Supported projects

In the 15^th century, painters’ workshops had a functioning, inherited from the Middle Ages, based on the versatility of artisans and their ability to produce works of extremely varied typologies: altarpieces, illuminations in books of hours or illustrations on paper, mural paintings, glass paintings, paintings on canvas, and so on. In Provence, this prolific production is represented by a still-existing corpus of works. In its material diversity, it is one of the most fascinating in France and written sources provide valuable information about the commissioning of these works. While style and iconography of these remarkable pieces have been extensively studied, the painting techniques and materials used by these painters remain largely unknown, as the works in question have rarely been subjected to scientific analysis. The aim of this research will thus be to understand, through close observation of the works, the implementation of new analyses, and the study of documentary archives, the mechanisms at play in the production of an illumination, an altarpiece, a mural painting, or a stained-glass window. We will explore the following questions: What are the similarities between these different objects in terms of raw materials, tools, and painting techniques used? How is organized the training of painters and apprentices, and how is the workshop managed to meet such diverse  commissions? How does the idea of a work take form, materially, and what strategies do painters employ to streamline their production? More broadly, this research will shed light on the technical specificities of Provence painters and compare them with those of other artistic centers in France and abroad, within a context where works, artists, and materials are constantly circulating.