The Notion of the Painter-Architect (Antwerpen, 1-3 Dec 11)

Total Page:16

File Type:pdf, Size:1020Kb

The Notion of the Painter-Architect (Antwerpen, 1-3 Dec 11) The Notion of the Painter-Architect (Antwerpen, 1-3 Dec 11) Antwerpen, Dec 1–03, 2011 Registration deadline: Nov 25, 2011 Véronique Van de Kerckhof The Notion of the Painter-Architect in Italy and the Southern Netherlands – Rubenianum, Antwerp, 1-3 December 2011 In conjunction with the “Palazzo Rubens. The Master as Architect” exhibition, the Rubenianum, the Rubens House and the Department of Design of the University of Antwerp organize an internation- al colloquium under the title “The Notion of the Painter-Architect in Italy and the Southern Nether- lands”. The colloquium will take place on 1, 2 and 3 December 2011 in Antwerp. Registration is open until 25 November; please use the online registration form on www.palazzorubens.be/en/inschrijven. Content Since the time of Vitruvius, architects have been expected to have a broad knowledge of the arts and sciences. The need for good skills in sketching and working up drawings even led, from the sixteenth century onwards, to fierce debates on the meaning and status of ‘disegno’. With the rise of the Baroque, it was even alleged that in order to be a competent architect, one had to be a pain- ter as well. While Italy saw the emergence of famous painters who excelled as architects, also in the South- ern Netherlands the notion that an architect must also have a mastery of the painter’s art became widespread, owing in part to the dissemination of publications by Sebastiano Serlio and Pieter Coecke van Aelst. In the seventeenth century, Peter Paul Rubens was able to make his own contri- bution to this discussion as a consequence of his sojourns in Italy (1601–1608). In the context of the Rubens House exhibition Palazzo Rubens. The Master as Architect, his architectural ideas and realisations will evidently be a focal point of the colloquium. Bringing together distinguished art and architecture historians from Europe and North America, this interdisciplinary colloquium will shed light on the interrelationship of architecture and paint- ing in the Southern Netherlands, both of which came to fruition during the sixteenth and seven- teenth centuries. Programme Thursday 1 December 2011 09.30 1/4 ArtHist.net Registration 10.15 Welcome and introduction – Véronique Van de Kerckhof (curator of the Rubenianum) and Prof.dr. Piet Lombaerde (AUHA, Faculty of Design Sciences and University of Antwerp, Department of His- tory) 10.30 Key note lecture – “Scientific/architectural" and/versus "universal": the notion of disegno in a changing context of art and architecture – Prof.dr. Werner Oechslin (ETH Zürich) Italy: Theory and Practice – Chair: Prof.dr. Piet Lombaerde 11.00 Sebastiano Serlio and the Italian tradition of architecture in painting – Prof.dr. Sabine Frommel (EPHE Paris Sorbonne) 11.30 Painter architects in Rome: Michelangelo, Raphael, Peruzzi – Prof.dr. Howard Burns (Scuola Nor- male Superiore di Pisa) 12.00 Vignola, a serious training: painting, perspective, architecture – Prof.dr. Bruno Adorni (Università di Parma) Lunch The Painter-Architect during the 16th century in the Southern Netherlands – Chair: Prof.dr. Konrad Ottenheym (University of Utrecht) 14.00 The painter-architect in the Low Countries 1480-1530: the first generation? – Drs. Oliver Kik (Katholieke Universiteit Leuven) 14.30 Pieter Coecke van Aelst, painter-architect – Prof.dr. Krista De Jonge (Katholieke Universiteit Leu- ven) 15.00 Les emblèmes du véritable artiste: the house of Frans Floris de Vriendt in context – Dr. Edward H. Wouk (The Metropolitan Museum of Art) Coffee 16.00 Design in motion: the Netherlandish painter-architect as traveller, pilgrim, and exile – Prof.dr. Christopher Heuer (Princeton University) 16.30 Wensel Cobergher: paintings of a court architect – Dr. Tine Meganck (Royal Museums of Fine Arts, Brussels) 2/4 ArtHist.net 17.30 Evening visit to House Delbeke and Rockox House & Drink Friday 2 December 2011 09.15 Registration Vasari & Rubens – Chair: Prof.dr. Piet Lombaerde 9.30 Giorgio Vasari and