1.
Early Netherlandish painter
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Their work follows the International Gothic style and begins approximately with Robert Campin and Jan van Eyck in the early 1420s. It lasts at least until the death of Gerard David in 1523, the major Netherlandish painters include Campin, van Eyck, Rogier van der Weyden, Dieric Bouts, Petrus Christus, Hans Memling, Hugo van der Goes and Hieronymus Bosch. These artists made significant advances in natural representation and illusionism, and their subjects are usually religious scenes or small portraits, with narrative painting or mythological subjects being relatively rare. Landscape is often richly described but relegated as a background detail before the early 16th century, the painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of diptychs, triptychs or polyptychs. The period is noted for its sculpture, tapestries, illuminated manuscripts, stained glass. Assisted by the system, panels and a variety of crafts were sold to foreign princes or merchants through private engagement or market stalls. A majority were destroyed during waves of iconoclasm in the 16th and 17th centuries, Early northern art in general was not well regarded from the early 17th to the mid-19th century, and the painters and their works were not well documented until the mid-19th century. Art historians spent almost another century determining attributions, studying iconography, attribution of some of the most significant works is still debated. These artists became a driving force behind the Northern Renaissance. In this political and art-historical context, the north follows the Burgundian lands which straddled areas that encompass parts of modern France, Germany, Belgium, the Netherlandish artists have been known by a variety of terms. Late Gothic is a designation which emphasises continuity with the art of the Middle Ages. In the early 20th century, the artists were variously referred to in English as the Ghent-Bruges school or the Old Netherlandish school. In this context, primitive does not refer to a lack of sophistication. When the Burgundian dukes established centres of power in the Netherlands, in the 19th century the Early Netherlandish artists were classified by nationality, with Jan van Eyck identified as German and van der Weyden as French. Scholars were at times preoccupied as to whether the schools genesis was in France or Germany, in the 14th century, as Gothic art gave way to the International Gothic era, a number of schools developed in northern Europe. Early Netherlandish art originated in French courtly art, and is tied to the tradition. Modern art historians see the era as beginning with 14th-century manuscript illuminators and this patronage continued in the low countries with the Burgundian dukes, Philip the Good and his son Charles the Bold. The demand for illuminated manuscripts declined towards the end of the century, following van Eycks innovations, the first generation of Netherlandish painters emphasised light and shadow, elements usually absent from 14th-century illuminated manuscripts
Early Netherlandish painter
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Jan van Eyck, The
Arnolfini Portrait, 1434,
National Gallery, London. This work is considered one of the more original and complex paintings in Western art because of its iconography and geometric
orthogonal perspective.
Early Netherlandish painter
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Rogier van der Weyden,
The Descent from the Cross, c. 1435,
Museo del Prado, Madrid
Early Netherlandish painter
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The
Ghent Altarpiece, completed in 1432 by Jan van Eyck. This polyptych and the
Turin-Milan Hours are generally seen as the first major works of the Early Netherlandish period.
Early Netherlandish painter
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Hieronymus Bosch,
The Garden of Earthly Delights, c. 1490–1510.
Museo del Prado, Madrid. Art historians are divided as to whether the central panel was intended as a moral warning or as a panorama of paradise lost
2.
Jan van Eyck
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Jan van Eyck was a Flemish/Netherlandish painter active in Bruges. He is often considered one of the founders of Early Netherlandish painting school, the few surviving records of his early life indicate that he was born c. After Johns death in 1425 he was employed in Lille as court painter to Philip the Good, Duke of Burgundy, until 1429 before moving to Bruges, where he lived until his death. Apart from the Ghent Altarpiece and the miniatures of the Turin-Milan Hours, about 20 surviving paintings are confidently attributed to him. Ten, including the Ghent altarpiece, are dated and signed with a variation of his motto, ALS IK KAN always written in Greek characters, Van Eyck painted both secular and religious subject matter, including altarpieces, single panel religious figures and commissioned portraits. His work includes single panels, diptychs, triptychs, and polyptych panels and he was well paid by Philip, who sought that the painter was secure financially and had artistic freedom and could paint whenever he pleased. Van Eycks work comes from the International Gothic style, but he soon eclipsed it, through his developments in the use of oil paint he achieved a new level of virtuosity. Van Eyck was highly influential and his techniques and style were adopted and refined by the Early Netherlandish painters, little is known of Jan van Eycks early life and neither the date nor place of his birth is documented. This suggests a date of birth of 1395 at the latest, however, his apparent age in the London probable self-portrait of 1433 suggests to most scholars a date closer to 1380. He was identified in the late 1500s as having been born in Maaseik and this claim is still considered credible on etymological grounds, considering that Van Eyck means of Eyck which is an old variant spelling of eik. He had a sister Margareta, and at least two brothers, Hubert and Lambert, both painters, but the order of their births has not been established. Another significant, and rather younger, painter who worked in Southern France and it is not known where Jan was educated, but he had knowledge of Latin and used the Greek and Hebrew alphabets in his inscriptions, indicating that he was schooled in the classics. This level of education was rare among painters, and would have made him attractive to the cultivated Philip. Van Eyck served John of Bavaria-Straubing, ruler of Holland, Hainault, by this time van Eyck had assembled a small workshop and was involved in redecorating the Binnenhof palace in The Hague. After Johns death in 1425 he moved to Bruges and came to the attention of Philip the Good c and his emergence as a collectable painter generally follows his appointment to Philips court, and from this point his activity in the court is comparatively well documented. He served as court artist and diplomat, and a was a member of the Tournai painters guild. On 18 October 1427, the Feast of St. Luke, he travelled to Tournai to attend a banquet in his honour, also attended by Robert Campin, a court salary freed him from commissioned work, and allowed a large degree of artistic freedom. Over the following decade van Eycks reputation and technical ability grew, unlike most of his peers his reputation never diminished and he remained well regarded over the following centuries
Jan van Eyck
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Portrait of a Man in a Turban, possible self-portrait, 1433
Jan van Eyck
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The Three Marys at the Tomb, painted or begun by Jan's brother
Hubert van Eyck, perhaps between 1410 and 1420, completed by members of Jan's workshop c 1440.
Jan van Eyck
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Ghent Altarpiece, c. 1432, Saint Bavo Cathedral, Ghent
Jan van Eyck
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The Arnolfini Portrait, 1434;
National Gallery, London
3.
Rogier van der Weyden
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Rogier van der Weyden or Roger de la Pasture was an Early Netherlandish painter whose surviving works consist mainly of religious triptychs, altarpieces and commissioned single and diptych portraits. By the latter half of the 15th century, he had eclipsed Jan van Eyck in popularity, however his fame lasted only until the 17th century, and largely due to changing taste, he was almost totally forgotten by the mid-18th century. There are few facts of van der Weydens life. What else is known of him has come from records and secondary sources. However the paintings now attributed to him are generally accepted, despite a tendency in the 19th century to attribute his work to others, all of his forms are rendered with rich, warm colourisation and a sympathetic expression, while he is known for his expressive pathos and naturalism. His portraits tend to be half length and half profile, Van der Weyden used an unusually broad range of colours and varied tones, in his finest work the same tone is not repeated in any other area of the canvas, even the whites are varied. Due to the loss of archives in 1695 and again in 1940, Rogelet de le Pasture was born in Tournai in 1399 or 1400. His parents were Henri de le Pasture and Agnes de Watrélos and he married around 1426, to Elisabeth Goffaert, and was made town painter of Brussels in 1436, and changed his name from the French to the Flemish format, becoming van der Weyden. The Pasture family had settled before in the city of Tournai where Rogiers father worked as a maître-coutelier, in 1426 Rogier married Elisabeth, the daughter of a Brussels shoemaker Jan Goffaert and his wife Cathelyne van Stockem. Rogier and Elisabeth had four children, Cornelius, who became a Carthusian monk, was born in 1427, a daughter Margaretha in 1432. Before 21 October 1435 the family settled in Brussels where the two children were born, Pieter in 1437 and Jan in 1438, who would go on to become a painter. On his move to Brussels, Rogier began using the Flemish version of his name, little is known about Rogiers training as a painter. The archival sources from Tournai were completely destroyed during World War II, the sources on his early life are confusing and have led to different interpretations by scholars. It is known that the city council of Tournai offered eight pitchers of wine in honour of a certain Maistre Rogier de le Pasture on the 17th November 1426. However, on 5 March of the year the records of the painters guild show a Rogelet de le Pasture entered the workshop of Robert Campin together with Jacques Daret. Records show that de le Pasture was already established as a painter, only five years later, on the first of August 1432, de le Pasture obtained the title of a Master painter. His later entry into apprenticeship might be explained by the fact that during the 1420s the city of Tournai was in crisis, the late apprenticeship may have been a legal formality. Also Jacques Daret was then in his twenties and had living and working in Campins household for at least a decade
Rogier van der Weyden
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Rogier van der Weyden, portrait by
Cornelis Cort, 1572
Rogier van der Weyden
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The Descent from the Cross (c. 1435), oil on oak panel, 220 × 262 cm.
Museo del Prado, Madrid
Rogier van der Weyden
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Rogier van der Weyden - Portrait of a Woman with a Winged Bonnet
Rogier van der Weyden
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The Braque Triptych, c. 1452 (right panel)
4.
