Hours of Mary of Burgundy

Foreshortening

The artist uses lines in this painting to help create dimension. Many of these lines are receding into the painting, specifically to reach the point all the way at the end of the cathedral. While this does help create the illusion of three-dimensionality, it also brings attention to an area where the viewer is intended to look.

Value

The artist uses value to help create shadows and dimension in the painting. We understand that light is coming from the windows - due to the use of white - and even see very light strokes or white as if the light is flowing in through specific places. In places the light is missed, such as certain walls in the cathedral, they are painted darker and with heavier shadows. This also alters the figures in the painting; the left side of Mother Mary’s face is slightly darker due to the shadow.

Saturation

The saturation of certain elements is also intentional; while most of the scenery has a more muted tone, items such as Mother Mary’s blue robe, the red robe worn by the man on the left, and the bright green of the carpet and cloth held by Mary of Burgundy are much more saturated to keep one’s eyes on track of where to look.

Texture

The Mary of Burgundy Painter uses texture as a way to add more dimension and make the figures and the scene more realistic. While the circular glass pieces in the window might not be something the viewer pays attention to, the artist still adds intricate detail to complete the overall look. The shading of the glass reflects where the light is shining, and the shadows show depth and imitate as if it was hand-blown.

Texture (cont.)

We also see shading on the dresses, robes, and other cloths, making everything flow as it would realistically. The sleeves of Mary of Burgundy’s brown dress are shaded/lightened to create creases, as this part of the dress would typically be tighter. On the bottom of the dress, we see this same technique instead to show an excess amount of material and how it would appear in real life.

Technique

This painting is originally a part of a Book of Hours, which was used by many to help guide prayer. While illustrations in these books weren’t necessarily uncommon, something as intricate as this - as well as small - would typically be found only in the hands of the nobility/elite. This Book of Hours was designed for Mary of Burgundy, therefore it’s understandable why she is seen in it. This illustration is supposed to act as a reminder for her; when she prays, she must immerse herself to the point that she feels she is experiencing these holy events.

Summary

The Mary of Burgundy Painter used their well-defined craft in this illustration to create not only a story, but one seemingly life-like and of high value. The use of mathematical lines and shadows creates a perspective that feels as if you are looking into the distance rather than an art piece. The artist finds importance in making sure everything has definition; the use of shading adds depth and texture to certain textiles, each one requiring specific tactics and therefore different skills. Despite that, the artist still manages to make sure each one is accounted for with high precision. Knowing this painting comes from a Book of Hours dedicated to a noblewoman, the artist had the extra pressure of making it personal and relatable to the patron. Thus, it is clear that the artist must have been highly skilled to illustrate something that intricate and realistic while having such a limited amount of space.