This article discusses the iconographic and compositional program of the monumental stained glass... more This article discusses the iconographic and compositional program of the monumental stained glass windows commissioned under the patronage of the Valois duke Jean de Berry (1340-1416) for his Sainte-Chapelle at Bourges. It revisits the windows' current physical state in a manner that has never before been properly attempted, and brings to light a small group of hitherto unknown and unpublished fragments for the first time, gleaning new information crucial to our understanding of the windows' original format and scale. It draws close links to other aristocratic and royal window schemes created by the same workshop (a proposal that draws on previously overlooked evidence for compositional reuse), and attempts to track that workshop's movement between royal centres. By looking closely at what the physical evidence can tell us, and setting their visual program within the wider context of Jean de Berry's artistic patronage, it offers a new reconstruction for how the windows might have looked when first installed in the duke's Sainte-Chapelle, and reconsiders their authorship as a process of collaboration between Berry's court artist Andre Beauneveu, his architects Guy and Dreux de Dammartin, and a highly skilled workshop of master-glaziers.
Late Medieval Panel Paintings: Materials, Methods, Meanings, vol. II, 2015
Eight object essays in Late Medieval Panel Paintings: Materials, Methods, Meanings, vol. II, ed. ... more Eight object essays in Late Medieval Panel Paintings: Materials, Methods, Meanings, vol. II, ed. Susie Nash (London: Paul Holberton Press, 2015): 184-201 The Master of Großgmain - The Virgin of the Immaculate Conception, c. 1495-1500 202-211 Salzburg Master - The Virgin of Mercy, c. 1495-1500 120-131 German or Southern Netherlandish Master - The Virgin and Child (Virgo in Sole), c. 1480 132-149 The Master of Bayerisch St. Wolfgang (Jorg Breu von Landshut?) - Saints Ottilia and Damian, c. 1480 250-285 The Master of 1499 - The Virgin and Child, with the Nativity and a Kneeling Donor accompanied by Standing Saints, c. 1490–1500 286-305 The Master of the Magdalene Legend - The Virgin and Child, c. 1495-1505 306-317 Anonymous Bruges Master - A painted frame inscribed with rhyming couplets, c. 1480-1500 336-351 Bernard van Orley - The Virgin and Child in a Landscape, c. 1515–20
This paper was published in October 2016 as part of a Courtauld Online Books project entitled Rev... more This paper was published in October 2016 as part of a Courtauld Online Books project entitled Revisiting The Monument: Fifty Years since Panofsky’s Tomb Sculpture, edited by Ann Adams and Jessica Barker. The paper looks into the symbolic and material aspects of the tomb of John, Duke of Berry, carved over the course of the fifteenth century for the duke's Sainte-Chapelle in Bourges, as well as investigating the roles played by patronal intervention and spatial, liturgical, and performative contexts, in the creation of its appearance and meaning.
This article discusses the iconographic and compositional program of the monumental stained glass... more This article discusses the iconographic and compositional program of the monumental stained glass windows commissioned under the patronage of the Valois duke Jean de Berry (1340-1416) for his Sainte-Chapelle at Bourges. It revisits the windows' current physical state in a manner that has never before been properly attempted, and brings to light a small group of hitherto unknown and unpublished fragments for the first time, gleaning new information crucial to our understanding of the windows' original format and scale. It draws close links to other aristocratic and royal window schemes created by the same workshop (a proposal that draws on previously overlooked evidence for compositional reuse), and attempts to track that workshop's movement between royal centres. By looking closely at what the physical evidence can tell us, and setting their visual program within the wider context of Jean de Berry's artistic patronage, it offers a new reconstruction for how the windows might have looked when first installed in the duke's Sainte-Chapelle, and reconsiders their authorship as a process of collaboration between Berry's court artist Andre Beauneveu, his architects Guy and Dreux de Dammartin, and a highly skilled workshop of master-glaziers.
