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Het Gulden Cabinet Van De Edel Vry Schilderconst Cornelis De Bie, Het Gulden Cabinet Van De Edel Vry Schilderconst 244
Het gulden cabinet van de edel vry schilderconst Cornelis de Bie bron Cornelis de Bie, Het gulden cabinet van de edel vry schilderconst. Jan Meyssens, Juliaen van Montfort, Antwerpen 1662 Zie voor verantwoording: http://www.dbnl.org/tekst/bie_001guld01_01/colofon.php © 2014 dbnl 1 Het gulden cabinet vande edele vry schilder-const Ontsloten door den lanck ghevvenschten Vrede tusschen de twee mach- tighe Croonen van SPAIGNIEN EN VRANCRYCK, Waer-inne begrepen is den ontsterffe- lijcken loff vande vermaerste Constminnende Geesten ENDE SCHILDERS Van dese Eeuvv, hier inne meest naer het leven af-gebeldt, verciert met veel ver- makelijcke Rijmen ende Spreucken. DOOR Cornelis de Bie Notaris binnen Lyer. Cornelis de Bie, Het gulden cabinet van de edel vry schilderconst 3 Den geboeyden Mars spreckt op d'uytleggingh van de titel plaet. WEl wijckt dan mijne Macht, en Raserny ter sijden? Moet mijne wreetheyt nu dees boose schant-vleck lijden? Dat ick hier ligh gheboyt en plat ter aert ghedruckt, Ontrooft van Sweert en Schilt, t'gen' my is af-geruckt? Alleen door liefdens kracht, die Vranckrijck heeft ontsteken, Die door het Echts verbont compt al mijn lusten breken, Die selffs de wreetheyt ben, wordt hier van liefd' gheplaegt, Den dullen Orloghs Godt wordt van den Peys verjaeght. Ach! d' Edel Fransche Trouw: (aen Spaenien verbonden:) Die heeft m' allendigh Helt in ballinckschap ghesonden. K' en heb niet eenen vriendt, men danckt my spoedigh aff Een jeder my verstoot, ick sien ick moet in't graff. Nochtans sal menich mensch mijn ongeluck beclaghen Die was ghewoon door my heel Belgica te plaeghen, Die was ghewoon met my te liggen op het landt Dat ick had uyt gheput door mijnen Orloghs brandt, De deught had ick verjaeght, en liefdens kracht ghenomen Midts dat mijn fury was in Neder-landt ghecomen Tot voordeel vanden Frans, die my nu brenght in druck En wederleyt mijn jonst, fortuyn en groot gheluck. -
Rapport Annuel 2016
Musées royaux des Beaux-Arts de Belgique Koninklijke Musea voor Schone Kunsten van België RAPPORT16 ANNUEL Service public fédéral de Programmation Politique scientifique Musées royaux des Beaux-Arts de Belgique Koninklijke Musea voor Schone Kunsten van België RAPPORT16 ANNUEL Service public fédéral de Programmation Politique scientifique Rue du Musée | Museumstraat 9 B – 1000 Bruxelles | Brussel www.fine-arts-museum.be PRÉFACE Les missions des MRBAB Les Musées Royaux des Beaux-Arts de Belgique ont transcrit l’ensemble des tâches en une mission claire et univoque : protéger et étudier le patrimoine artistique et le rendre accessible à un public très hétérogène. L’importance accordée aux œuvres d’art et aux visiteurs forme le fil rouge de notre mission et de notre vision et se traduit dans nos objectifs stratégiques. La portée sociale de nos missions est très grande. Les musées sont responsables de la préservation du patrimoine fédéral des beaux-arts, qui comprend 20.000 œuvres, non seulement pour la génération actuelle, mais également pour les générations à venir. Michel Draguet Directeur général 5 6 TABLE DES MATIÈRES 7. ORGANISATION 53 Organigramme 1. TEMPS FORTS 2016 9 Organisation Dates Chiffres clés Expositions intra et extra muros > Finances > Expositions produites par les MRBAB ou en > Personnel partenariat > Shops · Expositions intra muros > Visiteurs · Expositions Focus intra muros > Presse > Collaboration aux expositions extra muros > Nocturnes 2. VIE MUSÉALE 19 8. PARTENAIRES 67 Nouvelle offre Educateam Généralités > Activités educateam Association des Amis > Publications, films et matériel pédagogique > Bénévoles MRBAB > Formations et collaborations/partenariats > Association des Amis Nouveau service Mécénat et Partenariat Partenaires par mécénat et partenariat Loterie nationale 3. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Fernand Khnopff: Writings on Art and Artists
