OFFICIAL CITY GUIDE of Europe’S Best Kept Secret
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Footloose in Flanders, Discovering One of the Seum That Is a Repository of Antwerp’S History but I Do Zip in Prettiest Regions of Europe in the Process
Travel BELGIUM Footloose in 1 2 Flanders A ROUND-UP OF THE FLEMISH TRIO OF BRUGES, GHENT AND ANTWERP. AND THEN AN OUTING TO BRUSSELS CHARUKESI R BY AMADURAI 3 4 f Eat, Pray, Love was a town, it would be Bruges. So pretty, so picture postcard that some guidebooks have described it as touristy and a tad fake. Our guide in Bruges splutters indig- nantly about the American who thought of it as a medieval Disneyland, asking him, “Is Bruges shut for winter?” Bruges is an-all weather destination, but to me, spring is the perfect time to be there. The tour- ist groups have just begun to trickle in, the daffodils are in full bloom at the charming Beguinage, FLANDERS where Benedictine nuns reside, and the weather makes me hum a happy tune all the time. FAIRYTALES: IAs I walk on the cobble-stoned lanes, I keep an ear open for the clip clop of horses ferrying tourists 1 The charm of across the UNESCO heritage town, the horseman (or in many cases, woman) doubling up as guide. Then, Bruges is in its canals there are the beguiling window displays on the chocolate shops lining the narrow shopping streets and lined by colourful the heady smell of Belgian frites (fries) in the air; together they erase all thoughts of calories and cho- buildings 2 Buskers lesterol from my mind. Remember, Eat is one of the leitmotifs for this town. are commonly found 5 To Pray, I head to the Church of Our Lady, to see Michelangelo’s sculpture of the Madonna and Child, in all Flanders cities in white Carrara marble. -
A Einleitung
Der Stein trügt Die Imitation von Skulpturen in der niederländischen Tafelmalerei im Kontext bildtheoretischer Auseinandersetzungen des frühen 15. Jahrhunderts Inaugural-Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Ruprecht-Karls-Universität Heidelberg, Institut für Europäische Kunstgeschichte vorgelegt bei Prof. Dr. Lieselotte E. Saurma von Constanze Itzel aus Nürnberg 1 Vorwort Bei vorliegender Abhandlung handelt es sich um eine reduzierte Fassung meiner im Dezember 2003 an der Ruprecht-Karls-Universität Heidelberg eingereichten Dissertation. Eine bebilderte Druckversion befindet sich in Vorbereitung. Thema der vorliegenden Arbeit ist die Imitation von Skulpturen in der niederländischen Tafelmalerei, ein Phänomen, dem schon sehr viel Forschungszeit gewidmet wurde. Sollte es dennoch gelungen sein, weiterführende Ergebnisse zu erzielen, so ist dies nicht zuletzt der Hilfsbereitschaft zahlreicher Personen zu verdanken. Frau Prof. Dr. Lieselotte E. Saurma hat die Arbeit mit großem Engagement begleitet, viel Zeit und Geduld für anregende Gespräche aufgebracht und Abwege rechtzeitig aufgezeigt. Ihrer fördernden Unterstützung gilt mein größter Dank. Dem Zweitgutachter Herrn Prof. Dr. Johannes Tripps danke ich für sein offenes Ohr und seinen wertvollen fachlichen Rat. Danken möchte ich darüber hinaus folgenden Damen und Herren für ihre kompetente Hilfe: Anna Bartl, M.A., Basel; Dr. Sophie Guillot de Suduiraut, Paris; Holger Guster, M.A., Wiesbaden; Ilka Herrmann, M.A., Heidelberg; Dr. Daniel Hess, Nürnberg; Ingrid-Sibylle Hofmann, M.A., Heidelberg; Kim Hust-Korspeter, Kaisers- lautern; Dr. Renate Kroos, München; Manfred Lautenschlager, M.A., Basel; Dr. Ariane Mensger, Heidelberg; Pfr. Karl Scheidhauer, Kaiserslautern; Dagmar Schumacher, M.A., Karlsruhe; Prof. Dr. Matthias Untermann, Heidelberg; Andrea Wähning, Karlsruhe; Dr. William Whitney, Paris. Für die große Hilfe bei der sprachlichen Verfeinerung des Textes sei Sylvia Beiser, M.A., Sandra Debs, Christine Mann, M.A., Sibyl Scharrer, M.A. -
Appendix 1: Monastic and Religious Foundations in Thirteenth-Centur Y
