Experience the Flemish Masters Programme 2018 - 2020
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Index I: Collections
Index I: Collections This index lists ail extant paintings, oil sketches and drawings catalogued in the present volume . Copies have also been included. The works are listed alphabetically according to place. References to the number of the catalogue entries are given in bold, followed by copy numbers where relevant, then by page references and finally by figure numbers in italics. AMSTERDAM, RIJKSMUSEUM BRUGES, STEDEEÏJKE MUSEA, STEINMETZ- Anonymous, painting after Rubens : CABINET The Calydonian Boar Hunt, N o .20, copy 6; Anonymous, drawings after Rubens: 235, 237 Hippopotamus and Crocodile Hunt, N o .5, Diana and Nymphs hanting Fallow Deer, copy 12; 120 N o.21, copy 5; 239 Hippopotamus and Crocodile Hunt, N o .5, cop y 13; 120 ANTWERP, ACADEMY Anonymous, painting after Rubens: Lion Hunt, N o.ne, copy 6; 177 Lion Hunt, N o.11, copy 2; 162 BRUSSELS, MUSÉES ROYAUX DES BEAUX-ARTS DE BELGIQUE ANTWERP, MUSEUM MAYER VAN DEN BERGH Anonymous, drawing after Rubens: H.Francken II, painting after Rubens: Hippopotamus and Crocodile Hunt: Fragment of W olf and Fox Hunt, N o .2, copy 7; 96 a Kunstkammer, N o.5, copy 10; 119-120, ANTW ERP, MUSEUM PLANTIN-M O RETUS 123 ;fig .4S Anonymous, painting after Rubens: Lion Hunt, N o .n , copy 1; 162, 171, 178 BÜRGENSTOCK, F. FREY Studio of Rubens, painting after Rubens: ANTWERP, RUBENSHUIS Diana and Nymphs hunting Deer, N o .13, Anonymous, painting after Rubens : copy 2; 46, 181, 182, 186, 188, 189, 190, 191, The Calydonian Boar Hunt, N o .12, copy 7; 185 208; fig.S6 ANTWERP, STEDELIJK PRENTENKABINET Anonymous, -
Experience the Flemish Masters Programme 2018 - 2020
EXPERIENCE THE FLEMISH MASTERS PROGRAMME 2018 - 2020 1 The contents of this brochure may be subject to change. For up-to-date information: check www.visitflanders.com/flemishmasters. 2 THE FLEMISH MASTERS 2018-2020 AT THE PINNACLE OF ARTISTIC INVENTION FROM THE MIDDLE AGES ONWARDS, FLANDERS WAS THE INSPIRATION BEHIND THE FAMOUS ART MOVEMENTS OF THE TIME: PRIMITIVE, RENAISSANCE AND BAROQUE. FOR A PERIOD OF SOME 250 YEARS, IT WAS THE PLACE TO MEET AND EXPERIENCE SOME OF THE MOST ADMIRED ARTISTS IN WESTERN EUROPE. THREE PRACTITIONERS IN PARTICULAR, VAN EYCK, BRUEGEL AND RUBENS ROSE TO PROMINENCE DURING THIS TIME AND CEMENTED THEIR PLACE IN THE PANTHEON OF ALL-TIME GREATEST MASTERS. 3 FLANDERS WAS THEN A MELTING POT OF ART AND CREATIVITY, SCIENCE AND INVENTION, AND STILL TODAY IS A REGION THAT BUSTLES WITH VITALITY AND INNOVATION. The “Flemish Masters” project has THE FLEMISH MASTERS been established for the inquisitive PROJECT 2018-2020 traveller who enjoys learning about others as much as about him or The Flemish Masters project focuses Significant infrastructure herself. It is intended for those on the life and legacies of van Eyck, investments in tourism and culture who, like the Flemish Masters in Bruegel and Rubens active during are being made throughout their time, are looking to immerse th th th the 15 , 16 and 17 centuries, as well Flanders in order to deliver an themselves in new cultures and new as many other notable artists of the optimal visitor experience. In insights. time. addition, a programme of high- quality events and exhibitions From 2018 through to 2020, Many of the works by these original with international appeal will be VISITFLANDERS is hosting an Flemish Masters can be admired all organised throughout 2018, 2019 abundance of activities and events over the world but there is no doubt and 2020. -
Brussels Visitor Satisfaction
BRUSSELS VISITOR SATISFACTION (source: online satisfaction questionnaire https://visit.brussels/qualitydestination ) 12-Month BAROMETER 01/10/2017 - 30/09/2018 © visit.brussels Contact: [email protected] P. 1 VISITOR SATISFACTION October 2017-September 2018 12 Months (343 questionnaires) FOREWORD This visitor satisfaction 12-month barometer gives some highlights of visit.brussels online satisfaction survey https://visit.brussels/qualitydestination, which is part of the Quality Scheme for Brussels tourism. The survey is completed on a voluntary basis. Face-to-face interviews are also performed once in a while in touristic areas of Brussels, at random. Therefore, the survey does not at all pretend to be “scientific” or to be a true reflection of what all visitors think or feel about our destination. Nevertheless, we consider it is a useful tool for our future visitors, Brussels tourism professionals and public authorities. Because your appreciation and comments help us to create a world of real hospitality, your participation in this questionnaire is very important to us. Thank you for your valuable input! The visitor satisfaction report is updated every month - available on https://visit.brussels/satisfaction. ANYTHING TO SAY ABOUT BRUSSELS? WE WANT TO HEAR IT! TOGETHER, LET’S SHAPE THE QUALITY OF TOMORROW! CONTENT Edition September 2018 Overall satisfaction P. 3 Reasons for visiting Brussels P. 4-6 Radioscopy P. 6-8 Travelers’ Reviews P. 9-33 © visit.brussels Contact: [email protected] P. 2 VISITOR SATISFACTION -
Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists. -
The Sensuous in the Counter-Reformation Church Edited by Marcia B
Cambridge University Press 978-1-107-01323-0 - The Sensuous in the Counter-Reformation Church Edited by Marcia B. Hall and Tracy E. Cooper Frontmatter More information THE SENSUOUS IN THE COUNTER-REFORMATION CHURCH This book examines the promotion of the sensuous as part of religious experience in the Roman Catholic Church of the early modern period. During the Counter-Reformation, every aspect of religious and devotional practice, including the role of art and architecture, was reviewed and the invocation of the fi ve senses to incite devotion became a hotly contested topic. Protestants condemned the material cult of veneration of relics and images, rejecting the importance of emotion and the senses and instead promoting the power of rea- son in receiving the Word of God. After much debate, the Church concluded that the senses are necessary to appreciate the sublime and that they derive from the Holy Spirit. As part of its attempt to win back the faithful, the Church embraced the sensuous and promoted the use of images, relics, liturgy, proces- sions, music, and theater as important parts of religious experience. Marcia B. Hall is The Carnell Professor of Renaissance Art History and Dir- ector of Graduate Studies at Tyler School of Art, Temple University. She is the author and editor of several books, including The Sacred Image in the Age of Art: Titian, Tintoretto, Barocci, El Greco, Caravaggio ; After Raphael ; and Renovation and Counter Reformation: Vasari and Duke Cosimo in Santa Maria Novella and Santa Croce, 1564–77 . Tracy E. Cooper is Professor of Art History at Tyler School of Art, Temple University. -
Curriculum Vitae of Maryan Wynn Ainsworth
Curriculum Vitae of Maryan Wynn Ainsworth Department of European Paintings The Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028 Phone: (212) 396-5172 Fax: (212) 396-5052 e-mail: [email protected] EDUCATION Yale University, New Haven, Conn., Department of History of Art Ph.D., May 1982 M. Phil., May 1976 Doctoral dissertation, “Bernart van Orley as a Designer of Tapestry” Oberlin College, Oberlin, Ohio, Department of Art History M.A., May 1973 B.A., January 1972 Master’s thesis, “The Master of St. Gudule” Independent art-history studies in Vienna (1969), Mainz (1973–74), and Brussels (1976–77) PROFESSIONAL EXPERIENCE The Metropolitan Museum of Art, New York Department of European Paintings Curator of European Paintings, 2002–present Research on Northern Renaissance paintings at The Metropolitan Museum of Art, with emphasis on the integration of technical examination of paintings with art-historical information; curating exhibitions; cataloguing the fifteenth- and sixteenth-century Netherlandish and German paintings in the collection; teaching courses on connoisseurship and Northern Renaissance paintings topics for Barnard College and Columbia University; directing the Slifka Fellowship program for art historians at the graduate level; departmental liaison and coordinator, European Paintings volunteers (2008–16) Paintings Conservation, Conservation Department Senior Research Fellow, 1992–2001 Research Fellow, 1987–92 Senior Research Associate, 1982–87 Research Investigator, 1981–82 Interdisciplinary research -
Int Students Guide GENERAL.Pdf
