DOCSLIB.ORG

Kunst Und Frö Mmigkeit Im Spä Tmittelalter Und Ihr Weiterleben, Kat

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kunst Und Frö Mmigkeit Im Spä Tmittelalter Und Ihr Weiterleben, Kat 500 Jahre Rosenkranz: 1475 Köln 1975: Kunst und Frö mmigkeit im Spä tmittelalter und ihr Weiterleben, kat. wyst., Erzbischöfliches Diözesanmuseum, Köln 1975 500 Jahre Schedelsche Weltchronik (sympozjum, Norymberga 1993), red. S. Füssel, ("Pirckheimer Jahrbuch" 9), Nürnberg 1994 600 Jahre Ulmer Münster, red. H.E. Specker, R. Wortmann, 2. wyd., Stuttgart 1977 800 Jahre Deutscher Orden, kat. wyst., Germanisches Nationalmuseum, Nürnberg, Gütersloh- München 1990 800 Jahre Deutscher Orden. Ergänzungen und Korrekturen, "Anzeiger des Germanischen Nationalmuseums" 1992, s. 7-50 1454: Lille-Arras et le Voeu du Faisan. Deux capitales princières bourguignonnes face au défi de l'empire Ottoman, (Actes du colloque, Université d'Arras 1995), red. M.-Th. Caron, D. Clauzel, Arras 1997 A. Abad Pérez, San Juan de los Reyes en la historia, la literatura y el arte, "Anales toledanos" 11, 1976, s. 111-206 S. Aballéa, Les Saints Sépulcres monumentaux du Rhin supérieur et de la Souabe (1340-1400), Strasbourg 2003 https://doi.org/10.4000/books.pus.12003 J. Abeler, Ullstein Uhren Buch. Eine Kulturgeschichte der Zeitmessung, Frankfurt a.M. 1994 K. Abriszewski, Teoria Aktora-Sieci Bruno Latoura, "Teksty Drugie", nr 1/2, 2007 K. Abriszewski, Poznanie, zbiorowość, polityka. Analiza teorii aktora-sieci Bruno Latoura, Kraków 2008 I. Achter, Schrein und Flügelgemälde eines gotischen Altares, jetzt in der Kath. Pfarrkirche zu Rheinberg, "Jahrbuch der rheinischen Denkmalpflege" 23, 1960, s. 214-215 A. Acres, The Columba Altarpiece and the time of the world, "The Art Bulletin" 80, 1998, s. 422-451 https://doi.org/10.2307/3051299 A. Acres, Small physical history: The trickling past of Early Netherlandish painting, w: Symbols of Time in the History of Art, red. Ch. Heck, K. Lippincott, Turnhout 2002, s. 7-25 A. Acres, The middle of diptychs, w: Push Me, Pull You…, op. cit., t. I, s. 595-621 Actor Network Theory and After, red. J. Law, J. Hassard, Oxford 1999 J. van Aelst, Het gebruik van beelden bij Suso's lijdensmeditatie, w: Geen povere schoonheid. Laat- middeleeuwse kunst in verband met de Moderne Devotie, red. K. Veelenturf, Nijmegen 2000, s. 86- 100 Âge d'or bruxellois. Tapisseries de la Couronne d'Espagne, red. A. Smolar-Meynart, oprac. C. Paredes, kat. wyst., Cathédrale Saint-Michel-et-Sainte-Gudule, Bruxelles 2000 B. Aikema, Hieronymus Bosch and Italy?, w: Hieronymus Bosch: New Insights…, op. cit., s. 25-32 B. Aikema, The loure of North: Netherlandish art in Venetian collections, w: Renaissance Venice and the North…, op. cit., s. 82-91 B. Aikema, Incroci transalpini: Burgkmair, Lotto, Altdorfer e Giorgione, w: Opere e giorni. Studi su mille anni di arte europea dedicati a Max Seidel / Werke und Tage. Tausend Jahre europäischer Kunstgeschichte. Studien zu Ehren von Max Seidel, red. K. Bergdolt, G. Bonsanti, Venezia 2001, s. 427-436 B. Aikema, "Stravaganze e bizarie de chimere, de mostre, e d'animali": over het beeld van Hieronymus Bosch in de italiaanse kunst, "Desipientia" 8, 2001, nr 2, s. 48-57 (po wł.: Stravaganze e bizarie de chimere, de mostri, e d'animali: Hieronymus Bosch nella cultura italiana del Rinascimento, "Venezia Cinquecento" 11/22, 2001, s. 111-135) B. Aikema, Tesori ponentini per la Serenissima, w: Tra