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Copyright by Ingrid Grace Kottke 2020 Copyright by Ingrid Grace Kottke 2020 The Thesis Committee for Ingrid Grace Kottke Certifies that this is the approved version of the following Thesis: Games of Paint and Print: Strategies of Juxtaposition in the Hours of Charles d’Angoulême APPROVED BY SUPERVISING COMMITTEE: Jeffrey Chipps Smith, Supervisor Joan Holladay Games of Paint and Print: Strategies of Juxtaposition in the Hours of Charles d’Angoulême by Ingrid Grace Kottke Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2020 Acknowledgements I complete this thesis is thanks to guidance of many wonderful teachers. I am particularly grateful to my supervisor Jeffrey Chipps Smith for his sincere mentorship, generosity, and patience. I also wish to thank Joan Holladay for her attentive and constructive comments as my second reader. It was a pleasure and a privilege to work with both of them, and I appreciate their efforts throughout this process more than I could adequately express here. I would also like to thank my colleagues, particularly Claire Sumner, for their good cheer and support. Both within and beyond the art history department, I have been lucky to work with scholars whose perspectives have shaped my own and whose critiques have aided my research and writing. In this regard, I would also like to thank Alison Frazier and Christoph Brachmann for their assistance and encouragement. Lastly, many thanks to my family for their faith, formatting expertise, and kindness throughout my entire academic life. Thank you for believing in me. v Abstract Games of Paint and Print: Strategies of Juxtaposition in the Hours of Charles d’Angoulême Ingrid Grace Kottke, MA The University of Texas at Austin, 2020 Supervisor: Jeffrey Chipps Smith Dating to the early 1480s, the Hours of Charles d’Angoulême (Bibliothèque Nationale de France, Paris, ms. Latin 1173) stands as a notable venue for imaginative engagement between painter and reader. A hybrid volume, it integrates prints and print imagery into the painted world of the manuscript, often through humorous or inventive means. The book is attributed to Robinet Testard (active c. 1471-1531), court illuminator to Charles d’Angoulême (1459-96), a Valois noble of the Orléans branch, best-known as the father of François I. It contains forty-three compositions directly derived from prints, sixteen of which are actual engravings glued directly onto the vellum and overpainted. Although on certain pages, Testard’s adaptation of print is direct, the artist frequently engages in some degree of alteration –from slight embellishment to almost total reinterpretation. He employed contemporary German and Netherlandish prints, especially those by Israhel van Meckenem. The manner in which Testard’s pairing of paint and print affects viewing experience merits thorough exploration. Print-derived couplings and oppositions, cast vi through motifs of courting and quarrel or wilderness and cultivation, recur consistently throughout the volume, often within the same miniature or figural pairing. I concentrate on these patterns of accord and discord throughout the volume as they relate to audience engagement, focusing particularly depictions of seasonality and the pastoral. In the manuscript’s calendar sequence, Testard’s inclusion and seasonalization of satirical love and battle scenes may have been intended to surprise and amuse his patron who, as scion of aristocratic bookworms, would be familiar with calendrical tropes. Elsewhere, full-page miniatures demonstrate further his strategies of creative selection and juxtaposition. I explore the extent to which the tragic wild couple of the Office of the Dead miniature and the ludic herders of the Annunciation to the Shepherds reshape northern print motifs to the nostalgic pastoral tastes of the French court. vii Table of Contents List of Figures ............................................................................................................. x-xxvi Introduction ..........................................................................................................................1 The Patron, Charles d'Angoulême, and His Court ......................................................3 The Artist, Robinet Testard ........................................................................................7 The Manuscript ...........................................................................................................9 Historiography: Novelty, Referentiality, and Hybridity ...........................................10 Methodology: Pictorial Wit Between Paint and Print ..............................................15 Chapter 1: Love Gardens, Wild Knights, and Foolish Couples: Print in the Calendar Sequence ......................................................................................................................19 Cultivation and Exuberance in April and May (f.2v-3r) ..........................................22 Laborious and Transactional Love in August and September (f.4v-5r) ...................42 Conclusion ................................................................................................................52 Chapter 2: Ludic and Tragic Pastoral in the Main Frame ..................................................55 Charles d'Angoulême's Cognac: Rebuilding and Retreat between City and Country ...............................................................................................................58 Folly, Freedom, and Morris Dance in the Annunciation to the Shepherds (f.20v) ...68 Office of the Dead: Doomed Wild Lovers in the Shadow of the Castle...................80 Chapter 3: Print Meets Paint in Late Medieval France: Case Studies from, and Parallels to, Testard's Career ........................................................................................85 Early Print Collection, van Meckenem, and ms. lat. 1173 in Context ......................85 Ms. fr. 929: The Imitation of Christ from Printed Book to Personalized Manuscript ..........................................................................................................90 Ms. fr. 143: Multi-Referential Patterns of Print Inclusion ........................................97 viii Precursors and Parallels: Print-Manuscript Encounters Beyond Testard ...............104 Figures..............................................................................................................................110 Bibliography ....................................................................................................................157 ix List of Figures Figure 1: Robinet Testard, Hours of Charles d’Angoulême (ms. lat. 1173), folio 2v, c. 1480-88, illuminated parchment, 215 x 155 mm. Paris, Bibliothèque nationale de France, accessed April 11, 2020, https://gallica.bnf.fr/ark:/12148/btv1b52502694t .......................................110 Figure 2: Robinet Testard, Hours of Charles d’Angoulême (ms. lat. 1173), folio 2v: detail, c. 1480-88, illuminated parchment. Bibliothèque nationale de France, accessed April 11, 2020, https://gallica.bnf.fr/ark:/12148/btv1b52502694t .......................................110 Figure 3: Unknown (Rouen or Orléans), Book of Hours (ms G.4), folio 5r: detail, last quarter of the 15th c, illuminated vellum, 187 x 125 mm/folio. New York, Morgan Library, accessed April 11, 2020, http://ica.themorgan.org/manuscript/page/7/7680411 ................................111 Figure 4: Unknown (Paris), Book of Hours (ms. M.73), folio 2v: detail, c. 1475, illuminated vellum, 140 x 98 mm/folio. New York, Morgan Library, accessed April 11, 2020, http://ica.themorgan.org/manuscript/page/4/77002 ....................................111 Figure 5: Unknown (Rouen), Book of Hours (ms. M.131), folio 4r: detail, c. 1480, 180 x 120 mm/folio. New York, Morgan Library, accessed April 11, 2020, http://ica.themorgan.org/manuscript/page/7/76852 ....................................112 Figure 6: Master of the Housebook, Two Lovers, 1480-88, drypoint engraving, 167 x 107 mm. ARTstor, accessed April 11, 2020, https://library.artstor.org/asset/ARTSTOR_103_41822001140837 ...........112 x Figure 7: Israhel van Meckenem, The Lovers, late 15th c., engraving, 162 x 106 cm. ARTstor, accessed April 11, 2020, https://library.artstor.org/asset/BARTSCH_5610090 .................................113 Figure 8: Master/Monogrammist bxg, The Lovers, second half of the 15th c., engraving, 168 x 108 cm. Vienna, Albertina, accessed April 27, 2020, http://www.kulturpool.at/plugins/kulturpool/showitem.action?itemId=42 95033936&kupoContext=default ...............................................................113 Figure 9: Upper Rhenish Master, The Little Garden of Paradise, oil painting, c. 1410/20, 263 x 334 cm. ARTstor, accessed April 11, 2020, https://library.artstor.org/asset/26875367 ...................................................114 Figure 10: Robinet Testard, Livre des échecs amoureux moralisés (ms. fr. 143), f. 198v: detail, c. 1495-1498, illuminated parchment, 310 x 200 mm. Paris, Bibliothèque nationale, accessed April 12, 2020, https://gallica.bnf.fr/ark:/12148/btv1b100255556 ......................................114 Figure 11: Master E. S., Love Garden with Chess Players,c, 1460-1467, copperplate engraving, 165 x 208 mm. Berlin, Kupferstichkabinett, accessed April 12, 2020, https://inpress.lib.uiowa.edu/feminae/DetailsPage.aspx?Feminae_ID=30 957...............................................................................................................115
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