(fl 1426–39). French painter. He is first documented in 1426, when he was producing wall paintings in churches in Besançon (destr.). During the 1430s he was the most important painter in Dijon, and he was probably responsible for the panel of the Presentation with Kneeling Donors (Dijon, Mus. B.-A.), formerly in the charterhouse of Champmol. This combines figure types derived from the Master of Flémalle with Eyckian motifs: the depiction of the scene in a church interior resembles Jan van Eyck's Virgin and Child in a Church (Berlin, Gemäldegal.). Maisoncelles may have executed the wall paintings depicting a Circumcision and a Baptism that were recorded in Notre-Dame, Dijon, by Louis Joseph Ypermann (1892; Paris, Mus. Mnmts Fr., 10.187). On 17 March 1436 Maisoncelles received payment from the Burgundian treasury for a waist-length portrait of Philip the Good, Duke of Burgundy (untraced), specified as being 3 ft by 2½, placed beside those of former dukes in the sanctuary of Champmol. The 16th-century serial bust-length portraits of Philip, epitomized by a panel in Cincinnati (Cincinnati, OH, A. Mus.), might be versions of Maisoncelles's portrait, though in these the Duke is crowned, which differs from the commission's specifications (he was shown wearing the Order of the Golden Fleece), and his wrinkled face appears older than that of a man who was 40 in 1436. That year the painter was granted a tax abatement by the Dijon municipality. In 1436–7 Maisoncelles received payments towards a large wall painting of the Dance of Death in the cloister of the Sainte-Chapelle in Dijon (destr. 1803). In 1439 Maisoncelles was in Besançon producing, with Jean de Pestinien (1380–1463), an illuminator also established in Dijon, wall paintings (destr.) in the chapel of Notre-Dame in the cathedral.
From The Grove Encyclopedia of Northern Renaissance Art in Oxford Reference.
Subjects: Renaissance Art.