committenza e collezionismo: studi sul mercato dell'arte nell'Italia settentrionale durante l'età moderna, red. E. Dal Pozzolo, L. Tedoldi, Vicenza 2003, s. 35-49 B. Aikema, Giorgione und seine Verbindung zum Norden. Neue Interpretationen zur 'Vecchia' und zur 'Tempesta', w: Giorgione. Myhtos und Enigma, red. S. Ferii-Pagden, G. Nepi Sire, kat. wyst. Kunsthistorisches Museum, Wien - Gallerie dell'Accademia, Venezia, Wien-Milano 2004, s. 85-103 (po ang.: Giogione: Relationships with the North and a new interpretation of La Vecchia and La Tempesta, w: Giorgione: Myth and Enigma, red. S. Ferino-Pagden, G. Nepi Scirè, kat. wyst., Kunsthistorisches Museum, Wien 2004, s. 85-103) B. Aikema, Hieronymus Bosch and Italy?, w: Hieronymus Bosch: New Insights…, op. cit., s. 25-32 M.W. Ainsworth, Gerard David: Purity of Vision in an Age of Transition, New York 1998 M.W. Ainsworth, The business of art: Patrons, clients, and art market, w: M.W. Ainsworth, K. Christiansen i in., From Van Eyck to Bruegel…, op. cit., s. 23-37 M.W. Ainsworth, Gerard David: Purity of vision in an age of transition, w: M.W. Ainsworth, K. Christiansen i in., From Van Eyck to Bruegel…, op. cit., s. 273-318 M.W. Ainsworth, Was Simon Bening a panel painter?, w: "Als ich can": Liber amicorum in Memory of Professor Dr. Maurits Smeyers, red. B. Cardon, J. Van der Stock, D. Vanwijnsberghe i in., (Corpus van verluchte handschriften 11), Leuven-Paris 2002, t. I, s. 1-25 M.W. Ainsworth, Gerard David. Vita e opere, w: Il polittico della Cervara di Gerard David, kat. wyst., Palazzo Bianca, Genova 2005-2006, Milano 2005, s. 13-32 M.W. Ainsworth, Juan de Flandes, chameleon painter, w: Invention: Northern Renaissance Studies…, op. cit., s. 105-123 M.W. Ainsworth, K. Christiansen i in., From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art, New York 1998 M.W. Ainsworth, M.P.J. Martens, Petrus Christus, Renaissance Master of Bruges, Metropolitan Museum of Art, New York 1994, po niderl.: Petrus Christus, Gent-New York 1995 M.W. Ainsworth, C. Metzger, The Évora altarpiece, a preliminary report, w: The Quest for the Original (Le dessin sous-jacent et la technologie dans la peinture, 16), red. H. Verougstraete, C. Janssens de Bisthoven i in., Leuven 2009, s. 10-20 M. Akrich, B. Latour, A summary of a convenient vocabulary for the semiotics of human and non- human assemblies, w: Shaping Technology-Building Society: Studies in Sociotechnical Change, red. W. Bijker, J. Law, Cambridge, Mass., 1992 M.G. Albertini Ottolenghi, Zanetto Bugatto nel 1461 e Sforza Secondo Sforza, w: Itinerari d'arte in Lombardia dal XIII al XX secolo, red. M. Ceriana, F. Mazzocca, Milano 1998, s. 67-71 A.E. Albrecht, A. Grewolls, Die mittelalterlichen Flügelaltäre der Hansestadt Wismar, Kiel 1998 C. Albrecht, Stilkritische Untersuchungen zum mittleren Werk des Veit Stoss, unter besonderer Berücksichtigung der Volckamer-Stiftung, dysertacja, Universität Würzburg 1992 U. Albrecht, Zur Schreintypologie norddeutscher Hochaltarretabel. Die Entwicklung ihrer konstruktiven und architektonischen Gestalt in den Jahren um 1400, w: Das Hochaltarretabel der St. Jacobi-Kirche in Göttingen, red. B. Carqué, H. Röckelein, (Veröffentlichungen des Max-Planck-Instituts für Geschichte 213), Göttingen 2005, s. 305-330 U. Albrecht, Corpus der mittelalterlichen Holzskulptur und Tafelmalerei in Schleswig-Holstein, I: Hansestadt Lübeck: St.