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Stylistically, the Master's miniatures are distinguished by their collections of robust and unidealized figures, set against colorful landscapes and detailed interiors. He had a knack for depicting narrative, and would frequently use obscure
Biblical images when constructing his paintings; his
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scenes of daily life, designed for calendar illuminations, are considered particularly vivid. Most importantly, the Master was interested in experimenting with the layout of his drawings on the page. Using various
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commissioned by James and now in Vienna. He has been called one of the finest illuminators active in
Flanders around 1500, and contributed to many lavish and important books besides directing an active
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elements, he often blurred the line between the miniature and its border, frequently using both in his efforts to advance the narrative of his scenes.
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by 1540. It has been suggested that their move was in connection with an attempt by the King, or possibly
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The
Sixteenth and Seventeenth-Century Miniatures in the Collection of Her Majesty The Queen
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Catalogued in Kren & McKendrick, 371-3. For very low-resolution images of some pages,
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Kren & S McKendrick, 414, who also catalogue the
Grimani Breviary and Vatican Hours.
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Illuminating the
Renaissance: The Triumph of Flemish Manuscript Painting in Europe
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in Venice, the
Holford Hours in Lisbon (1526, probably his last work), the "
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Gerard
Horenbout was court painter, from 1515 to about 1522, to
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The Master's work is sometimes associated with the work of the
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