1.
Duchy of Brabant
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The Duchy of Brabant was a State of the Holy Roman Empire established in 1183. Today all the former territories, apart from exclaves are in Belgium except for the Dutch province of North Brabant. The Duchy of Brabant was historically divided into four parts, each with its own capital, the four capitals were Leuven, Brussels, Antwerp and s-Hertogenbosch. Before s-Hertogenbosch was founded, Tienen was the fourth capital and its most important cities were Brussels, Antwerp, Leuven, Breda, s-Hertogenbosch, Lier and Mechelen. The modern flag of Belgium takes its colors from Brabants coat of arms, probably first used by Count Lambert I of Louvain, the lion is documented in a 1306 towns seal of Kerpen, together with the red lion of Limburg. Up to the present, the Brabant lion features as the charge on the coats of arms of both Flemish and Walloon Brabant, and of the Dutch province of North Brabant. The regions name is first recorded as the Carolingian shire pagus Bracbatensis, upon the 843 Treaty of Verdun it was part of Lotharingia within short-lived Middle Francia, and was ceded to East Francia according to the 880 Treaty of Ribemont. In earlier Roman times, the Nervii, a Belgic tribe and they were incorporated into the Roman province of Belgica, and considered to have both Celtic and Germanic cultural links. At the end of the Roman period the region was conquered by the Germanic Franks, in 959 the East Frankish king Otto I of Germany elevated Count Godfrey of Jülich to the rank of duke of Lower Lorraine. In 962 the duchy became a part of the Holy Roman Empire. Here, the counts of Leuven rose to power, when about 1000 Count Lambert I the Bearded married Gerberga, the daughter of Duke Charles of Lower Lorraine, and acquired the County of Brussels. About 1024 southernmost Brabant fell to Count Reginar V of Mons, in 1190, after the death of Godfrey III, Henry I also became Duke of Lower Lotharingia. By that time the title had lost most of its territorial authority, according to protocol, all his successors were thereafter called Dukes of Brabant and Lower Lotharingia. After the Battle of Worringen in 1288, the dukes of Brabant also acquired the Duchy of Limburg, in 1354 Duke John III of Brabant granted a Joyous Entry to the citizens of Brabant. In 1430 the Duchies of Lower Lotharingia, Brabant and Limburg were inherited by Philip the Good of Burgundy, in 1477 the Duchy of Brabant became part of the House of Habsburg as part of the dowry of Mary of Burgundy. At that time the Duchy extended from Luttre, south of Nivelles to s Hertogenbosch, the subsequent history of Brabant is part of the history of the Habsburg Seventeen Provinces. The Eighty Years War brought the parts under military control of the northern insurgents. The southern part remained in Spanish Habsburg hands as a part of the Southern Netherlands and it was transferred to the Austrian branch of the Habsburg monarchy in 1714
Duchy of Brabant
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Duchy of Brabant and
Prince-Bishopric of Liège (1477)
2.
Burgundian Netherlands
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The area comprised large parts of present-day Belgium and the Netherlands, as well as Luxembourg and parts of northern France. A fair share of these territories were inherited by the Burgundian dukes, together they initiated an era of Burgundian governance in the Low Countries. His son, the last Burgundian duke Charles the Bold, in 1473 annexed the Duchy of Guelders, the Valois era would last until 1477, when Duke Charles the Bold died at the Battle of Nancy leaving no male heir. The territorial Duchy of Burgundy reverted to the French crown according to Salic law, the Imperial fiefs passed to the Austrian House of Habsburg through Charles daughter Mary of Burgundy and her husband Archduke Maximilian of Habsburg, son of Emperor Frederick III. Maximilian however regarded the Burgundian Netherlands including Flanders and Artois as the domains of his wife and himself. The conflict culminated at the Battle of Guinegate in 1479, though Maximilian was victorious, he was only able to gain the County of Flanders according to the 1482 Treaty of Arras after his wife Mary had suddenly died, while France retained Artois. In her testament, Mary of Burgundy had bequested the Burgundian heritage to her and Maximilians son and his father, dissatisfied with the terms of the Arras agreement, continued to campaign the seized French territories. Attempts at enlarging personal control by the dukes resulted in revolts among the independent towns, Philip the Good extended his personal control to the southeast, bringing Brussels, Namur, and Liège under his control. He channeled the traditional independence of the cities through such mechanisms as the first Estates-General, the first Estates General of the Burgundian territories met in the City Hall of Bruges on 9 January 1464. Up to 1464, the Duke only maintained ties with each of the provincial States separately, convening an Estates General in which all provincial Estates were represented was part of Philip the Goods policy of centralisation. They were suppressed by Maximilians forces under the command of Duke Albert of Saxony at a battle at Heemskerk, early Netherlandish Painting, Its Origins and Character. Metropolitan Museum, Burgundian Netherlands, Court Life Metropolitan Museum, Burgundian Netherlands, Private Life
Burgundian Netherlands
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Flag
3.
Habsburg Netherlands
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Habsburg Netherlands is the collective name of Holy Roman Empire fiefs in the Low Countries held by the House of Habsburg and later by the Spanish Empire, also known as the Spanish Netherlands. Then known as Seventeen Provinces, they were held by the Spanish Empire from 1556, in 1581, the Seven United Provinces seceded to form the Dutch Republic, the remaining Spanish Southern Netherlands eventually passed on to Habsburg Austria. Finally the Austrian Netherlands were annexed by the French First Republic in 1795, the Habsburg Netherlands was a geo-political entity covering the whole of the Low Countries from 1482 to 1581. The centre of the Burgundian possessions was the Duchy of Brabant, deeply disappointed, he entered into the disastrous Burgundian Wars and was killed in the Battle of Nancy. Upon the death of Mary of Burgundy in 1482, her possessions including the Burgundian Netherlands passed to her son. Through his father Maximilian I, Holy Roman Emperor from 1493, Philip was a Habsburg scion, the period 1481–1492 saw the Flemish cities revolt and Utrecht embroiled in civil war, but by the turn of the century both areas had been pacified by the Spanish rulers. Philips son Charles V, Holy Roman Emperor, born in Ghent, succeeded his father in 1506 and his grandfather Emperor Maximilian I incorporated the Burgundian heritage into the Burgundian Circle, whereafter the territories in the far west of the Empire developed a certain grade of autonomy. Attaining full age in 1515, Charles went on to rule his Burgundian heritage as a native Netherlander and he acquired the lands of Overijssel and the Bishopric of Utrecht, purchased Friesland from Duke George of Saxony and regained Groningen and Gelderland. His Seventeen Provinces were re-organised in the 1548 Burgundian Treaty, whereby the Imperial estates represented in the Imperial Diet at Augsburg acknowledged a certain autonomy of the Netherlands. It was followed by a sanction by the Emperor the next year. By a 1522 inheritance treaty with his younger brother Archduke Ferdinand I of Austria, Emperor Charles V had established the Austrian, upon his abdication in 1556, the Seventeen Provinces fell to the Spanish Crown. Charless son and successor King Philip II of Spain by his despotism and Catholic persecutions sparked the Dutch Revolt, the Spanish hold on the northern provinces was more and more tenuous. In 1579 the northern provinces established the Protestant Union of Utrecht, after the secession of 1581, the southern provinces, called t Hof van Brabant remained with the House of Habsburg until the French Revolutionary Wars. After the extinction of the Spanish Habsburgs and the War of the Spanish Succession, the southern provinces were also known as the Austrian Netherlands from 1715 onwards
Habsburg Netherlands
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Flag
4.
Low Countries
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Most of the Low Countries are coastal regions bounded by the North Sea or the English Channel. The countries without access to the sea have linked themselves politically and economically to those with access to one union of port. The Low Countries were the scene of the northern towns, newly built rather than developed from ancient centres. In that period, they rivaled northern Italy for the most densely populated region of Europe, all of the regions mainly depended on trade, manufacturing and the encouragement of the free flow of goods and craftsmen. Germanic languages such as Dutch and Luxembourgish were the predominant languages, secondary languages included French, Romance-speaking Belgium, the Romance Flanders, and Namur. Governor Mary of Hungary used both the expressions les pays de par deça and Pays dEmbas, which evolved to Pays-Bas or Low Countries, today the term is typically fitted to modern political boundaries and used in the same way as the term Benelux, which also includes Luxembourg. The name of the country the Netherlands has the same meaning. The same name of countries can be found in other European languages, for example German Niederlande, French, les Pays-Bas, and so on. In the Dutch language itself no plural is used for the name of the modern country, so Nederland is used for the modern nation and de Nederlanden for the 16th century domains of Charles V. In Dutch, and to an extent in English, the Low Countries colloquially means the Netherlands and Belgium, sometimes the Netherlands. For example, a Derby der Lage Landen, is an event between Belgium and the Netherlands. Belgium was renamed only in 1830, after splitting from the Kingdom of the Netherlands, politically, before the Napoleonic wars, it was referred to as the Southern, Spanish or later Austrian Netherlands. It is still referred to as part of the low countries, the region politically had its origins in Carolingian empire, more precisely, most of it was within the Duchy of Lower Lotharingia. After the disintegration of Lower Lotharingia, the Low Countries were brought under the rule of various lordships until they came to be in the hands of the Valois Dukes of Burgundy. Hence, a part of the low countries came to be referred to as the Burgundian Netherlands also called the Seventeen Provinces up to 1581. Even after the secession of the autonomous Dutch Republic in the north. The Low Countries were part of the Roman provinces of Gallia Belgica, Germania Inferior and they were inhabited by Belgic and Germanic tribes. In the 4th and 5th century, Frankish tribes had entered this Roman region and they came to be ruled by the Merovingian dynasty, under which dynasty the southern part was re-Christianised
Low Countries
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The Low Countries as seen from space with modern day boundaries drawn in thin blue.