-Annen-Museum, Kiel 2005 U. Albrecht, J. Rosenfeld, Ch. Saumweber, Corpus der mittelalterlichen Holzskulptur und Tafelmalerei in Schleswig-Holstein, t. I., Kiel 2005 J.J.G. Alexander, The Master of Mary of Burgundy: A Book of Hours for Engelbert of Nassau. The Bodleian Library, Oxford, New York 1970, nowe wyd.: New York 1993 J.J. Alexander, A metalwork triptych of the Passion of Christ in the Metropolitan Museum, New York, "Wiener Jahrbuch für Kunstgeschichte" 46/47, 1993/1994 (Festschrift Gerhard Schmidt), s. 27-36 https://doi.org/10.7767/wjk.1994.4647.1.27 I. Alexander-Skipnes, Northern realism and carthusian devotion: Bergognone's Christ carrying the cross for the Certosa of Pavia, w: Cultural Exchange between the Low Countries and Italy…, op. cit. Alfonso X el Sabio, red. I. Bango Torviso, kat. wyst., Murcia 2009 G. Algeri, Testimonianze e presenze fiamminghe nelle pittura des Quattrocento, w: Pittura fiamminga in Liguria…, op. cit., s. 44 i nast. Altdeutsche Spielkarten 1500-1650. Katalog der Holzschnittkarten mit deutschen Farben aus dem Deutschen Spielkarten-Museum Leinfelden-Echterdingen und dem Germanischen Nationalmuseum Nürnberg, red. D. Hoffmann, kat. wyst., Deutsches Spielkarten-Museum, Leinfelden-Echterdingen - Germanisches Nationalmuseum, Nürnberg 1993 Altes Gold in neuer Pracht. Das "Goldene Wunder" in der Dortmunder St. Petrikirche, red. B. Welzel, Bielefeld 2006 G. Althaus, St. Lorenz, Ecce panis angelorum. Das Sakramentshaus des Adam Kraft, Nürnberg 1994 K. Althaus, Konrad Witz. Ein Pionier der Malerei im 15. Jahrhundert, Königstein i.T. 2011 M.T. Alvarez, Artistic enterprise and Spanish patronage: The art market during the reign of Isabel of Castile (1474-1504), w: Art Markets in Europe 1400-1800, red. M. North, D. Ormrod, Aldershot 1998, s. 45-61 M.T. Alvarez, The Art Market in Renaissance Spain: From Flanders to Castile, dysertacja, University of Sothern California, Los Angeles 2003 P. Amadeus, Aperçu historique sur la devotion au chemin de la croix, "Collectanea franciscana" 19, 1949, s. 45-142 J. Amador de los Rios, M. de Assas y Ereño, Monasterio de San Juan de los Reyes, Madrid 1877, reprint z komentarzem F. Vela Cossío, G. Cabeza Arnáiz, Madrid 2009 A. Andersson, Medieval Wooden Sculpture in Sweden. Late Medieval Sculpture, Uppsala 1980 I. Andreoli, Simon Bening: l' ultimo innovatore, "Alumina" 2, 2004, nr 6, s. 14-21 L. Andrews, Ordering space in Renaissance times: Position and meaning in continuous narration, "Word & Image" 10, 1994, nr 1, s. 84-94 https://doi.org/10.1080/02666286.1994.10435505 L. Andrews, Story and Space in Renaissance Art: The Rebirth of Continuous Narrative, Cambridge- New York 1995 A. Angendt, Heilige und Reliquien: Die Geschichte ihres Kultes vom frühen Christentum bis zur Gegenwart, München 1994 Anne de Bretagne - une histoire, un mythe, red. P. Chotard, kat. wyst., Château des Ducs de Bretagne, Musée d'Histoire de Nantes, Paris 2007 Antwerpse retabels 15de-16de eeuw, red. H. Nieuwdorp, kat. wyst. i tom esejów, Museum voor Religieuze Kunst, Kathedraal, Antwerpen 1993 F. Anzelewsky, Das "Mittelalterliche Hausbuch", sein Inhalt und seine Deutung, w: Master of the Amsterdam Cabinet (sympozjum, Rijksprentenkabinet Amsterdam 1985), Amsterdam 1985, s. 23-30 L'Apocalypse d'Angers, "Dossier de l'art" 31, 1996 https://doi.org/10.1007/978-1-4899-6076-4_2 Apokryfy Nowego Testamentu. Listy i Apokalipsy chrześcijańskie, red.
Load more

Recommended publications
  • British Art Studies September 2020 Elizabethan and Jacobean