Vanishing point
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In graphical perspective, a vanishing point is a point in the image plane where the projections of a set of parallel lines in space intersect. Traditional linear drawings use objects with one to three sets of parallels, defining one to three vanishing points. The vanishing point may also be referred to as the point, as lines having the same directional vector, say D. Mathematically, let q ≡ be a point lying on the plane, where f is the focal length, and let vq ≡ be the unit vector associated with q. When the image plane is parallel to two axes, lines parallel to the axis which is cut by this image plane will meet at infinity i. e. at the vanishing point. Lines parallel to the two axes will not form vanishing points as they are parallel to the image plane. Similarly, when the plane intersects two world-coordinate axes, lines parallel to those planes will meet at infinity and form two vanishing points. In three-point perspective the image plane intersects the x, y, the vanishing point theorem is the principal theorem in the science of perspective. It says that the image in a picture plane π of a line L in space, not parallel to the picture, is determined by its intersection with π, some authors have used the phrase, the image of a line includes its vanishing point. Guidobaldo del Monte gave several verifications, and Humphry Ditton called the result the main and Great Proposition. She notes, in terms of geometry, the vanishing point is the image of the point at infinity associated with L. As a vanishing point originates in a line, so a vanishing line originates in a plane α that is not parallel to the picture π. Given the eye point O, and β the plane parallel to α and lying on O, to put it simply, the vanishing line is obtained by the intersection of the image plane with a plane parallel to the ground plane, passing through the camera center. For different sets of line, their respective vanishing points will lie on this line. The horizon line is a line that represents the eye level of the observer. If the object is below the line, its vanishing lines angle up to the horizon line. If the object is above, they slope down, all vanishing lines end at the horizon line. Proof, Consider the ground plane π, as y = c which is, for the sake of simplicity, also, consider a line L that lies in the plane π, which is defined by the equation ax + bz = d
Vanishing point
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A vanishing point can be seen at the far end of this railroad.
Vanishing point
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A 2D construction of perspective viewing, showing the formation of a vanishing point
Vanishing point
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Pietro Perugino 's usage of perspective in the
Delivery of the Keys fresco at the
Sistine Chapel (1481–82) helped bring the
Renaissance to Rome.
5.
Prado
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The Prado Museum is the main Spanish national art museum, located in central Madrid. Founded as a museum of paintings and sculpture in 1819, it contains important collections of other types of works. El Prado is one of the most visited sites in the world, and it is considered one of the greatest art museums in the world. The collection currently comprises around 8,200 drawings,7,600 paintings,4,800 prints, and 1,000 sculptures, in addition to a large number of other works of art and historic documents. As of 2012, the museum displayed about 1,300 works in the buildings, while around 3,100 works were on temporary loan to various museums. The museum received 2.8 million visitors in 2012 and it is one of the largest museums in Spain. The best-known work on display at the museum is Las Meninas by Velázquez, Velázquez and his keen eye and sensibility were also responsible for bringing much of the museums fine collection of Italian masters to Spain, now the largest outside of Italy. The museum is planning a 16% extension in the nearby Salón de Reinos and their efforts and determination led to the Royal Collection being enriched by some of the masterpieces now to be seen in the Prado. In addition to works from the Spanish royal collection, other holdings increased and enriched the Museum with further masterpieces, such as the two Majas by Goya. Among the now closed museums whose collections have been added to that of the Prado were the Museo del la Trinidad in 1872, in addition, numerous legacies, donations and purchases have been of crucial importance for the growth of the collection. Upon the deposition of Isabella II in 1868, the museum was nationalized and acquired the new name of Museo del Prado, the building housed the royal collection of arts, and it rapidly proved too small. The first enlargement to the museum took place in 1918, particularly important donations include Barón Emile dErlangers gift of Goyas Black Paintings in 1881. Between 1873 and 1900, the Prado helped decorate city halls, new universities, during the Second Spanish Republic from 1931 to 1936, the focus was on building up provincial museums. The art had to be returned across French territory in night trains to the museum upon the commencement of World War II, during the early years of the dictatorship of Francisco Franco, many paintings were sent to embassies. The main building was enlarged with short pavilions in the rear between 1900 and 1960, in 1993, an extension proposed by the Prados director at the time, Felipe Garin, was quickly abandoned after a wave of criticism. In the late 1990s, a $14 million roof work forced the Velázquez masterpiece Las Meninas to change galleries twice, in 1998, the Prado annex in the nearby Casón del Buen Retiro closed for a $10 million two-year overhaul that included three new underground levels. In 2007, the finally executed Rafael Moneos project to expand its exposition room to 16,000 square meters. A glass-roofed and wedge-shaped foyer now contains the shops and cafeteria
Prado
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Museo del Prado (Main wing)
Prado
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Museo Nacional del Prado
Prado
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In the main exhibition hall, first floor
Prado
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Francisco de Goya,
La maja desnuda, oil on canvas, (circa 1797–1800)
6.
J. Paul Getty Museum
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The J. Paul Getty Museum, commonly referred to as the Getty, is an art museum in California housed on two campuses, the Getty Center and Getty Villa. The Getty Center is in the Brentwood neighborhood of Los Angeles and is the location of the museum. The collection features Western art from the Middle Ages to the present and its estimated 1.3 million visitors annually make it one of the most visited museums in the United States. The museums second location, the Getty Villa, is in the Pacific Palisades neighborhood and displays art from ancient Greece, Rome, and Etruria. In 1974, J. Paul Getty opened a museum in a re-creation of the Villa of the Papyri at Herculaneum on his property in Pacific Palisades, in 1982, the museum became the richest in the world when it inherited US$1.2 billion. In 1997, the moved to its current location in the Brentwood neighborhood of Los Angeles. Detailed information about the J. Paul Getty Museum’s collections is provided on GettyGuide, at the GettyGuide stations in the Museum, visitors can get information about exhibitions, interact with a timeline, watch videos on art-making techniques, and more. Also available at the Museum, the GettyGuide multimedia player features commentary from curators and conservators on many works of art, with GettyGuide on the Web, one may browse the Museum’s collection and bookmark works of art to create a customized tour and printable map. In 1984, Frel was demoted, and in 1986, he resigned, the Getty is involved in a controversy regarding proper title to some of the artwork in its collection. The museums previous curator of antiquities, Marion True, was indicted in Italy in 2005 on criminal charges relating to trafficking in stolen antiquities, similar charges have been addressed by the Greek authorities. The primary evidence in the case came from the 1995 raid of a Geneva, Switzerland, in 2005 True was forced to tender her resignation by the Board of Trustees, which announced her early retirement. Italy allowed the statute of limitations of the charges filed against her to expire in October 2010, True is currently under investigation by Greek authorities over the acquisition of a 2, 500-year-old funerary wreath. The wreath, along with a 6th-century BC statue of a woman, have returned to Greece and are exhibited at the Archaeological Museum of Thessaloniki. The Getty Museum resisted the requests of the Italian government for two decades, only to admit later that there might be problems attached to the acquisition. In 2006, Italian senior cultural official Giuseppe Proietti said, The negotiations havent made a step forward. Only after he suggested the Italian government to take cultural sanctions against the Getty, suspending all cultural cooperation, in another unrelated case in 1999, the Getty Museum had to hand over three antiquities to Italy after determining they were stolen. A Summary Catalogue of European Decorative Arts in the J. Paul Getty Museum was published in 2001, indeed, some discrete works are provided with annotations, e. g. In 2016, the head of the Greek god Hades was returned to Sicily
J. Paul Getty Museum
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J. Paul Getty Museum
J. Paul Getty Museum
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The Getty attracts approximately 1.8 million visitors a year.
J. Paul Getty Museum
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Architect
Richard Meier chose beige-colored Italian
travertine panels to cover the retaining walls and to serve as paving stones for the arrival plaza and Museum courtyard.
J. Paul Getty Museum
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Fra Bartolommeo, The Rest on the Flight Into Egypt with St. John the Baptist, about 1509
7.
