Flemish Primitives

Originario de la misma región que los célebres Hubert y Jan van Eyck, y probablemente miembro de su familia, Barthélemy d’Eyck es considerado como uno de los más brillantes pintores del siglo XV francés. Su personal idioma artístico resulta del feliz encuentro entre la visión naturalista flamenca aprendida en su juventud y el contacto con los colores y la luz de la Provenza, combinado con una sorprendente capacidad narrativa. Barthélemy pasó gran parte de su vida al servicio del duque René d’Anjou, con quien estableció una estrecha relación: de la familiaridad existente entre artista y mecenas nacieron algunas de las piezas más sublimes de la historia de la miniatura occidental, como el Livre du coeur d’amour épris de Viena, escrito por el duque y miniado por su valet de chambre, título honorífico que Barthélemy d’Eyck portó durante largo tiempo. A partir de sus obras, podemos entender mejor cómo este genial pintor pudo convertirse en el más fiel intérprete de las aspiraciones políticas, religiosas y literarias del llamado “Buen Rey René”, uno de los más importantes mecenas de las artes y las letras del ocaso medieval.

Between 1489 and the death of Isabella of Castile in 1504, primary sources on the royal household mention the names of four enigmatic courtiers and painters to the Queen, four brilliant foreign artists. The biographies of Antonio Inglés, Michel Sittow, Juan de Flandes, and Felipe Morras show how the Castilian court allowed painters not originally from the Iberian Peninsula to develop professional activity at the royal court.

Artículo de acceso abierto distribuido bajo una Licencia Creative Commons Atribución 4.0 Internacional (CC BY 4.0). / Open access article under a Creative Commons Attribution 4.0 International License (CC BY 4.0). Resumen: Este estudio resume los datos sobre la estancia del pintor Michel Sittow en la corte castellana y tiene como objetivo analizar las posibles obras realizadas por el artista en la Península Ibérica. El pintor de origen báltico aparece de manera regular en la documentación cortesana entre 1492 y 1502. Sin embargo, algunos documentos posteriores mencionan que Michel Sittow sirvió a la reina hasta su muerte en el año 1504. Esta investigación divide las pinturas, conocidas a través de los documentos de archivo, en dos categorías: las que pueden ser datadas de manera aproximada y las que fueron realizadas posiblemente en la Península Ibérica sin una fecha precisa. Asimismo, se propone una cronología de la creación artística del pintor durante su servicio en la corte castellana.

This contribution aims to present an unpublished document attesting to the use of typology during the Early Modern period. It is the second edition of Pierre de Cafmeyer’s work depicting the festivities that took place during the 1720 jubilee, celebrating the Eucharistic Miracle of Brussels. The description of the triumphal arches punctuating the procession’s route is accompanied by their reproduction. These arches depict episodes from the Old Testament, the New Testament, the lives of saints, as well of Eucharistic Miracle. In this context, the narrative of the desecrated host is considered a reenactment of the life and passion of Christ. Profanation is once again made possible by the delivery of Christ’s body through another Judas who earn the reward of his betrayal. The monumental settings establish not only parallels between the legend and the New Testament but also with the Old Testament, which already foreshadows the sacrifice of Christ. This example will further demonstrate that visual and rhetorical typology can be used for political and apologetic purposes, showing that historical events resonate with contemporary ones. The profanation of the hosts by the Jews is seen as the announcement of sacrileges committed by the reformers who reject the essential elements and symbolism of the Catholic Mass. The use of this method of announcing the Old Testament in the New also engages the viewer in a visual journey and a process of meditation on the nature of Christ’s presence in the Eucharist. The goal of this book and the procession is to rekindle devotion among the faithful and combat the heresies present in Brussels at the beginning of the 18th century. Finally, the parallels drawn between the two Testaments and the saints who played a role in establishing the Corpus Christi celebrations, and who defeated certain heresies, demonstrate the resilience of the Church, which has triumphed over its enemies time and again.

Technical analysis of this panel shows that shortly after it was painted the central section was removed and now portrays what appears to be the Joyous Entry of Prince Philip of Spain into Antwerp in 1549. Just what was removed from the centre remains a matter of speculation, but may well have been the marriage of Mary I of England to her first cousin, Prince Philip. For the time being the attribution as to artist remains as Anon, but it is possible that the panel was painted at the English court between late 1553 and 1554, in which case it may be by Levina Teerlinc (nee Bening). More research is required to prove/disprove this attribution.