Fernand Khnopff: Writings on Art and Artists Fernand Khnopff, c. 1900 Edited and translated by Jeffery Howe Boston College 2016 1 About this project This compilation includes all the published writings on art by Fernand Khnopff (1858- 1921), the noted Belgian Symbolist painter, that I have been able to locate. He wrote extensively for Belgian and English publications, and was also translated into German for journals in Berlin and Vienna. An invaluable guide to Khnopff’s writings is the extensive bibliography in the catalog raisonné of his works published in 1987: Robert Delevoy, Catherine De Croës, and Giselle Ollinger-Zinque. Fernand Khnopff. Catalogue de l’œuvre (Brussels: Lebeer Hossmann, 1987). A significant number of articles has been added to their list. Some of Khnopff’s public lectures were extensively reported in the press, and these summaries have been included also. Fernand Khnopff will be one of the featured artists in the exhibition at the McMullen Museum of Art at Boston College, “The Spirit of the Land: Tradition and Innovation in Belgian Landscape Painting” in the fall of 2017. Khnopff’s writings are a valuable source of information about many of the artists included in this exhibition. An introductory essay by the editor, “The Artist as Critic: Fernand Khnopff on Art and Artists,” introduces the major sections of this compilation. Articles originally in French and German have been translated by the editor; the translations are marked with a different font color, and follow the transcribed articles. The editor cheerfully admits to not being a professional translator, so the reader is encouraged to consult the original texts. -
Carrara Marble and the Low Countries (Rome- Carrara, 4-8 Jun12)
Carrara Marble and the Low Countries (Rome- Carrara, 4-8 Jun12) Roma-Carrara, Jun 4–08, 2012 Registration deadline: May 15, 2012 Leon Lock International Conference, Roma-Carrara, 4-8 June 2012 “Carrara Marble and the Low Countries from the Late Middle Ages to Today” ORGANISED BY: Academia Belgica, Roma Royal Netherlands Institute in Rome Université Libre de Bruxelles Universiteit Gent Katholieke Universiteit Leuven Université de Liège Royal Museums of Art and History, Brussels Royal Museums of Fine-Arts of Belgium, Brussels Nederlands Interuniversitair Kunsthistorisch Instituut, Firenze The Low Countries Sculpture Society, Brussels WITH THE SUPPORT OF: The Belgian Embassy, Rome The Dutch Embassy, Rome Comune di Carrara Marchesa Marie Angiola Gropallo and Grégoire van Hissenhoven, Sarzana/Brussels Academia Belgica, Roma Royal Netherlands Institute in Rome Research Foundation Flanders (FWO) Fonds de la Recherche Scientifique-FNRS Onroerend Cultureel Erfgoed vzw/ Patrimoine Culturel Immobilier asbl and other sponsors to be confirmed ORGANISING COMMITTEE Prof Dr Dominique Allart, Université de Liège Sandra Berresford, Carrara Dr Emile van Binnebeke, Royal Museums of Art and History, Brussels Prof Dr Michel Draguet, director, Royal Museums of Art and History and Royal Museums of Fine Arts of Belgium, Brussels / Université Libre de Bruxelles Prof Dr Walter Geerts, director, Academia Belgica, Roma 1/8 ArtHist.net Dr Léon Lock, Katholieke Universiteit Leuven Prof Dr Konrad Ottenheym, Universiteit Utrecht Prof Dr Bernard Stolte, director, Royal -
OLD MASTER PAINTINGS Wednesday 9 December 2015