the architecture of the arts – Prof.dr. Gerd Blum (Kunstakademie Münster, Hochschule für Bildende Künste) 10.00 Vasari, Rubens and the question of style in architecture – Dr. Barbara Uppenkamp (University of Hamburg) Coffee The Palaces of Genova – Chair: Prof.dr. Piet Lombaerde 11.00 Rubens and Genova: paintings and painted architecture – Prof.dr. Stefano F. Musso (Università di Genova) 11.30 That rare book in a large folio’. Remarks about the production, early reception and significance of Rubens’s Palazzi di Genova – Stijn Alsteens (The Metropolitan Museum of Art) 12.00 Frans Geffels, Rubens and the Palazzi di Genova – Drs. Giulio Girondi (Politecnico di Milano, Department of Architecture and Planning) Free lunch Rubens 's Architectural Ideas – Chair: Prof.dr. Krista De Jonge 14.30 Rubens’s Antwerp palazzetto: concept and meaning – Ben Van Beneden (Curator of The Rubens House) 15.00 Rubens’s House: light and architectural space – Prof.dr. Piet Lombaerde Coffee 16.00 Closing lecture – Rubens and his theoretical notebook – Prof.dr. Arnout Balis (Vrije Universiteit Brussel, Centrum Rubenianum) 17.00 Evening visit to the Exhibition Palazzo Rubens. The Master as Architect in The Rubens House 3/4 ArtHist.net Closing Reception Saturday 3 December 2011 10.00 – 13.00: Guided City Tour: 17th Century Architecture in Antwerp Reference: CONF: The Notion of the Painter-Architect (Antwerpen, 1-3 Dec 11). In: ArtHist.net, Nov 16, 2011 (accessed Oct 1, 2021), <https://arthist.net/archive/2262>. 4/4.
Recommended publications
  • Bruegel Notes Writing of the Novel Began October 20, 1998
    Rudy Rucker, Notes for Ortelius and Bruegel, June 17, 2011 The Life of Bruegel Notes Writing of the novel began October 20, 1998. Finished first fully proofed draft on May 20, 2000 at 107,353 words. Did nothing for a year and seven months. Did revisions January 9, 2002 - March 1, 2002. Did additional revisions March 18, 2002. Latest update of the notes, September 7, 2002 64,353 Words. Table of Contents Table of Contents .................................................................................................... 1 Timeline .................................................................................................................. 9 Painting List .......................................................................................................... 10 Word Count ........................................................................................................... 12 Title ....................................................................................................................... 13 Chapter Ideas ......................................................................................................... 13 Chapter 1. Bruegel. Alps. May, 1552. Mountain Landscape. ....................... 13 Chapter 2. Bruegel. Rome. July, 1553. The Tower of Babel. ....................... 14 Chapter 3. Ortelius. Antwerp. February, 1556. The Battle Between Carnival and Lent......................................................................................................................... 14 Chapter 4. Bruegel. Antwerp. February,
    [Show full text]
  • De Proto-Örientaalse Puzzel: Op Zoek Naar Exotische Invloeden in De Nederlandse Historieschilderkunst Van 1520-50
    De proto-örientaalse puzzel: Op zoek naar exotische invloeden in de Nederlandse historieschilderkunst van 1520-50 Door Jeroen Lesuis Met medewerking van Hilbert Lootsma Schoorl, Haarlem, Amsterdam, Keulen, Obervellach, Bazel, Venetië, Malta, Rhodos, Bethlehem en Jeruzalem, dit zijn plaatsen die schilder Jan van Scorel (1495-62) in zijn eerste vijfentwintig levensjaren aandoet.1 In dit rijtje hoort uiteraard ook thuis Rome, waar Scorel na zijn Jeruzalem- pelgrimsreis twee jaar verblijft. Als een van de eerste schilders uit de Nederlanden en vele na hem. De door hem bewonderde werken van Michelangelo en Rafael zullen een niet te onderschatten impact hebben op Scorels werk. Maar dat is niet waar dit artikel zich op focust. De interesse gaat juist uit naar het gegeven dat Scorel het letterlijk verder zocht dan het in zijn tijd geadoreerde