Artists
Loiset Lyédet did the sixty miniatures in the first two volumes. He was a very successful, if somewhat formulaic, illuminator, working mainly on secular manuscripts for Philip III, Duke of Burgundy (Philip the Good) and his court. He probably used assistants, but it is hard to detect separate hands in his work. The last two volumes, which are in general finer, were worked on by the anonymous illuminators known as the Master of Anthony of Burgundy (identified by some writers with Philippe de Mazerolles), the Master of Margaret of York, and the Master of the Dresden Prayer Book, the last as an assistant to the Master of Anthony of Burgundy. These masters are named after prominent works or patrons of theirs. It appears that the project was split in half from an early stage, as the scribes who wrote the text and the style of border decoration (also the work of specialists) differ between volumes 1-2 and 3-4. The large miniatures by the Master of Anthony of Burgundy are especially sophisticated in style, and those by the young Master of the Dresden Prayer Book (above) are notable for "their startlingly ambitious palette and combination of colors, agitated and vibrantly modelled drapery, an apparently inexhaustible range of well-designed figure poses, and challenging placement of figures within complex spaces" (McKendrick). All the illustrations below are from the first two volumes, unless otherwise stated.
Read more about this topic: Froissart Of Louis Of Gruuthuse (Bn F Fr 2643-6)
Famous quotes containing the word artists:
“Great artists have no country.”
—Alfred De Musset (1810–1857)
“The rush to books and universities is like the rush to the public house. People want to drown their realization of the difficulties of living properly in this grotesque contemporary world, they want to forget their own deplorable inefficiency as artists in life.”
—Aldous Huxley (1894–1963)
“The artistic temperament is a disease that affects amateurs.... Artists of a large and wholesome vitality get rid of their art easily, as they breathe easily or perspire easily. But in artists of less force, the thing becomes a pressure, and produces a definite pain, which is called the artistic temperament.”
—Gilbert Keith Chesterton (1874–1936)