Table of Content Welcome to Thomas More 5 Studying as an exchange student 30 1 Academic year and public holidays 30 University College 5 2 Public holidays 31 Thomas More - expect more 6 Words and phrases in Dutch 34 1 ASKING FOR HELP AND DIRECTIONS 34 Thomas More campuses 8 2 How to introduce yourself 34 3 WISH SOMEONE SOMETHING 35 Antwerp 8 4 SOLVING A MISUNDERSTANDING 35 Mechelen 9 5 EXPRESSIONS AND WORDS 36 Sint-Katelijne-Waver 10 Turnhout 11 Facilities 38 Vorselaar 12 1 International office 38 Geel 13 2 Student services (STIP) 38 Lier 14 3 Buddy programme 39 4 Network facilities 40 Belgium & Flanders 16 5 Student union 40 1 BELGIUM 16 6 Student card 41 2 Flanders 18 3 Higher education in Flanders 19 Practical information 22 1 Climate and clothing 22 2 Crime 22 3 Time 22 4 Using the phone 22 5 Mobile phone 22 6 Sockets 23 7 How to pay 23 8 Important phone numbers 23 9 Belgian cuisine 23 10 Transport 25 11 Health & insurance 28 12 Postal system in Belgium 28 Welcome to Thomas More University College Thomas More offers an exciting and diverse study environment where students can obtain international and intercultural competencies. We are happy to welcome you to in our university college. Our international office and student services (STIP) will ensure that your time at Thomas More is an unforgettable experience. It will be a pleasure for us to provide you with whatever assistance you need. We will not only provide practical assistance but also try to offer you a wide variety of fun and relaxing activities such as sight-seeing tours, sports and cultural activities. -
Railway Stations Adapting to Future Society Railway Stations Adapting to Future Society
Railway Stations ADAPTING TO FUTURE SOCIETY Railway Stations ADAPTING TO FUTURE SOCIETY CONTENTS 3 FOREWORD BY UIC DIRECTOR-GENERAL 5 UIC STATION MANAGERS GLOBAL GROUP 7 HISTORY OF STATIONS: EVOLUTION OF THE CONCEPT 03 MODEL OF STATION CONCEPT 11 OPERATION faCELIFT: MAJOR PROJECTS STATION RENOvaTION POLICIES, TRENDS AND CHALLENGES 60 A QUICK LOOK AT SOME STATIONS AROUND THE WORLD... 70 BIBLIOGRAPHY Railway Stations ADAPTING TO FUTURE SOCIETY FOREWORD BY UIC DIRECTOR-GENERAL JEAN-PIERRE LOUBINOUX tations emerged alongside railways, as the Stations have gradually become organised, transfor- In the visual representations you will see the chan- staging-posts of this new industrial era. med and developed to host all those passing through ging relationships between station stakeholders. They increased in number as railways deve- – whether travellers or not – and to offer board, lod- As well as a depiction of how the concept of a “sta- loped into networks that, in turn, could only ging, or other everyday services. And since we must tion” has changed over time and the interaction Sdevelop alongside stations. From the outset, stations always go via somewhere in order to go anywhere, between stations and their urban environment, two 3 have been essential to the departure, the passage stations have become an interface between all the slides explain complex phenomena which vary ac- and the arrival of trains, and to the ebb and flow of various modes of mobility – trains, metro, buses, cars cording to the context and reality of each country all the travellers they carry. A railway network can and bicycles. They have thus become mediators and and even each station, all focusing on a complex web be seen as lines irrigating a geographical area in the organisers of daily mobility. -
Luc Tuymans in the Dark Regions of The
Luc Tuymans In the Dark Regions of the My project is an effort to avert the critical gaze from the racial object to the racial World subject; from the described and the imagined to the describers and imaginers; from the serving to the served. - Toni Morrison" "Mwana Kitoko, The beautiful White Man." Thus did the people of the In Tuymans' oeuvre, a painting often acquires additional layers of Congo address their sovereign, Baudouin, king of the Belgians. Luc meaning through the precisely devised context of its first exhibition, Tuymans painted him descending the narrow stairs of his airplane in the frequently involving spaces that require a certain number and mid-fifties, wearing an immaculate white Navy uniform, looking just a combination of works. Even while painting, Tuymans often has a little too stiff for the elegance of his slim figure, one hand firmly precise notion of how the picture is to operate alone, together with grasping his sword, his eyes hidden behind sunglasses to protect them others, and in the room where it is first to be presented. In his most from the sun and the intrusive gaze of others. The painting of Baudouin, recent cycle for the David Zwirner Gallery in New York, the full- MWANA KITOKO (2000), shows a grand entrance in bright light that length portrait of the monarch is placed— among others—opposite a oscillates between the dazzling effect of a media event and the light of slightly smaller three-quarter portrait of a black man titled STATUE the tropics. The dark lens gives the figure an insect-like appearance. -
The Holy Family with Saint Elizabeth
