International Gothic Style
By the end of the 14th century, the fusion of Italian and Northern European art had led to the development of an International Gothic style. For the next quarter of a century, leading artists travelled from Italy to France, and vice versa, and all over Europe. As a consequence, ideas spread and merged, until eventually painters in this International Gothic style could be found in France, Italy, England, Germany, Austria and Bohemia.
The ancient art of book illumination was still the prevailing form of painting in France at the beginning of the 15th century. It reached new heights, however, in the work of the three Limbourg brothers, Pol, Herman, and Jean, exponents of the International Gothic style.
They came from Gelderland, a province of the Netherlands, but worked in France. They were the only other Gothic painters to take such orderly joy as that shown by Ambrogio Lorenzetti in the city and its environment, its people, and its rulers. The Limbourg brothers all died suddenly in 1416, probably of the plague.
The Limbourgs' joint masterpiece, Les Très Riches Heures, was commissioned by the wealthy and extravagant manuscript collector, the Duc de Berry. Les Très Riches Heures is one of a genre of 15th-century illustrated prayer books known as ``book of hours''. The ``hours'' were prayers to be said at one of seven hours of the day. A book of hours would naturally contain a calendar, and this became the opportunity for a display of the illuminator's talent. Sadly, this particular example was unfinished at the time of the Limbourgs' and the Duc de Berry's deaths.
Each month is marked by an enchanting scene, usually showing appropriate seasonal activities. In August, we see courtly lovers riding to hunt with their falcons, while the great white ducal castle gleams in the distance and the peasant swim happily in the winding stream. The blue upper part of the painting shows an astrological hemisphere. With its mixture of courtly refinement and everyday reality, this miniature is representative of many in the book.
The Garden of Eden was painted separately from the rest of Les Très Riches Heures and inserted into it later. It is a great enclosed circle showing the world as it was intended to remain before Adam and Eve's fall from grace. The whole story of the loss of Eden and human self-will is set graphically before us. Adam and Eve are finally ejected from the lush greenery of Eden unto a dangerous rocky shore. The Limbourgs' consciousness of tragedy is no less acute for being so chivalric in its manner. For all their elegance, they are as aware as all great artists that pain is our human lot.