5.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
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The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
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Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
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Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
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Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
6.
The Garden of Earthly Delights
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The Garden of Earthly Delights is the modern title given to a triptych painted by the Early Netherlandish master Hieronymus Bosch, housed in the Museo del Prado in Madrid since 1939. It dates from between 1490 and 1510, when Bosch was between about 40 and 60 years old, and is his best-known and most ambitious surviving work. The triptych is painted in oil on oak and is composed of a square middle panel flanked by two other oak rectangular wings that close over the center as shutters, the outer wings, when folded, show a grisaille painting of the earth during the biblical narrative of Creation. The three scenes of the triptych are probably intended to be read chronologically from left to right. The left panel depicts God presenting Eve to Adam, the panel is a broad panorama of socially engaged nude figures, fantastical animals, oversized fruit. The right panel is a hellscape and portrays the torments of damnation, art historians frequently interpret the painting as a didactic warning on the perils of lifes temptations. However, the intricacy of its symbolism, particularly that of the panel, has led to a wide range of scholarly interpretations over the centuries. Twentieth-century art historians are divided as to whether the central panel is a moral warning or a panorama of paradise lost. American writer Peter S. Beagle describes it as an erotic derangement that turns us all into voyeurs, Bosch painted three large triptychs that can be read from left to right and in which each panel was essential to the meaning of the whole. Each of these three works presents distinct yet linked themes addressing history and faith, when the triptychs wings are closed, the design of the outer panels becomes visible. It was common for the panels of Netherlandish altarpieces to be in grisaille. The outer panels are thought to depict the creation of the world. God, wearing a similar to a papal tiara, is visible as a tiny figure at the upper left. Bosch shows God as the father sitting with a Bible on his lap, above him is inscribed a quote from Psalm 33 reading Ipse dixit, et facta sunt, ipse mandāvit, et creāta sunt—For he spake and it was done, he commanded, and it stood fast. The Earth is encapsulated in a transparent sphere recalling the traditional depiction of the world as a crystal sphere held by God or Christ. It hangs suspended in the cosmos, which is shown as an impermeable darkness, despite the presence of vegetation, the earth does not yet contain human or animal life, indicating that the scene represents the events of the biblical Third Day. Surrounding the interior of the globe is the sea, partially illuminated by beams of light shining through clouds, the exterior wings have a clear position within the sequential narrative of the work as a whole. They show an unpopulated earth composed solely of rock and plants, as with Boschs Haywain triptych, the inner centerpiece is flanked by heavenly and hellish imagery
The Garden of Earthly Delights
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Hieronymus Bosch, The Garden of Earthly Delights, oil on oak panels, 220 x 389 cm,
Museo del Prado, Madrid
The Garden of Earthly Delights
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The exterior panels show the world during creation, probably on the Third Day, after the addition of plant life but before the appearance of animals and humans.
The Garden of Earthly Delights
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Naked men and women engage in various pleasure-seeking activities. Center panel, women with peacock, - detail
The Garden of Earthly Delights
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Detail from the left hand panel, showing God blessing
Eve before she is presented to
Adam
7.
The Temptation of St Anthony (Bosch painting)
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The Temptation of St. Anthony is a panel by Hieronymus Bosch or a follower. It is currently housed in the Museo del Prado in Madrid, the work was in the Escorial monastery, although it was not mentioned in inventories, later it was moved to the Prado. It is likely that the work was one of the Temptations sent to the monastery by Philip II of Spain in 1574 and this painting has a more serene atmosphere than the triptych with the same theme now in the Museu Nacional de Arte Antiga of Lisbon. Like all Boschs works, it cannot be dated with precision, St. Anthony the Abbot is portrayed in meditation, in a sunny landscape near the trunk of a dry tree. St. Anthony is a recurrent figure in Boschs work, with up to 15 paintings of this subject, all inspired by legends told in the Golden Legend and he is represented in a setting of solitude and temptation that the saint experienced over twenty years. In contrast to the paintings with St. Anthony, this version of the temptation of St. Anthony finds the abbot calmer from his meditative spirit. His surroundings are peaceful and evoke a sense of calm, the pig lies next to him like a pet. Once demons, the creatures of temptation are now more like goblins and this painting, originally framed with a semi-circular arch, was one of Boschs later works, from sometime after 1490. Philip II of Spain sent it to the Monastery of El Escorial near Madrid, from there the painting came to the Museo del Prado as part of the Royal Collection. Triptych of the Temptation of St. Anthony List of paintings by Hieronymus Bosch Varallo, page at official website Complete Works by Hieronymus Bosch
The Temptation of St Anthony (Bosch painting)
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The Temptation of St. Anthony
The Temptation of St Anthony (Bosch painting)
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Detail.
8.
Early Dutch painting
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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 Dutch painting
–
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 Dutch painting
–
Rogier van der Weyden,
The Descent from the Cross, c. 1435,
Museo del Prado, Madrid
Early Dutch painting
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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 Dutch painting
–
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
9.
Renaissance
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The Renaissance was a period in European history, from the 14th to the 17th century, regarded as the cultural bridge between the Middle Ages and modern history. It started as a movement in Italy in the Late Medieval period and later spread to the rest of Europe. This new thinking became manifest in art, architecture, politics, science, Early examples were the development of perspective in oil painting and the recycled knowledge of how to make concrete. Although the invention of movable type sped the dissemination of ideas from the later 15th century. In politics, the Renaissance contributed to the development of the customs and conventions of diplomacy, the Renaissance began in Florence, in the 14th century. Other major centres were northern Italian city-states such as Venice, Genoa, Milan, Bologna, the word Renaissance, literally meaning Rebirth in French, first appeared in English in the 1830s. The word also occurs in Jules Michelets 1855 work, Histoire de France, the word Renaissance has also been extended to other historical and cultural movements, such as the Carolingian Renaissance and the Renaissance of the 12th century. The Renaissance was a movement that profoundly affected European intellectual life in the early modern period. Renaissance scholars employed the humanist method in study, and searched for realism, however, a subtle shift took place in the way that intellectuals approached religion that was reflected in many other areas of cultural life. In addition, many Greek Christian works, including the Greek New Testament, were back from Byzantium to Western Europe. Political philosophers, most famously Niccolò Machiavelli, sought to describe life as it really was. Others see more competition between artists and polymaths such as Brunelleschi, Ghiberti, Donatello, and Masaccio for artistic commissions as sparking the creativity of the Renaissance. Yet it remains much debated why the Renaissance began in Italy, accordingly, several theories have been put forward to explain its origins. During the Renaissance, money and art went hand in hand, Artists depended entirely on patrons while the patrons needed money to foster artistic talent. Wealth was brought to Italy in the 14th, 15th, and 16th centuries by expanding trade into Asia, silver mining in Tyrol increased the flow of money. Luxuries from the Eastern world, brought home during the Crusades, increased the prosperity of Genoa, unlike with Latin texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Western Europe. One of the greatest achievements of Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity, Arab logicians had inherited Greek ideas after they had invaded and conquered Egypt and the Levant. Their translations and commentaries on these ideas worked their way through the Arab West into Spain and Sicily and this work of translation from Islamic culture, though largely unplanned and disorganized, constituted one of the greatest transmissions of ideas in history
Renaissance
–
David, by
Michelangelo (
Accademia di Belle Arti,
Florence) is a masterpiece of Renaissance and world art.
Renaissance
–
Renaissance
Renaissance
–
Leonardo da Vinci 's
Vitruvian Man (c. 1490) shows clearly the effect writers of Antiquity had on Renaissance thinkers. Based on the specifications in
Vitruvius '
De architectura (1st century BC), Leonardo tried to draw the perfectly proportioned man.
Renaissance
–
Portrait of a young woman (c. 1480-85) (
Simonetta Vespucci) by
Sandro Botticelli
10.