CIP-Biblioteca centrale della Regione siciliana "Alberto Bombace" © 2020. Regione siciliana, Assessorato dei beni culturali e dell'identità siciliana, Dipartimento dei beni culturali e dell'identità siciliana. Divieto di riproduzione. Edizione fuori commercio. Vietata la vendita.

This paper aims to gather all information about the diptych of Mater Dolorosa and Christ Crowned with Thorns, which until 2023 stayed in the Provincial Museum of Pontevedra (Museo Provincial de Pontevedra) in Spain. The research addresses two aspects of the diptych: the controversy of its attribution to a circle of Albrecht Bouts or his follower and the diptych’s arrival at the Provincial Museum of Pontevedra. This study explains that this diptych’s former attributions cannot be supported due to his style and the new research about Bout’s workshop practices. Finally, it gathers all the documentary sources about its arrival at the Pontevedra Museum.

When Cusanus sent his De Visione Dei (or De Icona) to a group of monks of the Tegernsee, he included a self-portrait of his friend, the Flemish painter Van der Weyden, together with Jan Van Eyck one of the founding figures of Flemish art. Find out why?

“Gilis Tavernier, een schilder van Oudenaarde in Chieri” is een Nederlandse vertaling die ik maakte van het Italiaanse essay “Un pittore di Audenarde a Chieri: Gillis Tavernier” van Bernardo Oderzo Gabrieli. Het Italiaanse artikel verscheen reeds in de catalogus van de tentoonstelling "Il Rinascimento europeo di Antoine de Lonhy” die in 2021-22 gehouden werd in de Palazzo Madama in Turijn. Ik schreef bij deze Nederlandse vertaling de hiernavolgende korte inleiding.

Van 1428 tot 1475 woonde en werkte er een schildersfamilie De Tavernier in Oudenaarde. Het gaat om de drie broers Gillis, Gerard en Jakob de Tavernier. De laatste was een boekverluchter die naar alle waarschijnlijkheid de vader was van Jan de Tavernier, een van de belangrijkste miniaturisten van de vijftiende eeuw die voor hertog Filips de Goede meerdere handschriften heeft verlucht. Recent onderzoek in de archieven van het Noord-Italiaanse Chieri, een stad die in de vijftiende eeuw bekend stond voor zijn bankiers- en lombaardenfamilies die in de Lage Landen actief waren, bracht aan het licht dat daar een schilder Gillis Tavernir (c. 1465 - c. 1485) werkzaam was. De Italiaanse kunsthistoricus Bernardo Gabrieli kon door vergelijking van een muurschildering van Gillis Tavernir met een miniatuur in een getijdenboek van Jan de Tavernier, aantonen dat Gillis hetzelfde model gebruikte als Jan de Tavernier. Daaruit valt af te leiden dat Gillis Tavernir van Chieri een lid was de Oudenaardse schildersfamilie De Tavernier en mogelijk in Oudenaarde geboren is. Hierna kan u de vertaling lezen van het artikel dat Bernardo Gabrieli over Gillis Tavernir publiceerde.

Zie ook: https://unicatt.academia.edu/BernardoGabrieli

Este estudio resume los datos sobre la estancia del pintor Michel Sittow en la corte castellana y tiene como objetivo analizar las posibles obras realizadas por el artista en la Península Ibérica. El pintor de origen báltico aparece de manera regular en la documentación cortesana entre 1492 y 1502. Sin embargo, algunos documentos posteriores mencionan que Michel Sittow sirvió a la reina hasta su muerte en el año 1504. Esta investigación divide las pinturas, conocidas a través de los documentos de archivo, en dos categorías: las que pueden ser datadas de manera aproximada y las que fueron realizadas posiblemente en la Península Ibérica sin una fecha precisa. Asimismo, se propone una cronología de la creación artística del pintor durante su servicio en la corte castellana.

