DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.63671#0176
94
THE RISE AND PROGRESS
THE RISE AND PROGRESS OF PAINTING IN FLANDERS.
Illumina-
tions.
Fourteenth
century.
Van
d'Asselt.
Malwel.
Broeder-
lam.
In most countries, as will be seen hereafter, the art of
illuminating missals, and subsequently the practice of
painting miniatures, preceded the larger style which was
adapted to mural decoration. At a very early date there
was a school of artists in miniature in Flanders, and a
few wall paintings of the thirteenth and fourteenth
centuries are still extant. Some records of Flemish
painters belonging to the last-named period have come
down to our time, principally in the chronicles of the
different guilds or companies to which they belonged. No
dates before the end of the fifteenth century can be ac-
cepted as trustworthy : still, owing to the fact that the
best painters were appointed to official posts by their re-
spective patrons, some historical data have been obtained.
The first painter known to have held such a post was Jean
van d'Asselt, who entered the service of Count Louis de
Male in 1365, and continued in it until 1381. During
this period he is said to have assisted in the decoration of
a chapel in Notre Dame de Courtrai which was intended
by the Count as a mausoleum for himself and his successors,
and to have executed there some of the portraits of the
Count's predecessors. In 1386 he appears to have received
an order from the Cordeliers of Ghent for an altarpiece,
which is the last-known date relating to him.
Philip the Hardy, Duke of Burgundy and the next Count
of Flanders, had two official painters attached to his
court—viz., Jean Malwel, or Malouel, and Melchior
Broederlam, or Broederlain. The former of these was
employed from 1402-7 in the decoration of the Carthusian
Monastery at Dijon ; but more is known of the Fleming
Broederlam, whose most important works (in which he was
assisted by one Jacques de Baerse) are the shrine paintings
THE RISE AND PROGRESS
THE RISE AND PROGRESS OF PAINTING IN FLANDERS.
Illumina-
tions.
Fourteenth
century.
Van
d'Asselt.
Malwel.
Broeder-
lam.
In most countries, as will be seen hereafter, the art of
illuminating missals, and subsequently the practice of
painting miniatures, preceded the larger style which was
adapted to mural decoration. At a very early date there
was a school of artists in miniature in Flanders, and a
few wall paintings of the thirteenth and fourteenth
centuries are still extant. Some records of Flemish
painters belonging to the last-named period have come
down to our time, principally in the chronicles of the
different guilds or companies to which they belonged. No
dates before the end of the fifteenth century can be ac-
cepted as trustworthy : still, owing to the fact that the
best painters were appointed to official posts by their re-
spective patrons, some historical data have been obtained.
The first painter known to have held such a post was Jean
van d'Asselt, who entered the service of Count Louis de
Male in 1365, and continued in it until 1381. During
this period he is said to have assisted in the decoration of
a chapel in Notre Dame de Courtrai which was intended
by the Count as a mausoleum for himself and his successors,
and to have executed there some of the portraits of the
Count's predecessors. In 1386 he appears to have received
an order from the Cordeliers of Ghent for an altarpiece,
which is the last-known date relating to him.
Philip the Hardy, Duke of Burgundy and the next Count
of Flanders, had two official painters attached to his
court—viz., Jean Malwel, or Malouel, and Melchior
Broederlam, or Broederlain. The former of these was
employed from 1402-7 in the decoration of the Carthusian
Monastery at Dijon ; but more is known of the Fleming
Broederlam, whose most important works (in which he was
assisted by one Jacques de Baerse) are the shrine paintings