APPENDIX 1: MONASTIC AND RELIGIOUS FOUNDATIONS IN THIRTEENTH-CENTURY FLANDERS AND HAINAUT Affiliation: Arrouaise Name Date of Foundation MenlWomen Eeckhout c. 1060/1146 Arrouaise Men Choques 1120/1138 Arrouaise Men Cysoing 855/1132 Arrouaise Men Phalernpin 1039/1145 Arrouaise Men Saint-Jean Baptiste c. 680/1142 Arrouaise Men Saint-Ni colas des Pres 1125/1140 Arrouaise Men Warneton 1066/1142 Arrouaise Men Zoetendale 1162/1215 re-founded Men Zonnebeke 1072/1142 Arrouaise Men Affiliation: Augustinian Canons Name Date of Foundation MenlWomen Saint-Aubert 963/1066 reforrned Men Saint-Marie, Voormezele 1069/1110 reforrned Men Saint-Martin, Ypres 1012/1102 reformed Men Saint-Pierre de Loo c. 1050/1093 reformed Men Saint-Pierre et Saint-Vaast c. 1091 Men Affiliation: Beguines Name Date cf Foundation MenlWomen Aardenburg 1249 Wornen Audenarde 1272 Wornen Bardonck, Y pres 1271/1273 Wornen Bergues 1259 Wornen 118 WOMEN, POWER, AND RELIGIOUS PATRONAGE Binehe 1248 Wornen Briel, Y pres 1240 Wornen Carnbrai 1233 Wornen Charnpfleury, Douai 1251 Wornen Damme 1259 Wornen Deinze 1273 Wornen Diksrnuide 1273 Wornen Ijzendijke 1276 Wornen Maubeuge 1273 Wornen Cantirnpre, Mons 1245 Wornen Orehies 1267 Wornen Portaaker (Ghent) 1273 Wornen Quesnoy 1246 Wornen Saint-Aubert (Bruges) 1270 Wornen Sainte-Elisabeth (Courtrai) 1242 Wornen Sainte-Elisabeth (Ghent) 1234 Wornen Sainte-Elisabeth (Lilie) 1244/1245 Wornen Sainte-Elisabeth (Valeneiennes) 1239 Wornen Ter Hooie (Ghent) 1262 Wornen Tournai 1241 Wornen Wetz (Douai) 1245 Wornen Wijngaard (Bruges) 1242 Wornen Affiliation: Benedictine Name Date oJ Foundation Men/Women Anehin 1079 Men Notre-Darne d'Avesnes 1028 Wornen Bergues Saint-Winoe 1028 Men Bourbourg c. 1099 Wornen Notre-Darne de Conde e. -
November 2012 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. 29, No. 2 November 2012 Jan and/or Hubert van Eyck, The Three Marys at the Tomb, c. 1425-1435. Oil on panel. Museum Boijmans Van Beuningen, Rotterdam. In the exhibition “De weg naar Van Eyck,” Museum Boijmans Van Beuningen, October 13, 2012 – February 10, 2013. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - 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 Contents Board Members President's Message .............................................................. 1 Paul Crenshaw (2012-2016) HNA News ............................................................................1 Wayne Franits (2009-2013) Personalia ............................................................................... 2 Martha Hollander (2012-2016) Exhibitions ............................................................................ 3 Henry Luttikhuizen (2009 and 2010-2014) -
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam ................................................................................................................. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
From Historic Centre to Design City on the Water CITY on the WATER
2016 2017 CAPTIVATING KORTRIJK from historic centre to design city on the water CITY ON THE WATER The banks of the Leie and the course of the Old Leie are the place to be! The green zone is ideal for young and old to enjoy some undisturbed peace. And in the middle of a city! The banks bring you wonderfully close to the fresh water and the moored pleasure craft, so that you can sit on one of the delightful terraces and almost feel the water. After the Middle Ages, the River Leie, and the linen and damask industry that grew up around it, played the leading role. Successfully too! From the 18th century Kortrijk enjoyed fame as the world centre for fl ax. Thanks to the creative entrepreneurship of its people, Kortrijk grew to become the vibrant, economic heart of the region. A new Leie needs new bridges. Seven impressive examples redraw the Kortrijk skyline and aff ord it a distinctive, imposing appearance. No boring or identical copies, but seven distinctive bridges that will help both visitors and locals orientate themselves. Sometimes majestic big city structures, at other times bold zigzags. 2 CITY ON THE WATER King Albertpark and skatebowl Texture, museum of Flax and river Lys Recently King Leopold III and his horse gaze over an open park Texture tells the rich story of fl ax in three totally diff erent and the renewed Leie banks. Th e park, which is bordered by rooms. You start in the Wonder Room: a fun laboratory about the lowered river banks, forms the transition between the city fl ax in your everyday life. -