At the bottom left of Hell in The Garden of Earthly Delights is a scene that has been called 'the gamblers' hell' [fig. 1]. There are three table games here, to which Bosch draws our attention by means of a kind of pictorial metonymy: playing cards scattered on the ground, a backgammon board with corresponding dice-with which a demon seems to intend to hit the head of a gambler, who is protecting his face with covered hands 1-and the dice themselves. Figure 1. Hieronymus Bosch, The Garden of Earthly Delights, scene of 'the gamblers' hell' on the right wing. Oil on oak panel. Madrid, Museo del Prado.

When analysing the so-called 'gamblers' hell' we have mentioned Sebastian Brant's The Ship of Fools (Das Narrenschiff), a work in which, under the stigma of foolishness, a wide range of individual and collective behaviours of the European society in the late 15th century is compiled and condemned. Brant's work, tinged with a deep pessimism and dotted with passages in apocalyptic tone, contrasts with that exuberant joie de vivre in the central panel of The Garden of Earthly Delights, of which the carnival mask of the tawny owl, behind which Bosch is hidden, as we have said, is an outstanding symbol. In vain we shall not search in Brant's Ship for the utopian spirit that lies in works of later Christian humanism, nor for the linguistic ambivalences and puns that constitute its characteristic form of expression. In The Ship of Fools, black is black 1. And yet it seems beyond any doubt that the main source of inspiration for Bosch's panel entitled in modern times The Ship of Fools was the homonymous work by Sebastian Brant 2. However, given the nature of 'illustrated or pictorial literature' 3 of the work by the Strasbourg humanist, it is worth asking what influenced Bosch the most, whether the extraordinary woodcuts that illustrate each chapter of Brant's Ship, most of them attributed to Brant's contemporary, the German painter and printer Albrech Dürer, or its text.

Antes siquiera de lanzarnos a interpretar la grisalla que aparece en las hojas exteriores del Jardín de las delicias, es la armazón misma de tablas abisagradas que crea tres espacios unidos pero separados, que se cierra para abrirse, que se repliega sobre sí, la que nos sugiere la idea de ambivalencia que preside toda la obra. Y con ella, la firme convicción de que en el propio artefacto que sustenta la pintura se anticipan ya todas y cada una de las lecturas posibles de ese armadijo en que el Bosco (1450-1516) encerró la «bariedad del mundo» para cautivar la mirada. El Jardín de las delicias, qué duda cabe, es un tríptico: drieluik en neerlandés, 'tres ventanas' con postigos por las que, descubiertos éstos, brotan enmarcadas otras tantas imágenes del mundo. Pero es también un armario, schaprade, tras cuyas puertas se atesoran, agolpadas como en un escaparate, las cosas singulares de ese mismo mundo: un gabinete de curiosidades. Es, cómo no, un teatro, en el que se representa la obra del autor de este mundo, cuya imagen, al desvanecerse una vez descorrido el rígido telón, transforma el espacio pictórico (delante-detrás) en tiempo narrativo (antes-después): un retablo de las maravillas del mundo. Por fin-¿por fin?-, la línea única de horizonte que ensarta las tres hojas extendidas, ya sin pliegues ni dobleces, nos remite a la cartografía de un solo mundo: un mapamundi. Pero, traspasados los muros del Jardín y ya dentro, ¿hay algo que aúne toda esa balumba inagotable de seres que se despliega ante nuestros ojos? ¿Existe el hilo que da sentido al laberinto? Todo hilo, naturalmente, tiene un cabo, que hay que encontrar, y ese cabo, en la obra del Bosco, es el dibujo El campo tiene ojos, el bosque tiene orejas. En él, el pintor plantea un acertijo visual, un jeroglífico, cuya solución es… él mismo: a self-portrait of the artist as an artist. ¡He aquí la llave que nos franquea la puerta a la comprensión de su manera de hacer pintura y de sentir la pintura! La máscara del cárabo como autorrepresentación o el concepto de la pintura como superlenguaje son dos de las fructuosas sendas que nos desbroza El campo tiene ojos… y que nos permiten penetrar con pie seguro en El Jardín. Por ahí vamos a empezar. 8 «Hieronymus dicitur a gerar, quod est sanctum, et nemus, quasi sanctum nemus», J. VORAGINE, Legenda aurea, vulgo historia lombardica dicta, Impensis Libreriae Arnoldianae, 1801, p. 653. 9 Cabría, por tanto, interpretar el grupo del zorro y el gallo como la firma, o parte de la firma, de esta tabla del Bosco, que, a su vez, en razón del desafío jeroglífico-numquam inveniendis-que nos propone el pintor en El campo tiene ojos, el bosque tiene orejas, debería ser posterior al dibujo.