OLD MASTER PAINTINGS Wednesday 9 December 2015 BONHAMS OLD MASTERS DEPARTMENT Andrew McKenzie Caroline Oliphant Brian Koetser Director, Head of Department, Group Head of Pictures Consultant, London London London London – – – Lisa Greaves Archie Parker Poppy Harvey-Jones Department Director Senior Specialist Junior Specialist London London London – – – Alexandra Frost Mark Fisher Madalina Lazen Administrator, Director, European Paintings, Senior Specialist, European Paintings Bonhams 1793 Limited Bonhams 1793 Ltd Directors Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Jonathan Baddeley, Gordon McFarlan, Andrew McKenzie, London Los Angeles New York Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Antony Bennett, Matthew Bradbury, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Lucinda Bredin, Harvey Cammell, Simon Cottle, Charlie O’Brien, Giles Peppiatt, Peter Rees, Matthew Girling CEO, Andrew Currie, Paul Davidson, Jean Ghika, Iain Rushbrook, John Sandon, Tim Schofield, – – – +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Charles Graham-Campbell, Miranda Leslie, Veronique Scorer, James Stratton, Roger Tappin, +44 (0) 20 7393 3905 fax Geoffrey Davies, Jonathan Horwich, Richard Harvey, Robin Hereford, Asaph Hyman, Ralph Taylor, Shahin Virani, David Williams, James Knight, Caroline Oliphant. David Johnson, Charles Lanning, Michael Wynell-Mayow, Suzannah Yip. OLD MASTER PAINTINGS Wednesday 9 December 2015, at -
Fondation Bernheim RAPPORT D'activités 20 11- 2 0 12 Fondation Bernheim RAPPORT D'activités 20 11- 2 0 12
Fondation Bernheim RAPPORT D'ACTIVITÉS 20 11- 2 0 12 Fondation Bernheim RAPPORT D'ACTIVITÉS 20 11- 2 0 12 Achevé d’imprimer en mai 2013 Tous droits de reproduction, de publicité et de traduction réservés pour tous pays. Editeur responsable : Fondation Bernheim (fondation d’utilité publique) Rédacteur : Pierre Van den Dungen Conception graphique : Cellules Grises Crédits photos : SBS - Art & Build / CMRE - Gil Grimonster / BELvue - Frank Toussaint / Vocatio - Triptyque et Gina Van Hoof Bozar - Saskia Vanderstichele / Ph. Joannès / Musées Royaux des Beaux-Arts de Belgique - Yves Nevens LE MOT DE LA PRÉSIDENTE RAPPORTRAPPORT D'ACTIVITÉSD'ACTIVITÉS 2011/20122011/2012 Heureuse de vous présenter notre dernier riser l’esprit d’entreprise, à récompenser et l’ouvrage commémoratif Fondation Bern- propositions concrètes dont nous aurons à rapport d’activités qui, exceptionnellement, à soutenir l’innovation sociale et scientifique heim, dix ans d’activités.* De ces réflexions, reparler dans le rapport 2013. porte sur deux années, 2011 et 2012. bénéfiques au progrès de toutes et de tous et notamment des conclusions suggérées dans notre société. par Michel Molitor et Jean-Pierre Bizet, deux Je ne pourrais conclure sans rendre hom- Nouvelle présentation, nouvelle forme, vous « Task Force » ont été créées pour agir avec mage à la diligence et au talent d'André Far- y découvrirez au fil des pages les différents La Fondation soutient les entrepreneurs, les pertinence et constance sur deux de nos ber, responsable du Comité des Finances partenariats et soutiens de la Fondation, entrepreneurs sélectionnés, tant il faut aider thèmes les plus chers à savoir, l'entrepre- de la Fondation. -
Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years
BRANDING BRUSSELS MUSICALLY: COSMOPOLITANISM AND NATIONALISM IN THE INTERWAR YEARS Catherine A. Hughes A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2015 Approved by: Annegret Fauser Mark Evan Bonds Valérie Dufour John L. Nádas Chérie Rivers Ndaliko © 2015 Catherine A. Hughes ALL RIGHTS RESERVED ii ABSTRACT Catherine A. Hughes: Branding Brussels Musically: Cosmopolitanism and Nationalism in the Interwar Years (Under the direction of Annegret Fauser) In Belgium, constructions of musical life in Brussels between the World Wars varied widely: some viewed the city as a major musical center, and others framed the city as a peripheral space to its larger neighbors. Both views, however, based the city’s identity on an intense interest in new foreign music, with works by Belgian composers taking a secondary importance. This modern and cosmopolitan concept of cultural achievement offered an alternative to the more traditional model of national identity as being built solely on creations by native artists sharing local traditions. Such a model eluded a country with competing ethnic groups: the Francophone