Giacobbe Giusti, Hours of Maria d’Harcourt
Giacobbe Giusti, Hours of Maria d’Harcourt
Giacobbe Giusti, Hours of Maria d’Harcourt
The Duchess of Guelders, folio 19v.
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| Artist | Maître des Heures de Marie de Gueldre Maître de la Passion Maître d’Otto van Moerdrecht |
|---|---|
| Year | 1415 to 1425 |
| Catalogue | Ms. Germ. qu.42 et Cod.1908 |
| Medium | illuminations on vellum, 2 volumes of 483 and 137 folios |
| Movement | Gothic art |
| Dimensions | 18.5 cm × 13.5 cm (7.3 in × 5.3 in) |
| Location | Berlin State Library Austrian National Library |
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Maître des Heures de Marie de Gueldre
Maître de la Passion Maître d’Otto van Moerdrecht |
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| Date |
vers 1415 puis vers 1425
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|---|---|
| Technique |
Enluminures sur vélin
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| Dimensions (H × L) |
18,5 × 13,5 cm
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| Format |
2 volumes de 483 et 137 folios
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| Localisation |
The Hours of Maria d’Harcourtis an illuminated book of hoursproduced in 1415 in Arnhem (the text) and Nijmegen (the illuminations) in the Duchy of Guelders.[1] It follows the Roman liturgy, with 6 full-page miniatures and 86 smaller miniatures, with stylised borders. It is held partly by the Staatsbibliothek zu Berlin and partly by the Österreichische Nationalbibliothek.
Description
The manuscript was created in 1415 in Marienborn monastery in Arnhem divided.[2] In the 17th century one part was owned by the Elector of Brandenburg. That is now in the Berlin State Library, Prussian Cultural Heritage Foundation under the signature ms. germ. quart. 42. The second part was held by the Habsburgs and is now in the Austrian National Library in Vienna under the signature Cod. 1908. The two parts were together in the 1962 exhibition « European art around 1400 », in Vienna and described in the catalog (Nos. 207-208, pp 217–218).
Maria d’Harcourt, Duchess of Guelders and Jülich
Maria d’Harcourt was the daughter of John VI, the Count of Harcourt and Aumale (1342–1389), and Catherine de Bourbon (1342–1427), Princess of France. Her maternal uncle was Louis II, Duke of Bourbon(1337–1410). On the 5 May 1405 she married Reinald IV, Duke of Guelders and Jülich. The proclamation page in her book of hours is French in appearance and is in such a striking contrast to the other miniatures of this German-Dutch handwriting that she must have intended its insertion. But this is not just a nostalgic remembrance of their home. Their political role and the making of heir to confirm the support of Orléans by Guelders were implied conditions of their marriage; also was a big part of her dowry, about 30,000 Ecus, been paid by the Duke of Orleans with the condition that they would have to be repaid in the absence of male heirs. Maria d’Harcourt died childless 1425th
Other women without sons asked for in their hours books Mary’s help and the appropriate saint, z. B. Marguerite de Foix and Anne of Brittany . Maria von Geldern went one step further than they identified himself directly with the Blessed Mother.
Artist
In the Vigil of the Feast of St. Matthew is stated that the manuscript whose text is written in Low German, for the Duchess on February 23, 1415 in Marienborn Convent (Arnhem) between Oosterbeek and Arnhem was completed by brother Helmich de Leev,
Hours of Maria d’Harcourt – decorated text page – ONB f104
Literature
- Karl Keller: Zwei Stundenbücher aus dem geldrischen Herzogshause, das Stundenbuch der Herzogin Maria und das ihres Gemahls. Die geschichtlichen Grundlagen und die ikonographischen Probleme. Historischer Verein für Geldern und Umgegend, Geldern 1969 (Veröffentlichung des Historischen Vereins für Geldern und Umgegend 68, ZDB-ID 400950-2).
- Stundenbuch der Maria von Geldern. In: John Harthan: Stundenbücher und ihre Eigentümer. Deutsche Übersetzung Regine Klett. Herder, Freiburg (Breisgau) u. a. 1977, ISBN 3-451-17907-5, S. 78–81.
International Gothic is a period of Gothic art which began in Burgundy, France, and northern Italy in the late 14th and early 15th century.[1] It then spread very widely across Western Europe, hence the name for the period, which was introduced by the French art historian Louis Courajod at the end of the 19th century.[2]
Artists and portable works, such as illuminated manuscripts, travelled widely around the continent, leading to a common aesthetic among the royalty and higher nobility and considerably reducing the variation in national styles among works produced for the courtly elites. The main influences were northern France, the Netherlands, the Duchy of Burgundy, the Imperial court in Prague, and Italy. Royal marriages such as that between Richard II of England and Anne of Bohemiahelped to spread the style.
It was initially a style of courtly sophistication, but somewhat more robust versions spread to art commissioned by the emerging mercantile classes and the smaller nobility. In Northern Europe « Late Gothic » continuations of the style, especially in its decorative elements, could still be found until the early 16th century, as no alternative decorative vocabulary emerged locally to replace it before Renaissance revival of Classicism.
Giacobbe Giusti, Simone Martini
Detail of the Annunciation (1333) by the Sienese Simone Martini, Uffizi
Usage of the terms by art historians varies somewhat, with some using the term more restrictively than others.[3] Some art historians feel the term is « in many ways … not very helpful … since it tends to skate over both differences and details of transmission. »[4]
References
- ^ « Gebedenboek van Maria van Gelre ». Maria van Gelre (in Dutch).
- ^ « Geschichte ». staatsbibliothek-berlin.de. Retrieved 2016-04-06.
Media related to Hours of Maria d’Harcourt at Wikimedia Commons
Giacobbe Giusti 