The Master of Guillebert de Mets is named after the scribe who records his name in an illuminated
copy of the Decameron, made for Duke Philip the Good of Burgundy, and to which he contributed many of its miniatures. He was active from about 1410 to 1445. No proof, so far, has been discovered that allows us to follow his career or to know precisely where he worked. Calendars in other manuscripts with which he is associated suggest that Tournai, Liège, Bruges, and more credibly, Ghent, may have been potential locations for his shop. It has been suggested that his commissions may have been linked to the itinerant Burgundian court, though no original provenance survives for any of his manuscripts.
The Master of Guillebert de Mets painted in an easily recognizable style. His figures have prominent heads with well-delineated eyes and small mouths, slender torsos with thin, spindly legs, and long, finely worked fingers. Many of his miniatures, such as The Crucifixion and The Last Judgment here, show that he often favored tesselated backgrounds of delicately worked checkered patterns.