    British Art Studies September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr British Art Studies Issue 17, published 30 September 2020 Elizabethan and Jacobean Miniature Paintings in Context Edited by Catharine MacLeod and Alexander Marr Cover image: Left portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1605, watercolour on vellum, laid onto table-book leaf, 5.7 x 4.4 cm. Collection of National Portrait Gallery, London (NPG 3063); Right portrait: Isaac Oliver, Ludovick Stuart, 2nd Duke of Lennox, later Duke of Richmond, ca. 1603, watercolour on vellum, laid on card, 4.9 x 4 cm. Collection of Fitzwilliam Museum, Cambridge (FM 3869). Digital image courtesy of National Portrait Gallery, London (All rights reserved); Fitzwilliam Museum, Cambridge (All rights reserved). PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom.
    [Show full text]
  • HNA April 11 Cover-Final.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. 28, No. 1 April 2011 Jacob Cats (1741-1799), Summer Landscape, pen and brown ink and wash, 270-359 mm. Hamburger Kunsthalle. Photo: Christoph Irrgang Exhibited in “Bruegel, Rembrandt & Co. Niederländische Zeichnungen 1450-1850”, June 17 – September 11, 2011, on the occasion of the publication of Annemarie Stefes, Niederländische Zeichnungen 1450-1850, Kupferstichkabinett der Hamburger Kunsthalle (see under New Titles) HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Dagmar Eichberger (2008–2012) HNA News ............................................................................1 Wayne Franits (2009–2013) Matt Kavaler (2008–2012) Personalia ............................................................................... 2 Henry Luttikhuizen (2009 and 2010–2014) Exhibitions
    [Show full text]
  • Juan De Flandes and His Financial Success in Castile
    Volume 11, Issue 1 (Winter 2019) Juan de Flandes and His Financial Success in Castile Jessica Weiss [email protected] Recommended Citation: Jessica Weiss, “Juan de Flandes and His Financial Success in Castile,” Journal of Historians of Netherlandish Art 11:1 (Winter 2019) DOI: 10.5092/jhna.2019.11.1.2 Available at https://jhna.org/articles/juan-de-flandes-and-his-financial-success-in-castile/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 Juan de Flandes and His Financial Success in Castile Jessica Weiss During the late fifteenth century, the Netherlandish painter Juan de Flandes traveled to the court of Isabel, queen of Castile and León. He remained in her service until her death and subsequently secured multiple commissions for contributions to large-scale altarpiece projects. The financial documents associated with his career and his works reveal a high level of economic success in comparison to other artists active in Castile, including his fellow court painter Michel Sittow. This investigation into the fiscal opportunities available to a Netherlandish émigré demonstrates the economic power of locally produced Flemish art in sixteenth-century Iberia.. 1 The Netherlandish painter Juan de Flandes (active 1496–1519) had a lucrative career on the Iberian Peninsula, and his professional history serves as an important case study on the economic motivations for immigrant artists.1 He first appears in 1496 in the court documents of Isabel, queen of Castile and León (1451–1504), and he used his northern European artistic training to satisfy the queen’s demand for Netherlandish-style panel paintings.
