On the Transmission of Artistic Patterns in Late Medieval Manuscript Illumination
Edited By Joris Corin Heyder and Christine Seidel
The Master of Jeanne de France, duchesse de Bourbon: a bridge between Jean Fouquet and the artists in the Jouvenel Group: Samuel Gras
The Master of Jeanne de France, duchesse de Bourbon: a bridge between Jean Fouquet and the artists in the Jouvenel Group
This paper1 presents an illuminator who, for about twenty years, moves within the circle of Jean Fouquet (1415/20–1478/81) and is one of the earliest followers of this radically innovative painter. In 2003, François Avril presented a profound synthesis on Jean Fouquet.2 In the works previously attributed to Fouquet, Avril distinguished several hands and separated Fouquet’s work from miniatures by close followers. Avril devoted only passing attention to a less gifted follower named the Master of the Yale Missal, emphasizing the artist’s great debt to Fouquet’s style.3 A reconsideration of the career of the Master of the Yale Missal can, however, shed some light on the commerce of ideas among miniature painters in the Loire valley during the second half of the fifteenth century.
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