5. Ïhe Clrthusisds of 'Genadeda!' Near Bruges Unlike All Rctigious
'Genadeda!' Cïartcrhouses in the low Countries had also rcccived substantial ducal supporr-r 5. Ïhe ClrthusisDs of near Bruges Notable mcmbers of Ée oÍdcr, Dionysius of Louvain (l4f/z-71), and Jacob R.uebs, pncr of the Grthusians at Ghent, wcre both cormcillors of Philip the Unlike all rctigious instiUrtions in Bruges discussed thus far, the Good. Carthusian Monastery'Genadcdal'was sinntcd ouSidc the city walls, in tbe Many chartcrhouses devclopcd as important ccntcrs of manuscript production. rcrrirory siuratcd bctwecn thc parish church of the community of Sint-Ihtis and The Carthusian nrlc rcquired tlrat the monks live thcir days of thc Brugcs-Damme canal (Pl. 94).tt It was foundcd in l3lt undcr the auspiccs manual labor in soliary conrcmplation.r Copyrng manuscrips offered ample opporurnity and witl thc financiat suppoÍt of Jan van Kockclac, a pricst arached to thc parish to follow this rule faithfirlly. of oru. Lady. Thc firS sronc of thc monastcry buildings was laid by Count Genadedal, likc many othcr Carthusian monastcries, had a rcmarkable Robcrt III of Betbrrne (ruIcd 1305-22), one of the grcat bcnefactors of the collcction of manuscripts, most of which wcrc unforurnatcly losrt Onc of the promincnt foundation.* The Bnrgcs city rnagisranrc also belpcd the new foundation, for most bibliophilcs was Dom Ouo Amclisz van Mocrdrccht, prior of the which thc gcneral chaper of the order c:rprcsscdits gntiude. monastcry between 1433 and 1438. Bcfore he was appoinrcd ge rhis position, he The prcmiscs of the Carthusian monastcry consisted of frfucn seParatc headedthe monastcry Nieuwlicht at UnechL In l423,the ycar of his novitiae, he cells cach wittr its own linle gardcn, ccntc,rcdround ao inner courtyand, a modcst had some books copied and illuminaed for the library at Urechrlt Som" monks church with one aislc only, and stables and storage facilities. -
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. -
'Van Eyck: an Optical Revolution' in Ghent
Wonderful introduction to Flanders in all its variety Exhibition visit to ‘Van Eyck: an Optical Revolution’ in Ghent included Visit led by renowned expert on Flemish painting & consultant on the exhibition Itinerary focuses on Van Eyck, Memling & other major Flemish renaissance masters Gentle pace with time for independent exploration Good hotel, wonderfully located & excellent Jan van Eyck, The Mystic Lamb, Ghent Altarpiece, food Ghent, St Bavo’s Cathedral Flanders was home to some of the greatest painters of the late medieval and renaissance periods. One of the most economically developed and culturally rich areas of Europe, it was ruled by the Dukes of Burgundy and subsequently by the Habsburgs, its wealth founded on the manufacture of high quality textiles and international trade. Cosmopolitan and enterprising, the great Flemish cities of Bruges and Ghent fostered developments that shaped the course of history, from international banking and the rise of printing to the Protestant Reformation. These cities were also centres of artistic innovation. It was here that in the early fifteenth century Jan van Eyck, through the meticulous observation of reality and the skilful manipulation of oil paint – an ‘optical revolution’, no less – developed a naturalistic pictorial language that was to influence artists as far afield as Italy. A second, parallel, approach was pioneered by Roger van der Weyden, based largely in Brussels, whose work, no less technically accomplished, strove for a more spiritual presentation of sacred narratives. Both men came to influence subsequent generations with Hugo van der Goes in Ghent and above all, Hans Memling in Bruges, at the forefront of later developments. -
