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Re-Inventing Traditions

On the Transmission of Artistic Patterns in Late Medieval Manuscript Illumination


Edited By Joris Corin Heyder and Christine Seidel

The volume comprises 16 papers given at the conference Re-Inventing Traditions held in Berlin in 2012. It negotiates the question of the transmission of artistic patterns in late medieval manuscript illumination. The model as such is often regarded as a mere working tool but recently the conditions of its creation and transformation have been discovered as a field of research. Among the central themes of these essays are textual tradition, workshop methods and the development and changeability of artistic models throughout different media and in various European regions.
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The Master of Jeanne de France, duchesse de Bourbon: a bridge between Jean Fouquet and the artists in the Jouvenel Group: Samuel Gras


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.


The Master of the Vienna Mamerot / Master of the Yale Missal / Master of Christophe de Champagne: Guillaume Piqueau

In 1974 Otto Pächt and Dagmar Thoss identified this artist with the illuminator of the Histoire et faits des neuf Preux et des neuf Preuses and named him the “Master of the Vienna Mamerot”.4 In 1993 Nicole Reynaud renamed the artist the “Master of the Yale Missal”, after his most imposing work, a missal written in French housed in the Beinecke Library.5 In 2011, the painter was...

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