Dutch people
–
The Dutch, occasionally referred to as Netherlanders—a term that is cognate to the Dutch word for Dutch people, Nederlanders—are a Germanic ethnic group native to the Netherlands. They share a culture and speak the Dutch language. The high degree of urbanization characteristic of Dutch society was attained at an early date. During the Republic the first series of large scale Dutch migrations outside of Europe took place, despite the small size of the Netherlands, the Dutch left behind a legacy in excess of their mere numbers. The traditional art and culture of the Dutch encompasses various forms of music, dances, architectural styles and clothing. Internationally, Dutch painters such as Rembrandt, Vermeer and Van Gogh are held in high regard, the dominant religion of the Dutch is Christianity, although in modern times the majority is no longer religious. Significant percentages of the Dutch are adherents of humanism, agnosticism, atheism or individual spirituality, as with all ethnic groups the ethnogenesis of the Dutch has been a lengthy and complex process. The text below hence focuses on the history of the Dutch ethnic group, for Dutch national history, for Dutch colonial history, see the article on the Dutch Empire. Following the end of the period in the West around 500, with large federations settling the decaying Roman Empire. In the Low Countries, this began when the Franks, themselves a union of multiple smaller tribes. Eventually, in 358, the Salian Franks, one of the three main subdivisions among the Frankish alliance settled the areas Southern lands as foederati, Roman allies in charge of border defense. On a political level, the Frankish warlords abandoned tribalism and founded a number of kingdoms, however, the population make-up of the Frankish Empire, or even early Frankish kingdoms such as Neustria and Austrasia, was not dominated by Franks. Though the Frankish leaders controlled most of Western Europe, the Franks themselves were confined to the Northwestern part of the Empire, the current Dutch-French language border has remained virtually identical ever since, and could be seen as marking the furthest pale of gallicization among the Franks. The medieval cities of the Low Countries, which experienced major growth during the 11th and 12th century, were instrumental in breaking down the already relatively loose local form of feudalism, as they became increasingly powerful, they used their economical strength to influence the politics of their nobility. While the cities were of political importance, they also formed catalysts for medieval Dutch culture. The various city guilds as well as the necessity of water boards in the Dutch delta and it is also around this time, that ethnonyms such as Diets and Nederlands emerge. This process marked a new episode in the development of the Dutch ethnic group, as now political unity started to emerge, consolidating the strengthened cultural, despite their linguistic and cultural unity, and economic similarities, there was still little sense of political unity among the Dutch people. However, the centralist policies of Burgundy in the 14th and 15th centuries, at first violently opposed by the cities of the Low Countries, had a profound impact and changed this
Dutch people
Dutch people
–
The conversion of the Frankish king
Clovis to Christianity would have great significance in helping shape the identity of the future Dutch people.
Dutch people
–
The
Act of Abjuration, signed on July 26, 1581, was the formal declaration of independence of the Dutch Low Countries.
Dutch people
–
A typical November scene in the Dutch town
Middelburg,
Netherlands
11.
Netherlandish
–
The Low Countries is the coastal Rhine–Meuse–Scheldt delta region in Western Europe and consists mainly of the Netherlands and Belgium. Both countries derived their names from it, due to nether meaning low and Belgica being the Latin name for the Low Countries, the Low Countries—and the Netherlands and Belgium—had in their history exceptionally many and widely varying names, resulting in equally varying names in different languages. There is diversity even within languages, the use of one word for the country and this holds for English, where Dutch is the adjective form for the country the Netherlands. Moreover, many languages have the word for both the country of the Netherlands and the region of the Low Countries, e. g. French. The historic Low Countries made up much of Frisia, home to the Frisii, throughout the centuries, the names of these ancestors have been in use as a reference to the Low Countries, in an attempt to define a collective identity. By the eighth century, most of the Franks had exchanged their Germanic Franconian languages for the Latin-derived Romances of Gaul. However, the Franks that stayed in the Low Countries had kept their language, i. e. Old Dutch. At the time the language was spoken, it was known as *þiudisk, now an international exception, it used to have in the Dutch language itself a cognate with the same meaning, i. e. Diets or Duuts. The designation low to refer to the region has also been in use many times, First by the Romans, who called it Germania Inferior. After the Frankish empire was divided several times, most of it became the Duchy of Lower Lorraine in the tenth century, Lower Lorraine disintegrated into a number of duchies, counties and bishoprics. Some of these became so powerful, that their names were used as a pars pro toto for the Low Countries, i. e. Flanders, Holland and to a lesser extent Brabant. English is the language to use the adjective Dutch for the language of the Netherlands. The word is derived from Proto-Germanic *þiudiskaz, the stem of this word, *þeudō, meant people in Proto-Germanic, and *-iskaz was an adjective-forming suffix, of which -ish is the Modern English form. The word came into Middle English as thede, but was extinct in Early Modern English and it survives as the Icelandic word þjóð for people, nation, the Norwegian word tjod for people, nation, and the word for German in many European languages. It literarily means the language of the people, that is. The term was used as opposed to Latin, the language of writing. In its first recorded sense theodiscus was used within a clearly clerical context, in Great Britain the term Englisc was already common from the Early Middle Ages onwards, with the Angles, Saxons and Jutes being collectively referred to as English as early as 731. In the United States the German autonym Deutsch would sometimes be corrupted to Dutch due to the pronunciation of both words
Netherlandish
–
In football (soccer), the
Dutch national team is commonly referred to as "Holland"; here supporter shirts for sale at
Amsterdam Airport
Netherlandish
–
Location of
Holland within the Netherlands
12.
Draughtsman
–
A drafter, draughtsman or draftsman, drafting technician is a person who makes detailed technical drawings or plans for machinery, buildings, electronics, infrastructure, sections, etc. Drafters use software and manual sketches to convert the designs, plans, drafters operate as the supporting developers and sketch engineering designs and drawings from preliminary design concepts. In the past, drafters sat at drawing boards and used pencils, pens, compasses, protractors, triangles, and other drafting devices to prepare a drawing by hand. From the 1980s through 1990s, board drawings were going out of style as the newly developed computer-aided design system was released and was able to produce technical drawings at a faster pace. Many modern drafters operate computer-assisted drafting equipment and software such as AutoCAD, Vectorworks, Revit, or Solidworks, consequently, drafters may also be casually referred to as CAD operators, engineering draftspersons, or engineering technicians. With CAD systems, drafters can create and store drawings electronically so that they can be viewed, printed, CAD systems also permit drafters to quickly prepare variations of a design. Although drafters use CAD extensively, it is only a tool, drafters still need knowledge of traditional drafting techniques, in addition to CAD skills. Despite the near global use of CAD systems, manual drafting and sketching are used in certain applications, drafters drawings provide visual guidelines and show how to construct a product or structure. Drawings include technical details and specify dimensions, materials, and procedures, drafters fill in technical details using drawings, rough sketches, specifications, and calculations made by engineers, surveyors, architects, or scientists. For example, drafters use their knowledge of standardized building techniques to draw in the details of a structure, drafters use technical handbooks, tables, calculators, and computers to complete their work. Drafting work has many such as, Aeronautical drafters prepare engineering drawings detailing plans and specifications used in the manufacture of aircraft, missiles. Architectural drafters draw architectural and structural features of buildings and other structures and these workers may specialize in a type of structure, such as residential or commercial, or in a kind of material used, such as reinforced concrete, masonry, steel, or timber. Electronics drafters draw wiring diagrams, circuit board assembly diagrams, schematics, and layout used in the manufacture, installation. Process piping or pipeline drafters prepare drawings used in the layout, construction, and operation of oil and gas fields, refineries, chemical plants, and process piping systems. Photovoltaic drafters prepare drawings showing inverter Pad location drawings and slab construction drawings, also prepare specific photovoltaic system assembly details and some wiring diagrams. Drafting technologists and technicians work as part of a broader multidisciplinary engineering team in support of engineers. The position of a drafter is one of an assistant to architects. Drafters usually work in offices, seated at adjustable drawing boards or drafting tables when doing manual drawings and they usually work in an office environment, but some may have to travel and spend time on manufacturing plants or construction sites
Draughtsman
–
Traditional drafter at work.
13.
Painter
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painter
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painter
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painter
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painter
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
14.
Early Netherlandish painting
–
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 painting
–
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 painting
–
Rogier van der Weyden,
The Descent from the Cross, c. 1435,
Museo del Prado, Madrid
Early Netherlandish painting
–
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 painting
–
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
15.
