Imaging Utopia: New Perspectives on Northern Renaissance Art
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Hubert and John Van Eyck, Their Life and Work
CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE r?f>r ARTS HBPASV Cornell University Library ND 673.E97W362 Hubert and John Van Eyck, their life and 3 1924 015 994 878 •< Cornell University ^ Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924015994878 HUBERT AND JOHN VAN EYCK OF THIS EDITION FOUR , , THE ANNUNCIATION BKRLIN I ROYAL GALLERY /'.v /yrrrnu.yi.'n- ij/~ tJit 1 Merlin Phftei/nu'ru'c Co, HUBERT AND JOHN VAN EYCK THEIR LIFE AND WORK BY W. H. JAMES WEALE WITH 41 PHOTOGRAVURE PLATES & 99 OTHER ILLUS- TRATIONS, MANY REPRODUCED FOR THE FIRST TIME LONDON: JOHN LANE, THE BODLEY HEAD k NEW YORK: JOHN LANE COMPANY. MCMVIII HM'l Y TO MY NIECES EMILY, JANE, ANNE AND ELEANOR TO WHOSE AFFECTIONATE KINDNESS THE COMPLETION OF THIS BOOK IS DUE FOREWORD It was not until the publication, in 1849, °f tne fi rst volume of Laborde's work, " Les Dues de Bourgogne," that the biography of the Van Eycks began to be elucidated. The documents printed in that work were collated with the originals by Pinchart, who gave more correct readings, and also published the entries of payments to John van Eyck in 1422-1425, which he discovered in the household accounts of John of Bavaria at the Hague. Since then the present writer has not only published some important documents (3, 18, 19, 23, 25, 26, 29, 31), but has, in the present work, brought together and printed in chronological order all those documents yet discovered. -
Peintures Flamandes : FP15 759.949.3
Peintures flamandes : FP15 759.949.3 Liste organisée en deux parties : 1. Monographies sur les peintres classées par ordre alphabétique 2. Ouvrages généraux classés par auteur 1. Monographies sur les peintres classées par ordre alphabétique Book By Kostyshyn, An important landscape by Peeter Baltens / Stephen J. FP15 759.949.3 Stephen J., (Vienna : Kostyshyn. BALT ZK Galerie Sanct Lucas, 1990.) Book By Marlier, Georges. Ambrosius Benson et la peinture à Bruges au temps de Charles- FP15 759.949.3 (Damme : Musée van Quint / Georges Marlier BENS ZM Maerlant 1957.) Book By Beuckelaer, Joachim Beuckelaer : het markt- en keukenstuk in de FP15 759.949.3 Joachim ([S.l.] : Nederlanden 1550-1650 / Catalogus door Jan Muylle e. a. BEUC ZG Gemeentekrediet van België, 1986.) Book By Bles, Henri, Autour de Henri Bles / sous la direction de Jacques Toussaint. FP15 759.949.3 (Province de Namur : BLES ZT Société archéologique de Namur c2000.) Book By Bautier, Pierre, Lancelot Blondeel : Pictor Brugensis Praestentissimus / Pierre FP15 759.949.3 (Bruxelles : Van Oest, 1910) Bautier BLON ZB Book By Vlieghe, Hans. Apollo op de zonnewagen : Een barok meesterwerk van Jan FP15 759.949.3 (Antwerpen : Phoebus Boeckhorst (1604-1668) / Hans Vlieghe. BOEC ZV Foundation, 2019.) Book By Bouts, Albrecht, Blut und Tränen : Albert Bouts und das Antlitz der Passion / FP15 759.949.3 (Regensburg : Schnell & Ausstellungskonzept, Valentine Henderiks ; Herausgegeben von BOUT (a) ZH Steiner GmbH, [2016]) Peter van den Brink, Dagmar Preising, Michel Polfer. Book By Bouts, Dieric, Dieric Bouts : Johannes weist auf Jesus hin : Siehe, das Lamm FP15 759.949.3 (München : Kulturstiftung Gottes (Ecce agnus dei) BOUT (d) ZA der Länder 1990) Book By Denis, Valentin. -
A Spiritual Journey
Jesus Page: 1 A Visual Journey into the Bible Jesus René Jean-Paul Dewil Copyright ©: René Dewil Number of Words: 190032 V1: 2007 V2: June 2010 Jesus Page: 2 Copyright Clause Copyright © René Jean-Paul Dewil 2007 René Jean-Paul Dewil is identified as the sole author of this work. All rights reserved. No part of this publication may be altered without the written permission of the author. The ebook may be copied in electronic or other forms for personal use only. It may not be printed, introduced in any retrieval system, electronic or otherwise, photocopied or otherwise recorded without the prior written permission of the author. The only system where the ebook may be retrieved from is the Internet website www.theartofpainting.be, which holds the only and original text acknowledged by the author. This publication remains under copyright. Copyright ©: René Dewil Number of Words: 190032 V1: 2007 V2: June 2010 Jesus Page: 3 Jesus Table of Contents Jesus ............................................................................................................................... 1 Table of Contents .................................................................................................... 3 Introduction ................................................................................................................ 6 The Gospels ............................................................................................................. 6 The New Testament Apocrypha ............................................................................. -
