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Master of Moulins
French
1480-1500 Master of Moulins Gallery
Until the late 20th century, the name of the painter of the Moulins Triptych was unknown, although art historians identified a number of other works that were evidently by the same hand. The first monograph on the Master of Moulins, written in 1961 by Madeleine Huillet d'Istria, argued that this artist did not actually exist, and that more than 12 different artists were responsible for the corpus of works traditionally ascribed to him. The Master's identity was established after an inscription was found on the reverse of a damaged painting, Christ with Crown of Thorns (1494) in the Royal Museums of Fine Arts of Belgium, Brussels, identifying the artist as Jean Hey, teutonicus and pictor egregius ("the famous painter"), and identifying the patron as Jean Cueillette, who was secretary to the King and an associate of the Bourbon family. Stylistic similarities link this painting to the works attributed to the Master of Moulins. The Master of Moulins appears to have been the court painter for the Bourbons, and from a surviving account for 1502-03, it is clear that the court painter's name was Jean; other candidates once considered plausible, such as Jean Perr??al and Jean Prevost, have proven untenable in the light of subsequent research. The term "Teutonicus", or "German" included Flemings at this date.
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The Annunciation
1451-1500
Painting ID:: 43538
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The_Annunciation
1451-1500
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Portrait of Charles II of Bourbon
1451-1500
c. 1485
Tempera on panel,
35 x 27 cm
Painting ID:: 43546
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Portrait_of_Charles_II_of_Bourbon
1451-1500
c. 1485
Tempera on panel,
35 x 27 cm
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Madonna and Child Adored by Angels
c. 1490 Oak,
38,5 x 29,5 cm
Painting ID:: 51055
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Madonna_and_Child_Adored_by_Angels
c. 1490 Oak,
38,5 x 29,5 cm
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Anne de France, Wife of Pierre de Bourbon
1498-99 Panel, 157 x 63 cm
Painting ID:: 52198
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Anne_de_France,_Wife_of_Pierre_de_Bourbon
1498-99 Panel, 157 x 63 cm
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The Doctors of the Church
1290-95 Fresco Upper Church, San Francesco, Assisi St Jerome sits facing his companion. Both are engrossed in a book. The artist establishes the connection between the two figures with great understanding for the cutvature of the surface. It is striking, too, just how many details - such as those on the writing desk - enliven the scene, although it is at great distance from the viewer. This fresco was destroyed in the earthquake of autumn 1997 along with the related figures of saints on the wall arch. Artist: MASTER of the Isaac Stories Painting Title: The Doctors of the Church (detail of St Jerome) , 1251-1300 Painting Style: Italian , , religious
Painting ID:: 62958
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The_Doctors_of_the_Church
1290-95 Fresco Upper Church, San Francesco, Assisi St Jerome sits facing his companion. Both are engrossed in a book. The artist establishes the connection between the two figures with great understanding for the cutvature of the surface. It is striking, too, just how many details - such as those on the writing desk - enliven the scene, although it is at great distance from the viewer. This fresco was destroyed in the earthquake of autumn 1997 along with the related figures of saints on the wall arch. Artist: MASTER of the Isaac Stories Painting Title: The Doctors of the Church (detail of St Jerome) , 1251-1300 Painting Style: Italian , , religious
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Master_of_Moulins
French
1480-1500 Master of Moulins Gallery
Until the late 20th century, the name of the painter of the Moulins Triptych was unknown, although art historians identified a number of other works that were evidently by the same hand. The first monograph on the Master of Moulins, written in 1961 by Madeleine Huillet d'Istria, argued that this artist did not actually exist, and that more than 12 different artists were responsible for the corpus of works traditionally ascribed to him. The Master's identity was established after an inscription was found on the reverse of a damaged painting, Christ with Crown of Thorns (1494) in the Royal Museums of Fine Arts of Belgium, Brussels, identifying the artist as Jean Hey, teutonicus and pictor egregius ("the famous painter"), and identifying the patron as Jean Cueillette, who was secretary to the King and an associate of the Bourbon family. Stylistic similarities link this painting to the works attributed to the Master of Moulins. The Master of Moulins appears to have been the court painter for the Bourbons, and from a surviving account for 1502-03, it is clear that the court painter's name was Jean; other candidates once considered plausible, such as Jean Perr??al and Jean Prevost, have proven untenable in the light of subsequent research. The term "Teutonicus", or "German" included Flemings at this date.
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