Nijmegen
–
Nijmegen, historically anglicized as Nimeguen, is a municipality and a city in the Dutch province of Gelderland. It is situated on the Waal river, close to the German border, Nijmegen is the oldest city in the Netherlands, the first to be recognized as such in Roman times, and in 2005 celebrated 2,000 years of existence. The municipality is part of the Stadsregio Arnhem-Nijmegen, an area with 736,107 inhabitants. By 69, when the Batavians, the inhabitants of the Rhine and Maas delta, revolted. This village was destroyed in the revolt, but when it had ended the Romans built another, bigger camp where the Legio X Gemina was stationed, soon after, another village formed around this camp. In 98, Nijmegen was the first of two settlements in what is now the Kingdom of the Netherlands to receive Roman city rights. In 103, the X Gemina was re-stationed to Vindobona, modern day Vienna, in 104 Emperor Trajan renamed the town, which now became known as Ulpia Noviomagus Batavorum, Noviomagus for short. Beginning in the half of the 4th century, Roman power decreased. It also appeared around this time on the Peutinger Map and it has been contended that in the 8th century Emperor Charlemagne maintained his palatium in Nijmegen on at least four occasions. During his brief deposition of 830, the emperor Louis the Pious was sent to Nijmegen by his son Lothar I, thanks to the Waal river, trade flourished. The powerful Henry VI, Holy Roman Emperor was born at Nijmegen in 1165, in 1230 his son Frederick II, Holy Roman Emperor granted Nijmegen city rights. In 1247, the city was ceded to the count of Guelders as collateral for a loan, the loan was never repaid, and Nijmegen has been a part of Gelderland ever since. This did not hamper trade, Nijmegen even became part of the Hanseatic League in 1364, the arts also flourished in this period. Famous medieval painters like the Limbourg brothers were born and educated in Nijmegen, during the Dutch Revolt, trade came to a halt and even though Nijmegen became a part of the Republic of United Provinces in 1585, it remained a border town and had to endure multiple sieges. In 1678 Nijmegen was host to the negotiations between the European powers that aimed to put an end to the constant warfare that had ravaged the continent for years, the result was the Treaty of Nijmegen that, unfortunately, failed to provide for a lasting peace. In the second half of the 19th century, the fortifications around the city became a major problem, there were too many inhabitants inside the walls, but the fortifications could not be demolished because Nijmegen was deemed as being of vital importance to the defence of the Netherlands. When events in the Franco-Prussian war proved that old-fashioned fortifications were no more of use, this policy was changed, the old castle had already been demolished in 1797, so that its bricks could be sold. Through the second half of the 19th century and the first half of the 20th century, the Waal was bridged in 1878 by a rail bridge and in 1936 by a car bridge, which was claimed to be Europes biggest bridge at the time
Nijmegen
–
Nijmegen city centre
Nijmegen
–
Historical buildings at the "Grote Markt" ("Great Market").
Nijmegen
–
Historical watchtower (nowadays restaurant) "Belvedère" back in 1900
Nijmegen
–
The Waal river near Nijmegen, 1641.
16.
Aachen
–
Aachen or Bad Aachen, traditionally known in English and French as Aix-la-Chapelle, is a spa and border city in North Rhine-Westphalia, Germany. Aachen was the residence of Charlemagne, and, from 936 to 1531. Aachen is the westernmost city in Germany, located near the borders with Belgium, RWTH Aachen University is located in the city. Aachens industries include science, engineering and information technology, in 2009, Aachen was ranked eighth among cities in Germany for innovation. The location has been inhabited by humans since the Neolithic era, about 5,000 years ago, latin Aquae figures in Aachens Roman name Aquae granni, which meant waters of Grannus, referring to the Celtic god of healing who was worshipped at the springs. Aachens name in French and German evolved in parallel, Aachens local dialect is called Öcher Platt and belongs to the Ripuarian language. Bronze Age settlement is evidenced by the remains of barrows found, for example, during the Iron Age, the area was settled by Celtic peoples who were perhaps drawn by the marshy Aachen basins hot sulphur springs where they worshipped Grannus, god of light and healing. Later, the 25-hectare Roman spa resort town of Aquae Granni was, according to legend, founded by Grenus, under Hadrian, a kind of forum, surrounded by colonnades, connected the two spa complexes. There was also a residential area, part of it inhabited by a flourishing Jewish community. The Romans built bathhouses near Burtscheid, a temple precinct called Vernenum was built near the modern Kornelimünster/Walheim. Today, remains have been found of three bathhouses, including two fountains in the Elisenbrunnen and the Burtscheid bathhouse, Roman civil administration in Aachen broke down between the end of the 4th and beginning of the 5th centuries. Rome withdrew its troops from the area, but the town remained populated, by 470, the town came to be ruled by the Ripuarian Franks and subordinated to their capital, Cologne. Einhard mentions that in 765–6 Pepin spent both Christmas and Easter at Aquis villa, which must have been equipped to support the royal household for several months. In the year of his coronation as king of the Franks,768, Charlemagne spent most winters in Aachen between 792 and his death in 814. Aachen became the focus of his court and the centre of his empire. In 936, Otto I was crowned king of East Francia in the church built by Charlemagne. During the reign of Otto II, the nobles revolted and the West Franks, under Lothair, Aachen was attacked again by Odo of Champagne, who attacked the imperial palace while Conrad II was absent. Odo relinquished it quickly and was killed soon afterwards, the palace and town of Aachen had fortifying walls built by order of Emperor Frederick Barbarossa between 1172 and 1176
Aachen
–
Panoramic view of Aachen, including Kaiser Karls Gymnasium (foreground), townhall (back center) and
cathedral (back right)
Aachen
Aachen
–
Aachen's Neues Kurhaus
Aachen
–
Construction of Aix-la-Chapelle, by
Jean Fouquet
17.
Pieter Bruegel the Elder
–
He also painted no portraits, the other mainstay of Netherlandish art. After his training and travels to Italy, he returned in 1555 to settle in Antwerp and he does the same with the fantastic and anarchic world developed in Renaissance prints and book illustrations. He is sometimes referred to as Peasant Bruegel, to him from the many later painters in his family. From 1559, he dropped the h from his name and signed his paintings as Bruegel, the two main early sources for Bruegels biography are Lodovico Guicciardinis account of the Low Countries and Karel van Manders 1604 Schilder-boeck. Guicciardini recorded that Bruegel was born in Breda, but van Mander specified that Bruegel was born in a village near Breda called Brueghel, nothing at all is known of his family background. Van Mander seems to assume he came from a peasant background, in keeping with the over-emphasis on Bruegels peasant genre scenes given by van Mander and many art historians. Breda was already a significant centre as the base of the House of Orange-Nassau, with a population of some 8,000, from the fact that Bruegel entered the Antwerp painters guild in 1551, it is inferred that he was born between 1525 and 1530. His master, according to van Mander, was the Antwerp painter Pieter Coecke van Aelst, between 1545 and 1550 he was a pupil of Pieter Coecke, who died on 6 December 1550. Bruegel possibly got this work via the connections of Mayken Verhulst, maykens father and eight siblings were all artists or married an artist, and lived in Mechelen. In 1551 Bruegel became a master in the Guild of Saint Luke of Antwerp. He set off for Italy soon after, probably by way of France. He visited Rome and, rather adventurously for the period, by 1552 he had reached Reggio Calabria at the tip of the mainland. He probably continued to Sicily, but by 1553 was back in Rome, there he met the miniaturist Giulio Clovio, whose will of 1578 lists paintings by Bruegel, in one case a joint work. These works, apparently landscapes, have not survived, but marginal miniatures in manuscripts by Clovio are attributed to Bruegel, with one exception, Bruegel did not work the plates himself, but produced a drawing which Cocks specialists worked from. In 1563 he was married in Brussels, where he lived for the rest of his life, while Antwerp was the capital of Netherlandish commerce as well as the art market, Brussels was the centre of government. Van Mander tells a story that his mother-in-law pushed for the move to him from his established servant girl mistress. By now painting had become his main activity, and his most famous come from these years. His paintings were sought after, with patrons including wealthy Flemish collectors and Cardinal Granvelle, in effect the Habsburg chief minister
Pieter Bruegel the Elder
–
The Painter and The Connoisseur, c. 1565 is thought to be Bruegel's
self-portrait.
Pieter Bruegel the Elder
–
The Seven Deadly Sins or the Seven Vices - Anger, 1558
Pieter Bruegel the Elder
–
The Peasant Wedding, 1566–69, oil on panel
Pieter Bruegel the Elder
–
The Blind Leading the Blind, 1568
18.