This Pdf Is a Digital Offprint of Your Contribution in A. Dubois, J. Couvert & T.-H
This pdf is a digital offprint of your contribution in A. Dubois, J. Couvert & T.-H. Borchert (eds), Technical Studies of Paintings: Problems of Attribution (15th-17th Centuries), ISBN 978-90-429-3532-7. The copyright on this publication belongs to Peeters Publishers. As author you are licensed to make printed copies of the pdf or to send the unaltered pdf file to up to 50 relations. You may not publish this pdf on the World Wide Web – including websites such as academia.edu and open-access repositories – until three years after publication. Please ensure that anyone receiving an offprint from you observes these rules as well. If you wish to publish your article immediately on open- access sites, please contact the publisher with regard to the payment of the article processing fee. For queries about offprints, copyright and republication of your article, please contact the publisher via [email protected] TECHNICAL STUDIES OF PAINTINGS: PROBLEMS OF ATTRIBUTION (15th-17th CENTURIES) Papers Presented at the Nineteenth Symposium for the Study of Underdrawing and Technology in Painting held in Bruges, 11-13 September 2014 Edited by Anne Dubois, Jacqueline Couvert and Till-Holger Borchert PEETERS PARIS – LEUVEN – BRISTOL, CT 2018 Table of Contents Editors’ Preface VII In Memoriam Roger Van Schoute IX 1 KEYNOTE LECTURE – Willem van Aelst and the Market for Still-life Painting in Paris. Reattri bution of an Early Work Melanie Gifford 1 2 The Beaune Last Judgement. Sorting out Rogier van der Weyden and his Assistants Griet Steyaert and Rachel Billinge 26 3 Philip the Good Bare-headed. -
HNA Nov 2016 Cover.Indd
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 33, No. 2 November 2016 Frans Post (1612-1680), Jaguar, ca. 1638-43. Watercolor and gouache, pen and black ink over graphite. Translated inscription: A tiger, as large as a common calf, they are very ferocious and strong, of this species there are some that are black. Noord-Hollands Archief, Haarlem, inv. no. 53004667 Exhibited in Frans Post. Dieren in Brazilië. Rijksmuseum, Amsterdam, October 7, 2016 – January 8, 2017 HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President – Amy Golahny (2013-2017) Lycoming College Williamsport PA 17701 Vice-President – Paul Crenshaw (2013-2017) Providence College Department of Art History 1 Cummingham Square Providence RI 02918-0001 Treasurer – David Levine Southern Connecticut State University 501 Crescent Street New Haven CT 06515 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents Board Members President's Message .............................................................. 1 Obituary ................................................................................. 1 Stephanie Dickey (2013-2017) HNA News ............................................................................2 Arthur DiFuria (2016-2020) -
Pieter Pourbus and the Forgotten Masters
museabrugge.be MUSEA BRUGGE PRESS FILE PIETER POURBUS AND THE FORGOTTEN MASTERS Groeningemuseum Brugge, 13 October, 2017 — 21 January, 2018 EXHIBITION PIETER POURBUS AND THE FORGOTTEN MASTERS IN BRIEF MORE INFO This autumn, come and acquaint yourself By Anne van Oosterwijk with the forgotten masters from 16th century Source: Museumbulletin 3/2017 Bruges. See what the Bruges art world was like during an economic recession and stand In 1998, the exhibition ‘Bruges and the Renais- in admiration before the impressive oeuvre sance, from Memling to Pourbus’ was held in of Pieter Pourbus and forgotten masters, the Sint-Janshospitaal. The exhibition covered such as Marcus Gerards, Pieter I Claeissens a period starting with the last decades of the and his sons Gillis, Pieter II and Antonius. glorious 15th century, with works by Hans Memling and Gerard David, and ended with ‘the In the 16th century, Bruges experienced an last of the Flemish Primitives’, Pieter Pourbus. economic recession, and the city became Artists who were active in the second half of the drained of life. Young artists left for Antwerp, 16th century, such as the various members of which hailed itself as the new capital of art of the Claeissens family, were hardly mentioned. Flanders. However, using its famous artistic This effectively confirmed the existing view of past as a source of inspiration, Bruges soon the time that Pourbus was the only Bruges developed a new style all of its own. artist of importance during that period. As a result, the opportunity to interest a wider public Pieter Pourbus is one of the artistic excep- in the art of Bruges in the second half of the tions when he started to work in Bruges 16th century was missed. -
'Afblijven of Afnemen?' – Leave It Or Take It Away: Ethical Considerations
