Elizabeth Morrison, Thomas Kren, "Flemish Manuscript Painting in Context: Recent Research"

Preface
Part 1: Illuminated Manuscripts in the Burgundian Court
Chapter 1: Jan van der Scaghe and Anne de Memere, the first Owners of the Hours of 1480 in the Abbey Library at Nová Ríše
Lorne Campbell
Chapter 2: The Undecorated Margin: The Fashion for Luxury Books without Borders
Catherine Reynolds
Chapter 3: A Very Burgundian Hero: The Figure of Alexander the Great under the Rule of Philip the Good
Chrystèle Blondeau
Chapter 4: The Role of Dress in the Image of Charles the Bold, Duke of Burgundy
Margaret Scott
Part 2: Techniques, Media, and the Organization of Production
Chapter 5: The Suggestive Brush: Painting Techniques in Flemish Manuscripts from the Collections of the J. Paul Getty Museum and the Huntington Library
Nancy K. Turner
Chapter 6: Flemish Manuscript Production, Care, and Repair: Fifteenth-Century Sources
Lieve Watteeuw
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Chapter 7: Rogier van der Weyden and Manuscript Illumination
Lorne Campbell
Chapter 8: On Relationships between Netherlandish Drawing and Manuscript Illumination in the Fifteenth Century
Stephanie Buck
Chapter 9: Flemish Illuminated Manuscripts: Assessing Archival Evidence
Jan Van der Stock
Part 3: Individual Illuminators
Chapter 10: The Master of Fitzwilliam 268: New Discoveries and New and Revised Hypotheses
Gregory T. Clark
Chapter 11: Marketing Books for Burghers: Jean Markant’s Activity in Tournai, Lille, and Bruges
Dominique Vanwijnsberghe
Chapter 12: Iconographic Originality in the Oeuvre of the Master of the David Scenes
Elizabeth Morrison
Part 4: Directions for Further Research
Chapter 13: Scholarship on Flemish Manuscript Illumination of the Renaissance: Remarks on Past, Present, and Future
James H. Marrow
Chapter 14: One Hundred Years of the Study of Netherlandish Manuscripts
Jonathan J. G. Alexander
Appendix
Scribe Biographies
Richard Gay
About the Contributors
Index
Photograph Credits

Jonathan Alexander is Sherman Fairchild Professor of Fine Arts at the Institute of Fine Arts, New York University, where he teaches medieval art history. His special area of interest is manuscript illumination of the Middle Ages and Renaissance. His most recent books are Studies in Italian Manuscript Illumination (2002) and The Towneley Lectionary Illuminated for Cardinal Alessandro Farnese by Giulio Clovio (1997). He is now working on a book tentatively titled "Italian Renaissance Illumination c. 1450-1600."

Chystèle Blondeau received her Ph.D. in the history of art from the University of Paris X (Nanterre) in 2003 with a dissertation on representations of Alexander the Great at the Burgundian court. She specializes in secular iconography, issues of patronage, and the links between art and power. She teaches medieval art history at the University of Paris X (Nanterre) and elsewhere.

Stephanie Buck received her Ph.D. from the Freie Universität Berlin in 2000, and is currently adjunct professor at FU-BEST, Berlin, and a Getty fellow at the Friedrich-Alexander Universität Erlangen-Nürnberg. She has contributed to a critical catalogue of fifteenth-century Netherlandish drawings in the Kupferstichkabinett, Berlin (2001), and to an exhibition of fifteenth- and sixteenth-century German drawings at the Graphische Sammlung, Städel, Frankfurt am Main (2004).

Lorne Campbell is George Beaumont Senior Research Curator at the National Gallery, London. His many publications include National Gallery Catalogues: The Fifteenth Century Netherlandish Schools (1998) and Renaissance Portraits (1990).

Gregory T. Clark is professor of art history at the University of the South in Sewanee, Tennessee. He has published numerous studies on French and southern Netherlandish manuscript illumination of the fifteenth century. His most recent book is The Spitz Master: A Parisian Book of Hours (2003).

Richard Gay is assistant professor of art history at the University of North Carolina, Pembroke. Formerly assistant curator of manuscripts at the J. Paul Getty Museum, he helped prepare the exhibition and contributed to the publication of Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe (2003). His special interest is French manuscript illumination, and he has published previously on Flemish scribes.

James H. Marrow is professor emeritus of art history at Princeton University, senior research associate at the Department of Manuscripts and Rare Books at the Walters Art Museum in Baltimore, and Honorary Keeper of Illuminated Manuscripts at The Fitzwilliam Museum in Cambridge. He has worked extensively on the art of the Low Countries and Germany during the late Middle Ages, with particular focus on illuminated manuscripts and questions of meaning in works of religious art.

Elizabeth Morrison is associate curator in the Department of Manuscripts at the J. Paul Getty Museum. She is a specialist in French Gothic and Flemish Renaissance manuscript illumination, has curated numerous exhibitions at the Getty Museum, and is a contributor to Illuminating the Renaissance. She is currently working on French history manuscripts in the vernacular.

Catherine Reynolds, formerly a lecturer in art history at the universities of Reading and London, is currently a consultant on manuscripts for Christie's, London. Her publications include contributions to Illuminating the Renaissance and to other books on Robert Campin, Jan van Eyck, and Hans Memling.

Margaret Scott first studied classics at the University of Glasgow, and then the history of dress at the Courtauld Institute of Art, University of London, where she specialized in dress in northern Europe in the fifteenth century. Between 1999 and 2004 she taught at the Courtauld; she now works freelance. She has published books and articles on late medieval dress, and has recently completed a book for the British Library on dress in illuminated manuscripts.

Nancy K. Turner is associate conservator of manuscripts in the Department of Paper Conservation at the J. Paul Getty Museum, where she has cared for the collection since 1984. Her areas of special interest include the technical study of painting techniques and materials of Western illuminated medieval and Renaissance manuscripts. Among her publications is an essay on the painting techniques of Jean Bourdichon in A Masterpiece Reconstructed: The Hours of Louis XII (2005).

Jan Van der Stock is director of Illuminare: Centre for the Study of the Illuminated Manuscript at the Catholic University of Leuven, Belgium. He has organized several major exhibitions on manuscript illumination, including Flemish Illuminated Manuscripts I475-1550 (St. Petersburg, Florence, and Antwerp, 1996–97) and Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800–1475) (Leuven, 2002). His publications focus primarily on printmaking.

Dominique Vanwijnsberghe is project leader at the Royal Institute for Cultural Heritage in Brussels and a member of Illuminare Center for the Study of the Illuminated Manuscript (Leuven). He is a specialist of late medieval art in the Southern Netherlands. His book on miniature painting in Tournai at the time of Robert Campin (1380–1430) is in press.

Lieve Watteeuw is scientific collaborator in the conservation graphic documents at the Royal Institute for the Study and Conservation of Belgium's Artistic Heritage, Brussels; and Illuminare: Centre for the Study of the Illuminated Manuscript, Catholic University of Leuven, Belgium.