Dutch art historian Ridderbos makes a special effort to highlight the work of Hugo Van Der Goes, a remarkable painter who has been somewhat hastily relegated to the shadow of Van Eyck, Van der Weyden and Memling. Probably born around 1440 in Ghent, Van der Goes was admitted to the city's painters' guild in 1467 and became its dean in 1474. Three years later, he was at the pinnacle of professional recognition and social success.

Pour Patinir et la Devotio Moderna, la contemplation est à l’opposé
même du pessimisme et de la passivité scolastique. Pour eux, le rire est l’antidote idéal pour éradiquer le désespoir, l’acedia (la lassitude) et la mélancolie. La contemplation y prend donc une nouvelle dimension.

Pour Patinir et la Devotio Moderna, la contemplation est à l’opposé
même du pessimisme et de la passivité scolastique. Pour eux, le rire est l’antidote idéal pour éradiquer le désespoir, l’acedia (la lassitude) et la mélancolie. La contemplation y prend donc une nouvelle dimension.

Deffinitive program of the International Conference that will take place at Aranjuez from 25th-27th October 2023

During the fifteenth century, the Dukes of Burgundy maintained numerous ties and staged frequent encounters with representatives of the Hispanic kingdoms across a range of cultural and political contexts. As a result a reciprocal cultural bond evolved between the court cultures of these two geographical areas. This initial phase of contact was enabled by the rise to power of Mary of Burgundy and Maximilian I of Habsburg in the Netherlands: it was stipulated that their heirs should marry those of the kings of Castile and Aragon. As a result, the marriage of Mary and Maximilian led to the emergence of a powerful composite monarchy during the second decade of the sixteenth century, one that comprised a set of distinct administrative and legal systems. It was overlaid with a coherent court ritual, combining aspects derived from both the Netherlands and Iberia, as well as the other territories that made up the Spanish Monarchy. As a result, throughout the sixteenth century the Low Countries became one of the principal cultural centres within this monarchy, and there were frequent cultural exchanges between the Netherlandish court—firstly in Mechelen, and then in Brussels—and the monarchy’s central court.
The aim of this conference is to analyse the cultural relationships between the evolved between Iberian and the Netherlandish courts during the late fifteenth century and on throughout the sixteenth century, in order to develop a deeper understanding of the diverse forms of cultural impact that resulted, and their consequences for interaction between these regions. By taking an interdisciplinary methodological focus, embracing the latest research by historians, art historians and architectural historians, this scholarly event seeks to engage with the recent academic debate and research on the social phenomenon of cultural reciprocity. For this purpose, the conference seeks to analyse issues related to ceremonial, ritual, court structures, diplomacy, the visual arts and social relations, and likewise offer a deeper understanding of the mechanics of court culture, and the deployment of visual culture to promote Habsburg universalism across a range of European territories.

The paintings of northern Europe often appeared to me to be opposed to the prevailing philosophical and religious matrix of the fifteenth century, when in reality they were its very expression. Until now, I thought that, for the most part, the world view that prevailed at the end of the Middle-Ages was one rejecting the visible world as it was known through our senses. According to a scholastic misinterpretation of St. Augustine and Plato, the world was only deception and temptation, which one might have called the devil himself. Now, and herein lies the paradox in all its force, how can we reconcile the rejection of the visible world, particularly in sight of the work of the Flemish painter Van Eyck, who was able to show us human beings animated by kindness, glowing with beauty and surrounded by pristine nature?

In the terms of advanced era and for maintaining a good record of accreditation of an institute, we're developing Student Feedback System. This system contains feedback form which is constructed by using different primitives available in PHP and HTML and combining them together in a required manner. It generates the results for the faculties on the basis of feedbacks given by the students. The students will be provided with unique usernames and password in order to login and evaluate. The final result will be displayed at admin's page. Admin is the responsible for viewing the evaluation and registering new students. There are questions provided to evaluate the status of faculty and each question contains 5 options namely Excellent, Very Good, Good, Average and Poor.