Italië. Daarin was hij niet de enige uitzondering. Zijn collega Pieter Coecke van Aelst (1502-50) bevond zich in 1533 in Istanbul, proberend om tapijtontwerpen te verkopen aan de Ottomaanse sultan Süleyman.2 Jan Cornelisz. Vermeyen (1500-59) bevond zich in 1535 tussen de Tunesische koppensnellers toen hij namens Karel V al schilderend verslag deed van diens strijd tegen de Ottomaanse admiraal Barbossa.3 Het lijkt er op dat de pioniersgeest die rondwaarde in de wereld (Columbus die in 1492 voet zet op Amerikaanse bodem, Cortés die in 1519 in Mexico arriveert) ook vat had gekregen op de zestiende-eeuwse schilders uit de Nederlanden. De vraag is welke invloed dit had op hun werk. De onderzoeksvraag waar dit artikel zich op richt is als volgt: welke proto-oriëntaalse invloeden zijn terug te vinden in de Nederlandse historieschilderkunst aangaande de periode 1520- 50? Hierbij is gekozen voor het begrip ‘proto-oriëntalisme’ in plaats van ‘exotisme’ (al zal dit laatste soms als synoniem functioneren) omdat dit preciezer definieert wat de vreemde beeldelementen vertegenwoordigen.
    [Show full text]
  • HNA Apr 2015 Cover.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. 32, No. 1 April 2015 Peter Paul Rubens, Agrippina and Germanicus, c. 1614, oil on panel, National Gallery of Art, Washington, DC, Andrew W. Mellon Fund, 1963.8.1. Exhibited at the Academy Art Museum, Easton, MD, April 25 – July 5, 2015. 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 – Amy Golahny (2013-2017) Lycoming College Williamsport PA 17701 Vice-President – Paul Crenshaw (2013-2017) Providence College Department of Art History 1 Cummingham Square Providence RI 02918-0001 Treasurer – Dawn Odell Lewis and Clark College 0615 SW Palatine Hill Road Portland OR 97219-7899 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents Board Members President's Message .............................................................. 1 Obituary/Tributes ................................................................. 1 Lloyd DeWitt (2012-2016) Stephanie Dickey (2013-2017) HNA News ............................................................................7 Martha Hollander (2012-2016) Personalia ............................................................................... 8 Walter Melion (2014-2018) Exhibitions ...........................................................................
    [Show full text]
  • Schatzkammer
    JULY 14 TO THREADS OF POWER SEPTEMBER 20, 2015 SIXTEENTH CENTURY TAPESTRIES FROM THE KUNSTHISTORISCHES MUSEUM Embellishing rooms with textiles dates back to the earliest civilisations. In the Middle Ages precious textiles were most of all the prerogative of the nobility, reflecting a prince’s prestige and authority. Tapestries were much sought-after. Their extremely time-consuming production using costly materials such as gold- and sliver threads, silk and wool proclaimed their luxurious character. The subject matters depicted on these tapestries reflected the fact that this narrative medium functioned both as political propaganda and a document to its owner’s connoisseurship and exalted rank. Scenes from court life vied with historical events, mythological subjects and classical stories; also popular were episodes from the Old or the New Testament, and scenes from the lives of the saints. Regardless of a tapestry’s subject matter, some of these almost life-size figures sporting contemporary fashions functioned as identification figures. They represented the elite world to which the owner of the tapestries also belonged. For us today, these monumental wall hangings serve as important documents of courtly life and its chivalrous ideals. The exhibition offers a survey of the Kunsthistorisches Museum’s rich holdings of tapestries that cannot be on permanent display for conservation reasons. A selection of fourteen masterpieces presents the art of the tapestry in the 16th century. Brussels evolved into a leading centre of tapestry production. Celebrated artists such as Barend van Orley, Pieter Coecke van Aelst, Michiel Coxie and Jan Cornelisz Vermeyes produced designs for these monumental wall hangings.
