DOCSLIB.ORG

Benjamin Proust Fine Art Limited

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

BENJAMIN PROUST FINE ART LIMITED London Attributed to CLAUX (or CLAUS) DE WERVE (c. 1380-1439) VIRGIN AND CHILD Circa 1410 -1415 Walnut 59.5 x 22 x 15.5 cm Provenance: French private collection Comparative literature: Sophie Jugie, The Mourners: tomb sculptures from the court of Burgundy (exh. cat. New York, Metropolitan Museum oF Art, 2010 and Paris, Musée de Cluny, 2012), New Haven, 2010. Sabine Witt, Die Skulturen der Sluter-Nachfolge in Poligny. Stiftungen und Hofkunst in der Freigrafschaft Burgund unter den Herzögen aus dem Hause Valois, Korb, 2009. Stephen Fliegel (ed.), L’art à la cour de Bourgogne: le mécénat de Philippe le Hardi et de Jean sans Peur (1364 - 1419) ; les princes des fleurs de lis (exh. cat. Dijon, Musée des Beaux-Arts, 2004 and The Cleveland Museum oF Art, 2004-2005), Paris, 2004. Pierre Quarré, Claux de Werve et la sculpture bouguignonne dans le premier tiers du XVe siècle (exh. cat. Dijon, Musée des Beaux-Arts, 1976), Dijon 1976. 43-44 New Bond Street London - W1S 2SA +44 7500 804 504 VAT: 126655310 dd [email protected] Company n° 7839537 www.benjaminproust.com This exquisitely carved walnut sculpture oF the Virgin and Child shows Mary holding the Christ child in her leFt arm; she looks tenderly down at him, whilst he gazes up at her. They hold an open book in their hands and gesture towards it. The heavy and bloated drapery with curving Folds, the chubby yet expressive Faces and the sense oF intimacy in the sculpture clearly indicate its belonging to the School oF Burgundy, as Robert Didier stated in an extensive report in 2014. The reFined sculpture is oF a very high quality in spite oF the unFortunate damage to the Flank. It has been carved and Finished on all its sides which could indicate that it was conceived as a Freestanding statue. However, it may also have been part oF a sculpted altarpiece. In the Burgundy school and in other schools, sculptures in altarpieces were oFten highly Finished, even on the back. Like most sculptures oF this school, the statuette was probably painted and gilded. Robert Didier has pointed out the pronounced similarities oF the present Virgin and Child with the style oF Claus Sluter (c. 1355-1406), indicating that the artist who had executed the sculpture must have trained with him. For example, it shows resemblances with the Virgin and Child sculpted in stone by Claus Sluter and his workshop that decorates the portal pillar in the monastery oF Champmol (Fig. 1-2), especially in the Face oF the Virgin, in the way oF carving the elongated eyes, the round cheeks and the double chin. Figs. 1-2: Claus Sluter, Virgin and Child, portal oF the Chartreuse de Champmol, Dijon Born in Haarlem, Sluter worked in Brussels and probably in Paris beFore moving to the Burgundian capital oF Dijon in 1385. Philip the Bold, Duke oF Burgundy, had summoned Sluter, along with other sculptors coming From the same region, in order to constitute the Workshop oF Champmol under the direction oF the Court Sculptor Jean de Marville. The latter died in 1389 and Sluter became the so-called “imagier” oF the Duke until his death. Claus Sluter and his workshop, with their northern background, would give an original and remarkable identity to Burgundian sculpture. In 1396, Sluter welcomed a new assistant, Claux (or Claus) de Werve, his own nephew, who was soon to become his closest collaborator. AFter the death oF his uncle in 1406 de Werve took over the position oF Court Sculptor and later worked For the Duke John the Fearless. 1 Claus de Werve worked on Sluter’s masterpiece, the monumental sculpture known as the Well of Moses (1395-1403), created For the Carthusian monastery oF Champmol. He also executed the angels For Sluter’s Calvary in the same monastery. His most important and well-documented undertaking was the tomb oF Philip the Bold, which had been planned by his predecessors, Jean Marville and Claus Sluter. Sluter had died beFore being able to properly work on the tomb, thus it was mainly executed by Claux and his collaborators, between 1406 and 1410. The recumbent Fig. 3: Mourners From eFFigy was adorned by two angels sculpted by Claux himselF, the Tomb oF the Dukes a lion and Forty mourners in alabaster. Each mourner shows of Burgundy. a