French illuminator. He is named after his principal work, a Book of Hours (Chantilly, Mus. Condé, MS. 76) that was at one time in the possession of Marie-Adelaïde of Savoy, Duchesse de Bourgogne (1685–1712), who was the wife of Le Petit Dauphin Louis and granddaughter-in-law of Louis XIV. The artist was a contemporary of Jean Fouquet, and the works attributed to him show that he was one of the most original illuminators active in western France during the second half of the 15th century. He was possibly trained in the Loire region and began his career in Angers. His style evolved from the complex group of manuscripts by the Master of Jouvenel des Ursins and his associates. This relationship can be seen in his earliest attributed work, Giovanni da Colonna's Mare historiarum (Paris, Bib. N., MS. lat. 4915, fols 80–160), executed c. 1447–8 for Chancellor Guillaume Jouvenel des Ursins; in particular, his sensitive and atmospheric treatment of light is derived from the Jouvenel group. During this early period the Adelaide Master executed several miniatures in the so-called Hours of Mary Stuart (Paris, Bib. N., MS. lat. 1405), in which he collaborated with, amogn others, the Master of the Geneva Boccaccio.
From The Grove Encyclopedia of Northern Renaissance Art in Oxford Reference.
Subjects: Renaissance Art.