    [Show full text]
  • Hampton Court Palace: Henry VIII's Cabinet of Curiosity Exhibiting the Abraham Tapestries
    University of New Hampshire University of New Hampshire Scholars' Repository Master's Theses and Capstones Student Scholarship Spring 2020 Hampton Court Palace: Henry VIII's Cabinet of Curiosity Exhibiting the Abraham Tapestries Lindsay Brooke Gross University of New Hampshire, Durham Follow this and additional works at: https://scholars.unh.edu/thesis Recommended Citation Gross, Lindsay Brooke, "Hampton Court Palace: Henry VIII's Cabinet of Curiosity Exhibiting the Abraham Tapestries" (2020). Master's Theses and Capstones. 1342. https://scholars.unh.edu/thesis/1342 This Thesis is brought to you for free and open access by the Student Scholarship at University of New Hampshire Scholars' Repository. It has been accepted for inclusion in Master's Theses and Capstones by an authorized administrator of University of New Hampshire Scholars' Repository. For more information, please contact [email protected]. Hampton Court Palace: Henry VIII’s Cabinet of Curiosity Exhibiting the Abraham Tapestries By Lindsay Gross BA in Journalism, University of New Hampshire, 2016 THESIS Submitted to the University of New Hampshire In Partial Fulfillment of the Requirements for the Degree of Master of History in History May, 2020 This thesis was examined and approved in partial fulfillment of the requirements for the degree of History in History by: Kimberly Alexander, Lecturer, History Kurk Dorsey, Department Chair, History Professor Julia Rodriguez, Associate Professor, History Approval signatures are on file with the University of New Hampshire
    [Show full text]
  • The Young Talent in Italy
    Originalveröffentlichung in: Jonckheere, Koenraad (Hrsg.): Michiel Coxcie, 1499 - 1592, and the giants of his age : [...on the occasion of the exhibition "Michiel Coxcie: the Flemish Raphael", M - Museum Leuven, 31 October 2013 - 23 February 2014], London 2013, S. 50-63 und 198-204 Eckhard Leuschner THE YOUNG TALENT IN ITALY 4U ichiel Coxcie appears to have been in Italy between about 1530 and a.539.1 With just two exceptions (see below), no contemporary archival documentation relating to this phase of his career has so far been published. Giorgio Vasari mentions that he met Coxcie in Rome in M1532,2 and the surviving paintings, drawings and prints indicate that that is where he spent almost all his time in Italy. As far as the art history of Rome in the Cinquecento is concerned, the 1530s may well be the least studied decade of the century. 3 That is partly due to the political events of the previous years, especially the Sack of Rome in 1527 and its aftermath. When the troops of Emperor Charles V stripped the city of its treasures and political importance, they also weakened the finances of local patrons and the demand for art in general. However, the onset of the Reformation in the North had made itself felt even before then, and the number of works of art commissioned and produced in Rome had been in decline since the early 1520s.4 Although the city ’s artistic life never came to a complete standstill (not even during or immediately after the sack), the scarcity of information on artists active in Rome around 1530 speaks for itself.