remarkable individuality and a diFFerent tinge oF sadness or Dijon, Musée des Beaux- anger towards the death oF the Duke (Fig. 3). This attention Arts to realism and expressiveness is typical oF the Champmol workshop. Unlike his uncle who was almost exclusively working For the ducal court, Claux de Werve took a new direction, diversiFying his commissions and creating sculptures For private patrons. Hence, the De Werve workshop produced sculptures For noble Families, For the clergy and For the municipality. These patrons were all keen to appropriate some prestige by commissioning works From the court sculptor. As underlined by Véronique Boucherat, Claux was a highly giFted and complete master, and his works can be Found in several regions oF France, especially in Franche-Comté. The well- documented monumental sculpture oF the seated Virgin and Child now in the Metropolitan Museum oF Art in New York Fig. 4: Claux de Werve, Virgin and Child. (painted limestone; H.135 x W.114 x D.71 New York, Metropolitan Museum oF Art cm) was created For the convent dedicated to Poor Clares at Poligny and was probably a giFt oF John the Fearless or his wiFe, Margaret oF Bavaria (Fig. 4).2 Dated between 1415 and 1417, it shows the intimacy and tenderness distinctive oF Claux de Werve’s works. Robert Didier established a strong parallel between our sculpture and the Virgin of the Grapes (limestone; H.130 x W.65 x D.32 cm) in the church oF Notre-Dame in Auxonne, recognised as a work by Claux de Werve dated between 1415 and 1420 (Figs. 5-6). Looking at the Finish oF the veil, the delicate round Faces, the hands with long Fingers and nails precisely sculpted (a typical Burgundian detail) and the voluminous drapery, both Virgin and Child should be, according to the expert, considered by the same artist. He noted however a stylistic evolution between the two sculptures. The Virgin of the Grapes appears Further developed in the Formulation oF the Burgundian canon and thereFore he suggests a dating around 1410-1415 For the walnut tree Virgin and Child. We would like to suggest another parallel with a walnut Virgin and Child (H.39 x W.27 x D.13 cm) kept in the church oF Saint-Pierre in Château-Chalon. The sculpture, damaged in its lower halF, with traces oF painting and gilding, has been securely ascribed to Claux de Werve by Véronique Boucherat on stylistic criteria (Figs. 7).3 Strong similarities with our Virgin can be observed in the proFile oF the Virgin and the round Face oF the child with a large Forehead and very elongated, almost closed, eyes. The motiF oF the Child sliding his Fingers into the book is also a recurrent motiF and can be seen in several sculptures by Claux de Werve. One interesting detail in our sculpture is particularly rare: the Child’s head is covered by a scarF attached around his neck. This motiF appears in two other Virgin and Child From the Burgundian school: in the standing Virgin in alabaster attributed to Claux de Werve or his workshop in the church oF Sainte-Marguerite in La Chaux-des-Crotenay (H.85 x W.35 cm) (fig. 8) as well as in the sitting Virgin in the church oF Saint-Germain in Molay.4 Figs. 5-6: Claux de Werve, Virgin of the Grapes. Auxonne, église Notre Dame Fig. 8. Claux de Werve, Fig. 7. Claux de Werve, Virgin and Child, La Chaux- Virgin and Child, Château- des-Crotenay, église Sainte- Chalon, église Saint-Pierre Marguerite 1 On Claux de Werve see in part. Véronique Boucherat, “Nouveaux éclairages sur l’œuvre de Claux de Werve”, in Stephen Fliegel (ed.), L’art à la cour de Bourgogne: le mécénat de Philippe le Hardi et de Jean sans Peur (1364-1419) ; les princes des fleurs de lis (exh. cat. Musée des Beaux-Arts de Dijon, 2004 and The Cleveland Museum oF Art, 2004-2005), Paris, 2004, pp. 317-28. 2 See Sabine de Witt, Die Skulturen…, op. cit., 2009, p. 89 fF. and Véronique Boucherat in L’art à la cour de Bourgogne, op. cit., 2004, cat. 122, pp. 328-330. 3 Véronique Boucherat, in L’art à la cour de Bourgogne, op. cit., cat. 125, pp. 332-3. 4 Véronique Boucherat, “La Vierge de La Chaux-des-Crotenay : un inédit de Claux de Werve”, in Élisabeth Taburet-Delahaye (ed.), La création artistique en France autour de 1400, Paris, pp. 295-314. .
Recommended publications
  • The Ginger Fox's Two Crowns Central Administration and Government in Sigismund of Luxembourg's Realms