    [Show full text]
  • UC Berkeley UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 Permalink https://escholarship.org/uc/item/6r20h5s3 Author Kelly, Jessen Lee Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 By Jessen Lee Kelly A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Elizabeth Honig, Chair Professor Whitney Davis Professor Niklaus Largier Fall 2011 © 2011, by Jessen Lee Kelly All rights reserved. Abstract Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 By Jessen Lee Kelly Doctor of Philosophy in History of Art University of California, Berkeley Professor Elizabeth Honig, Chair This dissertation examines the relationships between chance and visual culture during the Northern Renaissance, focusing on the use of images in the deliberate, ritualized application of chance in games and divination. I argue that, prior to the development of probability theory in the seventeenth century, images served a critical function in encountering and negotiating uncertainties about the future. The casting of lots for prognostication and play was nothing new in the fifteenth and sixteenth centuries. Yet, aided in part by the growing print industry, the period witnessed the development of new and varied forms for these practices, forms that were increasingly pictorial in character.
    [Show full text]
  • Courant 3Def
    codart Courant 3/December 2001 codartCourant contents Published by Stichting codart P.O. Box 76709 2 A word from the director 11 Calls for papers nl-1070 ak Amsterdam 2 Committees 11 Symposium on The Brueghel enterprise The Netherlands 2 Program Committee 11 codart activities in spring 2002 3 Reports from the regional committees 11 Study trip to Moscow, 2-6 March 2002 Editors: Gary Schwartz 3 German-speaking countries, 13 codart vijf: Early Netherlandish Wietske Donkersloot Scandinavia and Baltic States art and its dispersal, 10-13 March 2002 t +31 (0)20 3054 515 3 Austria 17 [Historians of Netherlandish Art f +31 (0)20 3054 500 4 Estonia congress, 14-17 March 2002] e [email protected] 5 Germany 17 Study trip to Scotland, 6 Latvia 13-18 June 2002 codart board: 7 Central and Eastern Europe 18 codart in the United States Henk van der Walle, chairman 7 Hungary 18 Website news Wim Jacobs, operations manager of the 8 Poland 19 Membership directory Netherlands Institute of Cultural 28 codart dates Heritage (Instituut Collectie Nederland), secretary-treasurer Rudi Ekkart, director of the Netherlands Institute for Art History (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, Speaker of the House of the Netherlands Parliament codartis an international council for curators of Dutch and Flemisch art. It supports inter-museum cooperation in the study and display of art from the Low Countries through a variety of means, including congresses, study trips, pub- lications and a website (www.codart.nl).