Triptych
–
A triptych is a work of art that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. It is therefore a type of polyptych, the term for all multi-panel works, the middle panel is typically the largest and it is flanked by two smaller related works, although there are triptychs of equal-sized panels. The form can also be used for pendant jewelry, despite its connection to an art format, the term is sometimes used more generally to connote anything with three parts, particularly if they are integrated into a single unit. The triptych form arises from early Christian art, and was a standard format for altar paintings from the Middle Ages onwards. Its geographical range was from the eastern Byzantine churches to the Celtic churches in the west, renaissance painters such as Hans Memling and Hieronymus Bosch used the form. Triptych forms also allow ease of transport, from the Gothic period onward, both in Europe and elsewhere, altarpieces in churches and cathedrals were often in triptych form. One such cathedral with an altarpiece triptych is Llandaff Cathedral, the Cathedral of Our Lady in Antwerp, Belgium, contains two examples by Rubens, and Notre Dame de Paris is another example of the use of triptych in architecture. One can also see the form echoed by the structure of many stained glass windows. Although strongly identified as a form, triptychs outside that context have been created, some of the best-known examples being works by Hieronymus Bosch, Max Beckmann. The then highest price paid for an artwork at auction was $142.4 million for a 1969 triptych, Three Studies of Lucian Freud. The record was broken in May 2015 by $179.4 million for Pablo Picassos 1955 painting Les Femmes d’Alger, the format has migrated and been used in other religions, including Islam and Buddhism. Likewise, Tibetan Buddhists have used it in traditional altars, a photographic triptych is a common style used in modern commercial artwork. The photographs are arranged with a plain border between them. The work may consist of images that are variants on a theme
Triptych
–
Master of Frankfurt, Sagrada Familia con ángel músico, Santa Catalina de Alejandría, Santa Bárbara, 1510–1520,
Museo del Prado, Madrid. With the 2008 acquisition of the Holy Family (the central piece, formerly at the convento dominico de Santa Cruz in Segovia) the Prado completed the triptych by the Master of Frankfurt, separated since 1836.
Triptych
–
The Verdun Altar in
Klosterneuburg Monastery
Triptych
–
Modern photographic triptych
19.
The Crucifixion of St Julia
–
The Crucifixion of St Julia is a triptych by the Dutch painter Hieronymus Bosch. Like many Bosch paintings, the date of work was long disputed. It is housed at the Palazzo Ducale in Venice, the earliest mention of the triptych comes from the 1771 treatise Della pittura veneziana, as located in the Palazzo Ducales Sala dellEccelso Tribunale. In 1893 it was moved by the Austrians to Vienna, where it remained until 1919 when it was returned to Venice, the work has been damaged by a fire, although its attribution to Bosch has never been disputed. The central panel depicts the crucifixion of a saint usually identified with Saint Julia of Corsica, a typical element is the fainting man supported by his neighbors. The sides show two cities, at right, a characterized by fanciful domed buildings and several sunken ships, at left is city on fire. At the bottom are several parapets, with, at left, a hermit with a hood, and, at right, a monk
The Crucifixion of St Julia
–
The Crucifixion of St. Julia
20.
House of Habsburg
–
The House of Habsburg, also called House of Hapsburg, or House of Austria, was one of the most influential royal houses of Europe. The throne of the Holy Roman Empire was continuously occupied by the Habsburgs between 1438 and 1740, from the sixteenth century, following the reign of Charles V, the dynasty was split between its Austrian and Spanish branches. Although they ruled distinct territories, they maintained close relations. The House takes its name from Habsburg Castle, a built in the 1020s in present-day Switzerland, in the canton of Aargau, by Count Radbot of Klettgau. His grandson Otto II was the first to take the name as his own. The House of Habsburg gathered dynastic momentum through the 11th, 12th, by 1276, Count Radbots seventh generation descendant Rudolph of Habsburg had moved the familys power base from Habsburg Castle to the Duchy of Austria. Rudolph had become King of Germany in 1273, and the dynasty of the House of Habsburg was truly entrenched in 1276 when Rudolph became ruler of Austria, which the Habsburgs ruled until 1918. A series of dynastic marriages enabled the family to expand its domains to include Burgundy, Spain and its colonial empire, Bohemia, Hungary. In the 16th century, the separated into the senior Habsburg Spain and the junior Habsburg Monarchy branches. The House of Habsburg became extinct in the 18th century, the senior Spanish branch ended upon the death of Charles II of Spain in 1700 and was replaced by the House of Bourbon. It was succeeded by the Vaudemont branch of the House of Lorraine, the new successor house styled itself formally as the House of Habsburg-Lorraine, although it was often referred to as simply the House of Habsburg. His grandson Radbot, Count of Habsburg founded the Habsburg Castle, the origins of the castles name, located in what is now the Swiss canton of Aargau, are uncertain. There is disagreement on whether the name is derived from the High German Habichtsburg, or from the Middle High German word hab/hap meaning ford, the first documented use of the name by the dynasty itself has been traced to the year 1108. The Habsburg Castle was the seat in the 11th, 12th and 13th centuries. The Habsburgs expanded their influence through arranged marriages and by gaining political privileges, in the 13th century, the house aimed its marriage policy at families in Upper Alsace and Swabia. They were also able to high positions in the church hierarchy for their members. Territorially, they often profited from the extinction of other families such as the House of Kyburg. By the second half of the 13th century, count Rudolph IV had become one of the most influential territorial lords in the area between the Vosges Mountains and Lake Constance
House of Habsburg
–
House of Habsburg
House of Habsburg
–
Growth of the Habsburg Empire in Central Europe.
House of Habsburg
–
A map of the dominion of the Habsburgs following the
Battle of Mühlberg (1547) as depicted in The Cambridge Modern History Atlas (1912); Habsburg lands are shaded green, but do not include the lands of the
Holy Roman Empire over which they presided, nor the vast Castilian holdings outside of Europe, particularly in the
New World.
House of Habsburg
–
Spanish branch's family tree with connections to Emperors' branch
21.
List of paintings by Hieronymus Bosch
–
This article lists paintings by Hieronymus Bosch, as well as paintings attributed to him or his school. For Boschs drawings, see Hieronymus Bosch drawings, since the precise chronology of Boschs works is currently impossible to establish, paintings within sections are sorted alphabetically. The findings of this investigation were published in a book in 2016, all dates given below are taken from this reference. The book describes the findings of the investigation as well, such as painting technique, layer structure. Illustrated pigment analyses of Boschs paintings can also be found at ColourLex, Boschs works are generally organized into three periods of his life dealing with the early works, the middle period, and the late period. According to Stefan Fischer, thirteen of Boschs surviving paintings were completed in the late period, Boschs early period is studied in terms of his workshop activity and possibly some of his drawings. There are no surviving painting attributed to before 1485, examples of Boschs work can be found in Austria, Belgium, France, Germany, Italy, Netherlands, Portugal, Serbia, Spain, the UK, and the US. Matthijs Ilsink, Jos Koldeweij, Ron Spronk, Luuk Hoogstede, Robert G. Erdmann, Rik Klein Gotink, Hanneke Nap, Hieronymus Bosch, Painter and Draughtsman – Catalogue raisonné, Yale University Press, New Haven and London,2016. Hieronymus Bosch gallery at Web Gallery of Art The Bosch Research and Conservation Project Hieronymus Bosch, collection of resources and pigment analyses, ColourLex
List of paintings by Hieronymus Bosch
–
Bosch's signature from the triptych Adoration of the Magi. Only a few of the surviving paintings by the master are signed.
List of paintings by Hieronymus Bosch
–
Adoration of the Magi Oil on wood 138 × 144 cm Museo del Prado, Madrid, Spain The outer panels form a single image, Saint Gregory's Mass, rendered in grisaille.
List of paintings by Hieronymus Bosch
–
The Garden of Earthly Delights 1503–1504 Oil on wood 220 × 389 cm Museo del Prado, Madrid, Spain The outer panels form a single image, The Creation of the World, rendered in grisaille.
List of paintings by Hieronymus Bosch
–
The Haywain Oil on wood 147 × 232 cm (Escorial version) 135 x 190 cm (Prado version) El Escorial, Spain (version 1) Museo del Prado, Madrid, Spain (version 2) Two versions of this triptych exist, one in El Escorial, the other in Museo del Prado. Both are most probably copies of a lost Bosch original. The outer panels form a single image, usually referred to as The Path of Life.
22.
Hieronymus Bosch drawings
–
This is an incomplete list of drawings by Hieronymus Bosch, many of which have survived to the present day. A number represent alternate incarnations or preparatory sketches for his paintings, Boschs works are generally organized into three periods of his life dealing with the early works, the middle period, and the late period. According to Stefan Fischer, thirteen of Boschs surviving paintings were completed in the late period, Boschs early period is studied in terms of his workshop activity and possibly some of his drawings. There are no surviving painting attributed to before 1485
Hieronymus Bosch drawings
–
Two monsters Type: Pen drawing Size: 86 x 182 mm Location: Staatliche Museen, Berlin This is a two-sided drawing.
Hieronymus Bosch drawings
–
Beehive and witches Type: Pen and bistre Size: 192 x 270 mm Location: Albertina, Vienna
Hieronymus Bosch drawings
–
Study of Monsters Reverse of previous.
Hieronymus Bosch drawings
–
Beggars Type: Pen and bistre Size: 285 x 205 mm Location: Albertina, Vienna It is unknown whether this drawing is by Bosch or
Pieter Brueghel the Elder.
23.
Museo del Prado
–
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
Museo del Prado
–
Museo del Prado (Main wing)
Museo del Prado
–
Museo Nacional del Prado
Museo del Prado
–
In the main exhibition hall, first floor
Museo del Prado
–
Francisco de Goya,
La maja desnuda, oil on canvas, (circa 1797–1800)
24.
