the start of psalms and other prayers, but books made for wealthy patrons may be extremely lavish, with full-page miniatures. These illustrations would combine picturesque scenes of country life with sacred images. Books of hours were usually written in Latin, although there are many entirely or partially written in vernacular European languages, especially Dutch. The English term primer is usually now reserved for those books written in English. Tens of thousands of books of hours have survived to the present day, in libraries and private collections throughout the world.
The Très Riches Heures du Duc de Berry or Très Riches Heures, is the most famous and possibly the best surviving example of manuscript illumination in the late phase of the International Gothic style. It is a book of hours: a collection of prayers to be said at the canonical hours. It was created between c. 1412 and 1416 for the extravagant royal bibliophile and patron John, Duke of Berry, by the Limbourg brothers. When the three painters and their sponsor died in 1416, possibly victims of plague, the manuscript was left unfinished. It was further embellished in the 1440s by an anonymous painter, who many art historians believe was Barthélemy d'Eyck. In 1485–1489, it was brought to its present state by the painter Jean Colombe on behalf of the Duke of Savoy. Acquired by the Duc d'Aumale in 1856, the book is now MS 65 in the Musée Condé, Chantilly, France.
Marie of Berry was suo jure Duchess of Auvergne and Countess of Montpensier in 1416-1434. She was the daughter of John, Duke of Berry, and Joanna of Armagnac. She was married three times. She acted as administrator of the Duchy of Bourbon for her third spouse John I, Duke of Bourbon, during his imprisonment in England after he was captured following the French defeat at the Battle of Agincourt in 1415, until 1434.
Barthélemy d'Eyck, van Eyck or d' Eyck, was an Early Netherlandish artist who worked in France and probably in Burgundy as a painter and manuscript illuminator. He was active between about 1440 to about 1469. Although no surviving works can be certainly documented as his, he was praised by contemporary authors as a leading artist of the day, and a number of important works are generally accepted as his. In particular, Barthélemy has been accepted by most experts as the artists formerly known as the Master of the Aix Annunciation for paintings, and the Master of René of Anjou for illuminated manuscripts. He is thought by many to be the Master of the Shadows responsible for parts of the calendar of the Très Riches Heures du Duc de Berry.
The Grandes Heures de Rohan is an illuminated manuscript book of hours, painted by the anonymous artist known as the Rohan Master, probably between 1418 and 1425, in the Gothic style. It contains the usual offices, prayers and litanies in Latin, along with supplemental texts, decorated with 11 full page, 54 half page, and 227 small miniatures, decorated with tempera paints and gold leaf. The book margins are decorated with Old Testament miniatures with captions in Old French, in the style of a Bible moralisée. The full page illuminations are renowned for the highly emotional and dramatic portrayal of the agonies of Christ and the grief of the Virgin. According to Millard Meiss, "The Rohan Master cared less about what people do than what they feel. Whereas his great predecessors excelled in the description of the novel aspects of the natural world, he explored the realm of human feeling." Meiss concludes that the Rohan Master was the "greatest expressionist in 15th century France." Today, this manuscript is housed in the Bibliothèque Nationale, Paris, France.
Jacquemart de Hesdin was a French miniature painter working in the International Gothic style. In English, he is also called Jacquemart of Hesdin. During his lifetime, his name was spelt in a number of ways, including as Jacquemart de Odin.
The Ravenelle Painter, also known as the Master of the Book of Hours of Johannete Ravenelle, the Ravenelle Master or the First Master of the Bible Historiale of Jean de Berry, was a French manuscript illuminator active between 1390 and 1405. Little is known about him. In a 2002 dissertation, Eva Lindqvist Sandgren used stylistic comparison to identify this artist as the illuminator of a book of hours now in the Uppsala University Library, the Ravenelle Hours. This identification is now widely accepted. An earlier notname for the same artist derives from a manuscript of the Bible Historiale, now held by the Bibliothèque nationale de France in Paris, in which he painted several miniatures. The manuscript was once owned by John, Duke of Berry, and with most books containing other work ascribed to the artist seems to have been produced in Paris. This would indicate that the artist lived and worked there, producing large secular works as well as religious treatises written in vernacular French.
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 Belles Heures of Jean de France, Duc de Berry, or Belles Heures of Jean de Berry is an early 15th-century illuminated manuscript book of hours commissioned by the French prince John, Duke of Berry, around 1409, and made for his use in private prayer and especially devotions to the Virgin Mary. The Belles Heures is one of the most celebrated manuscripts of the Middle Ages and very few books of hours are as richly decorated as it.
André Beauneveu was an Early Netherlandish sculptor and painter, born in the County of Hainaut, who is best known for his work in the service of the French King Charles V, and of the Valois Duke, Jean de Berry. His work in all media shows a generally naturalistic and 'sculptural' style, characteristic of the 'Pucellian revival' of the latter 14th century.
The Petites Heures of Jean de France, Duc de Berry is an illuminated book of hours commissioned by John, Duke of Berry between 1375 and 1385–90. It is known for its ornate miniature leaves and border decorations.
Jean Bourdichon was a French miniature painter and manuscript illuminator at the court of France between the end of the 15th century and the start of the 16th century, in the reigns of Louis XI of France, Charles VIII of France, Louis XII of France and Francis I of France. He was probably born in Tours, and was a pupil of Jean Fouquet. He died in Tours.
Jean Le Noir was a French manuscript illuminator active in Paris between 1335 and 1380. He was a pupil of Jean Pucelle. His main work is the Psalter of Bonne de Luxembourg.
The Master of Robert Gaguin was an anonymous painter, active in Paris around 1485–1500. He was so named by Nicole Reynaud after a manuscript of Robert Gaguin's translation of Julius Caesar's De Bello Gallico, offered by the translator to Charles VIII, king of France. He belongs to a circle of French artists, whose art follows the style of the Master François.
The Heures de Charles d'Angoulême is a book of hours commissioned in the late 15th century, probably around 1480, by Charles, Count of Angoulême, father of king Francis I of France. It is now in the Bibliothèque nationale de France in Paris, under the number Latin 1173.
The book of hours of Joan of France is a 15th-century illuminated manuscript forming a book of hours, named after Joan of France, Duchess of Bourbon, who owned the book in the 15th century. After her death, it passed to Catherine of Armagnac, whose coat of arms was added to the book. After her death, the whereabouts of the book are unknown; it reappeared again in the late 19th century when it was bought by private collector Victor Martin Le Roy. It then passed to his son-in-law, art historian Jean-Joseph Marquet de Vasselot. It was again sold in 2011, and then bought by the Bibliothèque nationale de France, thanks to funding from private donors. It is classified as a national treasure of France. The rich decoration, including 28 full-page miniatures, was mostly made by the so-called Master of Jouvenel.
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Books of hours of John of Berry (1340–1416) | ||
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