DOCSLIB.ORG

The Art of Illumination : the Limbourg Brothers and the Belles Heures of Jean De France, Duc De Berry Pdf, Epub, Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Art of Illumination : the Limbourg Brothers and the Belles Heures of Jean De France, Duc De Berry Pdf, Epub, Ebook THE ART OF ILLUMINATION : THE LIMBOURG BROTHERS AND THE BELLES HEURES OF JEAN DE FRANCE, DUC DE BERRY PDF, EPUB, EBOOK Timothy B. Husband | 388 pages | 10 Sep 2013 | Metropolitan Museum of Art | 9780300200225 | English | New York, United States The Art of Illumination : The Limbourg Brothers and the Belles Heures of Jean de France, Duc de Berry PDF Book Hidden category: Pages with script errors. The exhibition will elucidate the manuscript, its artists—the young Franco-Netherlandish Limbourg Brothers—and its patron, Jean de France, duc de Berry. Centeno, Janet G. Stein on Wednesday, May 26 at pm Comments Off. His monstrous beauty can serve as a point of departure leading us toward new understandings of a manuscript that is far less familiar than it seems. See for example, Pierre J. More Details Brown, Katharine Reynolds. According to the Gospel of Luke, the sun at upper right dimmed; the Gospel of Matthew describes graves opening and the dead rising, as seen here in the foreground. The finished book might have given him the chance to seek forgiveness while contemplating both his public and private sins during a time of social and political crisis for the French monarchy. Les Tres Riches Heures du Duc de Berry - with its subtle variation of line, painstaking technique, and minute rendering of detail - marks the highpoint of book illustration in the stylized, courtly idiom known as the International Gothic. Welcome back. In this image, Catherine is depicted as a scholarly and educated individual. London: Public Monuments and Sculpture Association, An estate document listing his worldly goods in the wake of his July death has recently been studied by Donatella Nebbiai. Elodie marked it as to-read Nov 27, The new pictorial vocabulary of the Belles Heures Certain topical innovations bear testimony to the patron's influence on his precious work. In the book was unbound for photography for a facsimile edition, and investigation and conservation, which allowed for a period afterwards the exhibition together of numbers of pages. It would seem that even Les Belles Heures , generally reckoned to date from between and , but the style of which is clearly closer to that of the Bible Moralisee in the Bibliotheque Nationale than to the Heures at Chantilly, should be ascribed to an earlier period. Procession of the Flagellants Like all books of hours, the Belles Heures contains a litany—short appeals to a long list of individual saints for intercession. Again, it is worth quoting D. Frinta, Cesare Gnudi, Henry B. Great and crazy stories are here—scenes you never imagined. These frameworks might be understood as comprising a post-theoretical foundation for future work on the devotional aesthetics of the manuscript. In this illumination, a prophet emerges from behind the pink crucifix and points to the bodies in the grave. Lists with This Book. Furthermore, the Belles Heures contains a series of story-like cycles that read like picture books. Do the two corpses perhaps allude to the duke and his wife, thus reminding them of human frailty and their own mortality? Besides their experimentation in depth, bright colours, and dramatic movements, the illuminators of the Belle Heures were excellent story-tellers. Error rating book. James Recently Cleaned. Margaret Goehring. Here, some speculation is required. October Peasants are shown tilling the soil and sowing seeds against a backdrop of the Louvre - the royal palace in Paris. Like most books of hours, the Tres Riches Heures contains a calendar. Figure 1. Martin Luther King Jr. This is the last of the full-scale added picture cycles in the manuscript, but it is unlikely to have been the last one to be completed. Larissa Tracy Cambridge, , Hoffeld, and Charles Vaurie. In the image of the contorted Adam, however, we see a body both open to sin and disordered by it in his final moments before consuming the forbidden fruit. Please Read International social justice movements and the debates that ensued prompted us to start considering the contents of our website from a critical point of view. How might this affect our understanding of the manuscript as a devotional book? Download PDF. The Sienese School of Painting , as the upholder of the Byzantine tradition of Gothic art , would have been another influence absorbed by the brothers. Lefkowitz, Joseph V. The Art of Illumination : The Limbourg Brothers and the Belles Heures of Jean de France, Duc de Berry Writer A useful starting point for understanding both theory and the post-theoretical is Peter Barry, Beginning Theory: An Introduction to Literary and Cultural Theory , 4th edition Manchester, Download PDF. Labatt, Annie and Charlotte Appleyard. Cohen, Kathryn Gerry, Ludovico V. Kajitani, Nobuko. Little, Mark P. Audio: How