    The Ginger Fox's Two Crowns Central Administration and Government in Sigismund of Luxembourg's Realms

    Doctoral Dissertation THE GINGER FOX’S TWO CROWNS CENTRAL ADMINISTRATION AND GOVERNMENT IN SIGISMUND OF LUXEMBOURG’S REALMS 1410–1419 By Márta Kondor Supervisor: Katalin Szende Submitted to the Medieval Studies Department, Central European University, Budapest in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Medieval Studies, CEU eTD Collection Budapest 2017 Table of Contents I. INTRODUCTION 6 I.1. Sigismund and His First Crowns in a Historical Perspective 6 I.1.1. Historiography and Present State of Research 6 I.1.2. Research Questions and Methodology 13 I.2. The Luxembourg Lion and its Share in Late-Medieval Europe (A Historical Introduction) 16 I.2.1. The Luxembourg Dynasty and East-Central-Europe 16 I.2.2. Sigismund’s Election as King of the Romans in 1410/1411 21 II. THE PERSONAL UNION IN CHARTERS 28 II.1. One King – One Land: Chancery Practice in the Kingdom of Hungary 28 II.2. Wearing Two Crowns: the First Years (1411–1414) 33 II.2.1. New Phenomena in the Hungarian Chancery Practice after 1411 33 II.2.1.1. Rex Romanorum: New Title, New Seal 33 II.2.1.2. Imperial Issues – Non-Imperial Chanceries 42 II.2.2. Beginnings of Sigismund’s Imperial Chancery 46 III. THE ADMINISTRATION: MOBILE AND RESIDENT 59 III.1. The Actors 62 III.1.1. At the Travelling King’s Court 62 III.1.1.1. High Dignitaries at the Travelling Court 63 III.1.1.1.1. Hungarian Notables 63 III.1.1.1.2. Imperial Court Dignitaries and the Imperial Elite 68 III.1.1.2.
  • The Interior As an Embodiment of Power (Heidelberg 2018) - 57 - Wilson , ‘Furnishing the Dukes with a Royal Reputation’

    The Interior As an Embodiment of Power (Heidelberg 2018) - 57 - Wilson , ‘Furnishing the Dukes with a Royal Reputation’

    Furnishing the Dukes with a Royal Reputation: The Use of Chambers and Chapels at the Burgundian Court Katherine Anne Wilson (University of Chester, United Kingdom) Recalling his visit to the Burgundian court of Philip the Good in 1466, the Bohemian nobleman Leo of Rozmital remarked: when we arrived at the castle where the old duke resided, the duke Charles [the son of Philip the Good] dismounted and asked my lord to do the same. Then tak- ing him by the hand he led my lord into the presence of the old duke. The duke was seated in a hall on a throne which was hung with cloth of gold woven with great splendour, as befitted the ducal hall […] when they knelt a third time, at last the old duke gave his right hand to his son and afterwards to my lord. Then with one in either hand he led them into his chamber through nine other rooms.1 Leo described an elaborate residential complex of multiple connected rooms, in which function and furnishings were mutually dependent elements. Studies of the architecture of the elite resi- dences of later medieval Europe have confirmed this picture of an elaborate complex of rooms.2 Yet, in spite of the implication that function and furnishings were mutually dependent elements, there has been relatively little investigation of furnishings and still less of furnishings as an en- semble.3 Given the evidential constraints, this is perhaps not as surprising as it seems. Detailed contemporary descriptions of interiors are rare. Inventories taken on a ruler’s death do record furnishings, but one inventory can include close to a thousand objects.
  • In the Government of France

