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75:726.593 --- 75 PACHER, FRIEDRICH --- 75:726.593 Geschilderde altaarstukken. Retabels. Diptieken. Triptieken --- Geschilderde altaarstukken. Retabels. Diptieken. Triptieken --- Schilderkunst--PACHER, FRIEDRICH

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Christian religion --- Sculpture --- Painting --- anno 1400-1499 --- anno 1500-1599 --- altarpieces --- Altaarstukken [Renaissance- ] --- Altarpieces [Renaissance ] --- Renaissance altarpieces --- Renaissance-altaarstukken --- Renaissanceretabels --- Retabels [Renaissance- ] --- Retables de la Renaissance --- Altarpieces, Renaissance --- 726.593 --- 247.2 --- 75:726.593 --- -Art, Christian --- Altaren --- Altaar. Tabernakel. Retabel. Ambon --- Geschilderde altaarstukken. Retabels. Diptieken. Triptieken --- -Altaren --- 75:726.593 Geschilderde altaarstukken. Retabels. Diptieken. Triptieken --- 247.2 Altaar. Tabernakel. Retabel. Ambon --- 726.593 Altaren --- -Renaissance altarpieces --- Christian art and symbolism --- Renaissance --- Iconography --- History of civilization --- Art et symbolisme chrétiens --- Modern period, 1500 --- -Altarpieces, Renaissance. --- Christian art and symbolism - Modern, 1500 --- -Altarpieces [Renaissance ] --- -Altarpieces, Renaissance --- -Christian religion --- Altarpieces, Renaissance.

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The impressive altarpiece in the church of Saint-Denis in Liège is one of the most prestigious but also one of the most enigmatic witnesses to the rich Brabantine altarpiece production at the end of the Middle Ages. The interdisciplinary study carried out during its restoration at the Royal Institute for Cultural Heritage (KIK-IRPA) in Brussels between 2012 and 2014 allowed to resolve some of the questions involved and to propose new refreshing hypotheses. The attribution to the Borman, the most prestigious Brussels sculptor family, was refined, as was its dating in the early 1530s, when the vocabulary of Italian Renaissance began to invade the art of the Meuse banks simultaneously with the still well-anchored Gothic style.00This volume provides a broad platform for the exceptional character of the partial polychromy of the altarpiece, highlighted by the investigation conducted at the KIK-IRPA. This research was nourished by many comparative reflections. The abundant and varied studies presented here, mainly originate from an international conference held in October 2015. In addition, the restoration at KIK-IRPA, between 2016 and 2019, of some of the painted panels that initially adorned the shutters of the altarpiece, also allowed a beneficial reconsideration of the participation of the great Liège painter Lambert Lombard and some local workshop. Starting from an amazing work, they represent an important part of the artistic activity in Liège revived by Prince-Bishop Érard de La Marck.

Conferences - Meetings --- Sculpture --- Painting --- restoration [process] --- altarpieces --- monochrome --- polychrome --- Luik, Saint-Denis --- Borman [Family] --- Lombard, Lambert --- C3 --- religieuze kunst --- kerkelijk meubilair --- KADOC - Documentatie- en Onderzoekscentrum voor Religie, Cultuur en Samenleving (1977-) --- 247.2 --- 75:726.593 --- Kunst en cultuur --- Altaar. Tabernakel. Retabel. Ambon --- Geschilderde altaarstukken. Retabels. Diptieken. Triptieken --- 75:726.593 Geschilderde altaarstukken. Retabels. Diptieken. Triptieken --- 247.2 Altaar. Tabernakel. Retabel. Ambon --- Altarpieces --- Polychromy --- Saint-Denis (Church : Liège, Belgium) --- Saint-Denis altarpiece (Liège, Belgium) --- Altarpieces, Gothic --- Conservation and restoration --- Saint-Denis altarpiece (Liège, Belgium) --- Altarpieces - Belgium - Liège --- Polychromy - Belgium - Liège --- houtsculptuur

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This study examines the coming together of the opulent Burgundian court, an affluent urban bourgeoisie, and an increasingly expanding community of painters, and the effects of this dynamic social configuration on the newly emerging art of oil painting. Members of the urban patriciante were influenced by the nobility's culture of display and found that painting effectively served their needs for representations of their aspirations for social advancement. In commissioning altarpieces for ecclesiastical interiors, patrons were also concerned to include their portraits and coats of arms in an effort to promote the status and prestige associated with their families.

Painting --- anno 1200-1499 --- Bruges --- Peinture médiévale --- Mécénat --- Peinture médiévale --- Art patronage --- Painting, Flemish --- Painting, Medieval --- History --- painting [image-making] --- schilderkunst --- verzamelaars --- mecenaat --- sociale geschiedenis --- middeleeuwen --- Zuidelijke Nederlanden --- Brugge --- Peinture flamande --- Mécénat --- Painting [Flemish ] --- Belgium --- Bruges (Belgium) --- Painting [Medieval ] --- Painting, Flemish - Belgium - Bruges. --- Painting, Medieval - Belgium - Bruges. --- Art patronage - Belgium - Bruges. --- Early Netherlandish --- middeleeuwen, middeleeuwse geschiedenis (historisch tijdvak) --- Painting, Flemish - Belgium - Bruges --- Painting, Medieval - Belgium - Bruges --- Art patronage - Belgium - Bruges --- 75 <493-17> --- 7.026 --- 75:726.593 --- 930.85.42 --- 930.85.42 Cultuurgeschiedenis: Middeleeuwen --- Cultuurgeschiedenis: Middeleeuwen --- 75:726.593 Geschilderde altaarstukken. Retabels. Diptieken. Triptieken --- Geschilderde altaarstukken. Retabels. Diptieken. Triptieken --- 7.026 Kunstwerken: copiëren; reproduceren; facsimile's --- Kunstwerken: copiëren; reproduceren; facsimile's --- 75 <493-17> Schilderkunst--Vlaanderen. Vlaams Gewest. Nederlandstalige Gemeenschap in België --- Schilderkunst--Vlaanderen. Vlaams Gewest. Nederlandstalige Gemeenschap in België --- Brugse school --- Zuidelijke Nederlanden. --- Brugge.