Norton Simon Museum
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The Norton Simon Museum is an art museum located in Pasadena, California, United States. It was previously known as the Pasadena Art Institute and the Pasadena Art Museum, the museum contains the Norton Simon Theater which shows film programs daily, and hosts lectures, symposia, and dance and musical performances year-round. The museum is located along the route of the Tournament of Rosess Rose Parade, the Museum filled a void, being the only modern art museum between San Francisco and La Jolla in California at the time. It was renowned for art exhibits and supported the work of local contemporary artists such as Helen Lundeberg, John McLaughlin. Hopps later drew up a short list of California architects for a new building, including Richard Neutra, Charles Eames, John Lautner, Craig Ellwood. Hopps insisted on an architect because he expected a high level of interaction throughout the design process. A new Pasadena Art Museum building was completed in 1969, designed by Pasadena architects Thornton Ladd, the distinctive and modern curvilinear exterior facade is faced in 115,000 glazed tiles, in varying rich brown tones with an undulating surface, made by renowned ceramic artisan Edith Heath. Hopps resigned before the museum opened, in the early 1970s, due to an ambitious schedule of exhibits and the new building project, the museum began to experience serious financial hardships. He was first approached for assistance in 1971 by trustees of the museum. In 1974, the museum and Simon came to an agreement, the remainder was used to display the Pasadena museums contemporary collection. A new 10-member board of trustees was formed, consisting of four members from Simons group, Simon also became responsible for the collection and building projects, in return the museum was renamed to Norton Simon Museum and renovated at a reported cost of more than $3 million. Simon died in 1993, and the actress Jennifer Jones, his widow and chairwoman of the board, made corrective, conciliatory moves that have repositioned the museum and its two collections. In 1995, the museum began a major $5 million renovation with the architect Frank Gehry, the gardens were redesigned by Power and Associates to house the 20th-century sculpture collection in an engaging setting. The new Norton Simon Theater was the element of the renovation, designed by Gensler & Associates. The Norton Simon Museum, which more than 11,000 objects. As of 2014, their public filings placed the combined value of the artworks at about $2.5 billion. The museum makes relatively little effort to expand the collection amassed by its founder, for more than three decades after it was founded in 1975, the Norton Simon Museum maintained a no-loans policy. In 2007 the board agreed to select works to museums including the National Gallery in Washington
Norton Simon Museum
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Norton Simon Museum
Norton Simon Museum
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The museum entrance hall
Norton Simon Museum
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Lucas Cranach the Elder, Adam and Eve (pair), c. 1530
Norton Simon Museum
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Rembrandt,
Self-portrait, c. 1640
8.
Orthogonal
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The concept of orthogonality has been broadly generalized in mathematics, as well as in areas such as chemistry, and engineering. The word comes from the Greek ὀρθός, meaning upright, and γωνία, the ancient Greek ὀρθογώνιον orthogōnion and classical Latin orthogonium originally denoted a rectangle. Later, they came to mean a right triangle, in the 12th century, the post-classical Latin word orthogonalis came to mean a right angle or something related to a right angle. In geometry, two Euclidean vectors are orthogonal if they are perpendicular, i. e. they form a right angle, two vectors, x and y, in an inner product space, V, are orthogonal if their inner product ⟨ x, y ⟩ is zero. This relationship is denoted x ⊥ y, two vector subspaces, A and B, of an inner product space, V, are called orthogonal subspaces if each vector in A is orthogonal to each vector in B. The largest subspace of V that is orthogonal to a subspace is its orthogonal complement. Given a module M and its dual M∗, an element m′ of M∗, two sets S′ ⊆ M∗ and S ⊆ M are orthogonal if each element of S′ is orthogonal to each element of S. A term rewriting system is said to be if it is left-linear and is non-ambiguous. Orthogonal term rewriting systems are confluent, a set of vectors in an inner product space is called pairwise orthogonal if each pairing of them is orthogonal. Such a set is called an orthogonal set, nonzero pairwise orthogonal vectors are always linearly independent. In certain cases, the normal is used to mean orthogonal. For example, the y-axis is normal to the curve y = x2 at the origin, however, normal may also refer to the magnitude of a vector. In particular, a set is called if it is an orthogonal set of unit vectors. As a result, use of the normal to mean orthogonal is often avoided. The word normal also has a different meaning in probability and statistics, a vector space with a bilinear form generalizes the case of an inner product. When the bilinear form applied to two results in zero, then they are orthogonal. The case of a pseudo-Euclidean plane uses the term hyperbolic orthogonality, in the diagram, axes x′ and t′ are hyperbolic-orthogonal for any given ϕ. In 2-D or higher-dimensional Euclidean space, two vectors are orthogonal if and only if their dot product is zero, i. e. they make an angle of 90°, hence orthogonality of vectors is an extension of the concept of perpendicular vectors into higher-dimensional spaces
Orthogonal
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The line segments AB and CD are orthogonal to each other.
9.
Petrus Christus
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Petrus Christus was an Early Netherlandish painter active in Bruges from 1444, where, along with Hans Memling, he became the leading painter after the death of Jan van Eyck. Today, some 30 works are attributed to him. Christus was a figure for centuries, his importance not established until the work of modern art historians. Giorgio Vasari barely mentions him in his biographies of painters, written in the Renaissance, in the early to mid-nineteenth century, Gustav Waagen and Johann David Passavant were important in establishing Christuss biographical details and in attributing works to him. Christus was born in Baarle, near Antwerp and Breda, long considered a student of and successor to Jan van Eyck, his paintings have sometimes been confused with those of van Eyck. At the death of van Eyck in 1441, it is thought that Christus took over his masters workshop, had he been an active pupil in van Eycks Bruges workshop in 1441, he would have received his citizenship automatically after the customary period of one year and one day. Christus may have been van Eycks successor in the Bruges school, a document testifying to the presence of a Piero da Bruggia in Milan may suggest that he visited that city at the same time as Antonello, and the two artists may even have met. It would also explain how Italian painters learned about oil painting, Antonello, along with Giovanni Bellini, was one of the first Italian painters to use oil paint like his Netherlandish contemporaries. And Christus Virgin and Child Enthroned with Saints Francis and Jerome in Frankfurt, a late work, the reserved Portrait of a Young Girl belongs among the masterworks of Early Netherlandish painting, marking a new development in Netherlandish portraiture. It no longer shows the sitter in front of a neutral background, Christus had already perfected this format in his two portraits of 1446. Christus died in Bruges in 1475 or 1476, Hans Memling succeeded him as the next great painter in Bruges. Christus produced at least six signed and dated works, which form the basis for any other attributions to him and these are, the Portrait of Edward Grymeston, the Portrait of a Carthusian, the so-called St. In addition, a pair of panels in the Groeningemuseum in Bruges bears a date of 1452, but its authenticity is suspect. Oclc. org, 15th to 18th century European paintings, France, Central Europe, the Netherlands, Spain,2 Painting by or after Petrus Christus at the Art UK site
Petrus Christus
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The Annunciation, c. 1450,
Metropolitan Museum of Art
Petrus Christus
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Isabel of Portugal with St. Elizabeth, 1457-60.
Groeningemuseum, Bruges
Petrus Christus
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Lamentation, c. 1455-60.
Royal Museums of Fine Arts of Belgium, Brussels
Petrus Christus
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Portrait of a Young Girl, circa 1470.
Gemäldegalerie, Berlin
10.
Perspective (graphical)
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Perspective in the graphic arts is an approximate representation, on a flat surface, of an image as it is seen by the eye. If viewed from the spot as the windowpane was painted. Each painted object in the scene is thus a flat, scaled down version of the object on the side of the window. All perspective drawings assume the viewer is a distance away from the drawing. Objects are scaled relative to that viewer, an object is often not scaled evenly, a circle often appears as an ellipse and a square can appear as a trapezoid. This distortion is referred to as foreshortening, Perspective drawings have a horizon line, which is often implied. This line, directly opposite the viewers eye, represents objects infinitely far away and they have shrunk, in the distance, to the infinitesimal thickness of a line. It is analogous to the Earths horizon, any perspective representation of a scene that includes parallel lines has one or more vanishing points in a perspective drawing. A one-point perspective drawing means that the drawing has a vanishing point, usually directly opposite the viewers eye. All lines parallel with the line of sight recede to the horizon towards this vanishing point. This is the standard receding railroad tracks phenomenon, a two-point drawing would have lines parallel to two different angles. Any number of vanishing points are possible in a drawing, one for each set of lines that are at an angle relative to the plane of the drawing. Perspectives consisting of parallel lines are observed most often when drawing architecture. In contrast, natural scenes often do not have any sets of parallel lines, the only method to indicate the relative position of elements in the composition was by overlapping, of which much use is made in works like the Parthenon Marbles. Chinese artists made use of perspective from the first or second century until the 18th century. It is not certain how they came to use the technique, some authorities suggest that the Chinese acquired the technique from India, oblique projection is also seen in Japanese art, such as in the Ukiyo-e paintings of Torii Kiyonaga. This was detailed within Aristotles Poetics as skenographia, using flat panels on a stage to give the illusion of depth, the philosophers Anaxagoras and Democritus worked out geometric theories of perspective for use with skenographia. Alcibiades had paintings in his house designed using skenographia, so this art was not confined merely to the stage, Euclids Optics introduced a mathematical theory of perspective, but there is some debate over the extent to which Euclids perspective coincides with the modern mathematical definition
Perspective (graphical)
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Staircase in two-point perspective.
Perspective (graphical)
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15th century illustration from the
Old French translation of
William of Tyre 's Histoire d'Outremer.
Perspective (graphical)
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Geometrically incorrect attempt at perspective in a 1614 painting of
Old St Paul's Cathedral. (
Society of Antiquaries)
Perspective (graphical)
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Codex Amiatinus (7th century). Portrait, of Ezra, from folio 5r at the start of
Old Testament
11.
