Follower of Michelino da Besozzo (fl. c.1370-1455) Presentation in the Temple, initial 'S' cut from a choirbook on vellum, Lombardy, c.1440 An intimate and serene rendering of the Presentation in the Temple by an artist closely associated with Michelino da Besozzo. 85 x 88mm. The initial 'S' with the Virgin Mary in a blue mantle holding out the Christ Child to the priest Simeon, opening the introit 'Suscepimus deus misericoridam' for the feast of the Purification of the Virgin Mary (February 2), also known as Candlemas, verso with fragments of four lines of text with part of a rubric in red and part of an initial in blue opening the chant 'Post partum virgo', with two lines inscribed 'Post [partum virgo inviolata perm]a[n]sisti.' Mounted and framed. Illumination: Art historians now attribute this cutting to an artist close to Michelino Molinari da Besozzo, known as Michelino da Besozzo (c.1370-c.1455), a notable Italian painter and illuminator working in the tradition of the International Gothic Style and employed by the Visconti family, rulers of Milan. For his patron, the duke of Milan, Gian Galeazzo Visconti, Michelino created in 1404 the manuscript illuminations in a funeral oration (BnF, MS lat. 5888). The artist’s only signed work is the painting of the Mystic Marriage of Saint Catherine in the Pinacoteca Nazionale in Siena. Compositionally comparable is the Presentation in the Temple in a Book of Hours in the Morgan Library, M.944. Our miniature is probably not in Michelino's own hand, but many features relate it closely to him and to his attributed works: the soft modelling of the faces and drapery, the pastel colors, the full faces of the figures and the large size of the baby Jesus. A series of drawings in Düsseldorf assigned to a follower of Michelino shows striking similarities in the rendering of the draperies (Düsseldorf, Staatliche Kunstakademie, F. P. 3527-3528). Sister leaves sometimes associated with one of Michelino's followers, the Olivetan Master, may include an initial of St Clare, now in a private collection.
Follower of Michelino da Besozzo (fl. c.1370-1455) Presentation in the Temple, initial 'S' cut from a choirbook on vellum, Lombardy, c.1440 An intimate and serene rendering of the Presentation in the Temple by an artist closely associated with Michelino da Besozzo. 85 x 88mm. The initial 'S' with the Virgin Mary in a blue mantle holding out the Christ Child to the priest Simeon, opening the introit 'Suscepimus deus misericoridam' for the feast of the Purification of the Virgin Mary (February 2), also known as Candlemas, verso with fragments of four lines of text with part of a rubric in red and part of an initial in blue opening the chant 'Post partum virgo', with two lines inscribed 'Post [partum virgo inviolata perm]a[n]sisti.' Mounted and framed. Illumination: Art historians now attribute this cutting to an artist close to Michelino Molinari da Besozzo, known as Michelino da Besozzo (c.1370-c.1455), a notable Italian painter and illuminator working in the tradition of the International Gothic Style and employed by the Visconti family, rulers of Milan. For his patron, the duke of Milan, Gian Galeazzo Visconti, Michelino created in 1404 the manuscript illuminations in a funeral oration (BnF, MS lat. 5888). The artist’s only signed work is the painting of the Mystic Marriage of Saint Catherine in the Pinacoteca Nazionale in Siena. Compositionally comparable is the Presentation in the Temple in a Book of Hours in the Morgan Library, M.944. Our miniature is probably not in Michelino's own hand, but many features relate it closely to him and to his attributed works: the soft modelling of the faces and drapery, the pastel colors, the full faces of the figures and the large size of the baby Jesus. A series of drawings in Düsseldorf assigned to a follower of Michelino shows striking similarities in the rendering of the draperies (Düsseldorf, Staatliche Kunstakademie, F. P. 3527-3528). Sister leaves sometimes associated with one of Michelino's followers, the Olivetan Master, may include an initial of St Clare, now in a private collection.
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