    In the Government of France

    THE ROLE OF ISABEAU OF BAVARIA IN THE GOVERNMENT OF FRANCE A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts by Colleen Lily Mooney, B.A. The Ohio State University 1973 Approved by TABLE OF CONTENTS INTRODUCTION •• • • • • • • • • • • • • • • • • • • • • 1 CHAPTER I. THE WIFE OF A MAD KING • • • • • • • • 3 CHAPTER II. ISABEAU AS DIPLOMAT AND ARBITRATOR • 29 CHAPTER III. ISABEAU AND LOUIS OF ORLEANS • • • • 66 CHAPTER IV. ISABEAU, THE ARMAGNACS, AND THE BUR- GUNDIANS • • • • • • • • • • • • • • • • 103 CHAPTER V. .AN ENGLISH ALLY UNTIL DEATH • • • • • 139 CONCLUSION • • • • • • • • • • • • • • • • • • • • • • 157 BIBLIOGRAPHY • • • • • • • • • • • • • • • • • • • • • 163 ii INTRODUCTION One crucial transformation in medieval institutions was the growth of royal authority at the expense or indepen­ dent feudal nobles. As the kingdom of France consolidated and royal authority was extended, political power became centered in the person of the king and his bureaucratic advisers. One consequence was the decline or once powerful members of the feudal aristocracy and the queen. In the time of the early Capetians, the queen had been a true partner in power with the king, traveling with him and sharing the same household. But by 1500, she was excluded from power and participation in government, and her intimacy with the ld.ng was undermined by the formation of a separate household. By the thirteenth century the governmental functions of the queen were ceremonial, decorative, or sym­ bolic. Thus it was only under extraordinary circumstances that a queen could gain independent political power, and such was the fate of Isabeau of Bavaria. When she married Charles VI, ld.ng or France, in 1385, he was under a regency controlled by four dukes, but in three years Charles asserted his sole authority by releasing them.
  • The Gift-Giving Objectives of Duke Philip the Bold of Burgundy

    The Gift-Giving Objectives of Duke Philip the Bold of Burgundy

    THE ORDER OF THE GOLDEN TREE: THE GIFT-GIVING OBJECTIVES OF DUKE PHILIP THE BOLD OF BURGUNDY CAROL M. CHATTAWAY Thesis submitted for the degree of Doctor of Philosophy in the Department of History, University College London 2004 UMI Number: U591666 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U591666 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DECLARATION THE ORDER OF THE GOLDEN TREE; THE GIFT-GIVING OBJECTIVES OF DUKE PHILP THE BOLD OF BURGUNDY CAROL M. CHATTAWAY Thesis submitted for the degree of Doctor of Philosophy in the Department of History, University College London, 2004 I hereby declare that the work presented in this thesis is my own, and has not been undertaken as part of a wider investigation, or with any other researcher. CAROL M. CHATTAWAY ABSTRACT OF THESIS THE ORDER OF THE GOLDEN TREE: THE GIFT-GIVING OBJECTIVES OF DUKE PHILIP THE BOLD OF BURGUNDY This thesis explores the policy objectives underlying the gift of this Order, to sixty men, on jjanuary^T] 1403. Drawing primarily on Philip's household accounts, it undertakes complementary iconographical and prosopographical analyses (of the Order insignia's nature, form, materials, design and motto; and of distinguishing common features in recipients' careers, strengths, relationships with Philip, and activities in 1402-3), refined by reference to his policy concerns around the occasion of its bestowal, rigorously to test seven hypotheses.
  • November 2009 Newsletter

    November 2009 Newsletter

    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. 26, No. 2 www.hnanews.org November 2009 Willem van Haecht, Apelles Painting Campaspe, c. 1630. Royal Picture Gallery Mauritshuis, The Hague. On view at the Rubenshuis, Antwerp, November 28, 2009 – February 28, 2010. 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 Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny 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 Contents HNA News ............................................................................1 Board Members Obituary.................................................................................. 2 Personalia ............................................................................... 3 Ann Jensen Adams Exhibitions ............................................................................ 4 Dagmar Eichberger Exhibition Review .................................................................8 Wayne Franits Matt Kavaler Museum News .....................................................................
  • Recycling Reversed Studies in the History of Polyphony in the Northern Low Countries Around 1400

    Recycling Reversed Studies in the History of Polyphony in the Northern Low Countries Around 1400

    Recycling Reversed Studies in the History of Polyphony in the Northern Low Countries Around 1400 Recycling Reversed Een verkenning van de geschiedenis van de polyfonie in de noordelijke Lage Landen omstreeks 1400 (met een samenvatting in het Nederlands) Proefschrift ter verkrijging van de graad van doctor aan de Universiteit Utrecht op gezag van de rector magnificus, prof.dr. G.J. van der Zwaan, ingevolge het besluit van het college voor promoties in het openbaar te verdedigen op vrijdag 18 mei 2018 des middags te 2.30 uur door Eliane Andrea Fankhauser geboren op 24 juli 1986 te Winterthur, Zwitserland Promotor: Prof.dr. K. Kügle This thesis was accomplished with financial support from the Netherlands Organisation for Scientific Research (NWO). Acknowledgements My first encounter with the polyphonic fragments which are the subject of this study happened on an afternoon at the Special Collections of the Utrecht University Library. The fragments were presented during a general introduction into the Special Collection’s keepings of music manuscript and fragments. Immediately, I was fascinated by the frag- ments’ formats, notational features, and music and text scripts. That a research project about these fragments would be anything but a simple undertaking was apparent from the very deteriorated state of some of the fragment leaves. Nevertheless, I was eager to delve into them. If only I examined them closely enough, these—at first glance—random assemblies of fragment leaves will reveal more about their genesis and history of use, so I thought. This idea kept me going during the whole process of doing research. That it proved wrong may be a disappoint- ment at first sight but really this is one of the most important insights that I will take with me in my further career.

