Call for Applications the Age of Van Eyck in Context
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Ginsb & Weyers-Final
On the Formation of Canons: The Dynamics of Narratives in Art History Victor Ginsburgh ECARES, Université Libre de Bruxelles and CORE, Université catholique de Louvain and Sheila Weyers Université catholique de Louvain Abstract The paper illustrates the formation over time of the late 20th century canons of two schools that dominated all other European schools in their time: Italian Renaissance and Flemish Realism. Since most artists were discussed, some 400 years ago, by Vasari in the second edition of his Vite, and by van Mander in his Schilder-boeck, narratives by art historians can be followed over a long period of time. To explore the dynamic process of canon formation, we collected data on the presence and the greatness of a large number of artists in narrative works written by important art scholars at time intervals of roughly 75 years, so that the 400 years elapsed between 1600 and 2000 are spanned as best as possible. At least half of the artists in the two canons were already there 400 years ago. There are several cases of wrong attributions or of new technical discoveries that prevented some names to be canonical any sooner. There are also artists who art historians learnt to appreciate or to understand better, and who entered at much later times. Finally, the number of names that entered or were moved up in the canon because their works acquired new properties in the light of works by artists that followed them is not very large. This appears to be in contradiction with the frequent suggestion that canons are continuously moving and that no artist can survive forever. -
Auction Books & Prints Veiling Boeken & Prenten Vente
AUCTION BOOKS & PRINTS VEILING BOEKEN & PRENTEN VENTE PUBLIQUE LIVRES & ESTAMPES Friday - Vendredi - Vrijdag Saturday - Samedi - Zaterdag 20.03.2020 - 13:00 h / u 21.03.2020 - 13:00 h / u TENTOONSTELLING - EXPOSITION - VIEWING Friday / Vendredi / Vrijdag 13.03 • 10:00 – 18:00 Saturday / Samedi / Zaterdag 14.03 • 10:00 – 18:00 Monday / Lundi / Maandag 16.03 • 10:00 – 20:00 Tuesday / Mardi / Dinsdag 17.03 • 10:00 – 18:00 Wednesday / Mercredi / Woensdag 18.03 • 10:00 – 18:00 Thursday / Jeudi / Donderdag 19.03 • 10:00 – 18:00 or by appointment - of na afspraak - ou sur rendez-vous Wolstraat 19/2 Rue aux Laines BRUSSEL 1000 BRUXELLES TEL 32(0)2 544 10 55 – FAX 32(0)2 544 10 57 [email protected] • www.arenbergauctions.com Live bidding a b x j ARENBERG AUCTIONS NV / SA Rédaction catalogue / Redactie catalogus / Editorial catalog Rue aux Laines 19/2 Wolstraat BRUXELLES 1000 BRUSSEL TVA-BTW-VAT: BE 0657 769 074 Renaud ADAM [email protected] Johan DEVROE [email protected] Loedja BISKUP [email protected] [email protected] Henri GODTS Isabelle CHIELENS [email protected] [email protected] [email protected] Karen DE COENE [email protected] Cinzia CASTIGNANI Photos & logistique / Foto’s & logistiek Carine DEPREZ [email protected] [email protected] Raphaël HERMAN Photos & logistique / Foto’s & logistiek Stijn GELDOF [email protected] [email protected] Sophie PECKEL Administration / Administratie / Office Oliver KIK [email protected] -
Laurence Binyon and the Belgian Artistic Scene: Unearthing Unknown Brotherhoods
CORE Metadata, citation and similar papers at core.ac.uk Provided by Ghent University Academic Bibliography Laurence Binyon and the Belgian Artistic Scene: Unearthing Unknown Brotherhoods Marysa Demoor and Frederick Morel On September 11, 2008, at 10:11am, at a New York City ceremony honouring victims of the 9/11 terrorist attacks, New York former mayor Rudy Giuliani concluded his speech with a quote from the poem ―For the Fallen.‖ Mr. Giuliani spoke the words with a certain flair, respecting the cadence, stressing the right words, and honouring the pauses: They shall grow not old, as we that are left grow old: Age shall not weary them, nor the years condemn. At the going down of the sun and in the morning We will remember them.1 ―For seven years,‖ Mr. Giuliani continued, ―we‘ve come back here to be together, to feel how the entire world is linked in our circle of sorrow. And mostly to remember, those we lost, who are never lost. The poem reminds us how brightly their memories burn.‖2 Ever since Laurence Binyon wrote these four lines in north Cornwall in 1914, they have been recited annually at Remembrance Sunday services worldwide, and people will keep on doing so to commemorate tragic events, even those still to come because they capture the right feelings unerringly. But, ironically, if the lines have become immortal and they are there to commemorate the dead, their author, Laurence Binyon, is all too often unknown. Binyon, poet and art historian, was born in Lancaster on the 10th of August, 1869, to an Anglican clergyman, Frederick Binyon, and his wife Mary. -