Flemish painting
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Flemish painting flourished from the early 15th century until the 17th century. These painters were invited to work at foreign courts and had a Europe-wide influence, since the end of the Napoleonic era, Flemish painters had again been contributing to a reputation that had been set by the Old Masters. The Franco-Flemish School of musical composition flourished at the same time, the so-called Flemish Primitives were the first to popularize the use of oil paint. Their art has its origins in the painting of the late Gothic period. Chief among them were Jan van Eyck, Hans Memling, Hugo van der Goes, Robert Campin, the court of the Duchy of Burgundy was an important source of patronage. From the early 16th century, the Italian Renaissance started to influence the Flemish painters, the result was very different from the typical Italian Renaissance painting. The leading artist was Pieter Brueghel the Elder, who avoided direct Italian influence, after the Siege of Antwerp, the Southern Provinces of the Netherlands remained under Spanish rule and were separated from the independent Dutch Republic. Following the deaths of major artists like Rubens in 1640 and the end of the Eighty Years War in 1648, a revival of painting in this region came in the advent of the Belgian Revolution of 1830 and work around that time is often considered Flemish. The painters, who flourished in the aftermath of this period, are usually referred to as Belgian rather than Flemish. That kingdom comprising Flanders, often influences also more recent artistss categorization, new York, The Metropolitan Museum of Art. Moderne Vlaamse schilderkunst van 1850 tot 1950 van Leys tot Permeke, cS1 maint, Multiple names, authors list Liedtke, Walter A. Flemish paintings in the Metropolitan Museum of Art. New York, The Metropolitan Museum of Art
Flemish painting
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The Arnolfini portrait by
Jan van Eyck.
12.
Panel painting
–
A panel painting is a painting made on a flat panel made of wood, either a single piece, or a number of pieces joined together. Panel painting is very old, it was a very prestigious medium in Greece and Rome, a series of 6th century BC painted tablets from Pitsa represent the oldest surviving Greek panel paintings. Most classical Greek paintings that were famous in their day seem to have been of a size comparable to modern works - perhaps up to a half-length portrait size. We can only attempt to imagine what these looked like from some detailed literary descriptions, the Severan Tondo, also from Egypt is one of the handful of non-funerary Graeco-Roman specimens to survive. Encaustic and tempera are the two used in antiquity. Encaustic largely ceased to be used after the early Byzantine icons, the earliest forms of panel painting were dossals, altar fronts and crucifixes. All were painted with images, commonly the Christ or the Virgin, with the saints appropriate to the dedication of the church. Donor portraits including members of the family are also often shown. Painted panels for altars are most numerous in Spain, especially Catalonia, the 13th and 14th centuries in Italy were a great period of panel painting, mostly altarpieces or other religious works. However, it is estimated that of all the paintings produced there,99.9 percent have been lost. The vast majority of Early Netherlandish paintings are on panel, and these include most of the earliest portraits, such as those by Jan van Eyck, and some other secular scenes. However, one of the earliest surviving oils on canvas is a French Madonna with angels of about 1410 in the Gemäldegalerie, Berlin, which is very early indeed for oil painting also. By the 15th century with the wealth of Europe, and later the appearance of humanism. Secular art opened the way to the creation of chests, painted beds, birth trays, many such works are now detached and hung framed on walls in museums. Many double-sided wings of altarpieces have also been sawn into two one-sided panels, canvas took over from panel in Italy by the first half of the 16th century, a change led by Mantegna and the artists of Venice. His panels are of notoriously complicated construction, containing as many as seventeen pieces of wood, for smaller cabinet paintings, copper sheets were another rival support, from the end of the 16th century, used by many artists including Adam Elsheimer. Many Dutch painters of the Golden Age used panel for their small works, by the 18th century it had become unusual to paint on panel, except for small works to be inset into furniture, and the like. But, for example, The National Gallery in London has two Goya portraits on panel, many other painting traditions also painted, and still paint, on wood, but the term is usually only used to refer to the Western tradition described above
Panel painting
–
The
Ghent Altarpiece by
Jan van Eyck and his brothers, 1432. A large
altarpiece on panel. The outer wings are hinged, and painted on both sides.
Panel painting
–
Boy from
Al-Fayum, 2nd century CE (a
mummy portrait). Encaustic on wood—note the cracks.
Panel painting
–
The
Frankfurt Paradiesgärtlein, a German panel painting from circa 1410
Panel painting
–
Russian
icon by
Andrey Rublev, early 15th century, on a three piece panel. The raised edges are probably gesso rather than wood
13.
Last Supper
–
The Last Supper is the final meal that, in the Gospel accounts, Jesus shared with his Apostles in Jerusalem before his crucifixion. The Last Supper is commemorated by Christians especially on Maundy Thursday, the Last Supper provides the scriptural basis for the Eucharist, also known as Holy Communion or The Lords Supper. The First Epistle to the Corinthians contains the earliest known mention of the Last Supper, during the meal Jesus predicts his betrayal by one of the Apostles present, and foretells that before the next morning, Peter will deny knowing him. Scholars have looked to the Last Supper as the source of early Christian Eucharist traditions, others see the account of the Last Supper as derived from 1st-century eucharistic practice as described by Paul in the mid-50s. The term Last Supper does not appear in the New Testament, most Protestants use the term Lords Supper, stating that the term last suggests this was one of several meals and not the meal. The term Lords Supper refers both to the event and the act of Holy Communion and Eucharistic celebration within their liturgy. Evangelical Protestants also use the term Lords Supper, but most do not use the terms Eucharist or the word Holy with the name Communion, the Eastern Orthodox use the term Mystical Supper which refers both to the biblical event and the act of Eucharistic celebration within liturgy. The last meal that Jesus shared with his disciples is described in all four canonical Gospels and this meal later became known as the Last Supper. The Last Supper was likely a retelling of the events of the last meal of Jesus among the early Christian community, after the meal, Jesus is betrayed, arrested, tried, and then crucified. In Matthew 26, 24-25, Mark 14, 18-21, Luke 22, 21-23 and John 13, 21-30 during the meal and it would be better for him if he had not been born. In Matthew 26, 23-25 and John 13, 26-27, Judas is specifically identified as the traitor. In the Gospel of John, when asked about the traitor, Jesus states, “It is the one to whom I will give this piece of bread when I have dipped it in the dish. ”Then, dipping the piece of bread, he gave it to Judas, the son of Simon Iscariot. As soon as Judas took the bread, Satan entered into him, in the course of the Last Supper, Jesus divides up some bread, says a prayer, and hands the pieces of bread to his disciples, saying this is my body. He then takes a cup of wine, offers another prayer, and hands it around, saying this is my blood of the everlasting covenant, finally, according to Paul and Luke, he tells the disciples do this in remembrance of me. This event has been regarded by Christians of most denominations as the institution of the Eucharist, there is recorded celebration of the Eucharist by the early Christian community in Jerusalem. The institution of the Eucharist is recorded in the three Synoptic Gospels and in Pauls First Epistle to the Corinthians, the words of institution differ slightly in each account. In addition, Luke 22, 19b-20 is a text which does not appear in some of the early manuscripts of Luke. Some scholars, therefore, believe that it is an interpolation, a comparison of the accounts given in the Gospels and 1 Corinthians is shown in the table below, with text from the ASV
Last Supper
–
Depictions of the
Last Supper in Christian art have been undertaken by artistic masters for centuries,
Leonardo da Vinci's late 1490s mural painting in
Milan,
Italy, being the best-known example.
Last Supper
–
Last Supper, mosaic
Last Supper
–
The Last Supper by
Dieric Bouts
14.
Sacramental bread
–
Sacramental bread, sometimes called altar bread, Communion bread, the Lamb or simply the host, is the bread which is used in the Christian ritual of the Eucharist. The word hostia is Latin for sacrificial animal, the sacrifice of Jesus according to Christian theology puts an end to the need for animal sacrifice as had been practiced in the Jerusalem Temple and all blood sacrifice once-for-all. The word was retained to describe the bread of Eucharist as a representation of the Christs sacrifice. The Orthodox Church and Eastern-rite Roman Catholic churches use leavened bread for the Eucharist, thus, the sacramental bread symbolizes the Resurrected Christ. The hostia or sacramental bread, known as prosphorá or a πρόσφορον may be out of only four ingredients, fine wheat flour, pure water, yeast. Sometimes holy water will be sprinkled into the dough or on the kneading trough at the beginning of the process. The baking may only be performed by a believing Orthodox Christian in good standing—having preferably been recently to Confession, before baking, each loaf is formed by placing two disks of dough, one on top of the other, and stamping it with a special liturgical seal. The prosphora should be fresh and not stale or moldy when presented at the altar for use in the Divine Liturgy, often several prosphora will be baked and offered by the faithful, and the priest chooses the best one for the Lamb that will be consecrated. The remaining loaves are blessed and offered back to the congregation after the end of the Divine Liturgy, a Hostia is a portion of bread used for Holy Communion in many Christian churches. In Western Christianity the host is often a thin, round unleavened wafer, the word host is derived from the Latin hostia, which means sacrificial victim. The term can be used to describe the bread both before and after consecration, though it is correct to use it after consecration—altar bread being preferred before consecration. Western theology teaches that at the Words of Institution the bread is changed or altered into the Body of Christ, hosts are often made by nuns as a means of supporting their religious communities. In the Latin Rite, unleavened bread is used as in the Jewish Passover or Feast of Unleavened Bread, the Byzantine Rite Eastern Catholic Churches use leavened bread for Prosphora. The Armenian Catholic Church, the Syro-Malabar Church and the Maronite Church have adopted the use of unleavened bread, some traditions proscribe the use of spiced, flavored or sweetened hosts, while others allow it. However, both Eastern and Western traditions insist that the bread must be made from wheat, the Code of Canon Law, Canon 924 requires that the hosts be made from wheat flour and water only and recently made so that there is no danger of spoiling. The General Instruction of the Roman Missal §321 recommends that the eucharistic bread, be made in such a way that the priest at Mass with a congregation is able in practice to break it into parts for distribution to at least some of the faithful. In the varying Protestant denominations, there is a variety of practices concerning the sacramental bread used. Some, such as the Christian Congregation use leavened loaves of bread, others, such as Lutherans, continue to use unleavened wafers like the Roman Catholics, reformed Christians use rolls which are broken and distributed to symbolize their belief that Christ is not physically present in the bread
Sacramental bread
–
The
Lamb and particles placed on the
diskos during the
Liturgy of Preparation for the
Divine Liturgy
Sacramental bread
–
Detail of tongs for baking hosts
Sacramental bread
–
Roman Catholic
unleavened Host for the Celebrant and
wafers for the communicants.
