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Civilization, Modern --- Renaissance --- Kulturaustausch --- Renaissance. --- Geschichte 1400-1600 --- Mittelmeerraum --- Europa --- Chianciano Terme --- Orient --- Europa. --- Orient. --- Kulturaustausch. --- Mittelmeerraum. --- Chianciano Terme.
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Illumination of books and manuscripts, Renaissance --- Private libraries --- Manuscripts, Renaissance --- Humanism --- History --- Matthias --- Library --- Bibliotheca Corviniana --- Hungary --- Intellectual life --- 091 <017.2 MATTHIAS CORVINUS> --- Handschriftenkunde. Handschriftencatalogi--Private verzamelingen--MATTHIAS CORVINUS --- 091 <017.2 MATTHIAS CORVINUS> Handschriftenkunde. Handschriftencatalogi--Private verzamelingen--MATTHIAS CORVINUS --- Illumination of books and manuscripts, Renaissance - Congresses --- Private libraries - Hungary - Budapest - History - 1400-1600. - Congresses --- Private libraries - Europe - History - 1400-1600. - Congresses --- Manuscripts, Renaissance - Hungary - Budapest - Congresses --- Humanism - Hungary - History - 15th century - Congresses --- Matthias - I, - King of Hungary, - 1443-1490 - Library - Congresses --- Hungary - Intellectual life - 15th century - Congresses --- Matthias - I, - King of Hungary, - 1443-1490
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Art --- Savoye [Dynasty] --- anno 1500-1799 --- anno 1400-1499 --- Flanders --- Italy --- 707.4 --- 759.03 --- Arts Temporary and traveling exhibits --- Arts Painting 1400 - 1600 --- Art, European --- Savoy, House of --- Art collections --- Art patronage --- Galleria sabauda (Turin, Italy) --- Exhibitions. --- Painting --- History --- 17th century --- Exhibitions --- 18th century --- Painting [Belgian ] --- Catalogs --- Painting [Italian ] --- court art --- Sabauda Gallery [Turin] --- Palais des beaux-arts (bruxelles) --- Savoie (maison de)
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Au début de sa carrière, Jan van Eyck, le "roi des peintres", a été, à n'en pas douter, au service de Jean de Bavière, dit Jean sans Pitié. Ce prince particulièrement haut en couleurs a été élu au siège épiscopal de Liège en 1390. Il a rendu l'âme en 1425, probablement empoisonné, piteux aboutissement de la lutte acharnée qu'il avait livrée pour se rendre maître du comté de Hollande-Zélande. Ces deux dates marquent le cadre chronologique des investigations. C'est bien Jan qui a exécuté une série d'enluminures qui sont parmi les plus admirées et parmi les plus discutées, et c'est bien sur l'ordre de Jean. Le peintre avait été précédemment au service du frère aîné du prince. Guillaume de Bavière. Il s'était formé à Cologne. Voilà l'essentiel des thèses qui sont offertes ici à discussion. Claus Sluter et Hubert van Eyck sont rencontrés au passage. Un orfèvre liégeois, Henri de Cologne, est sorti de l'obscurité. Qu'elles relèvent de la peinture, du dessin ou de la miniature, de la sculpture ou de l'orfèvrerie, les œuvres mises en examen sont de très haute qualité. Bon nombre d'entre elles ont retenu l'attention de maints historiens de l'art parmi les plus éminents.
court art --- political art --- Jan van Beieren --- Eyck, van, Jan --- Christian art and symbolism --- Art et symbolisme chrétiens --- Eyck, Jan van, --- Art médiéval --- Art chrétien --- Van Eyck, Jan, --- Jean de Bavière, --- Et l'art --- BPB0910 --- 759.03 --- Arts Painting 1400 - 1600 --- Van Eyck, Jan --- Jean III --- Critique et interprétation --- Art et symbolisme chrétiens --- Criticism and interpretation --- Christian art and symbolism.
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The fifth volume examines all the works painted by anonymous masters. Most works of the 15th and early 16th centuries are not signed. Several of these works have not proved possible to attribute to a known painter or to a master with a provisional name. These works, labelled as anonymous, have been little studied until now, because they are in general thought to be of lesser quality, and because researchers have prioritised the study of more important masters. It is, however, becoming increasingly apparent that these reflect the ongoing production of the time in the Southern Netherlands. Beside the fact that these paintings represent the themes that enjoyed a certain popularity at the time, their study opens perspectives onto the socio-economic context and workshop practice. These paintings could be destined for a broad market and betray different working methods allowing for swift execution in several copies. Furthermore, two of these anonymous works, dating from around 1400 or a little bit later, rank amongst the rare representatives of pictorial production in the Southern Netherlands prior to the technical innovations introduced by the Flemish Primitives. This production is by convention called pre-Eyckian painting.
Painting --- Vlaamse Primitieven --- Royal Museums of Fine Arts of Belgium [Brussels] --- anno 1400-1499 --- anno 1500-1599 --- anno 1600-1699 --- Flanders --- Anonieme meesters --- Koninklijke Musea voor Schone Kunsten van België (Brussel) --- Painting, Flemish --- Musees royaux des beaux-arts de Belgique--Catalogs --- 069 <493 BRUSSEL> --- 75.033 --- 759.03 --- 759.94931 --- Permanente tentoonstellingen. Musea--België--BRUSSEL --- Schilderkunst van de Middeleeuwen --- Arts Painting 1400 - 1600 --- Arts Painting Belgium Flanders --- 75.033 Schilderkunst van de Middeleeuwen --- 069 <493 BRUSSEL> Permanente tentoonstellingen. Musea--België--BRUSSEL --- Early Netherlandish --- Painting, Flemish - 15th century - Catalogs --- Vlaamse primitieven --- Vlaamse school --- Vlaamse primitieven. --- Anonieme meesters. --- Koninklijke Musea voor Schone Kunsten van België (Brussel).
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