    [Show full text]
  • El Coleccionismo Del Linaje De Los Guevara. Estudio De Dos Anunciaciones Arsbilduma Ana Diéguez-Rodríguez • Elena Vázquez Dueñas
    33 ARS BILDUMA EL COLECCIONISMO DEL LINAJE DE LOS GUEVARA. ISSN 1989-9262 UPV/EHU Press ARSBILDUMA (CC BY-NC-ND 4.0) ESTUDIO DE DOS ANUNCIACIONES https://doi.org/10.1387/ars-bilduma.20267 BIBLID [(2019), 9; 33-49] THE COLLECTIONISM OF THE GEVARA´S FAMILY. TWO ANNUNCIATIONS Recibido: 06/10/2018 Aceptado: 11/12/2018 IN STUDY HET COLLECTIONISME VAN DE FAMILIE GUEVARA. EEN STUDIE VAN TWEE ANNUNCIATIES ANA DIÉGUEZ-RODRÍGUEZ Universidad de Burgos RESUMEN ABSTRACT SAMENVATTING Instituto Moll Dos pinturas flamencas de finales del siglo Two Flemish paintings of the late fifteenth Twee Vlaamse schilderijen uit de late vi- c/ Marqués de la Ensenada 4, 1º XV y principios del siglo XVI con el tema and early sixteenth century with the topic of jftiende en vroege zestiende eeuw met als 28004, Madrid de la anunciación y portando el escudo de the Annunciation and bearing the Guevara thema de Annunciatie en voorzien van het los Guevara, sirven de base para reflexionar shield, serve to reflection on the collection wapenschild van de familie Guevara, die- [email protected] sobre el coleccionismo de pintura flamenca of Flemish painting of one of the family nen als basis om na te denken over het co- de uno de los linajes más cercanos a la corte closer to the court of the Habsburgs, and llectionisme van Vlaamse schilderijen van ORCID ID: https://orcid.org/0000-0003-0510-8670 de los Habsburgo, y con mayor peso en la with great weight in politics and patronage een van de (Spaanse) adellijke families die política y mecenazgo de esta transición de in this change of the century: The Guevara.
    [Show full text]
  • ISABEL LA CATÓLICA , Las Artes Y La Imagen Del Poder
    AULADADES ISABEL LA CATÓLICA , Las Artes y la imagen del poder Javier Blanco Planelles SUEÑOS DINÁSTICOS Y ANHELOS POLITICOS ISABEL • Príncipe Alfonso de Portugal Reina de Portugal • Manuel I de Portugal JUAN Margarita de Austria Príncipe de Asturias ISABEL I de Castilla JUANA I Felipe I de Habsburgo Reina de Castilla y Aragón FERNANDO II de Aragón MARÍA Manuel I de Portugal Reina de Portugal CATALINA • Arturo Príncipe de Gales Reina de • Enrique VIII de Inglaterra Inglaterra Isabel dictó testamento al secretario real Gaspar de Gricio el 12 de octubre de 1504. Quizás la elección del día fuese intencionado, nadie lo puede saber. “Sepan cuantos esta carta de testamento vieren como yo Doña ISABEL, por la gracia de Dios reina de Castilla, de León, de Aragón, de Sicilia, de Granada, de Toledo, de Valencia, de Galicia, de Mallorcas, de Sevilla, de Cerdeña, de Córdoba, de Córcega, de Murcia, de Jaén, de los Algarves, de Algeciras y de Gibraltar y de las islas Canarias; condesa de Barcelona y señora de Vizcaya y de Molina; duquesa de Atenas y de Neopatria; condesa del Rosellón y de la Cerdaña, marquesa de Oristán y de Gocéano”. “Estando enfermo mi cuerpo de la enfermedad que Dios me quiso dar y sana y libre de mi entendimiento; […], ordeno esta mi carta de testamento y postrera voluntad queriendo imitar al buen rey Ezequías queriendo disponer de mi casa como si luego la hubiese de dejar”. Al final de las nueve hojas de pergamino que lo contienen (Archivo General de Simancas) firma «Yo, la Reina». A continuación firmaron los testigos y se colocaron los sellos.