15.
Catholic Mass
–
The Mass or Eucharist is the central act of divine worship in the Catholic Church, which describes it as the source and summit of the Christian life. In formal contexts, it is called the Holy Sacrifice of the Mass. Many of the Catholic Churchs other sacraments are celebrated in the framework of the Eucharist, the term Mass is derived from the Late Latin word missa, a word used in the concluding formula of Mass in Latin, Ite, missa est. In antiquity, missa simply meant dismissal, in Christian usage, however, it gradually took on a deeper meaning. The word dismissal has come to imply a mission, for information on the history and of development of the Mass see Eucharist and Origin of the Eucharist. The Catholic Church sees the Mass as the most perfect way it has to offer latria to God, the Church believes that The other sacraments, and indeed all ecclesiastical ministries and works of the apostolate, are bound up with the Eucharist and are oriented toward it. The following description of the celebration of Mass is limited to the more recent Ordinary Form of the Roman Rite and this is one of the approved forms of Mass used in the Roman Catholic Church. Another approved form commonly seen is the Extraordinary Form, which has conducted in Latin since the late second century. For the history of this form see Pre-Tridentine Mass, Tridentine Mass and Mass of Paul VI, for Mass in other Latin liturgical rites see the articles on the respective rites. For more general information on the Mass see Mass, for attention to the presence of children at Mass, see Directory for Masses with Children. The Roman Missal contains the prayers, antiphons and rubrics of the Mass, earlier editions also contained the Scripture readings, which were then fewer in number. The Lectionary presents passages from the Bible arranged in the order for reading at each days Mass, compared with the scripture readings in the pre-1970 Missal, the modern Lectionary contains a much wider variety of passages, too many to include in the Missal. A Book of the Gospels, also called the Evangeliary, is recommended for the reading from the Gospels, but, where this book is not available, the priest enters, with a deacon, if there is one, and altar servers. The deacon may carry the Book of the Gospels, which he will place on the altar, during this procession, ordinarily, the entrance chant is sung. If there is no singing at the entrance, the antiphon is recited either by some or all of the people or by a lector. Then the priest signifies the presence of the Lord to the community gathered there by means of the Greeting, by this Greeting and the people’s response, the mystery of the Church gathered together is made manifest The greetings are derived from the Pauline epistles. Then the priest invites those present to take part in the Act of Penitence and this is concluded with the priests prayer of absolution, which, however, lacks the efficacy of the Sacrament of Penance. From time to time on Sundays, especially in Easter Time, instead of the customary Penitential Act, after the Penitential Act, the Kyrie, eleison, is always begun, unless it has already been part of the Penitential Act
Catholic Mass
–
A 15th-century Mass
Catholic Mass
–
Depiction of the first Mass in Chile, by Pedro Subercaseaux
Catholic Mass
–
Structure of the Roman Rite Mass
Catholic Mass
–
High altar of the Capuchin church in
Ostend,
Belgium.
16.
Judas Iscariot
–
Judas Iscariot was, according to the New Testament, one of the twelve original disciples of Jesus Christ, and son of Simon Iscariot. He is known for the kiss and betrayal of Jesus to the Sanhedrin for thirty silver coins and his name is often used synonymously with betrayal or treason. Though there are varied accounts of his death, the traditional version sees him as having hanged himself following the betrayal and his place among the Twelve Apostles was later filled by Matthias. Despite his notorious role in the Gospel narratives, Judas remains a figure in Christian history. Gnostic texts – rejected by the mainstream Church as heretical – praise Judas for his role in triggering humanitys salvation, Judas is mentioned in the synoptic gospels, the Gospel of John, and at the beginning of Acts of the Apostles. Judas was a name in New Testament times. Judas Iscariot should not be confused with Jude Thomas, or with Saint Jude Thaddaeus who was one of the Twelve Apostles. Origen of Alexandria, in his Commentary on Johns Gospel, reflected on Judass interactions with the other apostles, Simon Peter spoke for the twelve, Lord, to whom shall we go. You have the words of eternal life, but Jesus observed then that although Judas was one of the twelve whom he had chosen, marks Gospel states that the chief priests were looking for a way to arrest Jesus. They decided not to do so during the feast, since they were afraid people would riot, instead. According to Lukes account, Satan entered Judas at this time, according to the account in the Gospel of John, Judas carried the disciples money bag or box, but Johns Gospel makes no mention of the thirty pieces of silver as a fee for betrayal. However, in John 13, 27-30, when Judas left the gathering of Jesus and His disciples with betrayal in mind and they used it to buy the potters field. The Gospel account presents this as a fulfillment of prophecy, the Acts 1, 18-19 says that Judas used the money to buy a field, but fell headfirst, and burst asunder in the midst, and all his bowels gushed out. This field is called Akeldama or Field of Blood, the non-canonical Gospel of Judas says Judas had a vision of the disciples stoning and persecuting him. The existence of conflicting accounts of the death of Judas has caused problems for scholars who have them as threatening the reliability of Scripture. This problem was one of the points causing C. S. Lewis, for example, various attempts at harmonization have been suggested. Some have taken the descriptions as figurative, that the falling prostrate was Judas in anguish, and they argue that the author adds imaginative details such as the thirty pieces of silver, and the fact that Judas hangs himself, to an earlier tradition about Judass death. Even writers such as Jerome and John Calvin concluded that this was obviously an error
Judas Iscariot
–
Judas Iscariot (right), retiring from the
Last Supper, painting by
Carl Bloch, late 19th century
Judas Iscariot
–
A 16th-century fresco depicting Judas being paid the thirty pieces of silver.
Judas Iscariot
–
Judas Iscariot from Tarzhishte Monastery, Strupets, Bulgaria, 16th-century fresco
Judas Iscariot
–
The kiss of Judas Iscariot, coloured engraving, 15th century.
17.
Altarpiece
–
An altarpiece is an artwork such as a painting, sculpture or relief representing a religious subject made for placing behind the altar of a Christian church. Altarpieces were one of the most important products of Christian art especially from the late Middle Ages to the era of the Counter-Reformation. Large number of altarpieces are now removed from their settings, and often their elaborate sculpted frameworks. Altarpieces seem to have begun to be used during the 11th century, the reasons and forces that led to the development of altarpieces are not generally agreed upon. The habit of placing decorated reliquaries of saints on or behind the altar, as well as the tradition of decorating the front of the altar with sculptures or textiles, an elaborate example of such an early altarpiece is the Pala dOro in Venice. The appearance and development of these first altarpieces marked an important turning point both in the history of Christian art and Christian religious practice, the autonomous image now assumed a legitimate position at the centre of Christian worship. Painted panel altars emerged in Italy during the 13th century, in the 13th century, it is not uncommon to find frescoed or mural altarpieces in Italy, mural paintings behind the altar function as visual complements for the liturgy. These altarpieces were influenced by Byzantine art, notably icons, which reached Western Europe in greater numbers following the conquest of Constantinople in 1204. During this time, altarpieces began to be decorated with an outer. Vigoroso da Sienas altarpiece from 1291 display such an altarpiece and this treatment of the altarpiece would eventually pave the way for the emergence, in the 14th century, of the polyptych. The sculpted elements in the emerging polyptychs often took inspiration from contemporary Gothic architecture, in Italy, they were still typically executed in wood and painted, while in northern Europe altarpieces were often made of stone. The early 14th century saw the emergence, in Germany, the Netherlands, Scandinavia, the Baltic region, by hinging the outer panels to the central panel and painting them on both sides, the motif could be regulated by opening or closing the wings. The pictures could thus be changed depending on liturgical demands, the earliest often displayed sculptures on the inner panels, i. e. displayed when open, and paintings on the back of the wings, displayed when closed. With the advent of winged altarpieces, a shift in imagery also occurred, instead of being centred on a single holy figure, altarpieces began to portray more complex narratives linked to the Christian concept of salvation. As the Middle Ages progressed, altarpieces began to be commissioned more frequently, in Northern Europe, initially Lübeck and later Antwerp would develop into veritable export centres for the production of altarpieces, exporting to Scandinavia, Spain and northern France. By the 15th century, altarpieces were often commissioned not only by churches but also by individuals, families, guilds, the 15th century saw the birth of Early Netherlandish painting in the Low Countries, henceforth panel painting would dominate altarpiece production in the area. In Germany, sculpted wooden altarpieces were instead generally preferred, while in England alabaster was used to a large extent, in England, as well as in France, stone retables enjoyed general popularity. In Italy both stone retables and wooden polyptychs were common, with painted panels and often with complex framing in the form of architectural compositions
Altarpiece
–
The
Ghent Altarpiece (1432) by
Hubert and
Jan van Eyck. Considered one of the masterpieces of
Northern Renaissance art, it is an example of a complex polyptych panel painting
Altarpiece
–
Vigoroso da Siena 's altarpiece from 1291, an example of an early painted panel altarpiece, with the individual parts framed by gables and sculptured elements
Altarpiece
–
The Altarpiece of the Holy Blood, by
Tilman Riemenschneider (1501–1505). An example of an altarpiece with a central, sculpted section and relief wings.