Carillons Belgium and Holland Tower Music in the Low Countries
T O W E R M U S I C I N . T H E LO W C O U NT R I ES W 8 NEW YO RK C A R I L L O N S B ELGI UM an d H OLLAN D T O W E R M US I C IN T H E L O W C O UN T R I ES BY / 14 _ W I L L I A M G O R H A M R I C E WI TH THIRTY TWO ILLUS TRATI ONS N EW Y O R K : JO H N LANE C O MPANY ON ON OH N LAN E TH E B O EY AD L D : J , DL H E T O RON T O : BELL S: COCKBURN MCMXIV Co ri ht 1 1 b py g , 9 4. y JOH N LANE COMP ANY PUBLIS HE RS PRINTING COMPANY 20 - 2 1 W t Tw en t - fifth S tre et N ew or k 7 7 es y . Y T O MY W I FE T H E CHARMING GUID E WHOSE UNFAILING INTEREST HAS INSPIRED T IS BOOK AND T O H , MY SON wuosn COMPANIONABLE AID HA S COMPLET ED IT VOORSLA G H EN the Assistant Keeper of the B ritish Museum wrote me “I know of no work on carillons , it con vi nced me there was need Of another book in the world . In many journeys through the Low Countries I had admired the beauty of bell - towers and had listened to their music with increasing delight . -
Verschiedenes Aus Dem Gebiet Der Keramik
Verschiedenes aus dem Gebiet der Keramik Objekttyp: Group Zeitschrift: Mitteilungsblatt / Freunde der Schweizer Keramik = Bulletin de la Société des Amis de la Céramique Suisse Band (Jahr): - (1954) Heft 29 PDF erstellt am: 25.09.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch VI. Verschiedenes aus dem Gebiet cato esclusivamente all'arte ceramica per la formazione di maestri d'arte e di tecnica e di insegnanti specializzati. Dipende dalla der Keramik direzione generale delle antichità e belle arti e dispone di attrezzate officine e di laboratori di tecnologia e di ricerca chimico- fisica. La ceramica italiana ha in questo istituto non solo il centro II XII Concorso Nazionale della Ceramica. -
Australian Architecture 1901-51: Sources of Modernism
Australian Architecture 1901-51: Sources of Modernism Johnson, Donald Leslie University of Sydney Library Sydney 2002 http://setis.library.usyd.edu.au/oztexts © University of Sydney Library. The texts and Images are not to be used for commercial purposes without permission Source Text: Prepared from the print edition published by Sydney University Press Sydney 1980 All quotation marks are retained as data. First Published: 1980 720.994 setis australian etexts architecture prose nonfiction 1940- Australian architecture 1901-51 Sources of modernism Sydney Sydney University Press 1980 Contents Preface vii Acknowledgements ix 1 1901–13: Attempts at Cultural Redefinition 1 The Quest for an Australian Style 1 The Canberra Competition 20 2 1913–27: The Rise of Domestic Architecture 33 Griffin 35 Bungalows 42 European Strains and Local Histories 71 3 1927–34: Internalization 85 Travellers and The Atelier 89 Griffin 105 Students and Followers 109 4 1934–47: Reaction and Resolve 138 5 Harry Seidler: Maturity at Mid-Century 172 Epilogue: The Sydney Opera House 209 Select Bibliography 211 Index 221 Preface This monograph grew out of my studies on the American architect Walter Burley Griffin who lived and practised his art in America, Australia and India. As those studies proceeded two important questions or observations emerged. Why was so little known of this important architect, and why was he not accorded a proper position in the history of architecture, American or Australian? Over succeeding years the first question has been answered by people similarly concerned: Mark L. Peisch, H. Allen Brooks, W. R. Hasbrouck, Paul E. Sprague, D. T. -
D6.2 Best Practices for a Digital Storage Infrastructure for the Long-Term Preservation of Digital Files
DELIVERABLE Project Acronym: DCA Grant Agreement number: 270927 Project Title: Digitising Contemporary Art Project Acronym: DCA Grant Agreement number: Project Title: Digitising Contemporary Art D6.2 Best practices for a digital storage infrastructure for the long-term preservation of digital files Revision: 1.0 Author(s): Sofie Laier Henriksen, Wiel Seuskens and Gaby Wijers (LIMA) Project co-funded by the European Commission within the ICT Policy Support Programme Dissemination Level P Public x C Confidential, only for members of the consortium and the Commission Services D6.2 Best practices for a digital storage infrastructure for the long-term preservation of digital files V1.0 1 REVISION HISTORY AND STATEMENT OF ORIGINALITY Revision History Revision Date Author Organisation Description 0.1 09/12/2012 Sofie Laier Henriksen / LIMA Text Wiel Seuskens / Gaby Wijers 0.2 06/03/2013 Rony Vissers PACKED Internal review 0.3. 