    [Show full text]
  • Pieter Bruegel the Elder: Art Discourse in the Sixteenth-Century Netherlands Richardson, T.M
    Pieter Bruegel the Elder: art discourse in the sixteenth-century Netherlands Richardson, T.M. Citation Richardson, T. M. (2007, October 16). Pieter Bruegel the Elder: art discourse in the sixteenth-century Netherlands. Retrieved from https://hdl.handle.net/1887/12377 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/12377 Note: To cite this publication please use the final published version (if applicable). Pieter Bruegel the Elder: Art Discourse in the Sixteenth-Century Netherlands Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van Rector Magnificus prof.mr. P.F. van der Heijden, volgens besluit van het College voor Promoties te verdedigen op dinsdag 16 oktober 2007 klokke 13:45 uur door Todd Marlin Richardson Geboren te Louisville, Kentucky (USA) in 1973 Additional financial support provided by: Samuel H. Kress Foundation J. William Fulbright Scholarship Cover illustration: Pieter Bruegel the Elder, Peasant Wedding Banquet (detail), 1568, oil on panel. Vienna, Kunsthistorisches Museum. 2 Promotiecommissie promotor Prof. dr. R.L. Falkenburg referent Prof. dr. Mark A. Meadow (University of California, Santa Barbara / Universiteit Leiden) leden Prof. dr. Wim van Anrooij Prof. dr. Bart Ramakers (Rijksuniversiteit Groningen) Prof. dr. Jürgen Müller (Technische Universität Dresden) Prof. dr. Larry Silver (University of Pennsylvania) 3 To my
    [Show full text]
  • De Grote Bruegel Atlas
    DE GROTE BRUEGEL ATLAS DE GROTE BRUEGEL ATLAS GUNTER HAUSPIE INHOUD BRABANT ANTWERPEN MECHELEN 1525/1530 1545-1550 1550-1551 9 OUDSTE VERWIJZINGEN 27 EEN JEUGD IN HET VERBORGENE 43 BRUEGELS WERKGEVER VALT WEG 9 TUSSEN 1525 EN 1530 27 DISCIPEL VAN PIETER COECKE VAN 44 BOZE MECHELSE STOFFEERDERS AELST 44 SINT-GUMMARUS EN SINT-ROMBOUT 10 ANTWERPEN 27 HOOGAANGESCHREVEN ATELIER 45 CLAUDE DORIZI EN DE GULDEN RAM 10 POORTER IN ANTWERPEN 28 MAYKEN VERHULST 46 SINT-ROMBOUTSKATHEDRAAL 30 GOUDEN EEUW 48 BRUEGELS OUDSTE BEKENDE 12 BREUGEL 31 SPAANSE WALLEN SCHILDERIJ 12 BREUGEL ALS PLAATSNAAM 34 SCHAATSENRIJDERS 48 MAYKEN VERHULST BEMIDDELT 14 BREUGEL IN NOORD-BRABANT BIJ DE SINT-JORISPOORT 49 STRAAT VAN DE KUNSTENAARS 14 TWEE MONUMENTEN 38 BEDRIJVIGE LOMBARDENVEST 52 ’T VLIEGEND PEERT 39 KLEINE MAYKEN 54 DE BAND MET PETER BALTENS 16 GROTE-BROGEL 40 WANDELING DOOR DE GOUDEN EEUW 55 LUILEKKERLAND 16 BROGEL IN LIMBURG VAN ANTWERPEN 56 VERNIELD DOOR BEELDENSTORMERS 18 DE KINDERSPELEN 58 WANDELING DOOR MECHELEN IN HET 20 BRUEGELWANDELROUTE SPOOR VAN BRUEGEL 22 BRUEGELFIETSROUTE 24 BREDA 25 BRUEGEL VAN BREDA ANTWERPEN 1551 63 HUIS SPAGNIEN 71 RIJKE KUNSTCOLLECTIE 63 SCHARNIERJAAR 1551 72 VAN SINT-LUCASGILDE TOT 64 GROEIENDE FAAM MUSEUM VOOR SCHONE 64 JOORGE MANTEWAEN KUNSTEN 66 PATROON SINT-LUCAS 68 DE BRUEGELS EN HET GILDE VLAAMSE MEESTERS 68 OPRICHTING VAN DE ACADEMIE 70 LATERE LOCATIES 4 82 MANTUA 110 NAPELS 82 PALAZZO DUCALE 110 OOG VOOR SCHEPEN 84 PALAZZO TE 112 GEZICHT OP DE BAAI VAN NAPELS 85 MINERVA VERSUS DULLE GRIET 114 BRUEGEL IN HET MUSEO DI
    [Show full text]
  • Copies and Adaptations from Renaissance and Later