18.
Typology (theology)
–
Typology in Christian theology and Biblical exegesis is a doctrine or theory concerning the relationship of the Old Testament to the New Testament. Events, persons, or statements in the Old Testament are seen as types pre-figuring or superseded by antitypes, for example, Jonah may be seen as the type of Christ in that he emerged from the fishs belly and thus appeared to rise from death. In the fullest version of the theory of typology, the purpose of the Old Testament is viewed as merely the provision of types for Christ. One exception to this is the Christian Brethren of the 19th and 20th centuries, where typology was much favoured, Typology was frequently used in early Christian art, where type and antitype would be depicted in contrasting positions. To this is prefixed the Greek preposition ἀντί anti, meaning opposite, Christian typology begins in the New Testament itself. For example, Paul in Romans 5.14 calls Adam a type of the one who was to come — i. e. a type of Christ and he contrasts Adam and Christ both in Romans 5 and in 1 Corinthians 15. There are also typological concepts in pre-Pauline strata of the New Testament, Typology greatly extended the number of these links by adding others based on the similarity of Old Testament actions or situations to an aspect of Christ. Typology is also a theory of history, seeing the story of the Jewish and Christian peoples as shaped by God. In this role, God is often compared to a writer, the system of Medieval allegory began in the Early Church as a method for synthesizing the seeming discontinuities between the Hebrew Bible and the New Testament. Most theorists believed in the truth of the Old Testament accounts. Others regarded some parts of the Bible as essentially allegorical, however, the typological relationships remained the same whichever view was taken. Paul states the doctrine in Colossians 2, 16-17 - Therefore do not let anyone judge you by what you eat or drink, or with regard to a religious festival, a New Moon celebration or a sabbath day. These are a shadow of the things that were to come, the idea also finds expression in the Letter to the Hebrews. Origen Christianised the system, and figures including Hilary of Poitiers, isidore of Seville and Rabanus Maurus became influential as summarizers and compilers of works setting out standardized interpretations of correspondences and their meanings. Jewish typological thought continued to develop in Rabbinic literature, including the Kabbalah, with such as the Pardes. Typology frequently emerged in art, many typological pairings appear in sculpture on cathedrals and churches, popular illustrated works expounding typological couplings were among the commonest books of the late Middle Ages, as illuminated manuscripts, blockbooks, and incunabula. The Speculum Humanae Salvationis and the Biblia pauperum became the two most successful compilations, the story of Jonah and the fish in the Old Testament offers an example of typology. In the Old Testament Book of Jonah, Jonah told his shipmates to throw him overboard, explaining that Gods wrath would pass if Jonah were sacrificed, and that the sea would become calm
Typology (theology)
–
The
Ascension from a
Speculum Humanae Salvationis ca. 1430, see below.
Typology (theology)
–
Jacob's Ladder from a
Speculum Humanae Salvationis ca. 1430, pre-figuring the Ascension above
Typology (theology)
–
Christians believe that Jesus is the mediator of the New Covenant. In the
Sermon on the Mount he
commented on the Law. Some scholars
consider this to be an antitype of the proclamation of the
Ten Commandments or
Mosaic Covenant by
Moses from
mount Sinai.
19.
Leuven Town Hall
–
The City Hall of Leuven, Belgium, is a landmark building on that citys Grote Markt square, across from the monumental St. Peters Church. Built in a Brabantine Late Gothic style between 1448 and 1469, it is famous for its architecture, crafted in lace-like detail. The city Hall has three stories, lined with pointed Gothic windows on the three sides visible from the Markt. Above is a parapet, behind which rises a steep roof studded with four tiers of dormers. At the angles of the roof are octagonal turrets pierced with slits allowing for the passage of light, statues in canopied niches are distributed all over the building. The corbels supporting the statues are carved with Biblical scenes in high relief, while the niches and corbels are original with the building, the 236 statues themselves are relatively recent, dating from after 1850. The main façade has a staircase, and two portals in the center, above which are figures of Saint Peter and Madonna and Child. The interior accommodates a collection of artwork, including sculptures by Constantin Meunier. Inside can also be seen the portraits of the Leuven mayors since 1794, the building today known as the city Hall was the Voirste Huys of a larger complex of municipal buildings on which construction started in 1439 at the site of an existing City hall. The project resumed in 1448 under the direction of Matheus de Layens, the first stone of the Voirste Huys was laid on 28 March of that year. The cellars of some demolished houses were incorporated into the new construction, the initial plans, influenced by the City hall at Brussels, included a belfry tower at one of the corners. This design was modified by de Layens, resulting in the arrangement of turrets observed today. The exterior masonry and roof were finished in 1460, and in 1469 the building was complete, in the 19th century, the city Hall underwent renovations made necessary by centuries worth of decay. The building remained standing amid the devastation of Leuven during World War I, in the Second World War, a bomb strike in front of the building caused yet more damage, it took until 1983 before repairs were completed. Grant Allen, Cities of Belgium 550 jaar Stadhuis Leuven
Leuven Town Hall
–
Town Hall, Leuven
Leuven Town Hall
–
City Hall.
Leuven Town Hall
–
The Town Hall spires standing beyond the destruction of the First World War
Leuven Town Hall
–
The town hall at night, lit up by laser lights
20.
Palais des Beaux-Arts de Lille
–
The Palais des Beaux-Arts de Lille is a municipal museum dedicated to fine arts, modern art, and antiquities. It is one of the largest art museums in France, the museum opened in 1809 and was initially housed in a church confiscated from the Récollets before being transferred to the citys town hall. In 1866, the musée Wicar, formed from the collection of Jean-Baptiste Wicar, was merged into the Palais des Beaux-Arts, construction of the Palaiss current Belle Époque-style building began in 1885 under the direction of Géry Legrand, mayor of Lille, and it was completed in 1892. The architects chosen to design the new building were Edouard Bérard, the building is located on the place de la République, in the center of the city, facing the préfecture of Lille. It was renovated during the 1990s and reopened in 1997, at the start of the 1990s, the buildings poor state and the moving of Vaubans relief models of fortified towns to Lille forced the town to renovate the building. Work began in 1991, under the architects Jean-Marc Ibos and Myrto Vitart and this allowed the creation of a new 700 m² basement room for temporary exhibitions, as well as departments for the relief models and for 19th-century sculpture. Overall the museum covers 22000 m² and held 72430 pieces in 2015, seated man wearing a shirt, bare arms
Palais des Beaux-Arts de Lille
–
Palais des Beaux-Arts de Lille
Palais des Beaux-Arts de Lille
–
Location within Lille
Palais des Beaux-Arts de Lille
–
Ascension of the Elect by
Dirk Bouts.
Palais des Beaux-Arts de Lille
–
Descent from the Cross by
Rubens
21.