23/03/2013 Sofie Laier Henriksen / LIMA Amendments Wiel Seuskens / Gaby Wijers 0.4. 21/04/2013 Robert Gillesse DEN External review 0.5. 26/04/2013 Sofie Laier Henriksen / LIMA Amendments Wiel Seuskens / Gaby Wijers 1.0 06/05/2013 Rony Vissers PACKED Final version Statement of originality: This deliverable contains original unpublished work except where clearly indicated otherwise. Acknowledgement of previously published material and of the work of others has been made through appropriate citation, quotation or both. D6.2 Best practices for a digital storage infrastructure for the long-term preservation of digital files V1.0 2 Table of content 1. Introduction ...................................................................................................................... 4 2. Storage media infrastructures .......................................................................................... 6 2.1 Ideal storage media properties ................................................................................. -
Sustainable Development 2011 Sustainable Development Reportsustainable 2011 Development 1 Relevance
Report Sustainable Development 2011 Sustainable Development ReportSustainable 2011 Development 1 Relevance ● Fighting against disadvantage and social exclusion ...............................................................................P 19 Table of contents ● Supporting the development of green growth .....P 21 ● Adjusting our services to the diversity of our Identity and strategy customers’ needs ..............................................................P 23 ● Message from the Chairmen ..........................................P 1 ● 2011 in 5 key figures .........................................................P 2 Essence ● Our missions ............................................................................P 3 ● Our strategy on sustainable development ...............P 3 ● Responsible investing ....................................................P 27 ● Our business lines ................................................................P 4 ● Conduct our business professionally .....................P 28 ● Our subsidiaries .....................................................................P 5 ● Incorporating sustainable development into the way the company operates ................................P 30 Priority 2011/2012 : The energy performance of buildings Communication ● Continuing the dialogue with our ● A priority theme for action for Belfius stakeholders .......................................................................P 41 Bank & Insurance ..................................................................P 7 ● Developing -
The Seventh Framework Programme
DELIVERABLE Project Acronym: DCA Grant Agreement number: 270927 Project Title: Digitising Contemporary Art D2.3 Overview of content digitised and delivered to Europeana by the end of the project Revision: 2 Author(s): Barbara Dierickx (PACKED vzw) Project co-funded by the European Commission within the ICT Policy Support Programme Dissemination Level P Public X C Confidential, only for members of the consortium and the Commission Services DCA_D23_Overview_of_content_digitised_and delivered_V2 Page 1 of 110 REVISION HISTORY AND STATEMENT OF ORIGINALITY Revision History Revision Date Author Organisation Description 0.1 17/06/2013 Barbara PACKED vzw First draft Dierickx 0.2 22/06/2013 Barbara PACKED vzw Second draft Dierickx 0.3 26/06/2013 Rony Vissers PACKED vzw Internal peer review 0.4 27/06/2013 Barbara PACKED vzw Third draft Dierickx 1 04/07/2013 Rony Vissers PACKED vzw Final version 1.1 25/09/2013 Barbara PACKED vzw First revision Dierickx 2 01/10/2013 Rony Vissers PACKED vzw Second version Statement of originality: This deliverable contains original unpublished work except where clearly indicated otherwise. Acknowledgement of previously published material and of the work of others has been made through appropriate citation, quotation or both. DCA_D23_Overview_of_content_digitised_and delivered_V2 Page 2 of 110 CONTENT TABLE 1. EXECUTIVE SUMMARY ................................................................................................4 2. INTRODUCTION ............................................................................................................5 -
Languages and the First World War Vol.1 P.141-152 Declercq