Walloons in the south and the Flemish in the north. Openness to a wide variety of music became a hallmark of the capital’s cultural identity. As a result, the forces of Belgian cultural identity, patriotism, internationalism, interest in foreign culture, and conflicting views of modern music complicated the construction of Belgian cultural identity through music. By focusing on the work of the four central people in the network of organizers, patrons, and performers that sustained the art music culture in the Belgian capital, this dissertation challenges assumptions about construction of musical culture. -
Abraham Mignon
Abraham Mignon 1640-1679 THE SON of shopkeepers, Abraham Mignon was Bibliography born in Frankfurt and baptized in the Calvinist Houbraken 1753, 3: 82-83. Church on 21 June 1640. When his parents moved to Bol 1969: 320-323. Kraemer-Noble 1973. Wetzlar in 1649, Mignon was placed under the care and artistic apprenticeship of Jacob Marrell (1614- 1681), a still-life painter and art dealer. Marrell was undoubtedly impressed with Mignon's abilities, for 1992.51.5 he entrusted his affairs to him whenever he was away in Holland on business. Furthermore, Marrell A Hanging Bouquet of Flowers asked Mignon to instruct his stepdaughter, Maria Sibylla Merian (1647- I7I7)» in still-life painting. By probably 1665/1670 1664 Marrell and Mignon had left Frankfurt for Oil on oak, 38.1 x 29.9 (15 x 11V4) Gift of Mrs. Paul Mellon, in Honor of the 50th Anniversary Utrecht, and in 1669 both were registered in the of the National Gallery of Art Saint Luke's Guild there. While in Utrecht, Mignon maintained the strong religious beliefs of his family. Inscriptions In 1672 he was elected deacon of the Waalse Kerk of At the lower left: AB Mignon f. Utrecht, a position he held for five years. He married Technical Notes: The support is a single, vertically grained Maria Willaerts, the cousin of the seascape painter wood board with thin wood strips attached to edges beveled Adam Willaerts (1577 -1664), in 1675. He died just a on the back. The lower right corner is chipped and worn. few years later, and was buried on 27 March 1679 in Thin opaque paint is applied over a thin, smooth, pale gray ground layer in layers blended wet into wet with slightly Utrecht. -
Profs. Michel DRAGUET, Denis LAOUREUX Profs. Michel
CONVENTIONS BIBLIOGRAPHIQUES ET MODALITÉS PRATIQUES DE RÉDACTION D’UN TRAVAIL SCIENTIFIQUE Profs. Michel DRAGUET, Denis LAOUREUX Assistante : Marie GODET HAAR-B-210 : Travaux dirigés : XXe siècle HAAR-B-4230 : Séminaire : Arts du XIXe siècle HAAR-B-5220 : Séminaire : Arts du XXe siècle 3 e édition Année académique 2013 - 2014 Sommaire 1. Identifier les sources ……………………………………………………………………. 5 2. Localiser les sources ……………………………………………………………………. 8 2.1. Catalogues collectifs …………………………………………………………………….8 2.1.1 Pour la Belgique ………………………………………………………………………. 8 2.1.2 Pour le monde ………………………………………………………………………….9 2.1.3 Par pays ……………………………………………………………………………….10 2.2. Bibliothèques et centres de documentation belges ……………………………………..10 2.3. Bibliothèques et centres de documentation étrangers ………………………………….17 2.4. Publications électroniques et mise en ligne de références ……………………………..19 3. Constituer un corpus iconographique …………………………………………………22 3.1. Centres et sites de documentation iconographique ……………………………………. 22 3.2. Ressources en ligne ……………………………………………………………………. 23 3.2.1 Collections de musées …………………………………………………………………23 3.2.2 Catalogues collectifs …………………………………………………………………. 24 3.2.3 Banques d’images ……………………………………………………………………. 24 4. Réaliser le travail écrit ………………………………………………………………….25 4.1. Consignes de présentation ………………………………………………………………25 4.2. La page de garde ………………………………………………………………………..25 4.3. La table des matières ……………………………………………………………………26 4.4. Le texte suivi ……………………………………………………………………………26 4.5. Règles d’orthographe pour la rédaction des titres ………………………………………27 4.5.1 Les titres d’ouvrages et d’œuvres d’art en français …………………………...27 4.5.2 Les titres d’ouvrages et d’œuvres d’art en anglais ……………………………29 2 4.6. La liste des descriptions matérielles …………………………………………………….29 4.7. Les illustrations ………………………………………………………………………….31 4.8. Les annexes ……………………………………………………………………………...33 4.9. Transcription d’une archive ……………………………………………………………..33 5. L’appareil critique ………………………………………………………………………38 5.1. -