This paper aims to gather all information about the diptych of Mater Dolorosa and Christ Crowned with Thorns, which until 2023 stayed in the Provincial Museum of Pontevedra (Museo Provincial de Pontevedra) in Spain. The research addresses two aspects of the diptych: the controversy of its attribution to a circle of Albrecht Bouts or his follower and the diptych's arrival at the Provincial Museum of Pontevedra. This study explains that this diptych's former attributions cannot be supported due to his style and the new research about Bout's workshop practices. Finally, it gathers all the documentary sources about its arrival at the Pontevedra Museum.

La redécouverte de la peinture flamande des xve et xvie siècles a suscité, à partir des années 1890, une production à grande échelle de faux Primitifs flamands. Dans certains cas, il s'agit d'œuvres réalisées sur un support moderne, dans d'autres, de tableaux anciens restaurés abusivement. Un certain nombre de ces faux Primitifs flamands se sont retrouvés dans des collections espagnoles. Plusieurs ont été reproduits comme des œuvres authentiques, flamandes ou hispano-flamandes, par des auteurs aussi réputés que Chandler Post, Jacques Lavalleye et Elisa Bermejo. Parmi les falsifications inédites étudiées dans le présent article, certaines peuvent être attribuées au restaurateur-faussaire belge Joseph Van der Veken ou au mystérieux 'Faussaire de Valls Marín'.

'De Vlaamse meesters. Van Eyck tot Bruegel' overspant bijna anderhalve eeuw schilderkunst, van omstreeks 1430 tot het overlijden van Pieter Bruegel de Oude in 1569. In die tijdspanne kwam de schilderkunst in de Nederlanden tot een ongekende bloei. Dit rijkelijk geïllustreerde boek biedt een representatief overzicht van de belangrijkste en invloedrijkste schilders uit die periode en van alle schildergenres die in deze regio tot ontwikkeling kwamen of vernieuwing doormaakten.

De auteur gaat op zoek naar dat wat deze schilderijen zo nieuw en bijzonder maakte. Door die zowel per generatie als thematisch te beschrijven, ontstaan inzichten over de verschillende stijlen, formaten, functies en genres, en de artistieke en maatschappelijke context waarin ze zijn ontstaan. Deze schilders kenden in ieder geval elkaars werken goed. Ze namen vaak iets over van elkaar en deden daar dan zelf weer iets nieuws mee. Artistieke kruisbestuiving was fundamenteel.

Publicatie naar aanleiding van de tentoonstelling Oog in Oog met de Dood. Hugo van der Goes, oude meesters, nieuwe blikken in het Sint-Janshospitaal in Brugge van 28 oktober 2022 tot 5 februari 2023.

Publication issued on the occasion of the exhibition Face to face with Death. Hugo van der Goes, Old Masters and New Interpretations at the Sint-Janshospitaal in Bruges from 28 October 2022 to 5 February 2023.

son escasísimas las noticias sobre estas poblaciones. En la caja 660 se dice de Sieso que produce "granos, cordero, lana, queso y cáñamo". En el siglo XVIII se documentan como vecinos 18 hombres, 15 mujeres y 14 menores. UBIETO ARTETA, A., op. cit., resume la situación demográfica de Sieso: entre 5 y 7 fuegos desde fines del siglo XV a comienzos del XVII.

