Underdrawing
Artists' Techniques
The Annunciation painted by the Master of the Bible of Jean de Sy displays extensive underdrawing in ink. It not only structures the main elements of the composition, but also defines shaded areas with density and texture that shows through the thinly applied pigments.
The underdrawing in some of the miniatures painted by the Master of the Grandes Heures bears such a close resemblance to that of the Annunciation that one wonders whether the Jean de Sy Master might have sketched them, leaving the painting to his associate. The Master of the Grandes Heures was himself a talented draughtsman; his accomplished sketch of the Adoration of the Magi on fol. 102r favourably compares with the shakier underdrawing of the small miniature on the same subject sketched and painted by one of his assistant on fol. 128v.
Simple line drawing, which contributes little to the simulation of volume, is the Master of the Throne of Mercy’s most distinctive quality. The Master of the Coronation Book of Charles V, on the other hand, sketched his composition in a minimal, dry and linear style.
Flight into Egypt with bas-de-page scene of horse-taming (Hours of the Virgin, Vespers)
The Master of the Grandes Heures, who painted this page, followed closely his teacher, the Master of the Bible of Jean de Sy. He used an identical palette of deep blue and bright orange contrasting with soft pink, violet, grey and pastel green; the delicate stippling technique combined with directional strokes; the pretzel- and pouch-like drapery folds; and the extensive under-drawing with dense strokes defining the shaded areas.
His solid figures are larger in proportion to the overall picture space than those of the Jean de Sy Master. The faces, often expressive and at times grim, are heavily modelled, but less carefully blended than those painted by the Jean de Sy Master; the shading and highlights are clearly visible, creating a somewhat rugged appearance.