Madrid
–
Madrid is the capital city of the Kingdom of Spain and the largest municipality in both the Community of Madrid and Spain as a whole. The city has a population of almost 3.2 million with an area population of approximately 6.5 million. It is the third-largest city in the European Union after London and Berlin, the municipality itself covers an area of 604.3 km2. Madrid lies on the River Manzanares in the centre of both the country and the Community of Madrid, this community is bordered by the communities of Castile and León. As the capital city of Spain, seat of government, and residence of the Spanish monarch, Madrid is also the political, economic, the current mayor is Manuela Carmena from Ahora Madrid. Madrid is home to two football clubs, Real Madrid and Atlético de Madrid. Madrid is the 17th most liveable city in the according to Monocle magazine. Madrid organises fairs such as FITUR, ARCO, SIMO TCI, while Madrid possesses modern infrastructure, it has preserved the look and feel of many of its historic neighbourhoods and streets. Cibeles Palace and Fountain have become one of the monument symbols of the city, the first documented reference of the city originates in Andalusan times as the Arabic مجريط Majrīṭ, which was retained in Medieval Spanish as Magerit. A wider number of theories have been formulated on possible earlier origins, according to legend, Madrid was founded by Ocno Bianor and was named Metragirta or Mantua Carpetana. The most ancient recorded name of the city Magerit comes from the name of a built on the Manzanares River in the 9th century AD. Nevertheless, it is speculated that the origin of the current name of the city comes from the 2nd century BC. The Roman Empire established a settlement on the banks of the Manzanares river, the name of this first village was Matrice. In the 8th century, the Islamic conquest of the Iberian Peninsula saw the changed to Mayrit, from the Arabic term ميرا Mayra. The modern Madrid evolved from the Mozarabic Matrit, which is still in the Madrilenian gentilic, after the disintegration of the Caliphate of Córdoba, Madrid was integrated in the Taifa of Toledo. With the surrender of Toledo to Alfonso VI of León and Castile, the city was conquered by Christians in 1085, Christians replaced Muslims in the occupation of the centre of the city, while Muslims and Jews settled in the suburbs. The city was thriving and was given the title of Villa, since 1188, Madrid won the right to be a city with representation in the courts of Castile. In 1202, King Alfonso VIII of Castile gave Madrid its first charter to regulate the municipal council, which was expanded in 1222 by Ferdinand III of Castile
Madrid
–
From upper left: view of business districts of
AZCA and
CTBA,
Gran Vía street and
Metropolis Building, the
Palace of Communication, view of
Royal Palace and
Almudena Cathedral.
Madrid
Madrid
–
Plaza Mayor
Madrid
–
Puerta de Alcalá
25.
Dendrochronological
–
Dendrochronology is the scientific method of dating tree rings to the exact year they were formed in order to analyze atmospheric conditions during different periods in history. Dendrochronology is useful for determining the timing of events and rates of change in the environment and also in works of art and architecture, such as old panel paintings on wood, buildings and it is also used in radiocarbon dating to calibrate radiocarbon ages. New growth in trees occurs in a layer of cells near the bark, a trees growth rate changes in a predictable pattern throughout the year in response to seasonal climate changes, resulting in visible growth rings. Each ring marks a complete cycle of seasons, or one year, as of 2013, the oldest tree-ring measurements in the Northern Hemisphere extend back 13,900 years. Dendrochronology derives from Ancient Greek, δένδρον, meaning tree limb, χρόνος, meaning time, and -λογία, the Greek botanist Theophrastus first mentioned that the wood of trees has rings. In his Trattato della Pittura, Leonardo da Vinci was the first person to mention that trees form rings annually, in 1737, French investigators Henri-Louis Duhamel du Monceau and Georges-Louis Leclerc de Buffon examined the effect of growing conditions on the shape of tree rings. They found that in 1709, a severe winter produced a distinctly dark tree ring, the English polymath Charles Babbage proposed using dendrochronology to date the remains of trees in peat bogs or even in geological strata. During the latter half of the century, the scientific study of tree rings. In 1859, the German-American Jacob Kuechler used crossdating to examine oaks in order to study the record of climate in western Texas, in 1866, the German botanist, entomologist, and forester Julius Ratzeburg observed the effects on tree rings of defoliation caused by insect infestations. By 1882, this observation was already appearing in forestry textbooks, in the 1870s, the Dutch astronomer Jacobus C. Kapteyn was using crossdating to reconstruct the climates of the Netherlands, in 1881, the Swiss-Austrian forester Arthur von Seckendorff-Gudent was using crossdating. From 1869 to 1901, Robert Hartig, a German professor of forest pathology, wrote a series of papers on the anatomy, in 1892, the Russian physicist Fedor Nikiforovich Shvedov wrote that he had used patterns found in tree rings to predict droughts in 1882 and 1891. During the first half of the 20th century, the astronomer A. E. Douglass founded the Laboratory of Tree-Ring Research at the University of Arizona. Growth rings, also referred to as tree rings or annual rings, growth rings are the result of new growth in the vascular cambium, a layer of cells near the bark that is classified as a lateral meristem, this growth in diameter is known as secondary growth. Visible rings result from the change in speed through the seasons of the year, thus, critical for the title method. If the bark of the tree has been removed in a particular area, the rings are more visible in temperate zones, where the seasons differ more markedly. The inner portion of a ring is formed early in the growing season, when growth is comparatively rapid and is known as early wood. Many trees in temperate zones make one growth ring each year, hence, for the entire period of a trees life, a year-by-year record or ring pattern is formed that reflects the age of the tree and the climatic conditions in which the tree grew
Dendrochronological
–
Drill for dendrochronology sampling and growth ring counting
Dendrochronological
–
The growth rings of a tree at
Bristol Zoo, England. Each ring represents one year; the outside rings, near the bark, are the youngest.
Dendrochronological
–
Diagram of
secondary growth in a
tree showing idealised vertical and horizontal sections. A new layer of
wood is added in each growing season, thickening the stem, existing branches and roots, to form a growth ring.
Dendrochronological
–
Pinus taeda Cross section showing annual rings,
Cheraw, South Carolina.
26.
Garden of Eden
–
The Garden of Eden or often Paradise is the biblical garden of God, described most notably in the Book of Genesis chapters 2 and 3, and also in the Book of Ezekiel. The garden of God, not called Eden, is mentioned in Genesis 13, the Book of Zechariah and the Book of Psalms also refer to trees and water in relation to the temple without explicitly mentioning Eden. Traditionally, the derivation of the name Eden was from the Akkadian edinnu. Eden is now believed to be closely related to an Aramaic root word meaning fruitful. The Hebrew term is translated pleasure in Sarahs secret saying in Genesis 18,12, in the Hebrew Bible, Adam and Eve are depicted as walking around the Garden of Eden naked due to their innocence. Eden and its rivers may signify the real Jerusalem, the Temple of Solomon and it may also represent the divine garden on Zion, and the mountain of God, which was also Jerusalem. The imagery of the Garden, with its serpent and cherubs, has compared to the images of the Solomonic Temple with its copper serpent. The second part of the Genesis creation narrative, Genesis, opens with Adonai Elohim creating the first man, the man was free to eat from any tree in the garden except the tree of the knowledge of good and evil. Last of all, the God made a woman from a rib of the man to be a companion the man, cherubim were placed east of the garden, and a flaming sword which turned every way, to keep him away from the tree of life. Genesis lists four rivers in association with the garden of Eden, Pishon, Gihon, the Tigris, and it also refers to the land of Cush - translated/interpreted as Ethiopia, but thought by some to equate to Cossaea, a Greek name for the land of the Kassites. These lands lie north of Elam, immediately to the east of ancient Babylon, in Antiquities of the Jews, the first-century Jewish historian Josephus identifies the Pishon as what the Greeks called Ganges and the Geon as the Nile. According to Terje Stordalen, the Eden in Ezekiel appears to be located in Lebanon. According to the Bible, the location of Eden is described in the Book of Genesis, chapter 2, verse 10-14, A river flowed from Eden to water the garden, and from there it divided to make four streams. The first is named the Pishon, and this winds all through the land of Havilah where there is gold, the gold of this country is pure, bdellium and cornelian stone are found there. The second river is named the Gihon, and this winds all through the land of Cush, the third river is named the Tigris, and this flows to the east of Ashur. The fourth river is the Euphrates, the city of Dilmun in the Sumerian mythological story of Enki and Ninhursag is a paradisaical abode of the immortals, where sickness and death were unknown. In this painting, only the action takes place there identifies the setting as distinct from the Garden of the Hesperides. The Persian term paradise, meaning a garden or hunting-park
Garden of Eden
–
The Garden of Eden as depicted in the first or left panel of
Bosch 's
The Garden of Earthly Delights Triptych. The panel includes many imagined and exotic
African animals.