Las Sociedades Portuarias De La Europa Atlántica En La Edad Media, 2016, 398 P
Esta obra tiene por objeto el análisis de las sociedades portuarias de la Europa Colección Atlántica en la Edad Media, que constituyen un tipo de sociedades urbanas en las JESÚS Á. SOLÓRZANO TELECHEA CIENCIAS HISTÓRICAS que el puerto creó unas comunidades bien definidas por las funciones portuarias LAS SOCIEDADES Profesor Titular de Historia Medieval de y marítimas, aunque su peso dependió de las relaciones de la ciudad con el puerto la Universidad de Cantabria y Decano 18. SOLÓRZANO TELECHEA, J. Á. y ARÍZAGA y fueron muy raras las sociedades portuarias puras. Esta monografía se divide BOLUMBURU, B. (Eds.): La gobernanza de la ciudad PORTUARIAS de su Facultad de Filosofía y Letras. europea en la Edad Media, 2011, 620 p. en dos partes: la comunidad marítima y la comunidad portuaria. La primera Centra su investigación en Historia 19. CANTERA MONTENEGRO, M.: Colección documental de encuadra una categoría de profesionales, conformada por su relación directa y Santa María de Nájera, siglo XV. Regesta documental , estrecha con el mar, como marinos, transportistas, mercaderes, piratas, maestres, DE LA EUROPA Social Urbana en el ámbito de la Europa 2011, 215 p. pilotos, tripulaciones, propietarios de naves y pescadores. La segunda parte está Atlántica medieval, línea en la que dirige 20. SOLÓRZANO TELECHEA, J. Á.: Rodrigo Sánchez de dedicada al estudio de los profesionales, incluidos en ámbitos laborales, situados ATLÁNTICA EN el proyecto transnacional Las sociedades Arévalo: Tratado sobre la división del reino y cuándo es lícita la primogenitura, 2011, 222 p. en los aledaños de las actividades marítimas y portuarias, como la construcción urbanas en las ciudades y puertos de la naval, la maniobra de los barcos en el mar, los toneleros y cesteros, los sogueros y Europa Atlántica en la Baja Edad Media 21. -
The Beguine Option: a Persistent Past and a Promising Future of Christian Monasticism
religions Article The Beguine Option: A Persistent Past and a Promising Future of Christian Monasticism Evan B. Howard Department of Ministry, Fuller Theological Seminary 62421 Rabbit Trail, Montrose, CO 81403, USA; [email protected] Received: 1 June 2019; Accepted: 3 August 2019; Published: 21 August 2019 Abstract: Since Herbert Grundmann’s 1935 Religious Movements in the Middle Ages, interest in the Beguines has grown significantly. Yet we have struggled whether to call Beguines “religious” or not. My conviction is that the Beguines are one manifestation of an impulse found throughout Christian history to live a form of life that resembles Christian monasticism without founding institutions of religious life. It is this range of less institutional yet seriously committed forms of life that I am here calling the “Beguine Option.” In my essay, I will sketch this “Beguine Option” in its varied expressions through Christian history. Having presented something of the persistent past of the Beguine Option, I will then present an introduction to forms of life exhibited in many of the expressions of what some have called “new monasticism” today, highlighting the similarities between movements in the past and new monastic movements in the present. Finally, I will suggest that the Christian Church would do well to foster the development of such communities in the future as I believe these forms of life hold much promise for manifesting and advancing the kingdom of God in our midst in a postmodern world. Keywords: monasticism; Beguine; spiritual formation; intentional community; spirituality; religious life 1. Introduction What might the future of monasticism look like? I start with three examples: two from the present and one from the past.