Mélanges Roger Marijnissen ‘Afblijven of Afnemen?’ – Leave it or take it away: ethical considerations on the removal of overpaintings. The case of the Ghent Altarpiece Maximiliaan P.J. Martens, UGent –KVAB Throughout his career, Roger Marijnissen has been a leading figure in the professional ethics of art conservation. Often his points of view were way ahead of his time and what he advocated decennia ago not seldom against a wall of miscomprehension, is considered as standard practice today. However, Marijnissen usually concentrated on specific case studies and never attempted to write a comprehensive theoretical treatise, like Cesare Brandi or more recently Salvator Muñoz Viñas or BarBara AppelBaum. He often preferred to publish in the local press in Belgium, ‘kicking people consciousness’ as Louis Paul Boon, another controversial Belgian author, used to say. He has a preference of stating his views in powerful one-liners, like ‘the best treatment is the one that never has to take place’, inviting his audience to vivid discussions. Discussions are at the core of the decision-maKing process around the conservation- restoration treatment of the Ghent altarpiece, carried-out By a team of the Royal Institute for Cultural Heritage (KIK-IRPA). About a year ago, during a meeting in the conservation studio in the Ghent Museum of Fine Arts where the panels of the Ghent Altarpiece are being treated, the advisory board (that gathers all staKeholders) was informed on the extensive layers of old overpaint and retouching that had been discovered By the conservators throughout the exterior wings of the altarpiece.1 While the people present were watching with astonishment the small windows made in the overpainted coats of Joos Vijd and ElizaBeth Borluut, Roger asKed me ‘afblijven of afnemen’? (leave it or take it away?). -
De Kunstenaars Van De Lage Landen
Des Hollandais en France Avec cette exposition, le Louvre se penche sur l’influence d’artistes venus des Pays-Bas, durant la première moitié du XVIe siècle, à Paris et environs. François Ier (1494 – 1547) avait, comme la plupart des monarques, un faible pour l’art. TEXTE : MATTHIAS DEPOORTER ci-dessous Jean Clouet, Portrait de François Ier, a prédilection pour la Renaissance ita- pas toujours été glorieuse, malgré leur production roi de France, ca 1530, huile sur pan- neau, 96 x 74 cm. Musée du Louvre, lienne et le maniérisme à la cour de Fon- considérable tant sur le plan de la quantité que de Paris © RMN – Grand Palais (Musée tainebleau est bien connue. L’influence des la qualité, en tapis, sculptures, retables sculptés, du Louvre) / photo : Michel Urtado artistes hollandais en France n’a cependant vitraux, enluminures, peintures et autres dessins. S Jean Clouet (ca 1485 – 1540/1541), probablement originaire de la ville de Valenciennes qui faisait partie des Pays-Bas, influença l’art du portrait en France au XVIe siècle. Mais ce sont des artistes moins connus qui tenaient alors la vedette. Des personnages tels que Jan de Beer, Noël Bellemare, Godefroid le Batave, Grégoire Guérard, Bartho- lomeus Pons et d’autres ont ainsi contribué au dé- veloppement artistique de la France. D’éminents artistes demeurent à ce jour encore anonymes : Pseudo-Bles, le Maître de l’Adoration d’Anvers, le Maître de l’Adoration de Groote, le Maître des martyrs de Jean, ... dont on n’a toujours pas retrouvé la véritable identité. Leurs éponymes se rapportent en général à leurs oeuvres principales ou à l’endroit où elles furent créées. -
Pieter Pourbus En De Vergeten Meesters
PIETER POURBUS 1 INLEIDING De zestiende eeuw kunnen we niet vergelijken met de vijftiende eeuw, toen de Brugse schilderkunst de invloed van Jan van Eyck, Hans Memling en Gerard David onderging. Die situatie maakt de zestiende eeuw in Brugge een stuk minder aanlokkelijk voor het grote publiek, en dus ook minder gekend. Het is één van de doelen van de tentoonstelling Pieter Pourbus en de vergeten meesters in het Groeninge- museum in Brugge om daar verandering in te brengen, om licht te doen schijnen op een periode in de kunst die op de achtergrond is gebleven. De Italiaanse renaissance veroverde in de zestiende eeuw niet stormenderhand de Lage Landen. Dat proces gebeurde eerder langzaam en invloeden werden door kunstenaars van hier verwerkt en op hun eigen manier opgenomen in hun kunst. Het was een periode waarin men laveerde tussen traditie en vernieuwing. De zes- tiende eeuw was ook een woelig tijdvak, toen het spook van de Beeldenstorm door de Nederlanden raasde en er politieke en religieuze onrust heerste. Brugge liet zijn economische leiderspositie over aan Antwerpen en die economische neergang werd danig gevoeld. Maar dit was geen periode van verval. Het was zelfs geen over- gangsperiode, wat men er al te graag van maakt. De kunstproductie bleef aanzien- lijk en kende een heel eigen verloop met een eigen cachet. In 1998 werd tijdens de expo Brugge en de renaissance. Van Memling tot Pourbus (Sint-Janshospitaal, Brugge) het oeuvre van Pieter Pourbus ruim gecoverd, met als eindpunt enkele vergeten meesters uit de tweede helft van de zestiende eeuw. Het eindpunt van toen is nu het zwaartepunt geworden.