Simon Marmion

Simon Marmion (born c. 1425 at Amiens, France, died 24 or 25 December, 1489, Valenciennes) was a French, or Burgundian, painter of panels and illuminated manuscripts. Marmion lived and worked in what is now France but for most of his lifetime was part of the Duchy of Burgundy.

Life

Like many painters of his era, Marmion came from a family of artists, and both his father, Jean, and his brother Mille were painters. Marmion is recorded as working at Amiens between 1449 to 1454, and then at Valenciennes from 1458 until his death. He was patronized by Philip the Good, the Duke of Burgundy from 1454 when he was one of several artists called to Lille to work on the decorations for the Feast of the Pheasant. [Campbell, 300] He was employed by several members of the ducal family, including Charles the Bold and Margaret of York. He was called "the prince of illuminators" by a near contemporary. Three years after his death his widow, Jeanne de Quaroube, married his pupil, the painter Jan Provoost, who on her death inherited the considerable Marmion estate.

Although best known for his illuminated manuscripts, Marmion also produced portraits and other paintings, altarpieces, and decorative work. A famous double-sided altarpiece [Strictly, the shutters normally used to cover up a carved altarpiece. The "inside" side is in grisaille.] with several "Scenes from the life of St Bertin" is in the Gemäldegalerie, Berlin (with two sections in the National Gallery (London). [Campbell, 300-309] There is a "Mass of Saint Gregory" in Toronto, and a "Lamentation of Christ" in the Metropolitan Museum of Art, [Kren & S McKendrick, 100-102, 107 [http://www.metmuseum.org/toah/hd/bnpu/ho_1975.1.128.htm Metropolitan] ] three works in Philadelphia, and several others elsewhere. Stylistically he lies between his French and Flemish contemporaries, with a Flemish innovation in composition and landscape. His perspective is usually technically sound, but the proportions of his figures are often awkward, and their poses rather stiff.

Manuscripts

His masterpiece, a Grandes Chroniques de France, is now in the Russian National Library, St Petersburg. This has 25 large miniatures (215 x 258 mm) and 65 smaller ones, ranging in style from brilliantly-coloured battle-scenes to some in an innovative near-grisaille style, with just touches of subdued colour. The illustrations reflect the text, which is an unusual version stressing Netherlandish events, and apparently intended to justify Philip the Good's claim to the French throne. [ Voronova & Sterligov, 120] The same library has a medical text with a fine presentation miniature with another portrait of Phillip the Good, and heraldic borders. [ Voronova & Sterligov, 118-119]

His manuscript of "The Visions of Tondal" in the Getty Museum (1475) is another important work, and he also produced many more conventional Books of Hours and other manuscripts; [Kren & S McKendrick, 98] his most elaborate book of hours is the "Huth Hours" (ca. 1480) in the British Library, with 24 full-page miniatures, and 74 smaller ones. [ [http://www.bl.uk/onlinegallery/features/flemish/flemish051lge.html British Library] ] In a book of hours now in Naples, known as "la Flora" he painted 22 full-page miniatures that pioneered close-up small groups of a few figures seen at half-length, which represent "his most distinctive illumination and perhaps his greatest achievement". [T Kren, in Kren & S McKendrick, 330] The Morgan Library and Huntington Library also have fine books of hours by Marmion.The "Simon Marmion Hours" (not the only manuscript so called) in the Victoria and Albert Museum in London (1475-81) is, with pages 11 x 7.6 cm (4 3/8 x 3 in.), an example of the fashion for very small but lavish books of hours.Harthan, 148] Here the borders are especially fine, in some cases going beyond the usual flowers and foliage to include ones showing collections of ivory and enamel plaques, and other pilgrim's souvenirs arrayed on shelves. [Illus. Harthan, 150] The book appears to have been made without a specific owner in mind, as there is none of the usual heraldry in the borders and the choice of saints' days included in the calendar is generalized for Bruges and Northern France - by this period books of hours could be bought ready-made, but not usually of this quality. The only full-page miniature without borders in the book is an unusual scene of Heaven and Hell, opposite a "Last Judgement" on the facing page. [Harthan, 148, illus. 147] The lower two thirds show a fiery hellish landscape, while above naked figures cross a narrow bridge over a lake to a grassy park-like heaven - if they can evade the devils with hooked poles in the water, who try to grab them. Many scenes in the Getty Tondal, and a large "Dream of Charles the Bald" in the Petersberg "Chroniques" also contain striking images on these themes, anticipating those of Hieronymous Bosch.

Identity questioned

Between the late 19th century and the mid-20th century, art historians added various works to Marmion's cannon. However from 1969, a scholarly counter-movement began when the art historian Antoine de Schruyver first suggested that Marmion's body of work came from a number of hands. [ [http://www.jstor.org/pss/1481998 JSTOR] "The Case of Simon Marmion: Attributions & Documents", Sandra Hindman,Zeitschrift für Kunstgeschichte, Vol 40 , H. 3/4 (1977), pp. 185-204.] At its largest figures, Marmion's oeuvre amounts to some 40 each of manuscripts and panel paintings, but though his life and his reputation are both covered by contemporary documentation, he cannot clearly connected by documents to specific surviving works - most of the biographical documentation relates to his ownership of real estate property. However circumstantial evidence is strong: the abbot at Saint-Omer (near Valenciennes) who commissioned the St. Bertin altarpiece, Guillaume Filastre, also commissioned the Petersberg "Chroniques" and another MS by the same artist. Marmion is recorded as producing a breviary ordered by Philip the Good between 1467 and 1470, and a detached miniature in the Metropolitan Museum of Art (Lehman Collection) may come from this. [Campbell, 300 [http://www.metmuseum.org/toah/hd/bnpu/ho_1975.1.2477.htm Metropolitan, who are more confident of the identification] ]

Notes

References

* Campbell, Lorne. National Gallery Catalogues (new series): "The Fifteenth Century Netherlandish Paintings", 1998, ISBN 185709171
* Harthan, John, "The Book of Hours", pp. 146-151, 1977, Thomas Y Crowell Company, New York, ISBN 0690016549
* T Kren & S McKendrick (eds), "Illuminating the Renaissance - The Triumph of Flemish Manuscript Painting in Europe", Getty Museum/Royal Academy of Arts, pp. 98-116 & passim, 2003, ISBN 19033973287
* T. Voronova and A Sterligov, Western European Illuminated Manuscripts (in the St Petersberg Public Library), pp. 118-133, 2003, Sirocco, London

Further reading

* Kren, Thomas, ed. "Margaret of York, Simon Marmion, and The Visions of Tondal." Malibu, CA, J. Paul Getty Museum, 1992.Short books on individual MS:
* Kren, Thomas, and Wieck, Roger. "The Visions of Tondal from the Library of Margaret of York", J. Paul Getty Museum, Malibu, 1990, ISBN 978-0-89236-169-4
* Thorpe, James. "Book of Hours: Illuminations by Simon Marmion", Huntington Library Press; New edition 2000, ISBN 0873281306

External links

* [http://www.artcyclopedia.com/artists/marmion_simon.html Simon Marmion at Artcyclopedia]
* [http://www.getty.edu/art/gettyguide/artMakerDetails?maker=1125 Marmion in the pages of Getty Museum]
* [http://www.arcv.ucl.ac.be/Mslatinnotice2.html Getty Tondal miniatures only] (full turn the pages at Getty link above)
* [http://www.arcv.ucl.ac.be/Mslatinnotice2.html Louvain University Library] Information and Bibliography (in French)