Belgium and the semantic flux of Flemish, French and Flemings. Christophe Declercq, University College London / University of Antwerp [running headline: the semantic flux of Flemish, French and Flemings] With the outbreak of war, Britain drastically altered its image of Belgium. Especially under Leopold II, Belgium had become a colonial power of note, especially in Africa from the 1880s onwards. However, in Britain the disgraceful and inhumane rule of Belgium over its colonies was exposed in a report by Roger Casement and E.D. Morel. In the early 1900s, relations between Britain and Belgium had become sour. Although these improved after the death of Leopold II in 1909, the public image of Belgium still had to undergo a dramatic change in order to move from oppressor to the oppressed in August 1914. However, the image of Belgium continued to be difficult one to grasp for the British, not least in newspaper articles on Belgians. This paper covers insight into the at times awkward understanding by the British of Belgian matters during the war, taking into account preceding confused impressions as well, and how this was met by the Belgians in Britain. Emile Verhaeren and setting a semantic framework On 28 February 1896, the Sheffield Independent printed many literary and art notices. These included a review of the contemporary Magazine of Art . Emile Verhaeren’s account of the ‘French artist Feliccen [sic] Rops’ was reviewed. The talent of Felicien Rops, who during the First World War was a refugee himself, had ‘dwelled so strangely on the hideous side of the life of Paris’. -
New Perspectives on Flemish Illumination (Brussels, 16-18 Nov 2011)
New Perspectives on Flemish Illumination (Brussels, 16-18 Nov 2011) Brussels, Nov 16–18, 2011 Registration deadline: Nov 9, 2011 Nel Van Steenhuyse New Perspectives on Flemish Illumination In 1959 Léon Delaissé organized an exhibition entitled La miniature flamande. Le mécénat de Philippe le Bon (The Flemish Miniature. The Patronage of Philip the Good). Seen in Brussels, Ams- terdam and Paris, it was a ground-breaking initiative. Now, more than fifty years later, our knowl- edge of the illuminated manuscript in the Southern Netherlands during the Burgundian period has vastly increased, in large part thanks to new research techniques and topics. Traditional approach- es such as connoisseurship and codicology have refined our understanding of the chronology and geographic distribution of manuscript production. In recent decades, moreover, considerable attention has been directed towards historical contex- tualization – guild organization, actual working practices in the shop, and the complex relation- ship between word and image. The part played by the commissioner in the production, use and spread of illuminated books is hugely important. Attitudes to and the handling of the medieval parchment heritage in later centuries is also currently explored. The Flemish Miniatures exhibition (Brussels-Paris, 2011-2012) provides the occasion for this collo- quium. Its aim is to establish the current position vis-à-vis recent research results and the new per- spectives they offer. Connections between illumination and panel painting, sculpture, engraving, woodcuts, stained glass and tapestry will be discussed. The intention is to achieve a fruitful inter- disciplinary dialogue. Registration: http://www.illuminare.be/registrationcolloquiumkbr.htm WEDNESDAY NOVEMBER 16, 2011 5 – 8 pm: Registration THURSDAY NOVEMBER 17, 2011 9 am: Registration and coffee MORNING SESSION, CHAIR: Prof. -
Ford Madox Brown: Works on Paper and Archive Material at Birmingham Museums and Art Gallery
FORD MADOX BROWN: WORKS ON PAPER AND ARCHIVE MATERIAL AT BIRMINGHAM MUSEUMS AND ART GALLERY VOLUME ONE: TEXT by LAURA MacCULLOCH A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham September 2009 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This collaborative thesis focuses on the extensive collection of works on paper and related objects by Ford Madox Brown (1821-1893) held at Birmingham Museums and Art Gallery (BMAG). It is the first academic study to use Brown's works on paper as the basis for discussion. In doing so it seeks to throw light on neglected areas of his work and to highlight the potential of prints and drawings as subjects for scholarly research. The thesis comprises a complete catalogue of the works on paper by Brown held at BMAG and three discursive chapters exploring the strengths of the collection. Chapter one focuses on the significant number of literary and religious works Brown made in Paris between 1841 and 1844 and examines his position in the cross-cultural dialogues taking place in Europe in the mid-nineteenth century.