Alfred Stevens
Marjan Sterckx exhibition review of Alfred Stevens Nineteenth-Century Art Worldwide 9, no. 1 (Spring 2010) Citation: Marjan Sterckx, exhibition review of “Alfred Stevens,” Nineteenth-Century Art Worldwide 9, no. 1 (Spring 2010), http://www.19thc-artworldwide.org/spring10/alfred- stevens. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Sterckx: Alfred Stevens Nineteenth-Century Art Worldwide 9, no. 1 (Spring 2010) Alfred Stevens Royal Museums of Fine Arts of Belgium, Brussels 5 May 2009 – 23 August 2009 URL: http://www.expo-stevens.be Van Gogh Museum, Amsterdam 18 September 2009 – 24 January 2010 URL: http://www.vangoghmuseum.nl/vgm/index.jsp?page=161537&lang=en Catalogue (in English, French and Dutch) Alfred Stevens (Brussels, 1823–Paris, 1906) Contributions by Saskia de Bodt, Danielle Derrey-Capon, Michel Draguet, Ingrid Goddeeris, Dominique Maréchal and Jean-Claude Yon Brussels: Mercatorfonds and Koninklijke Musea voor Schone Kunsten, Amsterdam: Van Gogh Museum, 2009. 208 pages, 150 illustrations, full color € 29.95 ISBN 978 90 6153 8738 (English paperback) ISBN 978 90 6153 8714 (French paperback) 978 90 6153 8745 (French cloth) ISBN 978 90 6153 872 1 (Dutch paperback) 978 90 6153 875 2 (Dutch cloth) This past autumn and winter, the Van Gogh Museum in Amsterdam featured two exhibitions: the large-scale and well-attended Van Gogh's letters: The artist speaks (Van Goghs brieven: De kunstenaar aan het woord), in the context of the new web and book editions of Van Gogh's letters, and the somewhat more remote, but appealing Alfred Stevens exhibition (fig. -
Courant 7/December 2003
codart Courant 7/December 2003 codartCourant contents Published by Stichting codart P.O. Box 76709 2 A word from the director 12 The influence and uses of Flemish painting nl-1070 ka Amsterdam 3 News and notes from around the world in colonial Peru The Netherlands 3 Australia, Melbourne, National Gallery 14 Preview of upcoming exhibitions [email protected] of Victoria 15 codartpublications: A window on www.codart.nl 3 Around Canada Dutch cultural organizations for Russian 4 France, Paris, Institut Néerlandais, art historians Managing editor: Rachel Esner Fondation Custodia 15 codartactivities in fall 2003 e [email protected] 4 Germany, Dresden, Staatliche Kunst- 15 Study trip to New England, sammlungen Dresden, Gemäldegalerie 29 October-3 November 2003 Editors: Wietske Donkersloot, Alte Meister 23 codartactivities in 2004 Gary Schwartz 5 Germany, Munich, Staatliche 23 codart zevencongress: Dutch t +31 (0)20 305 4515 Graphische Sammlung and Flemish art in Poland, Utrecht, f +31 (0)20 305 4500 6 Italy, Bert W. Meijer’s influential role in 7-9 March 2004 e [email protected] study and research projects on Dutch 23 Study trip to Gdan´sk, Warsaw and and Flemish art in Italy Kraków, 18-25 April 2004 codart board 8 Around Japan 32 Appointments Henk van der Walle, chairman 8 Romania, Sibiu, Brukenthal Museum 32 codartmembership news Wim Jacobs, controller of the Instituut 9 Around the United Kingdom and 33 Membership directory Collectie Nederland, secretary- Ireland 44 codartdates treasurer 10 A typical codartstory Rudi Ekkart, director of the Rijksbureau voor Kunsthistorische Documentatie Jan Houwert, director of the Wegener Publishing Company Paul Huvenne, director of the Koninklijk Museum voor Schone Kunsten, Antwerp Jeltje van Nieuwenhoven, member of the Dutch Labor Party faction codartis an international council for curators of Dutch and Flemish art.