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163:. 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.
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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. He was highly regarded by wealthy and powerful patrons in his lifetime, and followed by a great number of
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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.
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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.
73:, and may have been also a painter himself. His illuminations are characterised by a tendency towards a dark palette, an aesthetic favoured by the court of the time, as well as innovative uses of
116:, although in tone and style only, direct figurative borrowings are rare, and he may himself have been a panel painter - both van Eyck and Rogier are known to have worked on illuminations.
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He achieved the modeling of figures and objects by building layers of paint in thin but visible strokes, rather than the then convention of
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One of the most talented and innovative artists of his generation, he is known to have been influenced by contemporary
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van Buren, Anne. "The Master of Mary of
Burgundy and His Colleagues: The State of Research and Questions of Method".
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Other works attributed to the master include miniatures in the Prayer Book of
Charles the Bold (Ms. 37) in the
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He was influenced by advances in oil on canvas panel painting, especially the works and approach of
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The master collaborated with a number of artists of the earlier generation, including
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imitators. A small number of extant drawings are also attributed to him.
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Livre de prière de
Charles le Téméraire, J. Paul Getty Museum, Ms. 37.
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42:, painter and draughtsman active between 1469-1483 in
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and another books of hours, now in Berlin, also for
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Manuscript illuminator from the
Southern Netherlands
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288:The Burlington Magazine for Connoisseurs
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219:Masters, anonymous, and monogrammists
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155:From the Book of Charles the Bold
325:. Yale University Press, 2007.
311:. Berlin: Taschen Verlag, 2001.
302:Zeitschrift für Kunstgeschichte
362:Burgundian Netherlands artists
295:The Master of Mary of Burgundy
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58:attributed to him, the Vienna
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357:Flemish Renaissance painters
352:Early Netherlandish painters
205:. Retrieved 22 November 2017
125:Hours of Engelbert of Nassau
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178:, but soon surpassed them.
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290:, Volume 85, No. 501, 1944
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199:Master of Mary of Burgundy
104:, including van der Goes,
33:Master of Mary of Burgundy
297:, Faber & Faber, 1948
60:Hours of Mary of Burgundy
25:Hours of Mary of Burgundy
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323:Viewing Renaissance Art
304:, 38. Bd., H. 3/4, 1975
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94:La Déposition de croix
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110:Rogier van der Weyden
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121:J. Paul Getty Museum
54:is derived from two
203:J. Paul Getty Trust
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347:Anonymous artists
331:978-0-3001-2343-2
317:978-3-8228-6023-6
309:Codices Illustres
168:Lieven van Lathem
71:Hugo van der Goes
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217:Schmidt, Hans. "
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129:Bodleian Library
64:Mary of Burgundy
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307:Walther, Ingo.
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293:Pächt, Otto.
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114:Jan van Eyck
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284:Pächt, Otto
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84:Attribution
40:illuminator
341:Categories
269:Woods, 112
251:Pächt, 300
242:Pächt, 299
123:, and the
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44:Flanders
23:Folio, "
277:Sources
127:in the
52:notname
37:Flemish
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133:Oxford
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50:. His
35:was a
182:Notes
139:Style
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48:Ghent
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313:ISBN
174:and
31:The
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