Since the end of 2011, the Royal Museum of Fine Arts Antwerp (KMSKA) has been closed to the public due to renovation work. During the period of the museum's closure a series of works from its collection have been loaned to a number of European museums, including the Kunsthistorisches Museum. As a result, a selection of the KMSKA's masterpieces of Early Netherlandish painting are being exhibited with key contemporaneous artworks across Europe. The exhibition "Als Ich Can", currently on display in Vienna, is focused on Jan van Eyck's painting of the Madonna at the Fountain, which forms part of the KMSKA collection. On the painting's original frame the artist added a stylized inscription written in Greek-Byzantine letters that means "as best I can". Undoubtedly, the museum hosting this work and the curators Sabine Pénot, Elke Oberthaler and Katharina Uhlir can state the same, given that the exhibition is the outcome of an international collaboration between the KMSKA and specialists from the Royal Institute for Cultural Heritage (KIK-IRPA), as well as Flanders: State of the Art and sponsors such as UNIQA and Österreich Lotterien. Furthermore, the exhibition is just a foretaste of the range of activities devoted to the figure of Jan van Eyck that will be held in 2020, the outcome of considerable institutional cooperation. The exhibition is located in two rooms in the museum's Kunstkammer wing, whereby the exhibition space is not on a grand scale. However, given the reduced size of the works on display, all of which are internationally prestigious, the curators have used the space to perfection. In the first room, an explanatory text offers an account of the life of Jan van Eyck, one that highlights the talent he displayed at the court of Philip the Good, where he served as valet du chambre. It also lists the privileges he was granted, as well as his subsequent renown amongst other authors such as Giorgio Vasari. Further information is also provided on the artist, which is illustrated with a reproduction of the sculptural representation of the allegory of painting designed by Carl Kundmann for the metopes of the Kunsthistorisches Museum: a striking nineteenth-century image of Jan van Eyck. At the entrance, visitors can consult the website of the Closer to van Eyck project (http://closertovaneyck.kikirpa.be), an initiative created by the KIK-IRPA that permits a close-up study of details of the painter's work and includes reproductions of the Ghent Altarpiece. A number of other artworks accompany the introductory and contextual explanation provided by this opening display: a copy of Rogier van der Weyden's portrait of Philip the Good, an image frequently used to illustrate histories of the Burgundian state; and the illuminated Prayer Book-Diptych of Philip the Good, which is exhibited open at the page representing Philip the Good and Charles the Bold. The latter is a singular and exceptional work from the ducal library, today conserved in the Austrian National Library. The visitor then enters the second room, which in comparison is filled with artworks. The display of these paintings is divided into three sections that allow visitors to choose their own

GeneriekArmand Vermeulen - Woord voorafEindelijk is het dan zover. In de doopkapel van de Gentse Sint-Baafskathedraal staat Van Eycks Lam Gods beveiligd en wel opgesteld. Redenen te over dan ook om deze brandend actuele ingreep een M&L-aflevering lang in een juister daglicht te stellen. Hoe het veelluik tegen beter weten in tot op heden behouden bleef, wordt alvast sober samengevat door Madeleine Manderyck.Eens de sponsering van de beveiligingswerken verworven, werd Edgard Goedleven door Gemeenschapsminister Karel Poma persoonlijk opgedragen te waken over de vlotte realisatie van het project. Wie is dan ook beter geplaatst om het lijvige dossier van de totstandkoming chronologisch onder de loupe te nemen? Een intrigerende lijdensweg.Kunst in nood laat het Koninklijk Instituut voor het Kunstpatrimonium niet onbewogen. Deze wereldwijd befaamde instelling kreeg dan ook haast vanzelfsprekend de delicate verhuizing van de panelen toevertrouwd. Het werkverslag van Liliane Masschelein-Klei...

De muurschildering in het transept stelt een Kruisigingstafereel voor. Links van het kruis staan Maria, door Johannes ondersteund, twee heilige vrouwen en de heilige Magdalena. De mantels van Maria en Johannes zijn afgeboord met goud. Op de achtergrond bemerken we de stad Jeruzalem. In de lucht zweven drie engelen met kelken om Jezus'bloed op te vangen. Links en rechts bovenaan het kruis de zon en de maan. Een grote groep rijkelijk geklede lieden met brokaatmantels gaat de soldaten met lansen vooraf. Een tekstbanderol vermeldt: VERE. FILIUS. DET. ERAT. ISTE (dit was de ware zoon van God). Op de plaats van het oorspronkelijk kruis werden in 1951 een nieuw houten kruis en een soort geschilderde rotsen op paneel aangebracht. Deze schildering van hoge kwaliteit kan DENDERMONDE, Onze-Lieve-Vrouwekerk De gotische Onze-Licve-Vrouwekerk te Dendermonde dateert uit de 14de eeuw met belangrijke uitbreidingen in de loop van de 15de en 16de eeuw. De schilderingen bevinden zich in het koor, in de noordelijke transeptarm en in de beuk.