Garden of Eden
–
Expulsion from Paradise, painting by
James Jacques Joseph Tissot
Garden of Eden
–
The Expulsion illustrated in the English
Caedmon manuscript, c. 1000 CE
Garden of Eden
–
Carte de la Situation du Paradis Terrestre, Et des Pais Habitez par les Patriarches Dressee pour bien entendre l'Histoire Sainte, Par Messire Pierre Daniel Huet
27.
Last Judgment
–
In Christian belief, it is the final and eternal judgment by God of the people in every nation resulting in the glorification of some and the punishment of others. The concept is found in all the Canonical gospels, particularly the Gospel of Matthew, Christian Futurists believe it will take place after the Resurrection of the Dead and the Second Coming of Christ while Full Preterists believe it has already occurred. The Last Judgment has inspired numerous artistic depictions, beware of false prophets, which come to you in sheeps clothing, but inwardly they are ravening wolves. Ye shall know them by their fruits, do men gather grapes of thorns, or figs of thistles. Even so, every good tree bringeth forth good fruit, but a corrupt tree bringeth forth evil fruit, a good tree cannot bring forth evil fruit, neither can a corrupt tree bring forth good fruit. Every tree that bringeth not forth good fruit is hewn down, therefore, by their fruits ye shall know them. Not every one that saith unto me, Lord, Lord, shall enter into the Kingdom of Heaven, many will say to me in that day, Lord, Lord, have we not prophesied in thy name. And in thy name have cast out devils. and in thy name done many wonderful works, and then will I profess unto them, I never knew you, depart from me, ye that work iniquity. Then said one unto him, Lord, are few that be saved. And he said them, Strive to enter in at the strait gate, for many, I say unto you, will seek to enter in. But he shall say, I tell you, I know you not whence ye are, depart from me, all ye workers of iniquity. There shall be weeping and gnashing of teeth, when ye shall see Abraham, and Isaac, and Jacob, and all the prophets, in the kingdom of God, and you yourselves thrust out. The doctrine is supported by passages in the Books of Daniel, Isaiah. From his presence earth and sky fled away, and no place was found for them, and I saw the dead, great and small, standing before the throne, and books were opened. Then another book was opened, which is the book of life, and the dead were judged by what was written in the books, according to what they had done. Even now the axe is lying at the root of the trees, I baptize you with water for repentance, but one who is more powerful than I is coming after me, I am not worthy to carry his sandals. He will baptize you with the Holy Spirit and fire and his winnowing fork is in his hand, and he will clear his threshing-floor and will gather his wheat into the granary, but the chaff he will burn with unquenchable fire. Just as the weeds are collected and burned up with fire, Then the righteous will shine like the sun in the kingdom of their Father
Last Judgment
–
Stefan Lochner, Last Judgement, c. 1435.
Wallraf-Richartz Museum, Cologne
Last Judgment
–
Memling's Day of Judgement, 1467–1471.
Last Judgment
–
The Last Judgment by
John Martin (1854)
Last Judgment
–
The last Judgment 17th-century
icon from Lipie (Historic Museum in
Sanok,
Poland)
28.
Adam
–
Adam is a figure from the Book of Genesis who is also mentioned in the New Testament, the deuterocanonical books, the Quran, the Book of Mormon, and the Book of Iqan. According to the myth of the Abrahamic religions, he was the first human. In the Genesis creation narratives, he was created by God, Christian churches differ on how they view Adams subsequent behavior of disobeying God, and to the consequences that those actions had on the rest of humanity. Christian and Jewish teachings sometimes hold Adam and Eve to a different level of responsibility for the Fall, in addition, Islam holds that Adam was eventually forgiven, while Christianity holds that redemption occurred only later through the sacrifice of Jesus. The Baháí Faith, Islam and some Christian denominations consider Adam to be the first prophet, Adam as a proper name, predates its generic use in Semitic languages. Its earliest known use as a name in historicity is Adamu. Its use as a word in the Hebrew language is ׳āḏām. Coupled with the article, it becomes the human. Its root is not attributed to the Semitic root for man --sh, rather, ׳āḏām is linked to its triliteral root אָדָם, meaning red, fair, handsome. As a masculine noun, adam means man, mankind usually in a context as in humankind. The noun adam is also the form of the word adamah which means ground or earth. It is related to the words, adom, admoni, according to a number of observers, the word Adam derives from Sanskrit word Adima, meaning progenitor, first, primitive in Sanskrit. In the Book of Genesis, the Hebrew word ׳āḏām is often rendered mankind in the most generic sense, the use of mankind in Genesis, gives the reflection that Adam was the ancestor of all men. Kabbalistic works indicate that Adam also comes from the Hebrew word Adame, in the first five chapters of Genesis the word אָדָם is used in all of its senses, collectively, individually, gender nonspecific, and male. According to the Jewish Encyclopedia, its use in Genesis 1 is generic, while in Genesis 2 and Genesis 3 the generic and personal usages are mixed. In Genesis 1,27 adam is used in the sense, whereby not only the individual Adam. Genesis 2,7 is the first verse where Adam takes on the sense of an individual man, the gender distinction of adam is then reiterated in Genesis 5, 1–2 by defining male and female. A recurring literary motif that occurs, is the bond between Adam and the earth, Gods cursing of Adam also results in the ground being cursed, causing him to have to labour for food, and Adam returns to the earth from which he was taken
Adam
–
Detail from
Michelangelo 's
The Creation of Adam,
Sistine Chapel ceiling
Adam
–
And Elohim Created Adam by
William Blake
Adam
–
Adam naming the animals, depicted in stained glass, north aisle
Dublin Cathedral
Adam
–
William Blake 's color printing of God Judging Adam original composed in 1795. This print is currently held by the
Tate Collection
29.
Flemish painting
–
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
–
The Arnolfini portrait by
Jan van Eyck.
30.
Impasto
–
Impasto is a technique used in painting, where paint is laid on an area of the surface very thickly, usually thick enough that the brush or painting-knife strokes are visible. Paint can also be mixed right on the canvas, when dry, impasto provides texture, the paint appears to be coming out of the canvas. The word impasto is Italian in origin, in that language it means dough or mixture, Italian usage of impasto includes both a painting and a potting technique. According to Websters New World College Dictionary, the noun of impasto is pasta. Oil paint is the medium for impasto painting, due to its thickness. Acrylic paint can also be used for impasto by adding heavy body acrylic gels, Impasto is generally not possible in watercolour or tempera without the addition of thickening agent due to the inherent thinness of these media. An artist working in pastels can produce a limited impasto effect by pressing a soft pastel firmly against the paper, first, it makes the light reflect in a particular way, giving the artist additional control over the play of light on the painting. Second, it can add expressiveness to the painting, the viewer being able to notice the strength, third, impasto can push a painting into a three-dimensional sculptural rendering. The first objective was originally sought by such as Rembrandt, Titian. Much later, the French Impressionists created entire canvases of rich impasto textures, vincent van Gogh used it frequently for aesthetics and expression. Still more recently, Frank Auerbach has used such heavy impasto that some of his paintings become almost three-dimensional, because impasto gives texture to the painting, it can be opposed to flat, smooth, or blending techniques. Selected examples of paintings which make use of the impasto technique Media related to Impasto at Wikimedia Commons Lindberg. Alfred Currier, Impasto National Portrait Gallery, London
Impasto
–
Still Life: Vase with Pink Roses is an oil painting on canvas completed by
Vincent van Gogh in 1890, which makes extensive use of the impasto technique.
Impasto
–
Crags and Crevices by
Jane Frank (1960). As with many
abstract expressionist works (and many so-called "
action paintings " as well), impasto is a prominent feature.
Impasto
–
Taos Mountain, Trail Home by
Cordelia Wilson (1920). An early 20th century landscape entirely executed with a bold impasto technique.
Impasto
–
Vsevolod Bazhenov, 1953, Altai Mountains
31.
