Getty Museum

Book of Hours

Date

1478

Medium

Tempera colors, gold paint, and iron gall ink

Culture

French

Department

Manuscripts

Institution

Getty Museum

This late 15th-century French manuscript is a book of hours, a private devotional text. It exemplifies the artistic style of Eastern France during this period, which notably pioneered the exploration of pictorial depth, interior space, landscape painting, and the interplay with biblical figures. The illuminator, the Master of Guillaume Lambert (active 1475-1485) in Lyon, Auvergne-Rhône-Alpes, employed a rich color palette to accentuate intricate brocade patterns, realistic human depictions, and graceful draperies and poses. The full-page miniatures reveal his meticulous mindfulness, capturing intricate clothing patterns, facial expressions, and background objects, infusing remarkable realism into the compositions. The illuminations, including a liturgical calendar, may have been created for a patron with strong connections to the prosperous Flemish commercial center of Bruges. They were likely commissioned by an Italian merchant residing in Bruges, one with a penchant for vibrant colors and refined drawings and brushwork. In these illuminations, the angels' robes shimmer with the brilliance of gold leaf, and the silver scales of the fish gleam with silver inlay. These exquisite details provide a captivating visual stimulus for readers as they engage with the text, enhancing the devotional experience. During the mid-15th century, French artists increasingly embraced Flemish and Italian influences. Jean Fouquet, a prominent painter of the era, skillfully melded the vibrant, translucent colors of Flanders with the geometric precision of Italy. Other artists pursued distinctive stylistic directions: the Master of Jacques de Luxembourg adhered closely to the bourgeois realism and luminosity of Flemish art, while the Master of Guillaume Lambert, the illustrator of this manuscript, drew inspiration from a variety of sources, notably the works of Jean Colombe.

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