    Copies and Adaptations from Renaissance and Later Artists ISBN: German and Netherlandish Artists 9781905375387 (hb) by Kristin Belkin PRICE: $248.00 (hb) DESCRIPTION: Rubens studied his own artistic heritage. In his early youth he copied German illustrated books, such PUBLICATION DATE: as Holbein's Dance of Death, Tobias Stimmer's Bible (1576), Jost Amman's Flavius Josephus (1580) 15 March 2009 (hb) and the immensely popular Petrarch edition with woodcuts attributed to Hans Weiditz (1532). He also made drawings after engravings by Hendrick Goltzius (1596-97) and Johannes Stradanus BINDING: (1589). Hardback These copies fall into Rubens's youth or the years immediately following his return to Antwerp. In later years, he occasionally copied from the paintings of his predecessors and compatriots, but he PAGES: preferred to retain their compositions and designs by collecting and retouching their works. 600 He reworked drawings by German masters such as Hans Holbein the Younger, Hans Süss von Kulmbach and several artists from the school of Dürer. Sheets of Netherlandish masters were ILLUSTRATIONS: retouched by Rubens: Cornelis Bos, Bernard van Orley, Pieter Coecke van Aelst, Michiel Coxcie, Illus. Aertgen and Lucas van Leyden, Jan Swart van Groningen and Marten van Heemskerck. He also painted copies from works by artists such as Hans Holbein, Quinten Massys, Willem Key, Joos van PUBLISHER: Cleve, Jan Vermeyen and Adam Elsheimer. Brepols Publishers Although no direct copies by Rubens after Pieter Bruegel the Elder are known, his late landscapes and genre scenes betray a profound influence from this great Flemish predecessor. He owned a IMPRINT: number of drawings and paintings of peasant festivities with their accompanying scenes of Harvey Miller drunkenness and brawls.
    [Show full text]
  • Sign of the Times a Concise History of the Signature in Netherlandish Painting 1432-1575
    SIGN OF THE TIMES A CONCISE HISTORY OF THE SIGNATURE IN NETHERLANDISH PAINTING 1432-1575 [Rue] [Date et Heure] Ruben Suykerbuyk Research Master’s Thesis 2012-2013 Supervisor: Prof. Dr. P.A. Hecht Art History of the Low Countries in its European Context Utrecht University – Faculty of Humanities (xxx)yyy-yyyy “Wenn eine Wissenschaft so umfassend, wie die Kunstgeschichte es tut und tun muß, von Hypothesen jeden Grades Gebrauch macht, so tut sie gut daran, die Fundamente des von ihr errichteten Gebäudes immer aufs neue auf ihre Tragfähigkeit zu prüfen. Im folgenden will ich an einigen Stellen mit dem Hammer anklopfen.” Dehio 1910, p. 55 TABLE OF CONTENTS VOLUME I I. INTRODUCTION 1 II. PROLOGUE 9 III. DEVELOPMENTS IN ANTWERP 19 Some enigmatic letters 22 The earliest signatures 28 Gossart’s ‘humanistic’ signature 31 Increasing numbers 36 Proverbial exceptions 52 A practice spreads 54 IV. EPILOGUE 59 V. CONCLUSION 63 VI. BIBLIOGRAPHY 66 VOLUME II I. IMAGES II. APPENDICES Appendix I – Timeline Appendix II – Signatures Marinus van Reymerswale Appendix III – Authentication of a painting by Frans Floris (1576) Appendix IV – Signatures Michiel Coxcie I. INTRODUCTION 1 Investigating signatures touches upon the real core of art history: connoisseurship. The construction of oeuvres is one of the basic tasks of art historians. Besides documents, they therefore inevitably have to make use of signatures. However, several great connoisseurs – Berenson, Friedländer – emphasize that signatures are faked quite often. Consequently, an investigation of signature practices can easily be criticized for the mere fact that it is very difficult to be sure of the authenticity of all the studied signatures.