    [Show full text]
  • Diplomarbeit / Diploma Thesis
    DIPLOMARBEIT / DIPLOMA THESIS Titel der Diplomarbeit / Title of the Diploma Thesis „Spiele spielen eine Rolle: Über den Stellenwert von Brett-, Karten- und Würfelspielen in der spätmittelalterlichen Gesellschaft“ verfasst von / submitted by Matthias Klementschitsch angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Magister der Philosophie (Mag. phil.) Wien, 2018 / Vienna, 2018 Studienkennzahl lt. Studienblatt / A 190 313 456 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Lehramtsstudium degree programme as it appears on UF Geschichte, Sozialkunde, Polit.Bildg. the student record sheet: UF Geographie und Wirtschaftskunde Betreut von / Supervisor: ao. Univ.-Prof. Dr. Mag. Meta Niederkorn II Für meine Großeltern III Bildrechte: In dieser Arbeit werden einige Abbildungen dargeboten, um nicht nur Spielmaterialien, sondern auch Bilder und Drucke aus Handschriften und Inkunabeln zu zeigen. Die Rechte dieser Bilder bleiben bei den angegebenen Einzelpersonen oder Institutionen und wurden mir entweder durch eine direkte Erlaubnis oder durch eine Creative-Commons-Lizenz zur Verfügung gestellt. Die Rechteinhaber sind nach den Wünschen der Institutionen und Einzelpersonen umfangreich angegeben. An dieser Stelle sei darauf hingewiesen, dass diese Arbeit keinerlei kommerzielle Zwecke verfolgt. IV Inhaltsverzeichnis 1. Einleitung ................................................................................................................. 1 2. Die Spiele
    [Show full text]
  • The Problem with Leuven Sculpture Around 1500: the Creation of Anonymous Sculpture Workshops
    The problem with Leuven sculpture around 1500: the creation of anonymous sculpture workshops Marjan Debaene In the late Middle Ages, the Brabantine city of Leuven - located at about 30 km from Brussels, the capital of current Belgium – was one of the more important cities in the Duchy of Brabant and a regional production centre of sculpture that appears to have followed artistic trends being set in Brussels. The Leuven sculptors worked for a varied, but mostly religious clientele and received commissions from beyond the city walls, mostly to the east of the city (the so-called ‘Hageland’ region). The Leuven crafts were organized in a corporate system of guilds. However, the sculptors were not organized in a corporation of their own – they were to join the stonemason’s guild – and did not apply a system of trademarks to allow quality control, as was the case in Brussels, Antwerp and Mechelen. The result of this being that in the archives many sculptors are known by name, but they can hardly ever be linked to a body of work. Conversely, many remaining sculptures cannot be attributed to a specific sculptor. Another result being that there are not really reference works with a clear Leuven attribution (just one, by Hendrik Roesen), like in Antwerp or Brussels, where the presence of the Brussels mallet or the Antwerp hands on many remaining pieces, give us an artistic and stylistic frame of reference. The absence of reference works has in the past made the Leuven sculpture research somewhat a Wild West for stylistic attributions. This paper
    [Show full text]
  • Albrecht Dürer's “Oblong Passion”
    ALBRECHT DÜRER’S “OBLONG PASSION”: THE IMPACT OF THE REFORMATION AND NETHERLANDISH ART ON THE ARTIST’S LATE DRAWINGS by DANA E. COWEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY January, 2014 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Dana E. Cowen ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Catherine B. Scallen (signed)_______________________________________________ (chair of the committee) Jon L. Seydl ________________________________________________ Holly Witchey ________________________________________________ Erin Benay ________________________________________________ 4 November 2013 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. This dissertation is dedicated to my parents, Nancy and John, and to my brother Mark Table of Contents Table of Contents i List of Figures ii Acknowledgements xi Introduction 1 Chapter One 23 Albrecht Dürer in the Netherlands, 1520 to 1521: The Diary and Works of Art Chapter 2 58 Dürer and the Passion: The “Oblong Passion” and its Predecessors Chapter 3 111 Dürer, Luther, and the Reformation: The Meaning of the “Oblong Passion” Chapter 4 160 The “Oblong Passion” Drawings and their Relationship to Netherlandish Art Conclusion 198 Appendix 1: 204 Martin Luther. “Ein Sermon von der Betrachtung des heiligen Leidens Christi” (A Sermon on Meditating on the Holy Passion of Christ), 1519 Appendix 2: 209 The Adoration of the Magi Appendix 3: 219 The Progression of Scholarship on Fifteenth- and Sixteenth-Century Netherlandish and German Drawings from the Late Nineteenth-Century to the Present Figures 233 Bibliography 372 i List of Figures Fig.