does this illumination showcase the Limbourg brothers' abilities? Husband makes many astute observations about the physical appearance of the manuscript that are a testament to his years of close study. Highpoint of Courtly International Gothic. Morgan rated it really liked it Feb 20, Baskintm marked it as to-read Apr 07, The Treasury of Basel Cathedral. New Work on the Politics of Literary Theory , ed. Differences in the choice of backgrounds plays a role in the setting of the events depicted, but also shows an effort to move to a more lifelike realm in paintings. The St. Views Read View source View history. Dormer, S. Stahl, Harvey. The Duke was renowned for his acquisition and commission of manuscripts and held one of the largest and most varied collections of his age. French court art underwent a revival during the later reign of King Louis XI , as shown by the illuminated religious manuscript Le Livre du coeur d'Amours Espris , Osterreichische Nationalbibliothek, Vienna. The diversity of these Italian sources - Siena, Florence, northern Italy seems to confirm this view. Audio: How does this image differ from the other images in the Belles Heures? Using these formulations, the origins of theory would date to the s or s with the acknowledgment of notable forerunners such as the Frankfurt school. Masterpieces of Tapestry from the Fourteenth to the Sixteenth Century. George Codex in The Cloisters. She then gives the fruit of the tree to Adam. Consequently, the so-called international style had been born Ibid. She is seated, reading, while there remain a great number of books resting on a stand nearby. A document dating from reveals the presence of two of the brothers, Herman and Jehanequin, then trainees in the studio of a Parisian goldsmith. Brown, Katharine R. John Anthony marked it as to- read Mar 28, The Art of Illumination : The Limbourg Brothers and the Belles Heures of Jean de France, Duc de Berry Reviews All rights reserved. Barnet, Peter, and Nancy Wu. Sorabella, Jean. Evans, Helen C. Suhr, William. October Peasants are shown tilling the soil and sowing seeds against a backdrop of the Louvre - the royal palace in Paris. In this light it is worth noting a significant development in medieval studies across the disciplines in recent years — namely, the attempts by many to decolonize the field and produce an approach to the period that is less white, more diverse, and more global. Correspondingly, its shape incorporated into art assured the balance of the universe, and so regulated the cycle of life Cerinotti Some of the more important works were Jean de Berry, David , and those in the cycle of St. A technical essay by Margaret Lawson offers invaluable insight into the structure of the manuscript and the methods by which it was created. There, we read in Latin and French that when one obeys the will of the Devil one becomes entwined by the mouth, the neck, the loins, the limbs, and the feet. This article's content derived from Wikipedia, the Free Encyclopedia See original source. Brett Folkman rated it it was amazing May 12, This has been considered most perceptively by Michael Camille as in note At its heart the term implies that there was once a period of academic inquiry that was marked by some sort of commitment to theory and that this time is now over. Huizinga, J. See D. Last week I introduced the section of the manuscript with the Suffrages of the Saints—short prayers or memorials to individuals found in many books of hours. Cohen, Kathryn Gerry, Ludovico V. Flinn, Elizabeth Haight. Shepherd, Jr. In this scene, Joseph and Mary flee with the Christ child to Egypt in response to King Herod's threat to kill every male child in Bethlehem. The Year A Symposium. Bayer, Peter J. How to Read European Armor. Ostoia, and Bonnie Young. Von Nostitz, Charles E. The creators of this outstanding example of 15th century French religious art were the Flemish Limbourg Brothers, Pol Paul , Herman Hennequin and Jean Jan or Jannequin - nephews of Jean Malouel, court painter to the Duke of Burgundy - all three of whom died of plague in Vanities: Art of the Dressing Table. There are no discussion topics on this book yet. Detail from January. Pekarskaja, Ljudmila V. The original red velvet covers with golden clasps have long disappeared, however the book remains in remarkable condition. First, each academic discipline, in a broad sense, carved out its own relationship to theory. Audio: What is so unusual about this macabre scene? Theory , ed. Deuchler, Florens, ed. Weitzmann, Kurt. In the wake of the Fall, the fruit of the tree, as symbol and stand-in for Paradise, arguably becomes the ultimate lost object in Judeo-Christian culture; in this way Eden as an internalized but lost space might be said to structure the sexual unconscious of medieval Christianity. Perhaps its publication will inspire scholars to mine the Belles Heures as an incredibly rich source of material for future projects that consider issues of gender, class, sexuality, reception, and other topics of a more theoretical nature.