Late Medieval Panel Paintings: Materials, Methods, Meanings, vol. II, 2015
Eight object essays in Late Medieval Panel Paintings: Materials, Methods, Meanings, vol. II, ed. ... more Eight object essays in Late Medieval Panel Paintings: Materials, Methods, Meanings, vol. II, ed. Susie Nash (London: Paul Holberton Press, 2015): 184-201 The Master of Großgmain - The Virgin of the Immaculate Conception, c. 1495-1500 202-211 Salzburg Master - The Virgin of Mercy, c. 1495-1500 120-131 German or Southern Netherlandish Master - The Virgin and Child (Virgo in Sole), c. 1480 132-149 The Master of Bayerisch St. Wolfgang (Jorg Breu von Landshut?) - Saints Ottilia and Damian, c. 1480 250-285 The Master of 1499 - The Virgin and Child, with the Nativity and a Kneeling Donor accompanied by Standing Saints, c. 1490–1500 286-305 The Master of the Magdalene Legend - The Virgin and Child, c. 1495-1505 306-317 Anonymous Bruges Master - A painted frame inscribed with rhyming couplets, c. 1480-1500 336-351 Bernard van Orley - The Virgin and Child in a Landscape, c. 1515–20
This paper was published in October 2016 as part of a Courtauld Online Books project entitled Rev... more This paper was published in October 2016 as part of a Courtauld Online Books project entitled Revisiting The Monument: Fifty Years since Panofsky’s Tomb Sculpture, edited by Ann Adams and Jessica Barker. The paper looks into the symbolic and material aspects of the tomb of John, Duke of Berry, carved over the course of the fifteenth century for the duke's Sainte-Chapelle in Bourges, as well as investigating the roles played by patronal intervention and spatial, liturgical, and performative contexts, in the creation of its appearance and meaning.
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Papers by Matthew Reeves
184-201 The Master of Großgmain - The Virgin of the Immaculate Conception, c. 1495-1500
202-211 Salzburg Master - The Virgin of Mercy, c. 1495-1500
120-131 German or Southern Netherlandish Master - The Virgin and Child (Virgo in Sole), c. 1480
132-149 The Master of Bayerisch St. Wolfgang (Jorg Breu von Landshut?) - Saints Ottilia and Damian, c. 1480
250-285 The Master of 1499 - The Virgin and Child, with the Nativity and a Kneeling Donor accompanied by Standing Saints, c. 1490–1500
286-305 The Master of the Magdalene Legend - The Virgin and Child, c. 1495-1505
306-317 Anonymous Bruges Master - A painted frame inscribed with rhyming couplets, c. 1480-1500
336-351 Bernard van Orley - The Virgin and Child in a Landscape, c. 1515–20
The paper looks into the symbolic and material aspects of the tomb of John, Duke of Berry, carved over the course of the fifteenth century for the duke's Sainte-Chapelle in Bourges, as well as investigating the roles played by patronal intervention and spatial, liturgical, and performative contexts, in the creation of its appearance and meaning.
184-201 The Master of Großgmain - The Virgin of the Immaculate Conception, c. 1495-1500
202-211 Salzburg Master - The Virgin of Mercy, c. 1495-1500
120-131 German or Southern Netherlandish Master - The Virgin and Child (Virgo in Sole), c. 1480
132-149 The Master of Bayerisch St. Wolfgang (Jorg Breu von Landshut?) - Saints Ottilia and Damian, c. 1480
250-285 The Master of 1499 - The Virgin and Child, with the Nativity and a Kneeling Donor accompanied by Standing Saints, c. 1490–1500
286-305 The Master of the Magdalene Legend - The Virgin and Child, c. 1495-1505
306-317 Anonymous Bruges Master - A painted frame inscribed with rhyming couplets, c. 1480-1500
336-351 Bernard van Orley - The Virgin and Child in a Landscape, c. 1515–20
The paper looks into the symbolic and material aspects of the tomb of John, Duke of Berry, carved over the course of the fifteenth century for the duke's Sainte-Chapelle in Bourges, as well as investigating the roles played by patronal intervention and spatial, liturgical, and performative contexts, in the creation of its appearance and meaning.