The Tres Riches Heures du Duc de Berry is usually referred to as "le roi des manuscrits enlumines" or "the king of the illuminated manuscripts", but it is also a pinnacle in the entire history of painting.

автор:
Лимбург, братья
Limbourg brothers
название:
Встреча трёх волхвов
предмет с изображением:
иллюстрация [1134 ХХХ]
Июль
предмет с изображением:
иллюстрация [175 c. 87]
Несение креста
Christ carrying the cross
автор:
Коломбе Ж.
Jean Colombe
композиция:
С БР.
оформление:
f. 147r.
предмет с изображением:
файл
db-f147rs
http://www.christusrex.org/www2/berry/berry4.html
Поклонение волхвов
Adoration of the magi
автор:
Коломбе Ж.
Jean Colombe
оформление:
f. 52r.
предмет с изображением:
файл
db-f52rs
http://www.christusrex.org/www2/berry/
Положение во гроб
Entombment of Christ
автор:
Коломбе Ж.
Jean Colombe
композиция:
In a twilight laden with dark clouds, Jean Colombe has successfully rendered the tragic grandeur of the Entombment of the Son of God.
The three crosses on Calvary stand out against the orange reflections of the sun setting in a pale sky; the thieves have not yet been taken down, and ladders still lean against Christ's Cross.
The body of Jesus has been brought to the tomb offered by Joseph of Arimathea: while the Virgin lifts the body with a maternal attitude, Joseph of Arimathea and Nicodemus wrap it in a shroud.
The jar of spices brought by Nicodemus has been placed beside the tomb; Mary Magdalene kneels to anoint Jesus' hand while Mary Cleophas, the mother of James, also kneels and contemplates His face.
Other holy women pray at the head of the tomb.
St John, silhouetted against the darkened Calvary which is in turn outlined by the sun's last rays, supports the Virgin as She leans over Her Son; the distressed man on the right is probably St Peter, repenting his denial of Christ.
The composition was created with the dramatic nature of the scene in mind: the attitudes are noble and the faces illuminated by the waning light.
However, Christ's body seems very stiff compared to that executed by the Limbourgs on the opposite page.
Although the face of Maria is touching, the others are less expressive and sometimes awkward, the chief fault of Jean Colombe and one evident in many of his miniatures.
Yet the touching attitudes and striking effects of light make this one of his most beautiful works.
оформление:
f. 157r.
предмет с изображением:
файл
db-f157r
http://www.christusrex.org/www2/berry/DB-f157r.jpg
посвящённый предмет:
сайт Les Tres Riches Heures du Duc de Berry
Представление Младенца в храме
Presentation of Child in the temple
автор:
Коломбе Ж.
Jean Colombe
композиция:
Simeon, a pious and just man of Jerusalem, knew that he would not die until he had seen the Lord's Christ. Encouraged by the Holy Ghost, he went to the temple on the day the Virgin came to sacrifice a pair of turtledoves or two young pigeons on the occasion of her firstborn.
Simeon, on the right, prepares to receive the Christ Child from the Virgin and to intone the Nunc dimittis: "Now thou dost dismiss thy servant, O Lord, according to thy word in peace... " (Luke II: 29)
оформление:
f. 63r.
предмет с изображением:
файл
db-f63rm
http://www.christusrex.org/www2/berry/f63r.html
Снятие со креста
Deposition
автор:
Лимбург, братья
Limbourg brothers
композиция:
Иосиф из Аримафеи (слева на лестнице) принимает тело Христа и заворачивает его в чистое покрывало (Мф. 27:59).

Again two miniatures face each other in the manuscript: the Deposition by the Limbourg brothers and the Entombment by Jean Colombe.

Deposition is perhaps the most beautiful of the colorful luminous cycle painted by the Limbourgs for the Hours of the Passion.
The wide, clear sky against which the crosses rise gives the painting a special brilliancy that is heightened by the harmonious colors of the garments: the vermilion of the man on the ladder, the bright red of the kneeling Mary Magdalene, the pink of the turbaned Jew, and the dark blue of the Virgin.
While the thieves remain bound to their crosses in the same position as in the Death of Christ (folio 153r), three men on ladders lower the dead Christ.
With a few variations the group recalls Simone Martini's Descent from the Cross {4155}, part of the same polyptych (executed during the artist's later years, c. 1339-44) as the Way to Calvary (Louvre).
Mary Magdalene, her long blonde hair spread over her robe, kneels at the foot of the Cross, which she embraces; the resemblance to Simone Martini's Thrust of the Spear (in the Antwerp Museum; also from the same polyptych) is even more striking here.
At the left the Virgin stands looking at the body of Her Son with noble resignation: beside Her, St John extends his arms toward Christ.
At the right, watching with emotion, are holy women of the same type as the young women behind Maria (Who is not unlike the Virgin here) in the Adoration of the magi (folio 52r).
In contrast to the gravity of the scene are the carefree, laughing children already seen in preceding miniatures by the Limbourgs (folios 146v, 147r) and similar also to those painted by Simone Martini.
оформление:
f. 156v.
предмет с изображением:
иллюстрация
[1214 c. 260] - ч/б
файл
db-f156v
http://www.christusrex.org/www2/berry/DB-f156v.jpg
посвящённый предмет:
сайт Les Tres Riches Heures du Duc de Berry
Февраль
предмет с изображением:
иллюстрация [175 c. 87]
Январь
предмет с изображением:
иллюстрация [175 c. 87]
оформление:
Размер акварелей 210х290.