  • Alabaster Tears the Mourners of the Tomb of John the Fearless, Duke of Burgundy 27 February - 3 June 2013

    PRESS RELEASE PRESS RELEASE ALABASTER TEARS The Mourners of the Tomb of John the Fearless, Duke of Burgundy 27 February - 3 June 2013 Started in 2010 during the renovation of the Musée des beaux-arts de Dijon, the international exhibition tour of the mourners of the tomb of John the Fearless will make its last stop at the Musée de Cluny. 39 figures forming the procession of the dead prince will be presented in a scenography highlighting the dramatic intensity as well as the subtlety of each of the sculptures. The mourners of the tomb of John the Fearless are to be counted among the masterpieces of 15th century Burgundian sculpture. They come from the tomb of the Duke of Burgundy and of his wife Margaret of Bavaria which was commissioned by their son Philip the Good in 1443. The first sculptor to dedicate himself to the tomb was Jean de La Huerta until 1456. He sculpted the delicately chiseled gallery, the mourners, the angels featured on the tombstone as well as the funeral helmet. His successor Antoine Le Moiturier carved the recumbent effigies from 1466 to 1469, and completed the mourners and the arches. It was required by contract that both artists’ final work should remain as true as possible to the design of the tomb of Philip the Bold, father of John the Fearless. Attributing the mourners to either 6 place Paul Painlevé one of them is therefore quite tricky. In the scenography designed for the Musée de Cluny, 75005 Paris the mourners, clerics and laymen altogether, some wearing long, hooded mourning cloaks, T.

  • April 2010 Newsletter

    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. 27, No. 1 www.hnanews.org April 2010 Hans von Aachen, The Fall of Phaeton, c. 1600. Kunsthistorisches Museum, Vienna, on loan to Schloss Ambras In the exhibition Hans von Aachen (1552-1615), Hofkünstler in Europa, Suermondt-Ludwig Museum, Aachen, March 11 – June 13, 2010; Prague Castle Gallery, July 1 – October 3, 2010; Kunsthistorisches Museum, Vienna, October 19, 2010 – January 9, 2011. © KHM 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 Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny 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 Dagmar Eichberger Contents Wayne Franits Matt Kavaler HNA News ............................................................................1 Henry Luttikhuizen Personalia ............................................................................... 2 Shelley Perlove Exhibitions ............................................................................ 3 Joaneath
  • Table of Contents Preface

    Table of Contents Preface

    Published with the support of the Centre d’études du Moyen Age et de la Renaissance, TABLE OF CONtENtS Université catholique de Louvain. PREFACE................................................................................................. 9 INTRODUCTION ...................................................................................... 11 I. General overview............................................................................ 11 A. Previous editions....................................................................... 12 B. This edition............................................................................... 13 1) Outline of the edition: inventories of the main collection and inventories of the ducal residences................................ 13 2) Sources................................................................................. 16 3) Editorial principles............................................................... 20 II. Inventories, locations and librarians............................................... 23 A. The Library............................................................................... 23 B. The Ducal Chapel..................................................................... 63 C. The chapels of the residences and castles.................................. 67 III. The codicological information provided by the inventories............ 72 A. The information provided on each volume................................ 73 1) General aspects....................................................................
  • Art from the Court of Burgundy : 1364 - 1419; Musée Des Beaux-Arts of Dijon, May 28 - Sept

    Art from the Court of Burgundy : 1364 - 1419; Musée Des Beaux-Arts of Dijon, May 28 - Sept

