Last Judgment by Rogier Van Der Weyden
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In Vino Caritas
IN VINO CARITAS The Wine Burgundy June 29–July 2 Forum Excursion 2014 Contents Welcome to The Wine Forum 2 Schedule 4 The Burgundy Wine Region 6 The Producers 14 Festival Musique & Vin 20 Climats du Coeur 22 Biographies 24 1 Welcome to The Wine Forum June 29, 2014 Dear Member, Many wine lovers believe that Burgundy is home to the highest forms of Pinot Noir and So during our 2014 tour, we will combine our philanthropy towards the Climats du Coeur and Chardonnay grape varieties. With more than 1,500 years of cultivation, it is hard to argue against the Musique et Vin festival by holding an auction for special bottles donated by winemakers this belief. However, to The Wine Forum, Burgundy is more than just pure, scholarly wine. To us, whom we will be visiting and splitting the proceeds equally between these two worthy causes. Burgundy represents all that we as a group stand for—that is, that fine wine is not a right, but a And what a tour we have lined up! We commence with a Gevrey-Chambertin Grand Cru tasting privilege. Speaking with the region’s very top winemakers, they resolutely believe they are merely the current custodians of cherished plots, and that their role is to make the best wines possible at the Château du Clos de Vougeot on the final night of the 2014 Musique et Vin Festival. This and pass on the vineyard in the best condition possible to the next generation. Working the soil fabled region hosts 9 Grand Cru vineyards, the most of any in Burgundy. -
WRAP THESIS Shilliam 1986.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/34806 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. FOREIGN INFLUENCES ON AND INNOVATION IN ENGLISH TOMB SCULPTURE IN THE FIRST HALF OF THE SIXTEENTH CENTURY by Nicola Jane Shilliam B.A. (Warwick) Ph.D. dissertation Warwick University History of Art September 1986 SUMMARY This study is an investigation of stylistic and iconographic innovation in English tomb sculpture from the accession of King Henry VIII through the first half of the sixteenth century, a period during which Tudor society and Tudor art were in transition as a result of greater interaction with continental Europe. The form of the tomb was moulded by contemporary cultural, temporal and spiritual innovations, as well as by the force of artistic personalities and the directives of patrons. Conversely, tomb sculpture is an inherently conservative art, and old traditions and practices were resistant to innovation. The early chapters examine different means of change as illustrated by a particular group of tombs. The most direct innovations were introduced by the royal tombs by Pietro Torrigiano in Westminster Abbey. The function of Italian merchants in England as intermediaries between Italian artists and English patrons is considered. Italian artists also introduced terracotta to England. -
The Burgundy Wine Region & Dijon
VBT Itinerary by VBT www.vbt.com France: The Burgundy Wine Region & Dijon Bike Vacation + Air Package In Burgundy, France bike routes traverse some of the world’s most famous vineyards. Spinning from Lyon to Dijon—two UNESCO-designated urban showpieces—you’ll cycle mellow hills bursting with grapes cultivated for the region’s celebrated wines. Pause at charming stone towns imbued with wine and gastronomic tradition. Explore the 15th-century Hospices de Beaune, a masterpiece of flamboyant Gothic art and architecture and Burgundy’s most visited site. In Dijon museums, browse fine arts and sacred artifacts. Follow bike paths along canals and into wine villages with thriving local markets. The bucolic scenery here has made this route a favorite among travelers for its lush, unspoiled countryside. Cultural Highlights Cycle through the bucolic countryside where Chardonnay wine originated and has been produced for centuries. 1 / 9 VBT Itinerary by VBT www.vbt.com Shop a local market in Cluny, with a backdrop of its 10th-century Benedictine abbey. Pass renowned wine villages rolling through the world-famous vineyards of the Côte de Beaune and UNESCO World Heritage Route des Grands Crus. Visit the 15th-century Hospices de Beaune, a masterpiece of flamboyant Gothic art and architecture. Enjoy a guided tour and tasting at an authentic wine cellar in the heart of Beaune. Engage with a local family during a game of pétanque and a picnic lunch at their charming summer home. Discover Dijon with its protected historic city center that has inspired musicians, artists, and writers for centuries, and browse its wealth of fascinating—and free—museums. -
Early Modern Burgundian Hospitals As Catalysts of Independent Political Activity Among Women: Lay Nurses and Electoral Empowerment, 1630- 1750