Actualité en histoire de l'art 2 | 2011 Les Pays-Bas Les arts à la fin du XV e et au XVI e siècle : quelle identité pour les Pays-Bas septentrionaux ? The arts at the end of the fifteenth and sixteenth centuries: what identity for the northern Netherlands? De kunst in de late 15 de en de 16 de eeuw: welke identiteit voor Noord-Nederland? Die Künste vom ausgehenden 15. und 16. Jahrhundert: welche Identität für die nördlichen Niederlande? Le arti alla fine del XV e nel XVI secolo: quale identità per i Paesi Bassi settentrionali? Las artes al final del siglo XV y en el s. XVI: ¿qué identidad para los Países Bajos septentrionales?

“Chartiste”, curator at the Louvre, member of numerous learned societies, Paul Durrieu was a key figure in manuscript studies. His more than 600 publications considerably shaped the research on manuscript illumination and they are still essential references today.
During his life Durrieu built up an extensive personal collection including first-rate French and Flemish manuscripts and paintings, which is now scattered around the world. Contrary to J. P. Morgan or C. Gulbenkian, Paul Durrieu disposed only of limited financial resources. Instead, his specialized knowledge and his research enabled him to discover “new“ artists and  objects, building up a collection of over 60 manuscripts and paintings.
Up to now, neither the person of Paul Durrieu nor his collection have received any attention in research. Based on new documents and archival studies, a large part of his collection can however be reconstructed. By examining the prices he paid for some manuscripts, his particular strategy of acquisition can be sketched out, which contrasts to the prevailing taste in the art market of his time. The study will pay particular attention to his relationship with art dealers in focusing not only on their personal correspondence but also on the structure and content of catalogue entries and descriptions which considerably shaped our modern scholarly attitude when dealing with medieval and Renaissance manuscripts.

Historical information: The coats of arms depicted on the wings are those of the Flemish family Dymudts (according the entry in the catalogue of the Servarts sale). Identity of the sitter(s): members of the Dymudts family Provenance: unknown Number of portrait(s): 11 Type of person(s): mixed (family with children) Attitude of the sitter(s): hands clasped Representation of the sitter(s): full-length Gaze of the sitter(s): towards the scene Object(s): yes (rosary) Coat(s) of arms: yes Environment: landscape, no sacred connotation Structuring of the pictorial space: distinct spaces (different techniques: painting/sculpture) Patron saint(s): none Gesture of the patron saint(s): not applicable Type of religious scene: narrative Religious scene(s) depicted: the Adoration of the Magi Cat. 003-Type 6B Anonymous Antwerp Master One Wing. Portrait of a Man in Prayer (c. 1525) 34 × 24.2 cm xxvi Catalogue Gesture of the patron saint(s): not applicable Religious scene(s) depicted: none Cat. 004-Type 6A Anonymous Antwerp Master

The Madonna and Child with Saints in the Enclosed Garden, created approximately between the 1440s and 1460s, is a perfect representation of the highly iconographical images produced during the Renaissance. Although it continues to remain unknown as to who the specific artist responsible for this painting is, it has been attributed to either Robert Campin or one of his many followers. Nevertheless, the depiction of the Virgin Mary holding baby Christ on her lap is heightened as the scene takes place within an enclosed garden, otherwise known as hortus conclusus. Throughout the image itself, one is able to understand how the Madonna and the enclosed garden promote one another in the artist's goal of creating a holy and otherworldly space.

Why not see the law as a Roman tale analogically and imperialistically projected inside the study of “primitive” societies by anthropologists? This article’s main topic is firstly the capacity of law to be the science of its own rationales and practices, and secondly the biases drove into anthropological thinking while borrowing legal concepts and modes of reasoning. Altogether descriptive and prescriptive, the law depicts and organizes human realities in a single move. That thus creates a major epistemological difficulty when and where indigenous confession occurs, i.e. the phenomenon by which local cultural schemes are locally formulated in the alienating terms originated in the legal corpus. Beyond a law-dependent legal anthropology, the anthropology of law is aware of the importance of legal fictions and reaches the substance of the law as a western and westernized set of concepts, logics.

Since the end of 2011, the Royal Museum of Fine Arts Antwerp (KMSKA) has been closed to the public due to renovation work. During the period of the museum's closure a series of works from its collection have been loaned to a number of European museums...