Otto III
–
Otto III was Holy Roman Emperor from 996 until his early death in 1002. A member of the Ottonian dynasty, Otto III was the son of the Emperor Otto II. Otto III was crowned as King of Germany in 983 at the age of three, shortly after his fathers death in southern Italy while campaigning against the Byzantine Empire, though the nominal ruler of Germany, Otto IIIs minor status ensured his various regents held power over the Empire. His cousin Henry II, Duke of Bavaria, initially claimed regency over the young king, Otto III was then still a child, so his grandmother, the Dowager Empress Adelaide of Italy, served as regent until 994. In 996, Otto III marched to Italy to claim the titles King of Italy and Holy Roman Emperor, Otto III also sought to reestablish Imperial control over the city of Rome, which had revolted under the leadership of Crescentius II, and through it the papacy. Crowned as Emperor, Otto III put down the Roman rebellion and installed his cousin as Pope Gregory V, after the Emperor had pardoned him and left the city, Crescentius II again rebelled, deposing Gregory V and installing John XVI as Pope. Otto III returned to the city in 998, reinstalled Gregory V, when Gregory V died in 999, Otto III installed Sylvester II as the new Pope. Otto IIIs actions throughout his life further strengthened imperial control over the Catholic Church, from the beginning of his reign, Otto III faced opposition from the Slavs along the eastern frontier. Following the death of his father in 983, the Slavs rebelled against imperial control, Otto III would fight to regain the Empires lost territories throughout his reign with only limited success. While in the east, Otto III strengthened the Empires relations with Poland, Bohemia, returning to Rome in 1001, Otto III faced a rebellion by the Roman aristocracy, which forced him to flee the city. While marching to reclaim the city in 1002, however, Otto III suffered a sudden fever, with no clear heir to succeed him, his early death threw the Empire into political crisis. Otto III was born in June or July 980 somewhere between Aachen and Nijmegen, the only son of Emperor Otto II and his wife Theophanu, Otto III was the youngest of the couples four children. Immediately prior to Otto IIIs birth, his father had completed military campaigns in France against King Lothar, on 14 July 982, Otto IIs army suffered a crushing defeat against the Muslim Emirate of Sicily at the Battle of Stilo. Otto II had been campaigning in southern Italy with hopes of annexing the whole of Italy into the Holy Roman Empire, Otto II himself escaped the battle unharmed but many important imperial officials were among the battles casualties. This was the first time a German ruler had been elected on Italian soil, after the assembly was concluded, Otto III and his mother Theophanu travelled across the Alps in order for Otto to be crowned at Aix, the traditional location of the coronation of the German kings. Otto II stayed behind to address military action against the Muslims, while still in central Italy, however, Otto II suddenly died on 7 November 983, and was buried in St. Peters Basilica in Rome. Otto III was crowned as king on Christmas Day 983, three weeks after his fathers death, by Willigis, the Archbishop of Mainz, and by John, news of Otto IIs death first reached Germany shortly after his sons coronation. The unresolved problems in southern Italy and the Slavic uprising on the Empires eastern border made the Empires political situation extremely unstable, with a minor on the throne, the Empire was thrown into confusion and Otto IIIs mother Theophanu assumed the role of regent for her young son
Otto III
–
Otto III from the
Gospels of Otto III
Otto III
–
Henry II, Duke of Bavaria, served as Otto III's regent from 983 to 984. Following a failed rebellion to claim the throne from himself, Henry II was forced to pass the regency to Otto III's mother
Theophanu.
Otto III
–
Otto III's mother
Theophanu served as his regent from 984 until her death in 991.
Otto III
–
The
Imperial Crown of the Holy Roman Empire. Otto III was crowned as Emperor in 994 by
Pope Gregory V.
22.
National Gallery
–
The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
National Gallery
National Gallery
–
The Raising of Lazarus by
Sebastiano del Piombo, from the collection of
John Julius Angerstein. This became the founding collection of the National Gallery in 1824. The painting has the
accession number NG1, making it officially the first painting to enter the Gallery.
National Gallery
–
100
Pall Mall, the home of the National Gallery from 1824 to 1834.
National Gallery
–
The Baptism of Christ by
Piero della Francesca, one of Eastlake's purchases.
23.
London
–
London /ˈlʌndən/ is the capital and most populous city of England and the United Kingdom. Standing on the River Thames in the south east of the island of Great Britain and it was founded by the Romans, who named it Londinium. Londons ancient core, the City of London, largely retains its 1. 12-square-mile medieval boundaries. London is a global city in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism. It is crowned as the worlds largest financial centre and has the fifth- or sixth-largest metropolitan area GDP in the world, London is a world cultural capital. It is the worlds most-visited city as measured by international arrivals and has the worlds largest city airport system measured by passenger traffic, London is the worlds leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. Londons universities form the largest concentration of education institutes in Europe. In 2012, London became the first city to have hosted the modern Summer Olympic Games three times, London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2015 municipal population was 8,673,713, the largest of any city in the European Union, Londons urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The citys metropolitan area is the most populous in the EU with 13,879,757 inhabitants, the city-region therefore has a similar land area and population to that of the New York metropolitan area. London was the worlds most populous city from around 1831 to 1925, Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Pauls Cathedral, Tower Bridge, Trafalgar Square, and The Shard. The London Underground is the oldest underground railway network in the world, the etymology of London is uncertain. It is an ancient name, found in sources from the 2nd century and it is recorded c.121 as Londinium, which points to Romano-British origin, and hand-written Roman tablets recovered in the city originating from AD 65/70-80 include the word Londinio. The earliest attempted explanation, now disregarded, is attributed to Geoffrey of Monmouth in Historia Regum Britanniae and this had it that the name originated from a supposed King Lud, who had allegedly taken over the city and named it Kaerlud. From 1898, it was accepted that the name was of Celtic origin and meant place belonging to a man called *Londinos. The ultimate difficulty lies in reconciling the Latin form Londinium with the modern Welsh Llundain, which should demand a form *lōndinion, from earlier *loundiniom. The possibility cannot be ruled out that the Welsh name was borrowed back in from English at a later date, and thus cannot be used as a basis from which to reconstruct the original name. Until 1889, the name London officially applied only to the City of London, two recent discoveries indicate probable very early settlements near the Thames in the London area
London
–
Palace of Westminster,
Buckingham Palace and
Central London skyline
London
London
London
–
The name London may derive from the
River Thames
24.
Metropolitan Museum of Art
–
The Metropolitan Museum of Art, colloquially the Met, is located in New York City and is the largest art museum in the United States, and is among the most visited art museums in the world. Its permanent collection contains two million works, divided among seventeen curatorial departments. The main building, on the edge of Central Park along Manhattans Museum Mile, is by area one of the worlds largest art galleries. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains a collection of art, architecture. On March 18,2016, the museum opened the Met Breuer museum at Madison Avenue in the Upper East Side, it extends the museums modern, the Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, Indian, and Islamic art. The museum is home to collections of musical instruments, costumes and accessories, as well as antique weapons. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries, the Metropolitan Museum of Art was founded in 1870. The founders included businessmen and financiers, as well as leading artists and thinkers of the day and it opened on February 20,1872, and was originally located at 681 Fifth Avenue. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, the museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Mets galleries. In addition to its permanent exhibitions, the Met organizes and hosts traveling shows throughout the year. The director of the museum is Thomas P. Campbell, a long-time curator and it was announced on February 28th,2017 that Campbell will be stepping down as the Mets director and CEO, effective June. On March 1st,2017 the BBC reported that Daniel Weiss shall be the acting CEO until a replacement is found, Beginning in the late 19th century, the Met started to acquire ancient art and artifacts from the Near East. From a few tablets and seals, the Mets collection of Near Eastern art has grown to more than 7,000 pieces. The highlights of the include a set of monumental stone lamassu, or guardian figures. The Mets Department of Arms and Armor is one of the museums most popular collections. Among the collections 14,000 objects are many pieces made for and used by kings and princes, including armor belonging to Henry VIII of England, Henry II of France, Rockefeller donated his more than 3, 000-piece collection to the museum. The Mets Asian department holds a collection of Asian art, of more than 35,000 pieces, the collection dates back almost to the founding of the museum, many of the philanthropists who made the earliest gifts to the museum included Asian art in their collections
Metropolitan Museum of Art
–
The Metropolitan Museum of Art
Metropolitan Museum of Art
Metropolitan Museum of Art
–
The facade of the Met dominates the city's "
Museum Mile ".
Metropolitan Museum of Art
–
The Great Hall
25.
Bargello
–
The Bargello, also known as the Palazzo del Bargello, Museo Nazionale del Bargello, or Palazzo del Popolo, is a former barracks and prison, now an art museum, in Florence, Italy. The word bargello appears to come from the late Latin bargillus, during the Italian Middle Ages it was the name given to a military captain in charge of keeping peace and justice during riots and uproars. In Florence he was hired from a foreign city to prevent any appearance of favoritism on the part of the Captain. The position could be compared with that of a current Chief of police, the name Bargello was extended to the building which was the office of the captain. The palace was built to house first the Capitano del Popolo and later, in 1261, the podestà and this Palazzo del Podestà, as it was originally called, is the oldest public building in Florence. This austere crenellated building served as model for the construction of the Palazzo Vecchio, in 1574, the Medici dispensed with the function of the Podestà and housed the bargello, the police chief of Florence, in this building, hence its name. When Leopold II, Holy Roman Emperor Peter Leopold was exiled, the makeshift Governor of Tuscany decided that the Bargello should no longer be a jail, the original two-story structure was built alongside the Volognana Tower in 1256. The third story, which can be identified by the blocks used to construct it, was added after the fire of 1323. The building is designed around a courtyard with an external staircase leading to the second floor. An open well is found in the center of the courtyard, the Bargello opened as a national museum in 1865, displaying the largest Italian collection of gothic and Renaissance sculptures. The museum houses masterpieces by Michelangelo, such as his Bacchus, Pitti Tondo, Brutus, benvenuto Cellini is represented with his bronze bust of Cosimo I. There are a few works from the Baroque period, notably Gianlorenzo Berninis 1636-7 Bust of Costanza Bonarelli, the museum also has a fine collection of ceramics, textile, tapestries, ivory, silver, armours and old coins. Honolulu Hales interior courtyard, staircase, and open ceiling were modeled after the Bargello
Bargello
–
The Bargello.
Bargello
–
Stairs and inner courtyard.
Bargello
–
Inner courtyard.
Bargello
–
Lorenzo Ghiberti 's Isaac's Sacrifice.
26.