Early Modern Burgundian Hospitals as Catalysts of Independent Political Activity Among Women: Lay Nurses and Electoral Empowerment, 1630- 1750 Kevin C. Robbins Indiana University – Purdue University Indianapolis This essay investigates the largest secular healthcare network in early modern Europe in which lay women took vital roles as professional nurses, pharmacists of renown, and powerful, highly conscientious administrators. By 1750, this organization encompassed at least fifty-five municipal and charity hospitals of varying size located in towns throughout eastern France and western Switzerland. These hospitals were all direct outgrowths of the remarkable Hôtel-Dieu (les hospices civils) in the Burgundian town of Beaune and its institutional satellites. At each site, patient care, nurse training, pharmacology, and many aspects of internal governance became the responsibility of an extensive, closely bound consorority of lay women trained under and showing enduring fidelity for centuries to the secular governing rules of the mother-house in Beaune. My study is a comparative one. It relates notable confrontations between lay female nurses and potent external antagonists at the highest echelons of the French clergy. The hospitals involved are the civil hospital of Chalon-sur-Saône (also known as the Hôpital de St. Laurent) and the Hôtel-Dieu of Dole in the adjoining province of Franche-Comté. At both sites, the nurses and their internal, secular protocols of politics and governance drawn from Beaune became the targets of senior Catholic prelates intent on remaking and controlling the nurses' vocation. These churchmen both misunderstood the lay status of the nurses and entirely underestimated their resolute, resourceful defense of their ancient electoral and administrative liberties. -
Rogier Van Der Weyden and Raphael
Rogier van der Weyden / Raphael Rogier van der Weyden, Saint George and the Dragon, c. 1432 / 1435, oil on panel, National Gallery of Art, Ailsa Mellon Bruce Fund This painting is only 5 F/i by 4 B/i inches in size! George’s Story 1 The knight in each of these paintings is Saint George, a Roman soldier who lived during the third century in Asia Minor (modern-day Turkey). According to a popular legend from the Middle Ages, Saint George rescued a Masterful Miniatures princess and her town from a terrible dragon. The best- known account of this heroic tale was written in The 2 Saint George was a favorite subject of artists during the Golden Legend, a medieval best seller from the year 1260. Middle Ages and the Renaissance. These small paintings Its stories from the Bible and tales of the lives of saints of Saint George, created in different parts of Europe, were inspired many artists. For early Christians, Saint George made by two of the leading artists of their times: Rogier became a symbol of courage, valor, and selflessness. van der Weyden (c. 1399 / 1400 – 1464) in northern According to The Golden Legend, the citizens of Silene, Europe, and Raffaello Sanzio, known as Raphael (1483 – a city in Libya, were threatened by a fierce and terrible 1520), in Italy. Despite their diminutive size, each paint- dragon. People saved themselves by feeding their sheep ing is full of incredible details that were meant to be to the hungry monster. When their supply of animals viewed closely. -
Rolin Madonna" and the Late-Medieval Devotional Portrait Author(S): Laura D
Surrogate Selves: The "Rolin Madonna" and the Late-Medieval Devotional Portrait Author(s): Laura D. Gelfand and Walter S. Gibson Source: Simiolus: Netherlands Quarterly for the History of Art, Vol. 29, No. 3/4 (2002), pp. 119-138 Published by: Stichting voor Nederlandse Kunsthistorische Publicaties Stable URL: http://www.jstor.org/stable/3780931 . Accessed: 17/09/2014 15:52 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Stichting voor Nederlandse Kunsthistorische Publicaties is collaborating with JSTOR to digitize, preserve and extend access to Simiolus: Netherlands Quarterly for the History of Art. http://www.jstor.org This content downloaded from 146.201.208.22 on Wed, 17 Sep 2014 15:52:43 PM All use subject to JSTOR Terms and Conditions I 19 Surrogateselves: the Rolin Madonna and the late-medieval devotionalportrait* LauraD. Gel/andand Walter S. Gibson TheMadonna of Chancellor Rolin (fig. i), paintedby Jan vanEyck omitted in thefinal painting, for what reason van Eyckabout I435, has longattracted great interest, we can onlyspeculate.3 Hence, it has been generally notonly for its spellbinding realism and glowingcolor, supposedthat Rolin's pious demeanor, his prayer book, butalso for the chancellor's apparent temerity in having and his audiencewith the Queen of Heaven and her himselfdepicted as prominentlyas the Virginand Child representlittle more than an elaborateeffort at Child,kneeling in their presence unaccompanied by the self-promotiondesigned to counter the negative reputa- usualpatron saint. -
Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic. -
The Early Netherlandish Underdrawing Craze and the End of a Connoisseurship Era
Genius disrobed: The Early Netherlandish underdrawing craze and the end of a connoisseurship era Noa Turel In the 1970s, connoisseurship experienced a surprising revival in the study of Early Netherlandish painting. Overshadowed for decades by iconographic studies, traditional inquiries into attribution and quality received a boost from an unexpected source: the Ph.D. research of the Dutch physicist J. R. J. van Asperen de Boer.1 His contribution, summarized in the 1969 article 'Reflectography of Paintings Using an Infrared Vidicon Television System', was the development of a new method for capturing infrared images, which more effectively penetrated paint layers to expose the underdrawing.2 The system he designed, followed by a succession of improved analogue and later digital ones, led to what is nowadays almost unfettered access to the underdrawings of many paintings. Part of a constellation of established and emerging practices of the so-called 'technical investigation' of art, infrared reflectography (IRR) stood out in its rapid dissemination and impact; art historians, especially those charged with the custodianship of important collections of Early Netherlandish easel paintings, were quick to adopt it.3 The access to the underdrawings that IRR afforded was particularly welcome because it seems to somewhat offset the remarkable paucity of extant Netherlandish drawings from the first half of the fifteenth century. The IRR technique propelled rapidly and enhanced a flurry of connoisseurship-oriented scholarship on these Early Netherlandish panels, which, as the earliest extant realistic oil pictures of the Renaissance, are at the basis of Western canon of modern painting. This resulted in an impressive body of new literature in which the evidence of IRR played a significant role.4 In this article I explore the surprising 1 Johan R. -
From Patinir's Workshop to the Monastery of Pedralbes. a Virgin
https://doi.org/10.5565/rev/locus.323 LOCVS AMŒNVS 16, 2018 19 - 57 From Patinir’s Workshop to the Monastery of Pedralbes. A Virgin and Child in a Landscape Rafael Cornudella Universitat Autònoma de Barcelona [email protected] Reception: 05/04/2018, Acceptance: 23/06/2018, Publication: 04/12/2018 Abstract Among the paintings of netherlandish origin imported into Catalonia during the first half of the 16th century, preserved at the Monastery of Pedralbes, there is a small panel featuring the Madonna and Child in a landscape which is attributed here to Patinir’s workshop, not excluding the possibility of some autograph intervention by the master. Whatever the case, this article sets out to situate the piece both in the context of its production and in that of its reception, that is, the community of nuns of Saint Claire of Pedralbes. What is interesting about this apparently modest work is the fact that it combines a set of ingredients typical of Patinir in a composition that is otherwise atypical as regards his known output as a whole, above all in terms of the relationship between the figure and the landscape, although also of its presumed iconographic simplicity. The final section of the article examines the piece in relation to the ever-controver- sial issue –which still remains to be definitively resolved– of the authorship of the figures in the works of Patinir. Keywords: Joachim Patinir; 16th Century Netherlandish Painting; landscape painting; The Virgin suckling the Child; The Rest during the Flight into Egypt; Monastery of Santa Maria de Pedralbes Resum Del taller de Patinir al monestir de Pedralbes. -
Meursault Charmes 1Er Cru Bahezre De Lanlay
MEURSAULT CHARMES 1ER CRU BAHEZRE DE LANLAY THE CHARM OF THE TRUE GREAT MEURSAULT. MINERAL AND INTENSE. TASTING Fine pale colour. The bouquet immediately demonstrates the concentration of this cuvée. Predominantly white fruit in style, with some pears in the mix, this displays the full rounded weight of a classic Meursault Charmes, relieved by a correct balancing acidity. The fragrance of balanced yet ripe chardonnay from a great terroir persist beautifully at the finish. FOOD MATCHING veal steack with wild mushrooms, fillet of sole in white butter sauce, old sheep’s milk cheese. TERROIRS KEY INFOS Les Charmes Dessus 0.41 ha., Region: Côte de Beaune Village: Meursault Les Charmes Dessous 0.47 ha. Level: Premier Cru AOC: Meursault Charmes 1er Cru Grapes: Chardonnay Color: White HISTORY Louis de Bahèzre de Lanlay was an inspector of telegraph lines, who bequeathed his fortune to the Hospices de Beaune in 1884, enabling the construction of a surgical block and an old people’s building. This is the larger of the two Hospices Cuvées of Meursault-Charmes, and often the more mineral in character. It comes from very old vines: half from Charmes Dessous (planted 1947), half from Charmes Dessus (planted 1946). GO FURTHER Go to our website www.hospices-beaune.com to buy this wine at the next auction or discover other Albert Bichot wines. You can also scan the QR Code. HOSPICES-BEAUNE.COM : THE WEBSITE DEDICATED TO THE MOST FAMOUS WINE AUCTION, BY #1 BUYER ALBERT BICHOT Albert Bichot is a family-owned Maison de Bourgogne, the owner to more than 100 hectares of vineyards in Burgundy through several iconic estates. -
Chapter 1. in Search of Memling in Rogier's Workshop
CHAPTER 1. IN SEARCH OF MEMLING IN ROGIER’S WORKSHOP Scholars have long assumed that Memling trained with Rogier van der Weyden in Brussels,1 although no documents place him in Rogier’s workshop. Yet several sixteenth-century sources link the two artists, and Memling’s works refl ect a knowledge of many of Rogier’s fi gure types, compositions, and iconographical motifs. Such resemblances do not prove that Memling was Rogier’s apprentice, however, for Rogier was quoted extensively well into the sixteenth century by a variety of artists who did not train with him. In fact, Memling’s paintings are far from cop- ies of their Rogierian prototypes, belying the traditional argument that he saw them in Rogier’s workshop. Although drawings of these paintings remained in Rogier’s workshop long after his death, the paintings themselves left Brussels well before the period of Memling’s presumed apprenticeship with Rogier from 1459 or 1460 until Rogier’s death in 1464.2 Writers have often suggested that Memling participated in some of Rogier’s paintings, al- though no evidence of his hand has been found in the technical examinations of paintings in the Rogier group.3 One might argue that his style would naturally be obscured in these works because assistants were trained to work in the style of the master.4 Yet other styles have been revealed in the underdrawing of a number of paintings of the Rogier group; this is especially true of the Beaune and Columba Altarpieces (pl. 3 and fi g. 9), the two works with which paintings by Memling are so often associated.5 Molly Faries and Maryan Ainsworth have demonstrated that some of Memling’s early works contain brush underdrawings in a style remarkably close to that of the underdrawings in paint- ings of the Rogier group, and they have argued that Memling must have learned this technique in Rogier’s workshop.6 Although these arguments are convincing, they do not establish when and in what capacity Memling entered Rogier’s workshop or how long he remained there. -
14 CH14 P468-503.Qxp 9/10/09 11:40 Page 468 14 CH14 P468-503.Qxp 9/10/09 11:40 Page 469 CHAPTER 14 Artistic Innovations in Fifteenth-Century Northern Europe
14_CH14_P468-503.qxp 9/10/09 11:40 Page 468 14_CH14_P468-503.qxp 9/10/09 11:40 Page 469 CHAPTER 14 Artistic Innovations in Fifteenth-Century Northern Europe HE GREAT CATHEDRALS OF EUROPE’S GOTHIC ERA—THE PRODUCTS of collaboration among church officials, rulers, and the laity—were mostly completed by 1400. As monuments of Christian faith, they T exemplify the medieval outlook. But cathedrals are also monuments of cities, where major social and economic changes would set the stage for the modern world. As the fourteenth century came to an end, the were emboldened to seek more autonomy from the traditional medieval agrarian economy was giving way to an economy based aristocracy, who sought to maintain the feudal status quo. on manufacturing and trade, activities that took place in urban Two of the most far-reaching changes concerned increased centers. A social shift accompanied this economic change. Many literacy and changes in religious expression. In the fourteenth city dwellers belonged to the middle classes, whose upper ranks century, the pope left Rome for Avignon, France, where his enjoyed literacy, leisure, and disposable income. With these successors resided until 1378. On the papacy’s return to Rome, advantages, the middle classes gained greater social and cultural however, a faction remained in France and elected their own pope. influence than they had wielded in the Middle Ages, when the This created a schism in the Church that only ended in 1417. But clergy and aristocracy had dominated. This transformation had a the damage to the integrity of the papacy had already been done.