    [Show full text]
  • Experience the Flemish Masters
    EXPERIENCE THE FLEMISH MASTERS VAN EYCK PROGRAMME 2020 THE FLEMISH RENAISSANCE EXPERIENCE THE FLEMISH MASTERS The ‘Flemish Masters’ project has been established for the inquisitive traveller who enjoys learning about others as much as about him or herself. It is intended for those who, like the Flemish Masters in their time, are looking to immerse themselves in new cultures and new insights. The Flemish Masters project focuses in 2020 on the life and legacies of van Eyck, as well as many other notable artists of his time. In 2020 the Ghent altarpiece is coming home. Since its completion in 1432, millions of visitors from all over the world have travelled to Ghent to adore the Ghent Altarpiece, painted by Jan and Hubert Van Eyck. Gone missing, absconded in the course of several wars, threatened by fire, dismantled, copied, smuggled, censored, attacked by inconoclasts, hidden, ransomed, rescued and stolen time and again... no work of art has been menaced and desired as much as the Mystic Lamb. VAN EYCK PROGRAMME 2020 THE FLEMISH RENAISSANCE MARCH JAN VAN EYCK IN BRUGES Groeningemuseum, Bruges March - July 2020 VAN EYCK’S COLOURS IN DESIGN Design Museum, Ghent March - September 2020 DISCOVER THE LAST 2018 2019 JANUARY SUPPER BY BOUTS HOF VAN BUSLEYDEN GRUUTHUSEMUSEUM THE GHENT ALTAR- Leuven Mechelen Bruges PIECE: THE RETURN OF March 2020 June 2018 May 2019 THE LAMB Saint Bavo’s Cathedral, LIGHTS ON VAN EYCK Ghent Saint Nicholas Church, Ghent January - September March - October 2020 2020 VAN EYCK IN THE CITY different venues in Ghent March - December 2020 2018 2019 2020 01 02 03 04 05 FEBRUARY APRIL VAN EYCK.
    [Show full text]
  • Download Og Læs Hele Beretningen
    Forskningsberetning 2017 Statens Museum for Kunst Indledning 1 Overordnede målsætninger 2 Beretning 3 Forskningen i 2017, resultatmål 5 Bemanding og dimensionering 13 Bevillingsmæssige forhold 15 Forskningsaktiviteter Afsluttede forskningsprojekter 17 Igangværende forskningsprojekter 26 Bibliografi 2017 De enkelte forskeres publikationer 40 Indledning Statens Museum for Kunst er en statsinstitution på Kulturministeriets område og Danmarks hovedmuseum for billedkunst. SMK drives i henhold til museumsloven og har til opgave - gennem indsamling, registrering, bevaring, forskning og formidling - at belyse den danske og udenlandske billedkunst, fortrinsvis fra den vestlige kulturkreds efter år 1300. For den danske kunsts vedkommende skal museet anlægge og opretholde repræsentative samlinger. Museet skal synliggøre og perspektivere samlingerne ved at deltage i internationalt samarbejde. Museets samlinger danner grundlag for forskning og alment oplysende virksomhed. Museets samlinger består af over 9.000 malerier og skulpturer, ca. 247.000 kunstværker på papir (tegninger, grafik, fotos, gouacher m.m.) samt mere end 3.500 gipsafstøbninger af skulpturer fra antikken, middelalderen og renæssancen. SMK har som hovedmuseum og som det eneste kunstmuseum, der er omfattet af lov om forskning ved arkiver, biblioteker, museer m.v., en naturlig og central rolle i den danske kunsthistoriske forskning. Forskningen på SMK kan både vedrøre kunsthistoriske og æstetiske problemstillinger samt bevaringsmæssige og formidlingsmæssige aspekter. I henhold til loven skal museet udarbejde flerårige, som udgangspunkt 4-årige, forskningsplaner inden for rammerne af de forskningsmæssige hovedområder. SMK skal ligeledes afgive en årlig forskningsberetning. Beretningen omfatter institutionens samlede forskningsvirksomhed dvs. både den del af forskningen, der er udført af medarbejdere ansat i deciderede forskerstillinger inden for stillingsstrukturen og den forskning, der er udført af medarbejdere ansat i stillinger uden for stillingsstrukturen, hvor der indgår forsknings- og udviklingsopgaver.
    [Show full text]