    [Show full text]
  • Pieter Coecke Van Aelst and Renaissance Tapestry October 8, 2014–January 11, 2015
    Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry October 8, 2014–January 11, 2015 This international loan exhibition explores the achievements of the great northern Renaissance master, Pieter Coecke van Aelst (1502–1550). As the impressive body of his surviving drawings makes clear, Coecke was a master designer, devising projects across media, from tapestry series to panel paintings, prints, stained glass, and goldsmith’s work. The exhibition unites nineteen of the grand tapestries he designed, woven in the great workshops of Brussels for collectors from Emperor Charles V, France’s François 1er, and Henry VIII of England, to Cosimo de Medici, juxtaposed with a selection of his panel paintings, including a monumental triptych, and more than thirty drawings and prints. Coecke was also the translator and editor of influential Italian architectural treatises that are included in the exhibition. In the midst of this productivity, Coecke traveled extensively, and among the exhibits is the fascinating woodcut frieze over fourteen feet in length that he designed to record his experiences in Constantinople. Detail of Eve, from God Accuses Adam and Eve after the Fall tapestry in a set of The Story of Creation. Design attributed to Pieter Coecke van Aelst, ca. 1548. Woven under the direction of Jan de Kempeneer and Frans Ghieteels, Brussels, completed by 1551. Wool, silk, and silver- and silver-gilt-wrapped threads. Florence Instituti Museale della Soprintendenza Speciale per il Polo Museale Fiorentino, Arazzi 1912–25, 17). © The Metropolitan
    [Show full text]
  • Download Press Release
    Contents Exhibition facts Press release Wall texts Biography Exhibition facts Press conference 7 September 2017 | 10 am Opening 7 September 2017 | 6.30 pm Duration 8 September – 3 December 2017 Venue Tietze Galleries for Prints and Drawings Curator Dr Eva Michel Exhibits 80 Catalogue The catalogue is available for EUR 24,90 (German and English) in the Albertina’s museum shop and at www.albertina.at Contact Albertinaplatz 1 | A-1010 Vienna T +43 (0)1 534 83 0 [email protected] | www.albertina.at Opening hours Daily 10 am – 6 pm Wednesdays 10 am – 9 pm Press contact Mag. Verena Dahlitz (Press Officer) T +43 (01) 534 83 510 | M +43 (0)699 10981746 [email protected] Mag. Ivana Novoselac-Binder T +43 (01) 534 83 514 | M +43 (0)699 12178741 [email protected] Mag. Fiona Sara Schmidt T +43 (01) 534 83 511 | M +43 (0)699 12178720 [email protected] Mag. Barbara Walcher T +43 (01) 534 83 512 | M +43 (0)699 10981743 [email protected] Sponsor Media Partner Partners Bruegel Drawing the World 8 September – 3 December 2017 The Albertina is devoting a comprehensive exhibition to Pieter Bruegel the Elder, the 16th century’s most important Netherlandish draughtsman. With its 80 works, this exhibition presents the entire spectrum of Bruegel’s drawn and printed oeuvre and seeks to shed light on his artistic origins by juxtaposing his output with high-quality works by important predecessors such as Bosch and Dürer. Included are around 20 of the Dutch artist’s most beautiful drawings from the museum’s own extensive holdings as well as from international collections, a selection that also brings together two of his final drawings—Spring and Summer—for the first time in many years.
    [Show full text]