The Holy Family with Saint Elizabeth, the Child Saint John the Baptist and Two Angels, a copy of Raphael Technical report, restoration and new light on its history and attribution José de la Fuente Martínez José Luis Merino Gorospe Rocío Salas Almela Ana Sánchez-Lassa de los Santos This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1, 2 and 5-19 © Groeningemuseum, Brugge: fig. 21 © Institut Royal du Patrimoine Artistique, Bruxelles: fig. 20 © Museo Nacional del Prado, Madrid: fig. 55 © RMN / Gérard Blot-Jean Schormans: fig. 3 © RMN / René-Gabriel Ojéda: fig. 4 Text published in: B’06 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 2, 2007, pp. 17-64. Sponsored by: 2 fter undergoing a painstaking restoration process, which included the production of a detailed tech- nical report, the Holy Family with Saint Elizabeth, the Child Saint John the Baptist and Two Angels1 A[fig. -
MILESECURE-2050 Project Final Seminar
MILESECURE-2050 Multidimensional Impact of the Low-carbon European Strategy of Energy Security, and Socio-Economic Dimension up to 2050 perspective SSH.2012.2.2-2 - G.A. 320169 MILESECURE-2050 Project Final Seminar THE HUMAN FACTOR IN ENERGY TRANSITION & SECURITY TOWARDS 2050 Multidimensional Knowledge, Innovative Models, Effective Policies Brussels, December 15, 2015 - h. 9.00-17.30 University Foundation, 11, Rue d’Egmont - 1000 Brussels The project has received funding from the European Union’s Seventh Framework Programme for research, technological devolopment and demostration under Grant Agreement No. 320169 SYNOPSIS OF THE INTERNATIONAL SEMINAR “Two major challenges are impending upon Europe’s energy future: the achievement of a secure energy supply, and a move from dependency on non-renewable to a reliance on renewable energy sources. The chal- lenges call for energy transitions: changes that concern entire energy systems, not just some of their parts. These changes are structural, as they modify the way energy provision is organized at the level of society. They are radical, since they may demand abandoning existing technolo- gies even if they still work. And the changes are fundamental, because they require that we start thinking in novel ways about energy, its provi- sion, and how a good and just society is organized around energy. Transitions do not only pose technological challenges, but involve enor- mous social, political and economic changes as well. Changes concern market relations, social and institutional roles and responsibilities, and the emergence of new actors. Most policy documents and future visions focus on economic, geo- political and technological changes. Insofar as social processes are con- cerned, they are discussed at an aggregate and undifferentiated way: as a human factor, which is at best the receiver of policies and econom- ic transactions, and at worst a resid- ual category containing the overflows of economic and technological interven- tions. -
Be Accessible Be .Brussels
EN DE be accessible be .brussels BarrierefreieAccessible museums Museen undand tourist Touristenattraktionenattractions in Brussels in Brüssel Welcome to Brussels! You will feel the buzz of a different kind of energy as soon as you arrive in Brussels! You will feel quite at home and in a brand new land of discovery at the same time. Brussels is a cosmopolitan city on a human scale; its legendary hospitality is sincere and it loves sharing its emotions. To discover the treasures of Brussels, you need to lose yourself in its districts, take a break on its bistro terraces, stroll through its museums, discover nature in its parks and gardens and enjoy its excellent food. But the city has a very specific layout. If you have reduced mobility, it can be difficult to discover our beautiful capital city, with its upper town and lower town areas, its cobblestones and its irregular borders. Don't worry, visit.brussels has created this brochure to make your visit easier. Brussels has an exceptional cultural life, with more than 120 museums and attractions for you to discover. The activities listed here allow everyone to discover the accessible attractions and enjoy our museum collections in a dynamic, creative way. Enjoy your visits! Contents ADAM - BRUSSELS DESIGN MUSEUM P.11 ART & MARGES MUSEUM P.13 ATOMIUM P.15 AUTOWORLD BRUSSELS P.17 BEL EXPO P.19 BELGIAN CHOCOLATE VILLAGE P.21 BOZAR - CENTRE FOR FINE ARTS P.23 CENTRALE FOR CONTEMPORARY ART P.25 RED CLOISTER ABBEY ART CENTRE P.27 CITY SIGHTSEEING BRUSSELS P.29 D’IETEREN GALLERY P.31 EXPERIENCE.BRUSSELS