Load more

Recommended publications
  • Embodiment and Devotion in the Très Riches Heures (Or, the Possibilities of a Post-Theoretical Art History)
    John Carroll University Carroll Collected 2020 Faculty Bibliography Faculty Bibliographies Community Homepage 2020 Embodiment and Devotion in the Très Riches Heures (or, the Possibilities of a Post-Theoretical Art History) Gerald B. Guest Follow this and additional works at: https://collected.jcu.edu/fac_bib_2020 Part of the History of Art, Architecture, and Archaeology Commons Embodiment and Devotion in the Très Riches Heures ​ (or, the Possibilities of a Post-Theoretical Art History) Gerald B. Guest, John Carroll University ​ Recommended Citation: Gerald B. Guest, “Embodiment and Devotion in the Très Riches Heures ​ ​ (or, the Possibilities of a Post-Theoretical Art History),” Different Visions: New Perspectives on Medieval ​ Art 6 (2020): 1-16. ​ Introduction likely created with the express intention of stimulating the Duke’s desires in multiple This article seeks to further our under- and even contradictory ways. standing of the Très Riches Heures as both a ​ devotional manuscript and as a work of art through an extended consideration of one of its key images, the Fall of Humanity (Fig. 1). I will be especially concerned in this analysis with the ways in which the book’s patron, Jean, duc de Berry (died 1416), might have experienced the manuscript if he had lived to see its completion. In nego- tiating what I see as a tension between the book’s devotional concerns and its aesthet- ics, I will argue for an approach that I characterize here as post-theoretical. It will take the full space of this article to explain what that term means and how it might be applied to a work of art from the late Middle Ages.
    [Show full text]
  • Très Riches Heures Du Duc De Berry 1 Très Riches Heures Du Duc De Berry
    Très Riches Heures du Duc de Berry 1 Très Riches Heures du Duc de Berry The Très Riches Heures du Duc de Berry or simply the Très Riches Heures (The Very Rich Hours of the Duke of Berry) is a richly decorated Book of Hours (containing prayers to be said by the lay faithful at each of the canonical hours of the day) commissioned by John, Duke of Berry, around 1410. It is probably the most important illuminated manuscript of the 15th century, "le roi des manuscrits enluminés" ("the king of illuminated manuscripts"). The Très Riches Heures consists of 416 pages, including 131 with large miniatures and many more with border decorations or historiated initials, that are among the high points of International Gothic painting in spite of their small size. There are 300 decorated capital letters. The book was worked on, over a period of nearly a century, in three main campaigns, led by the Limbourg brothers, Barthélemy van Eyck, and Jean Colombe. The book is now Ms. 65 in the Musée Condé, Chantilly, France. The Limbourg brothers used very fine brushes, and expensive paints to make the paintings. Calendar A generalized calendar (not specific to any year) of church Page from the calendar of the Très Riches Heures showing Jean, feasts and saints' days, often illuminated, is a usual part of Duc de Berry's household exchanging New Year gifts. The Duke a book of hours, but the illustrations of the months in the is seated at the right, in blue. Très Riches Heures are exceptional and innovative in their scope, and the best known element of the decoration of the manuscript.
