At the beginning of the 15th century, when the International Gothic style was predominant, Paris became a major artistic center for several renowned illuminators, working with influential workshops that fulfilled...
At the beginning of the 15th century, when the International Gothic style was predominant, Paris became a major artistic center for several renowned illuminators, working with influential workshops that fulfilled the commissions of patrons in the capital as well as in its surroundings. These illuminators contributed to the creation of a distinct Parisian style, rich and precious.
During this period, three leading illuminators stood out: the Master of Bedford, the Master of Boucicaut and the Master of the Mazarine. The Master of Bedford, named after his principal patron, John of Lancaster, Duke of Bedford (1389-1435), notably illuminated the duke's breviary, today preserved at the Bibliothèque nationale de France (ms. lat. 17294), and his Book of Hours (London, British Library, ms. add. 18850). The Master of Boucicaut is famous for a Book of Hours commissioned by the Marshal Jean II le Meingre, of Boucicaut (1364-1421), currently at the Jacquemart-André Museum in Paris (ms. 1311). the Master of the Mazarine, slightly later, is named after the Parisian library that holds his masterpiece, a Book of Hours for the use of Paris, probably commissioned by Louis of France, Duke of Guyenne (1397-1415), for his father, the future King Charles VI of France (1368-1422).
This beautiful illumination of the Coronation of the Virgin stands out for its delicate touch and sinuous lines, particularly visible in the drapery of God the Father and the Virgin. The carefully detailed small angel supporting the Virgin's drapery is also remarkable and recalls other similar illuminations, notably those by the Master of Boucicaut. The vivid palette and generous use of gold leaf, as well as the rich floral decorations in the borders are characteristic of Parisian art at the beginning of the 15th century. These stylistic elements place the work within the Parisian production of the 1430s, more specifically within the circle of the Master of Boucicaut, who certainly trained our illuminator.
The Master of Guy XIV of Laval (also known as the Master of Guise), named after the eponymous patron's Book of Hours (c. 1428-1429, now in private hands, deposited at the Kolumba museum, Cologne), shows great proximity with our leaf, making the Master of Guy XIV of Laval a good candidate for the attribution of this Coronation of the Virgin.
Part of an unidentified Book of Hours illuminated in Paris (France), c. 1430, by a close follower of the Master of Boucicaut (The Master of Guy XIV of Laval?) and an unknown patron.ess. According to the modern inscription, the leaf was folio 116; dismembered at an unknown date. The provenance of this illuminated leaf can be traced back as follows: France, private collection. Switzerland, private collection.
Literature
Unpublished Further readings on the Master of Boucicaut and his influence P. Durrieu, "Le Maître des Heures du Maréchal de Boucicaut", Revue de l'art ancien et moderne, 1906 (19). M. Meiss, French painting in the time of Jean de Berry: the Boucicaut Master, London, 1968. Ch. Sterling, La peinture médiévale à Paris: 1300-1500, 2. vol., Paris, 1987-1990. F. Avril & N. Reynaud, Les manuscrits à peintures en France 1440-1520, Paris, 1993. F. Avril, N. Reynaud & D. Cordellier, Les Enluminures du Louvre, Moyen Âge et Renaissance, Paris, 2011. Paris 1400. Les arts sous Charles VI, exhibition catalogue (Paris, Musée du Louvre, March 22-July 12, 2004, dir E. Taburet-Delahaye, Paris, 2004.