MEIT, Conrad

In his small boxwoods carvings and in the figure of Judith, Meit shows himself as one of the most successful Renaissance-minded Northern carvers of his day.

Suggested listening (streaming mp3, 17 minutes):

Alessandro Scarlatti: La Giuditta, oratorio, Part I (excerpts)

Jan Gossart have spent some time in Mechelen, where he was summoned in 1523 by Margaret of Austria. In Mechelen, he stayed with Conrad Meit, whom he must have met perviously. Gossart and Meit shared a common interest in mythological themes. It cannot be a coincidence that the twisted figure of Venus in Gossart’s Venus and Cupid (in Brussels) appears so similar to Meit’s Lucretia.

Conrad Meit became the court painter of Margaret of Austria in Mechelen and sometime before 1514 and remained in that position until her death in 1530. He was principally responsible for important works for Margaret’s residence in Mechelen and for the church of Saint-Nicolas-de-Tolentino at the royal monastery at Brou by Bourg-en-Bresse, which was the burial site of Margaret, Philibert of Savoy, the husband of Margaret, and his mother, Margaret of Bourbon. In connection with the latter commission, Meit went to Brou in 1524 and, along with assistants, executed the tomb sculptures there between 1526 and 1531. For her residence at Mechelen in particular, Meit made sculptures of mythological themes and a series of busts, both small, in boxwood, and large-scale, in marble and alabaster. Margaret displayed these in her library along with painted portraits and medallions.

In his Mars and Venus, Meit positioned Mars so that he touches Venus’s buttocks and her hand brushes against his thigh. The sculptor accentuated the sense of the figures’ reaching toward one another by depicting each with an upraised foot. The active gestures and contrapposto animate the couple and increase the erotic charge.

Conrad Meit became the court painter of Margaret of Austria in Mechelen and sometime before 1514 and remained in that position until her death in 1530. He was principally responsible for important works for Margaret’s residence in Mechelen and for the church of Saint-Nicolas-de-Tolentino at the royal monastery at Brou by Bourg-en-Bresse, which was the burial site of Margaret, Philibert of Savoy, the husband of Margaret, and his mother, Margaret of Bourbon. In connection with the latter commission, Meit went to Brou in 1524 and, along with assistants, executed the tomb sculptures there between 1526 and 1531. For her residence at Mechelen in particular, Meit made sculptures of mythological themes and a series of busts, both small, in boxwood, and large-scale, in marble and alabaster. Margaret displayed these in her library along with painted portraits and medallions.

The attachment to Gothic forms and traditions in the first decades of the 16th century is remarkably illustrated in one of the outstanding achievements of Western sculpture - the tombs of Margaret of Austria, her husband Philibert le Beau and her mother Margaret of Bourbon, executed under the direction of Conrad Meit of Worms as late as the 1530s. Meit shows himself as one of the most successful Renaissance-minded Northern carvers of his day. In the tombs at Brou in France, however, both the overall setting and the details of execution are largely Gothic in conception.

Archduchess Margaret of Austria (1480-1530), Princess of Asturias and Duchess of Savoy by her two marriages, was Governor of the Habsburg Netherlands from 1507 to 1515 and again from 1519 to 1530. Her first husband was John, Prince of Asturias, who died after six months of marriage in 1497. In 1501, Margaret married Philibert II, Duke of Savoy (1480–1504), who died three years later. This marriage had been childless as well. After his death, she vowed never to marry again. Her court historian and poet Jean Lemaire de Belges gave her the title “Dame de deuil” (Lady of Mourning).

The portrait of Margaret of Austria as a young princess was executed by the Master of Moulins. Her portrait as a widow was painted by Bernaert van Orley.

The attachment to Gothic forms and traditions in the first decades of the 16th century is remarkably illustrated in one of the outstanding achievements of Western sculpture - the tombs of Margaret of Austria, her husband Philibert le Beau and her mother Margaret of Bourbon, executed under the direction of Conrad Meit of Worms as late as the 1530s. Meit shows himself as one of the most successful Renaissance-minded Northern carvers of his day. In the tombs at Brou in France, however, both the overall setting and the details of execution are largely Gothic in conception.

Philibert II (1480-1504), surnamed the Handsome or the Good (in French Philibert le Beau), was the Duke of Savoy from 1497 until his death.

The attachment to Gothic forms and traditions in the first decades of the 16th century is remarkably illustrated in one of the outstanding achievements of Western sculpture - the tombs of Margaret of Austria, her husband Philibert le Beau and her mother Margaret of Bourbon, executed under the direction of Conrad Meit of Worms as late as the 1530s. Meit shows himself as one of the most successful Renaissance-minded Northern carvers of his day. In the tombs at Brou in France, however, both the overall setting and the details of execution are largely Gothic in conception.

Philibert II (1480-1504), surnamed the Handsome or the Good (in French Philibert le Beau), was the Duke of Savoy from 1497 until his death.

One of the most beautiful groups of Flemish-style sculpture is to be found in the votive church of Brou. In 1506 the hapless Margaret of Austria, Regent of Austria, built the church of Brou in memory of her husband, Philibert le Beau. A Fleming, Jean de Room, called Jean of Brussels, submitted the scheme for the sculpture in 1516; the complete scheme was finished in 1532. Conrad Meit was the main sculptor. His art is extremely refined, but the elegant gestures and the preciosity of the draperies are balanced by the ample patterns of the broken folds.

The picture shows a sibyl from the tomb of Philibert le Beau.

Owing in part to their appointments at two humanist courts - those of Philip of Burgundy and Margaret of Austria -Jan Gossart and Conrad Meit shared a common interest in mythological themes. They were also intrigued by the textures of fabrics, the heightened three-dimensionality of features such as braided or thick, curled locks of hair or draperies, and the smooth, porcelain-like finish to flesh, especially that of the face. The comparison of Gossart’s Virgin and Child in the Prado with Meit’s Virgin and Child in Brussels demonstrate their affinity in this respect.