Master of Mary of Burgundy

[1] He was influenced by advances in oil on canvas panel painting, especially the works and approach of Hugo van der Goes, and may have been also a painter himself.

His illuminations are characterised by a tendency towards a dark palette,[2] an aesthetic favoured by the court of the time, as well as innovative uses of trompe-l'œil devices in both his miniatures and border decorations.

Other works attributed to the master include miniatures in the Prayer Book of Charles the Bold (Ms. 37) in the J. Paul Getty Museum, and the Hours of Engelbert of Nassau in the Bodleian Library, in Oxford.

[7] He achieved the modeling of figures and objects by building layers of paint in thin but visible strokes, rather than the then convention of hatching.

[4] The master collaborated with a number of artists of the earlier generation, including Lieven van Lathem, Simon Marmion and Nicolas Spierinc, but soon surpassed them.