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Jean Hey
The Dauphin Charles Orlant
Jean Hey1.jpg
Musee du Louvre, Paris
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Jean Hey
Anne of France
Jean Hey2.jpg
1492-93
Musee du Louvre, Paris
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Jean Hey
Pierre II
Jean Hey3.jpg
Musee du Louvre, Paris
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Jean Hey
Portrait of Margaret of Austria
Jean Hey4.jpg
1490-91
Metropolitan Museum of Art, New York
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Jean Hey
Madeline of Burgundy
Jean Hey5.jpg
1490
Musee du Louvre, Paris
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Jean Hey
The Virgin in Glory Surrounded by Angels
Jean Hey6.jpg
1489-99
Notre Dame, Moulins
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Jean Hey
Portrait of Charles II of Bourbon
Jean Hey7.jpg
1488
Pinakothek, Munich
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Jean Hey
The Nativity of Cardinal Jean Rolin
Jean Hey8.jpg
1480
Musee Rolin, Autun
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Jean Hey
Suzanne of Bourbon
Jean Hey9.jpg
Musee du Louvre, Paris
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Jean Hey
Portrait Presumed to be of Madeleine of Burgundy (mk05)
new5/Jean Hey-537877.jpg
Presented by st Madeleine
Wood 22 x 15 1/2''(56 x 40 cm)Entered the Louvre in 1904
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Jean Hey
Suzanne of Bourbon Called Child at Prayer (mk05)
new5/Jean Hey-658824.jpg
Wood 10 1/2 x 6 1/4''(27 x 16 cm)Entered the Louvre in 1908
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Jean Hey
Pierre II Duke of Bourbon Presented by St Peter (mk05)
new5/Jean Hey-683536.jpg
ca 1492-1493
Wood 28 1/2 x 25 1/2\'\'(73 x 65 cm)Entered the Louvre in 1842
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Jean Hey
The Madonna of the Apocalypse
new16/Jean Hey-647598.jpg
mk166
1480-1500 Painting Cathedral of Moulins France
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1 | Prev Artist Next Artist
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Jean Hey
Flemish Northern Renaissance Painter, active 1480-1500
Until the late 20th century, the name of the painter of the Moulins Triptych was unknown, although art historians identified a number of other works that were evidently by the same hand. The first monograph on the Master of Moulins, written in 1961 by Madeleine Huillet d'Istria, argued that this artist did not actually exist, and that more than 12 different artists were responsible for the corpus of works traditionally ascribed to him. The Master's identity was established after an inscription was found on the reverse of a damaged painting, Christ with Crown of Thorns (1494) in the Royal Museums of Fine Arts of Belgium, Brussels, identifying the artist as Jean Hey, teutonicus and pictor egregius ("the famous painter"), and identifying the patron as Jean Cueillette, who was secretary to the King and an associate of the Bourbon family.Stylistic similarities link this painting to the works attributed to the Master of Moulins. The Master of Moulins appears to have been the court painter for the Bourbons, and from a surviving account for 1502-03, it is clear that the court painter's name was Jean; other candidates once considered plausible, such as Jean Perreal and Jean Prevost, have proven untenable in the light of subsequent research. The term "Teutonicus", or "German" included Flemings at this date.
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