Master of Guillebert de Mets / Three Leaves from a Book of Hours: The Last Judgment / 1430'sMaster of Guillebert de Mets
Three Leaves from a Book of Hours: The Last Judgment

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Creator Name: Master of Guillebert de Mets
Creator Qualifier: And workshop
Creator Nationality: European; Flemish
Creator Role: Artist
Creator Dates/Places: c. 1380 - 1439
Biography: (Jean de Pestivien?)
Creator Name-CRT: Master of Guillebert de Mets
Title: Three Leaves from a Book of Hours: The Last Judgment
Title Type: Primary
Title: The Last Judgement: Leaf from a Book of Hours
Title Type: Former
View: Full View
Creation Start Date: 1430
Creation End Date: 1440
Creation Date: 1430's
Object Type: Books
Classification Term: Manuscript
Materials and Techniques: ink, tempera and gold on vellum
Dimensions: Each leaf: 12.6cm x 8.5cm
AMICA Contributor: The Cleveland Museum of Art
Owner Location: Cleveland, Ohio, USA
ID Number: 1999.130
Credit Line: The Jeanne Miles Blackburn Collection
Provenance: [Bruce Ferrini, Akron]
Context: Master of Guillebert de Mets and Workshop (Flanders, Ghent[?], active 1410-45)Three Leaves from a Book of Hours,The Last Judgment (opening, Seven Penitential Psalms)[Cat. no. 43 (CMA 1999.130)], 1430sInk, tempera, and gold on vellumThe Jeanne Miles Blackburn Collection (Cat. nos. 41-43)The Master of Guillebert de Mets (probably Jean de Pestivien) is named after the scribe who recorded his name in an illuminated copy of the Decameron (a collection of stories by Giovanni Boccaccio, written 1351-53), made for Duke Philip the Good of Burgundy, and to which the artist contributed several miniatures. The Master of Guillebert de Mets was active from about 1410 to 1445. No proof, so far, has been discovered that allows us to follow his career or to know precisely where he worked. Some evidence, however, hints that he was of Flemish origin.The artist painted in an easily recognizable style. His figures have prominent heads with clearly delineated eyes and small mouths, slender torsos with thin, spindly legs, and long, finely worked fingers. Many of his miniatures, such as the Crucifixion and Last Judgment here, show that he often favored tessellated backgrounds comprising delicately worked checkered patterns.
AMICA ID: CMA_.1999.130
AMICA Library Year: 2001
Media Metadata Rights: Copyright, The Cleveland Museum of Art

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