    [Show full text]
  • Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels Between English Poetry and the Visual Arts Roberta Aronson
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 1-1-2003 Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts Roberta Aronson Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Aronson, R. (2003). Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/11 This Worldwide Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. Interart Studies from the Middle Ages to the Early Modern Era: Stylistic Parallels between English Poetry and the Visual Arts A Dissertation Presented to the Faculty of the McAnulty College and Graduate School of Liberal Arts Duquesne University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Roberta Chivers Aronson October 1, 2003 @Copyright by Roberta Chivers Aronson, 2003 ACKNOWLEDGEMENTS I would like to extend my appreciation to my many colleagues and family members whose collective support and inspiration underlie all that I do: • To my Provost, Dr. Ralph Pearson, for his kind professional encouragement, • To my Dean, Dr. Connie Ramirez, who creates a truly collegial and supportive academic environment, • To my Director, Dr. Albert C. Labriola, for his intellectual generosity and guidance; to Dr. Bernard Beranek for his enthusiasm and thoughtful conversation; and to Dr.
    [Show full text]
  • 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.
    [Show full text]
  • Les Très Riches Heures Du Duc De Berry
    Les très riches heures du Duc de Berry Sommaire 1. INTRODUCTION 2 1.1 International Gothic Style 2 1.2 Masters of illumination 2 2. LES TRES RICHES HEURES DU DUC DE BERRY 2 2.1 January 2 2.2 February 2 2.3 March 2 2.4 April 2 2.5 May 3 2.6 June 3 2.7 July 3 2.8 August 3 2.9 September 3 2.10 October 3 2.11 November 3 2.12 December 3 3. WHAT IS THE TRÈS RICHES HEURES? 3 4. WHO PAINTED THE TRÈS RICHES HEURES? 3 5. WHO WAS THEIR PATRON? 4 6. HOW DID THEY PAINT THE TRÈS RICHES HEURES? 4 7. MEDIEVAL GLOSSARY 4 7.1 Book of Hours 4 7.2 Enamel 4 7.3 Genre 4 7.4 Illuminated manuscripts 4 7.5 Limburg Brothers 5 7.6 miniature 5 7.7 Paper 5 7.8 Parchment 6 7.9 Woodcut 6 1. Introduction The original Riches Heures manuscript is stored in the Chantilly museum, but is so degraded that it is no longer available to the public... except for WebMuseum visitors! 1.1 International Gothic Style By the end of the 14th century, the fusion of Italian and Northern European art had led to the development of an International Gothic style. For the next quarter of a century, leading artists travelled from Italy to France, and vice versa, and all over Europe. As a consequence, ideas spread and merged, until eventually painters in this International Gothic style could be found in France, Italy, England, Germany, Austria and Bohemia.
    [Show full text]
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/68419 Please be advised that this information was generated on 2021-10-07 and may be subject to change. ~ BRILL Qut£rendo 38 (2008) I75-I94 www.brill.nl/qua A Pilgrim's Additions. Traces of Pilgrimage in the Belles Heures of Jean de Berry Hanneke van Asperen Radboud University, Nijmegen, Netherlands The names ofJean de Berry and the Limbourg brothers are inextricably bound up with the Belles Heures. After all, both the commissioner and the makers left their personal mark on the manuscript. Because the names of the talented brothers and the bibliophile duke arouse everyone's curiosity and admiration, scholars pay less attention to the afterlife of the manuscript book of hours. The book must have been read and admired, after the duke passed away and the book changed hands. Notably however, in the manuscript itself there are no indications of its subsequent owners. Actually, very few traces of wear and tear inform us of the way the manuscript was used after it left the residence of the duke of Berry. Until the reader reaches £ 21. On this blank folio without any text or miniature, there are two imprints of small pilgrims' souvenirs. The blank page with the impressions of the badges is the starting point of this contribution. From studying comparable imprints in books, it is possible to deduce when the badges must have been sewn in.
