Henri Belschose (French Henri Bellechose , died before January 28, 1445) - a painter from the southern Netherlands, who worked at the court of the Dukes of Burgundy. One of the significant masters of international Gothic .
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Biography
Born in Breda . Before the arrival of Belshosa in Dijon , to the court of John the Fearless , there is no information about his life and work. The duke appointed Belshose as a court painter and valet, the same ranks being worn by his predecessor Jean Maluel and successor Jan van Eyck . It is assumed that for some time he worked as an assistant to Maluel, and he had a great influence on Belshose. Belshoz became the official artist of the Burgundy court in 1415, after the death of Maluel.
Almost all the famous works of Belshoz were commissioned by the Dukes of Burgundy and the churches of Dijon. Most of Belshoz’s works have not survived - according to detailed accounts of the Burgundy court, he was a prolific artist. One of the most famous works of Henri Belshosa - the altar "The Crucifixion with the Martyrdom of St. Dionysius " (1416, currently stored in the Louvre ), was performed by him for the Cartesian monastery of Chanmole in Dijon, founded by Philippe Smely . The monastery, also called the “House of the Trinity ”, housed the tomb of the Dukes of Burgundy. The artist’s loyalty to local traditions, the generous use of gold, the careful study of details, the general similarity in the manner of execution of the two official painters of the Burgundy court [1] , gave rise to the hypothesis that this work was started by Maluel, and after his death completed by Belshoz. Albert Chatel believes that the Louvre tondo, usually attributed to Maluel, are two of the five altar images commissioned to him in 1398. However, he suggests that Tondo performed Belshose when he worked as an assistant to Maluel, thus completely rejecting the traditional attribution of these works. [2] Belshoz retained his post under the new Duke of Burgundy - Philip Good . He carried out, according to the preserved documents, mainly decorative works, which was usually for court artists. Two altar images, for which Belshoz received orders in 1425 and 1429, were not preserved. [3]
Belshoz had a large workshop, at the peak of the artist's career, eight assistants and two students worked in it.
Around 1424, Henri Belshauz married the daughter of a notary Alixan Lebon [3] .
Since 1426, Belshoz’s salary was greatly reduced, and after August 1429 his name disappeared from the accounts of the Duke of Burgundy. Philip Good spent most of his time in the Netherlands, where he met with the innovative work of Jan van Eyck. In 1425, Jan van Eyck became the court painter of the Duke. Judging by the sources, Belshoz was still alive in 1440, but was absent in Dijon. He died before January 1445 [3] .
Notes
- ↑ Some art historians find it difficult to determine which of the two masters created this or that work. (Chátelet, 20, and Grove)
- ↑ Snyder, 70 and Chátelet, 16-18 and 191
- ↑ 1 2 3 Grove
Literature
- S. Zuffy. Rebirth. XV century. Quattrocento. - M .: Omega-press, 2008 .-- S. 144-145. - 384 p. - 3000 copies. - ISBN 978-5-465-01772-5 .
- Châtelet, Albert, Early Dutch Painting, Painting in the northern Netherlands in the fifteenth century , 1980, Montreux, Lausanne, ISBN 2-88260-009-7
- "Bellechose, Henri" , The Grove Dictionary of Art , Published by artnet , with permission from Macmillan Publishers Limited, 2000 , < http://www.artnet.com/library/00/0076/T007614.asp >
- Snyder, James; Northern Renaissance Art , 1985, Harry N. Abrams, ISBN 0-13-623596-4