On the Transmission of Artistic Patterns in Late Medieval Manuscript Illumination
Edited By Joris Corin Heyder and Christine Seidel
Du multiple à l’unique : le cas du livre d’heures de Philibert de Viry (Genève, BGE, lat. 367): Brigitte Roux
Du multiple à l’unique : le cas du livre d’heures de Philibert de Viry (Genève, BGE, lat. 367)
A few years ago, a richly illuminated manuscript was bought by the Bibliothèque de Genève, willing to possess one of the rare testimonies of book of hours following the use of Geneva that have survived the Reformation. The manuscript was made for Philibert de Viry, a nobleman from Savoy, and was certainly produced in Lyons, by a master known as the « Maître de l’Entrée de François Ier ». This prolific illuminator has painted more than thirty books of hours, liturgical treatises, literary works and legal documents between 1485 and 1515. At this period, Lyons was one of the major artistic centres of printing in France, alongside with Paris. The existence of an intensive book market facilitated the exchanges between the different methods of book production, manuscripts and the printed book. The book of hours of Philibert de Viry offers a good example for these exchanges as sixteen of its illuminations rely, partly or completely, on Albrecht Dürer’s woodcuts for the Small Passion, dated 1511. The article examines in detail how some of Dürer’s woodcuts were adapted, modified, recreated and also shows the impact of colour in this process of transformation.
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.