    [Show full text]
  • Revisiting the Monument Fifty Years Since Panofsky’S Tomb Sculpture
    REVISITING THE MONUMENT FIFTY YEARS SINCE PANOFSKY’S TOMB SCULPTURE EDITED BY ANN ADAMS JESSICA BARKER Revisiting The Monument: Fifty Years since Panofsky’s Tomb Sculpture Edited by Ann Adams and Jessica Barker With contributions by: Ann Adams Jessica Barker James Alexander Cameron Martha Dunkelman Shirin Fozi Sanne Frequin Robert Marcoux Susie Nash Geoffrey Nuttall Luca Palozzi Matthew Reeves Kim Woods Series Editor: Alixe Bovey Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Somerset House, Strand, London WC2R 0RN © 2016, The Courtauld Institute of Art, London. ISBN: 978-1-907485-06-0 Courtauld Books Online Advisory Board: Paul Binski (University of Cambridge) Thomas Crow (Institute of Fine Arts) Michael Ann Holly (Sterling and Francine Clark Art Institute) Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation. For more information contact [email protected] All chapters of this book are available for download at courtauld.ac.uk/research/courtauld-books-online Every effort has been made to contact the copyright holders of images reproduced in this publication.
    [Show full text]
  • The Black Death and Its Effect on Fourteenth- and Fifteenth-Century Art
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 The lB ack Death and its effect on fourteenth- and fifteenth-century art Anna Louise DesOrmeaux Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation DesOrmeaux, Anna Louise, "The lB ack Death and its effect on fourteenth- and fifteenth-century art" (2007). LSU Master's Theses. 1641. https://digitalcommons.lsu.edu/gradschool_theses/1641 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE BLACK DEATH AND ITS EFFECT ON FOURTEENTH- AND FIFTEENTH-CENTURY ART A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Anna L. DesOrmeaux B.A., Louisiana State University, 2004 May 2007 To my parents, Johnny and Annette DesOrmeaux, who stressed the importance of a formal education and supported me in every way. You are my most influential teachers. ii Acknowledgments I would like to thank Dr. Mark Zucker, my advisor with eagle eyes and a red sword, for his indispensable guidance on any day of the week. I also thank Drs. Justin Walsh, Marchita Mauck, and Kirsten Noreen, who have helped me greatly throughout my research with brilliant observations and suggestions.
    [Show full text]
  • The Spitz Master: a Parisian Book of Hours
    The Spitz Master A Parisian Book of Hours The Spitz Master A Parisian Book of Hours Gregory T. Clark GETTY MUSEUM STUDIES ON ART Los Angeles For Nicole Reynaud and François Avril © 2003 J. Paul Getty Trust Cover: Spitz Master (French, act. ca. 1415-25). Saint Getty Publications Christopher Carrying the Christ Child [detail]. 1200 Getty Center Drive, Suite 500 Spitz Hours, Paris, ca. 1420. Tempera, gold, Los Angeles, California 90049-1682 and ink on parchment bound between www.getty.edu pasteboard covered with red silk velvet, 247 leaves, 20.3 x 14.8 cm (715/ie x 5% in.). Christopher Hudson, Publisher Los Angeles, J. Paul Getty Museum, Ms. 57, Mark Greenberg, Editor in Chief 94.ML.26, fol. 42V (see Figure 7). Mollie Holtman and Tobi Kaplan, Editors Frontispiece: Diane Mark-Walker, Copy Editor Spitz Master, The Virgin and Child Jeffrey Cohen, Series Designer Enthroned [detail]. Spitz Hours, fol. 33V Suzanne Watson, Production Coordinator (see Figure 6). Christopher Foster, Photographer Typeset by G&S Typesetters, Inc., The books of the Bible are cited according Austin, Texas to their designations in the Douay-Rheims Printed in Hong Kong by Imago version translated from the Latin Vulgate. Library of Congress Full-page illustrations from the Spitz Hours Cataloging-in-Publication Data are reproduced at actual size. Clark, Gregory T., 1951- All photographs are copyrighted by the The Spitz master : a Parisian book of issuing institutions, unless otherwise noted. hours / Gregory T. Clark. p. cm. — (Getty Museum studies on art) Includes bibliographic references. ISBN 0-89236-712-1 i. Spitz hours—Illustrations.
