Angerran
Sharonton

Angerran Cardboard was born about 1415 in Northern France, in the town of Laon; education in the years 1425-30. Historical sources have preserved several names Cardboard. His name was Picardy, Charreton or Sharrete (Charretier) but when he moved to Provence, the name was Latinized, and sounded like Cardboard (Carton or Quarton). Judging by the many Gothic elements in his artistic style, he was influenced by the style that prevailed in the North of France. Grandeur of his compositions, as well as some of his images he is obliged sculpture Gothic churches. In the formative years of Cardboard in Picardy Burgundy was a strong artistic influence in the formation of the artist played the role of the works of Jan van Eyck, Robert Campen and Rogier van der Weyden, which he undoubtedly saw. Thanks to the naturalism of these masters learned artist, he has become quite "progressive" for painting the middle of the XV century. His work shows attention to the shapes of objects, characteristics of human faces, landscape.

However, the creation of Cardboard is not a simple adherence to the principles of the Nordic painting, it feels the strong influence of the Italian masters. Manner of the artist characterized by a certain sharpness, with accentuated contrasts of light and shade and the pursuit of simplicity of form. This manner resonates with the works of Domenico Veneziano, Paolo Uccello and Andrea del Castagno, but probably not related to it directly, since, judging by the fact that the Board is never depicted in his works the Italian buildings, it is considered that he never was in Italy. However, the Italian art that flourished in Provence from the time of Simone Martini and Matteo Giovannetti, made a strong impression on him. The number of subjects Cardboard borrowed it from him. Some analogies with the visual arts of Tuscany in the artist can explain his familiarity with the paintings from the collections of Florentine merchants who lived in Provence. In addition, in Provence Cardboard worked side by side with another artist, who like him came from the North, formed under the influence of the art of van Eyck, and apparently was the founder of Provencal manners "simplicity of form" the middle of the XV century — a Master of the "Annunciation" from AIX (Barthelemy d Eyck). The painting "Annunciation" of this master, who played an important role in the formation of the Avignon school was constructed between 1443 and 1445 years, that is, at the same time, when the Board lived in AIX. From archival sources we know that in 1444 he lived in AIX, where he painted the altar painting for the Church in Tarascon — St. Martha with saints Lazarus and Mary Magdalen; 1446 was in Arles, and since 1447 in Avignon, where he lived in a house on St. Peter's square until 1466, when his name is mentioned for the last time. Avignon at that time ceased to be the seat of the papal Curia, however, remained a major cultural and trading center. Date of death of the artist is unknown. Preserved in the archives information about seven contracts with different customers, the nobility, wealthy townspeople, and clergy. They related to a larger altars with canopies (1446-47.; 1452-53.; 1454; 1461; 1462-64. and 1466), as well as banners for Church processions (1457-58.). From all these works to have survived only two, however, on the basis of stylistic analysis, the artist is credited with two works, the authorship of which has not been documented.