Fine Arts Museums of San Francisco
–
The Fine Arts Museums of San Francisco, comprising the M. H. With a total value of over $1 billion, the permanent collection of the Fine Arts Museums is organized into six areas, each with a curatorial staff. There are 150,000 objects in the permanent collection, of which 90% are digitally photographed and cataloged, unlike most other major art museums, the Fine Arts Museums of San Francisco do not have a large endowment on which it can draw. As of June 2011, the endowment amounted to $120 million, the museums operate on an annual budget of about $55 million, most of which is funded by membership dues, ticket sales, donations and purchases in its stores as well as contributed revenue. In fiscal year 2012, the museum drew nearly 1.6 million visitors, in 2012, the Fine Arts Museums of San Francisco and the Louvre signed an agreement that provides for collaborative exhibitions and the sharing of art works. Holleins tenure began on June 1,2016, media related to Fine Arts Museums of San Francisco at Wikimedia Commons Official website
Fine Arts Museums of San Francisco
–
The
M. H. de Young Memorial Museum, part of the Fine Arts Museums of San Francisco.
Fine Arts Museums of San Francisco
–
The
California Palace of the Legion of Honor, also part of the Fine Arts Museums of San Francisco.
27.
Robert Campin
–
Robert Campin, now usually identified with the Master of Flémalle, was the first great master of the Flemish Primitives. Campins identity and the attribution of the paintings in both the Campin and Master of Flémalle groupings has been a matter of controversy for decades. Campin was highly successful during his lifetime, and thus his activities are well documented, but he did not sign or date his works. A corpus of work attached to the unidentified Master of Flémalle, Campin was active by 1406 as a master painter in Tournai, in todays Belgium, and became that citys leading painter for 30 years. He had attained citizenship by 1410, and may have studied under Jan van Eyck and his fame had spread enough by 1419 that he led a large and profitable workshop. He became involved in the revolt of the Brotherhoods in the early 1420s, yet he maintained his standing and workshop until his death in 1444. He was successful in his lifetime, and the recipient of a number of civic commissions, Campin taught both Rogier van der Weyden and Jacques Daret. He was a contemporary of Jan van Eyck, and they met in 1427, campins best known work is the Mérode Altarpiece of c 1425-28. In 1408 he had purchased the house that he had been leasing since 1406 near the Tournai Cathedral, in 1410 he bought into the full citizenship. Records show a number of commissions from individuals and guilds, as well as from ecclesiastical. Campin owned several houses, purchased city bonds and invested in mortgages, between 1423 and 1429, the city government was dominated by the guilds. Campin was the deputy dean of the guild of goldsmiths and painters in 1423/24 and 1425, in 1427 he represented the guild on the city council. After restoration of the oligarchy of full citizens, the leaders of the guild regime, Campin was ordered to make a pilgrimage to Saint-Gilles and pay the fine. Campin was married to Ysabel de Stocquain and he had an affair with Laurence Polette, for which he was prosecuted in 1432 and sentenced to banishment for a year. Margaret of Burgundy, wife of the Count of Holland and sister of John the Fearless, Duke of Burgundy intervened on his behalf, short time after the verdict Campin’s apprentices Rogier van der Weyden and Jacques Daret were accepted as masters into the guild of painters. However, the dated Werl Altarpiece shows he continued to work and he died in his adopted city of Tournai in 1444. Although heavily indebted to 14th century manuscript illumination, Campin displayed greater powers of realistic observation than any other painter before him. He was one of the first to experiment with the use of oil-based colours, in lieu of egg-based tempera, Campin used the new technique to convey strong, rounded characters by modelling light and shade in compositions of complex perspectives
Robert Campin
–
Portrait of St. Veronica, attributed to Robert Campin.
Robert Campin
–
The Mérode Altarpiece, Robert Campin, 1425-1428.
Robert Campin
–
Right hand panel of the 1438
The Werl Triptych, now in the
Prado, Madrid.
Robert Campin
–
Bruges
28.
National Gallery (London)
–
The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
National Gallery (London)
National Gallery (London)
–
Location within Central London
National Gallery (London)
–
The Raising of Lazarus by
Sebastiano del Piombo, from the collection of
John Julius Angerstein. This became the founding collection of the National Gallery in 1824. The painting has the
accession number NG1, making it officially the first painting to enter the Gallery.
National Gallery (London)
–
100
Pall Mall, the home of the National Gallery from 1824 to 1834.
29.
National Gallery of Art
–
The National Gallery of Art, and its attached Sculpture Garden, is a national art museum in Washington, D. C. located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. Open to the public and free of charge, the museum was established in 1937 for the American people by a joint resolution of the United States Congress. Andrew W. Mellon donated an art collection and funds for construction. The Gallery often presents temporary special exhibitions spanning the world and the history of art and it is one of the largest museums in North America. In 1930 Mellon formed the A. W. Mellon Educational and Charitable Trust, when quizzed by Abbot, he explained that the project was in the hands of the Trust and that its decisions were partly dependent on the attitude of the Government towards the gift. Designed by architect John Russell Pope, the new structure was completed and accepted by President Franklin D. Roosevelt on behalf of the American people on March 17,1941. Neither Mellon nor Pope lived to see the completed, both died in late August 1937, only two months after excavation had begun. At the time of its inception it was the largest marble structure in the world, as anticipated by Mellon, the creation of the National Gallery encouraged the donation of other substantial art collections by a number of private donors. The Gallerys East Building was constructed in the 1970s on much of the land left over from the original congressional joint resolution. It was funded by Mellons children Paul Mellon and Ailsa Mellon Bruce, designed by famed architect I. M. Pei, the contemporary structure was completed in 1978 and was opened on June 1 of that year by President Jimmy Carter. The new building was built to house the Museums collection of paintings, drawings, sculptures. The design received a National Honor Award from the American Institute of Architects in 1981, the final addition to the complex is the National Gallery of Art Sculpture Garden. Completed and opened to the public on May 23,1999, the National Gallery of Art is supported through a private-public partnership. The United States federal government provides funds, through annual appropriations, to support the museums operations, all artwork, as well as special programs, are provided through private donations and funds. The museum is not part of the Smithsonian Institution, noted directors of the National Gallery have included David E. Finley, Jr. John Walker, and J. Carter Brown. Rusty Powell III is the current director, entry to both buildings of the National Gallery of Art is free of charge. From Monday through Saturday, the museum is open from 10 a. m. –5 p. m. it is open from 11 –6 p. m. on Sundays and it is closed on December 25 and January 1. The museum comprises two buildings, the West Building and the East Building linked by an underground passage
National Gallery of Art
–
National Gallery of Art
National Gallery of Art
–
The East Building
National Gallery of Art
–
Exhibitions in the West Building
National Gallery of Art
–
Exhibitions in the East Building
30.
Royal Museum of Fine Arts, Antwerp
–
The Royal Museum of Fine Arts Antwerp is a museum in Antwerp, Belgium, founded in 1810, houses a collection of paintings, sculptures and drawings from the fourteenth to the twentieth centuries. This collection is representative of the production and the taste of art enthusiasts in Antwerp, Belgium. The museum is closed for renovation until the end of 2017, the neoclassical building housing the collection is one of the primary landmarks of the Zuid district of Antwerp. The majestic building was designed by Jacob Winders and Frans van Dijk, built beginning in 1884, opened in 1890, the building stands in gardens bounded by the Leopold de Waalplaats, the Schildersstraat, the Plaatsnijdersstraat, and the Beeldhouwersstraat. The museums collection began with the artworks owned by the Antwerp Guild of Saint Luke, when the guild disbanded, its gallery of paintings went to the Academy of Fine Arts, which had been founded in 1663 with the involvement of David Teniers. The gallery had works by Peter Paul Rubens, Jacob Jordaens, during French occupations in 1794 and 1796, art was looted from churches and other buildings in Antwerp, the pieces that were later recovered became part of the museums collection. By 1817 the museum listed 127 items in its catalogue, mostly dating to the mid-16th and 17th centuries, william I of the Netherlands helped the museum in various ways. In 1823 he donated three paintings, including a work by Titian—Pope Alexander IV presents Jacopo Pesaro to Saint Peter—which became the museums first foreign piece. He decreed a grant of 20,000 guilders to build the collections contemporary art in 1827, only in 1873 did the museum begin to acquire living artists works. A significant bequest from a mayor of Antwerp, Florent van Ertborn. Van Ertborn had collected Early Netherlandish art at a time when it was out of favour and these works included Jan van Eycks Saint Barbara and Madonna at the Fountain and Rogier van der Weydens Portrait of Philip de Croy and the Seven Sacraments Altarpiece. Also in the bequest were paintings by Hans Memling, Dieric Bouts, Joachim Patinir, Quinten Massys, Jean Fouquet, Simone Martini, Antonello da Messina, at the end of 2011 the museum closed to the public for major renovations
Royal Museum of Fine Arts, Antwerp
–
Royal Museum of Fine Arts Antwerp
Royal Museum of Fine Arts, Antwerp
–
Jean Fouquet, Virgin and Child Surrounded by Angels
Royal Museum of Fine Arts, Antwerp
–
Hans Memling,
Portrait of a Man with a Roman medal
Royal Museum of Fine Arts, Antwerp
–
The Education of Mary by
Peter Paul Rubens.
.jpg)
Rines, George Edwin, ed. (1920). "Bouts, Dirk". Encyclopedia Americana.
Rines, George Edwin, ed. (1920). "