    [Show full text]
  • Tres Riches Heures - Saylor.Org Pdf
    INNOVATION and EXPERIMENTATION: EARLY NORTHERN RENAISSANCE ART (Robert Campin and the Limbourg Brothers) EARLY NORTHERN RENAISSANCE Online Links: Robert Campin - Wikipedia, the free encyclopedia Campin - Smarthistory Campin's Merode Altarpiece - Metropolitan Museum of Art Campin - Oneonta.edu Très Riches Heures du Duc de Berry – Wikipedia Tres Riches Heures - saylor.org pdf Tres Riches Heures with medieval music – YouTube The Hidden Masters of the Middle Ages, the Limbourg Brothers Documentary – YouTube Belles Heures after Duc of Berry Lecture - Metropolitan Museum of Art Tres Riches Heures - Oneonta.edu Master of Flemalle (Robert Campin). Merode Altarpiece, c. 1425-1428, oil on wood The first, and perhaps most decisive, phase of the pictorial revolution in Flanders can be seen in the work of an artist formerly known as the Master of Flemalle (after the fragments of a large altar from Flemalle), who was undoubtedly Robert Campin, the foremost painter of Tournai. We can trace his career in documents from 1406 to his death in 1444, although it declined after his conviction in 1428 for adultery. His finest work is the Merode Altarpiece, which he must have painted soon after 1425. If we compare it to the Franco-Flemish pictures of the International Style, we see that it falls within the same tradition. Yet we also recognize in it a new pictorial experience. Campin maintained the spatial conventions typical of the International Gothic style; the abrupt recession of the bench toward the back of the room, the sharply uplifted floor and tabletop, and the disproportionate relationship between the figures and the architectural space create an inescapable impression of instability.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Op zoek naar de gebroeders Limburg: de Très Riches Heures in het Musée Condé in Chantilly, Het Wapenboek Gelre in de Koninklijke Bibliotheek Albert I in Brussel en Jan Maelwael en zijn neefjes Polequin, Jehannequin en Herman van Limburg Colenbrander, H.T. Publication date 2006 Link to publication Citation for published version (APA): Colenbrander, H. T. (2006). Op zoek naar de gebroeders Limburg: de Très Riches Heures in het Musée Condé in Chantilly, Het Wapenboek Gelre in de Koninklijke Bibliotheek Albert I in Brussel en Jan Maelwael en zijn neefjes Polequin, Jehannequin en Herman van Limburg. in eigen beheer. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 1.1.
    [Show full text]
  • Unraveling Christ's Passion
    UNRAVELING CHRIST’S PASSION: ARCHBISHOP DALMAU DE MUR, PATRON AND COLLECTOR, AND FRANCO-FLEMISH TAPESTRIES IN FIFTEENTH-CENTURY SPAIN by Katherine M. Dimitroff BA, University of California, San Diego, 1996 MA, University of Pittsburgh, 1999 Submitted to the Graduate Faculty of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2008 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS & SCIENCES This dissertation was presented by Katherine M. Dimitroff It was defended on March 28, 2008 and approved by David Wilkins, Professor Emeritus, History of Art & Architecture Ann Sutherland Harris, Professor, History of Art & Architecture Bruce L. Venarde, Associate Professor, History Dissertation Advisor: M. Alison Stones, Professor, History of Art & Architecture ii Copyright © by Katherine M. Dimitroff 2008 iii UNRAVELING CHRIST’S PASSION: ARCHBISHOP DALMAU DE MUR, PATRON AND COLLECTOR, AND FRANCO-FLEMISH TAPESTRIES IN FIFTEENTH-CENTURY SPAIN Katherine M. Dimitroff, PhD University of Pittsburgh, 2008 This dissertation considers the artistic patronage of Dalmau de Mur i de Cervelló (1376– 1456), a high-ranking Catalan prelate little known outside Spain. As Bishop of Girona (1416– 1419), Archbishop of Tarragona (1419–1431) and Archbishop of Zaragoza (1431–1456), Dalmau de Mur commissioned and acquired of works of art, including illuminated manuscripts, panel paintings, sculpted altarpieces, metalwork and tapestries. Many of these objects survive, including two remarkable tapestries depicting the Passion of Christ that he bequeathed to Zaragoza Cathedral upon his death in 1456. Surviving primary documents, particularly Dalmau de Mur’s testament and the Cathedral inventory of 1521, show that his collection was still more significant.
    [Show full text]