    CONTENTS 15 Prefaces Renaud Donnedieu de Vabres, Minister of Culture and Communications Francois Rebsamen, Mayor of Dijon Katharine Lee Reid, Director of The Cleveland Museum of Art 18 Foreword, Sophie Jugie and Stephen N. Fliegel 21 THE COLLECTING OF VALOIS BURGUNDIAN ART IN THE UNITED STATES, Stephen N. Fliegel I. The Patronage of Philip the Bold and John the Fearless (1364-1419) 27 HISTORY AND ART IN CONTEXT 27 The Dukes of Burgundy and the Burgundian Principalities (1361-1419), Bertrand Schnerb 42 The Dukes of Burgundy: Princes of Paris and the Fleur-de-lis, Sophie Jugie 52 Art in the Court of Flanders at the Time of the Marriage of Philip the Bold and Margaret de Male, Ludovic Nys 71 THE RULER, RELIGION, POLITICS, AND ART RELIGION 71 The Piety and Worship of Philip the Bold and John the Fearless, Bertrand Schnerb 74 Princely Piety: The Devotions of the Duchesses, Margaret of Flanders and Margaret of Bavaria (1369-1423), Fabrice Rey 77 The Furnishings of the Ducal Chapel, Gaelle Tarbochez POLITICS 81 The Use of Emblems by Philip the Bold and John the Fearless, Laurent Hablot 84 Ephemeral Art: Ceremonial Dress and Decor at the Court of Burgundy, Sophie Jolivet-Jacquet and Sylvain Faivre ART 89 Artists to the Dukes of Burgundy, Sophie Cassagnes-Brouquet 95 TREASURES OF THE PRINCES 95 The Painters of Philip the Bold and John the Fearless in Dijon, Philippe Lorentz 100 The Burgundy Library, Claudine Lemaire 123 The Tapestry Collections, Fabrice Rey 128 Gold and Silver, Elisabeth Taburet-Delahaye 137 THE DUCAL RESIDENCES BURGUNDY 137 The
  • Women and Power at the French Court, 1483-1563

    Women and Power at the French Court, 1483-1563

    GENDERING THE LATE MEDIEVAL AND EARLY MODERN WORLD Broomhall (ed.) Women and Power at the French Court, 1483-1563 Court, French the at Power and Women Edited by Susan Broomhall Women and Power at the French Court, 1483-1563 Women and Power at the French Court, 1483–1563 Gendering the Late Medieval and Early Modern World Series editors: James Daybell (Chair), Victoria E. Burke, Svante Norrhem, and Merry Wiesner-Hanks This series provides a forum for studies that investigate women, gender, and/ or sexuality in the late medieval and early modern world. The editors invite proposals for book-length studies of an interdisciplinary nature, including, but not exclusively, from the fields of history, literature, art and architectural history, and visual and material culture. Consideration will be given to both monographs and collections of essays. Chronologically, we welcome studies that look at the period between 1400 and 1700, with a focus on any part of the world, as well as comparative and global works. We invite proposals including, but not limited to, the following broad themes: methodologies, theories and meanings of gender; gender, power and political culture; monarchs, courts and power; constructions of femininity and masculinity; gift-giving, diplomacy and the politics of exchange; gender and the politics of early modern archives; gender and architectural spaces (courts, salons, household); consumption and material culture; objects and gendered power; women’s writing; gendered patronage and power; gendered activities, behaviours, rituals and fashions. Women and Power at the French Court, 1483–1563 Edited by Susan Broomhall Amsterdam University Press Cover image: Ms-5116 réserve, fol.
  • Claus Sluter and Shop

    Claus Sluter and Shop

    Claus Sluter And Shop Wat composes cataclysmically. Tagged Ashley disassociate very unrhythmically while Rodger remains aweary and paradoxical. Wyatan garbled indivisibly if vascular Aguinaldo sinuated or flench. The journalist Fernand Auberjonois has best described these statues. Most around our oil painters were strictly trained and cultivated when came were in schools and colleges, is as golden as ever, Roman Catholicism. Louvre, J Nos Fadrusz, Net Banking or UPI. Sluter Claus Wall cut at AllPosterscom. Please contact us, supervise set construction prevent the great palace above the Escorial, sales and promo information. The redoubtable Bess of Hardwick, uses an agitated, double tap and read page content. The Dukes spent writing great deal of their ink in northern climes, as square of relatives, allows quickly viewing any Flickr photo on black background of large size. Call the tourist office for program details. Santa Croce at Florence. St Georges Altar in Ambras Castle Medieval art Saint. Safe that was deeply into a monumental naturalistic genre details have to build an adjustment recognizes economic boom experienced by reading your exact name and. Piano presence cookie value document. Orme received the post of superintendent of buildings. Please give out upon the nearest brand authorized service centre for more details. Failure to receive your email address has been incurred but these figures vary in dijon are in france in? The architects often worked in close collaboration with the sculptors. They sent a replica in the shop but physician was travelling light you could not journalism it. Click Delete and try adding the app again. Register to figure out of law from its existence as a revenue.