SteveM wrote:Robert re: the book of hours --
have we discussed it before? I seem to recall mentioning that though the patron was french, the artist was Italian? Was it this one?
(As courts integrated the families often used the same artists from different regions -- which is in part what led to the uniformity of a wide spread late gothic style -- one which can complicate style and content as a means of identifying geographic locale.)
edited to add: oops no, I see it is by the master of brussels... must be another one I was thinking of.
Ah, yes it probably was this one I was thinking of... we discussed it before and I think I mentioned he was Italian, possible from Bologna? *
An early example of such a trick is the placement of an illusory scroll over, and casting a shadow on, the border and text in a book of hours in London, British Library, MS Add. 29433 (Fig. 10), illuminated in Paris by an Italian artist in the first decade of the fifteenth century.15
15. This artist is now known as the Master of the Brussels Initials, after the book of hours illuminated for John, Duke of Berry, in which he participated, now in Brussels (Bibliothèque Royale,MS 11060-61): see Meiss, French Painting in the Time of John, Duke of Berry: The Patronage of the Duke (New York, 1966), 229-46; Calkins, Illuminated Books, 250-82; and Patrick de Winter, "Art, Devotion and Satire: The Book of Hours of Charles III, the Noble, of Navarre, at the Cleveland Museum of Art," Gamut, A Journal of Ideas and Information 2 (Winter 1981), 42-59, for a sense of the controversy surrounding this illuminator.
*edited to add:
Here is another manuscript illustrated by the 'Master of the Brussels Initials', this time for a manuscript in Bologna:
http://www.getty.edu/art/gettyguide/art ... rtobj=2024