Author: Maugis

Update

I have updated the document about the portait of Charles the Bold:

Full of Sound and Fury

I will also update the document in the pages (see menu). I may keep the cover and title for the whole book. For the access to this chapter no password is needed.


Jean Rolin VI – Update

I have made an update to the document about Jean Rolin VI. This can be found under III. Reconquering Burgundy > Jean Rolin VI in the menu.

As I have put a great deal of work in this, the page is password protected. To obtain the password, just mail me (info on the About page) or message me directly via Instagram (isabellehiding)


Another combo

Another combo emerged by coincidence. It was a painting I saw on somebody’s art website that immediately rang a bell.

The rather generic description of the file is Doors of triptych with donors. Depicted on the right are David receiving a message and on the left Solomon visited by the Queen of Sheba. The exotic setting is amplified by the man on the left in the right panel wearing an earring, which is quite unusual (imho). The side panels are located in the Metropolitan Museum of Art, the main panel is located in Rome, in the Colonna gallery (item 149 if I remember well). I have not been able to find a picture of the middle panel yet. It is supposed to depict the Adoration of the Magi (interesting, as the Magi seem to be a recurrent theme in the key paintings in my painting research)

Regarding the information on the side wings, I am relying for the most part on Wikipedia which is often incorrect. It doesn’t really matter that much, though, as it’s about the content, not the metadata.

The right panel, the Queen of Sheba visiting Solomon, seems inspired by the Judgment of Otto by Dieric Bouts (detail shown here):

The Queen of Sheba and David are recurring themes in medieval art, so not very unusual.

Now both paintings side by side. Note Otto himself, the kneeling woman and the two men at the back.

The painting by Bouts is dated 1473, the Master’s around 1480. The likeness can be a coincidence, obviously. The Master panel seems to echo the classic Magi visit, with kneeling characters and gold gifts.

Bouts’s characters are well painted but stiff and elongated, and their faces are emotionless. There is more expression in the Master’s faces but at the same time they are sloppy and almost cartoonish.

Both painters were active in Brabant (Brussels and Louvain), so there is also a regional connection.

According to Wikipedia, the Master of the Legend of St Barabara is sometimes associated with Aert van den Bossche. I have been looking at a number of paintings by all of them and there is a huge variety in style, so I can’t say for definite. Another thing to keep in mind is that the painters did not work alone but had workshops and several hands worked on the paintings. And, as mentioned before, copyright was not an issue and stock images were widely used.

In any case, this is something to store in the research where I am trying to figure out the relationships and influences between the painters. As mentioned before, I’m particularly interested in Hugo van der Goes and the Master of Moulins/Jean Hey and the latter’s connection with Anne de Bretagne, the Rolin family and Margaret of Austria.


The Vienna Virgin: copy paste

This is a follow-up on my previous post about Dieric Bouts and the Coronation of the Virgin in the Vienna Museum.

I have only one book about Dieric Bouts specifically lying around, and it’s a catalogue rather than a complete overview of his work. The library has a book with his complete oeuvre but it is not available right now, so that’s something for later.

Even though copying and imitating other painters was extensively done and paintings were executed by ateliers rather than a single person, each painter still has a specific style. I associate Bouts’s human figures with rather stiff, fairly elongated characters and fairly frizzy hair.

When I came across a picture of the Coronation I was intrigued by the third angel on the left because it reminds me of Hugo and Jean Hey, who are of a later date. The painting does not seem to be in the catalogue I have here, but maybe it’s in the library book. Patience is needed.

In the meantime I’ve been going through a number of paintings by Dieric Bouts. I came across a Virgin located at Granada that contains angels similar to those on the Vienna painting. I don’t know which painting came first, though (should look it up at some point):.

Some of the angels resemble those on the Vienna piece closely.

Vienna:

Granada:

There is even straightforward copy paste work:

Vienna:

Granada:

Bouts is not very good at painting profiles. For instance on the Hippolyte painting, this figure looks rather clumsy:

Note that this painting was finished by Hugo van der Goes after the death of Bouts, and I’m not quite sure which bits he has done exactly. It’s interesting, in any case, that there is a direct link between Dieric Bouts and Hugo van der Goes.

This is what attracted my attention: the third angel on the Vienna Virgin:

Mirrored:

The posture and the face reminded me of the left of the two boys on the Monforte altarpiece by Hugo van der Goes (see earlier posts, nb):

Coincidence, no doubt, still interesting.


A coronation

I’m almost through with cleaning and sorting out the files on one computer, but I have another one left to do next week. While I was doing this I came across pictures (not my own, but from the family archives) of paintings in the Viennese Gemaldegalerie.

One of those paintings seems interesting enough to have a closer look at. On the information notice of the museum it is listed as the Coronation of the Virgin by Dieric Bouts, dated around 1450. The pictures are not very good, but even the quality of the one below I found on the museum’s website is not very good:

What first caught my attention was the face and posture of the third angel from the left.

Something with the angels on the right side seems a little off. I want to do some comparisons with other Bouts paintings.

The third person of interest to me is the bearded man on the right.

It’s tempera, not oil, by the way.

I didn’t know this painting (or maybe I have seen it but don’t remember, last time I was in Vienna I was 2 :/). I can not find a lot of information about it online right now, but it’s late and I don’t want to go search for my Bouts book. I’ll see how far I get tomorrow.


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