Philip II of Spain
–
Philip II of Spain, called the Prudent, was King of Spain, King of Portugal, King of Naples and Sicily, and jure uxoris King of England and Ireland. He was also Duke of Milan, from 1555, he was lord of the Seventeen Provinces of the Netherlands. Known in Spain as Felipe el Prudente, his empire included territories on every continent then known to Europeans, during his reign, Spain reached the height of its influence and power. This is sometimes called the Golden Age, the expression, the empire on which the sun never sets, was coined during Philips time to reflect the extent of his dominion. During Philips reign there were separate state bankruptcies in 1557,1560,1569,1575 and this was partly the cause of the declaration of independence which created the Dutch Republic in 1581. The Ambassador went on to say He dresses very tastefully, the culture and courtly life of Spain were an important influence in his early life. He was tutored by Juan Martínez Siliceo – the future Archbishop of Toledo, Philip displayed reasonable aptitude in arms and letters alike. Later he would study with more illustrious tutors, including the humanist Juan Cristóbal Calvete de Estrella, Philip, though he had good command over Latin, Spanish and Portuguese, never managed to equal his father, Charles V, as a polyglot. Despite being also a German archduke from the House of Habsburg, Philip felt himself to be culturally Spanish, he had been born in Spain and raised in the Castilian court, his native tongue was Spanish, and he preferred to live in Spain. This would ultimately impede his succession to the imperial throne, Philip was also close to his two sisters, María and Juana, and to his two pages, the Portuguese nobleman Rui Gomes da Silva and Luis de Requesens, the son of his governor Juan de Zúñiga. These men would serve Philip throughout their lives, as would Antonio Pérez, Philips martial training was undertaken by his governor, Juan de Zúñiga, a Castilian nobleman who served as the commendador mayor of Castile. The practical lessons in warfare were overseen by the Duke of Alba during the Italian Wars, Philip was present at the Siege of Perpignan in 1542, but did not see action as the Spanish army under Alba decisively defeated the besieging French forces under the Dauphin of France. On his way back to Castile, Philip received the oath of allegiance of the Aragonese Cortes at Monzón. The king-emperors interactions with his son during his stay in Spain convinced him of Philips precocity in statesmanship, Philip, who had previously been made the Duke of Milan in 1540, began governing the most extensive empire in the world at the young age of sixteen. Charles left Philip with experienced advisors—notably the secretary Francisco de los Cobos, Philip was also left with extensive written instructions which emphasised piety, patience, modesty, and distrust. These principles of Charles were gradually assimilated by his son, who would grow up to become grave, self-possessed, personally, Philip spoke softly, and had an icy self-mastery, in the words of one of his ministers, he had a smile that cut like a sword. After living in the Netherlands in the years of his reign. Although sometimes described as a monarch, Philip faced many constitutional constraints on his authority
Philip II of Spain
–
'The Baptism of Phillip II' in
Valladolid, Spain. Historical ceiling preserved in Palacio de Pimentel (
Valladolid).
Philip II of Spain
Philip II of Spain
–
Portrait of Philip II on 1/5 Philipsdaalder, struck 1566, Guelders, Low Countries.
Philip II of Spain
–
Titian 's portrait of Philip as prince, aged about twenty-four dressed in a magnificent, lavishly decorated set of armour. The whiteness of his skin corresponds to his white stockings and the greenish golden sheen on his armour. In this way, the prince's pale complexion appears more distinguished.
32.
Adoration of the Magi (Bosch, Madrid)
–
The Adoration of the Magi, or The Epiphany is a triptych oil painting on wood panel by the Netherlandish artist Hieronymus Bosch, executed around 1485-1500. It is housed in the Museo del Prado of Madrid, Spain, the work was once identified with a canvas executed for the Cathedral of s-Hertogenbosch, Boschs hometown. However, it is now considered likely that this one is the painting owned by Jehan de Kassembrood which was seized by Fernando Álvarez de Toledo. The painting contains the coat of arms of the Bronchorst, the family of Kassembroods wife, Kassembrood had been secretary of Lamoral, Count of Egmont, and was executed with him in 1568. Together with other forfeited works of art, the Duke shipped the triptych to Philip II of Spain, in 1574 the painting was in the El Escorial monastery, and is mentioned in 1605 as an Epiphany without any extravaganza, differently than other Boschs work there. It has been at the Prado since 1839, as with most of Boschs works, the dating is disputed. The latest dendrochronological investigation has determined that the panels were produced after 1472, the latter is surrounded by an arch with flying angels. The two characters in color are an addition, and are the paintings donors. In the sky around the cross are an angel and a devil, with a red halo around his head. Judas is also visible hanging at the right edge, while a man is pointing at him. The left panel depict St. Peter and one donor, identified with Peter Bronckhorst thanks to the presence of his coat of arms, in the background, a man sits on a basket under a makeshift roofing, he is likely St. Joseph who heats Jesus diapers. In the right panel is St. Agnes and the donor, Agnes Bosshuysse. In the background, a bear and an attack some people. The central panel shows the Adoration of the Magi, depicted in accordance with traditional iconography, a monumental Mary sits outside a precarious hut, with the Child held at her womb. Balthazar, the eldest of the Magi, is kneeling at her feet, with his gift before him, a sculpture with the Sacrifice of Isaac. Below the object are several toads, symbols of heresy, balthazars crown lies on the ground, an allusion to the powerlessness of earthly power against the celestial. Melchior stands to the rear, with a depiction of the Visit of Queen Sheba to Solomon on his mantle and he brings incense on a vessel. Gaspar is accompanied by a dark-skinned servant, the pigments employed by the artist are consistent with his other works
Adoration of the Magi (Bosch, Madrid)
–
Epiphany
Adoration of the Magi (Bosch, Madrid)
–
Detail of the beast attacking people in the right panel.
Adoration of the Magi (Bosch, Madrid)
–
The closed triptych.
Adoration of the Magi (Bosch, Madrid)
–
Detail of the central panel with the Magi.
33.
The Seven Deadly Sins and the Four Last Things
–
The Seven Deadly Sins and the Four Last Things is a painting attributed to Hieronymus Bosch or to a follower of his, completed around 1500 or later. Since 1898 its authenticity has been questioned several times, in 2015 the Bosch Research Conservation Project claimed it to be by a follower, but the Prados scholars dismissed this argument. The painting is oil on wooden panels and is presented in a series of circular images, at the centre of the large circle, which is said to represent the eye of God, is a pupil in which Christ can be seen emerging from his tomb. Below this image is the Latin inscription Cave Cave Deus Videt, in 1560 Felipe de Guevara wrote about a pupil of Bosch, an unnamed discipulo, who was as good as his master and even signed his works with his masters name. Immediately after this, and without starting a new paragraph, Guevara refers to the painting of the Seven Deadly Sins as characteristic of his style and this led some scholars, as early as Dollmayr and most vocally Stechow, to ascribe the work to this pupil. Most experts have argued since, however, that given the highly ambiguous nature of the passage, phillip II of Spain himself purchased the work in the belief that the Seven Deadly Sins was a Bosch original, and he always regarded it as such. It was his favourite Bosch painting and it hanged in his own bedroom in El Escorial, the alleged poor quality of the drawing had led to the incorrect belief it dates from Boschs early period. They also noted that the painting is not on oak, adding to their doubts about the attribution to Bosch, furthermore, the theme, symbolism and the composition itself is profoundly original, which would make it extremely unlikely that an unknown pupil could have painted it. In 2005 Ed Hoffman argued for the work being a copy, in his view, the amateurish style, the plump figures, the lack of white highlights and the fact that the wooden panel is not oak but poplar. An argument for the authenticity, or at least originality, of the work could be found in the pentimenti of the underpainting, in addition, there is no question signature in the painting is that of Bosch himself, and not a forgery. In response, the Prado Museum stated that still consider the piece to be authentic. Each panel in the circle depicts a different sin. Clockwise from top, Gluttony, A drunkard swigs from a bottle while a fat man eats greedily, not heeding the plea of his equally obese young son. Sloth, A lazy man dozes in front of the fireplace while Faith appears to him in a dream, in the guise of a nun, lust, Two couples enjoy a picnic in a pink tent, with two clowns to entertain them. Pride, With her back to the viewer, a woman looks at her reflection in a mirror held up by a demon, wrath, A woman attempts to break up a fight between two drunken peasants. The dogs illustrate the Flemish saying, “Two dogs and only one bone, greed, A crooked judge pretends to listen sympathetically to the case presented by one party to a lawsuit, while slyly accepting a bribe from the other party. The four small circles also have details, saint Peter is shown as the gatekeeper. In Judgment, Christ is shown in glory while angels awake the dead, calendar Clock Face, c.1500 in the collection of M - Museum Leuven Rota Fortunae Bhavacakra, a similar diagram in Buddhism
The Seven Deadly Sins and the Four Last Things
–
The Seven Deadly Sins and the Four Last Things
The Seven Deadly Sins and the Four Last Things
–
Wrath (Ira)
The Seven Deadly Sins and the Four Last Things
–
Pride (Superbia)
The Seven Deadly Sins and the Four Last Things
–
Lust (Luxuria)
34.
The Haywain Triptych
–
The Haywain Triptych is a panel painting by Hieronymus Bosch, currently housed in the Museo del Prado, Madrid, Spain. A date of around 1516 has been established by means of dendrochronological research, the central panel, signed Jheronimus Bosch, measures 135 by 200 centimeters and the wings measure 147 ×66 cm. The outside shutters feature a version of Boschs The Wayfarer, the painting was part of a group of six acquired by king Philip II of Spain in 1570, and shipped to El Escorial four years later. It was later sold to the Marquis of Salamanca, and divided into three paintings, in 1848, the central panel was bought by Isabella II of Spain and brought to Aranjuez, the right one was returned to Escorial and the left went to the Prado. The triptych was recomposed in 1914 in the latter museum. A copy exists at the Escorial, the exterior of the shutters, like most contemporary Netherlandish triptychs, were also painted, although in this case Bosch used full colors instead of the usual grisaille. When closed, they form a scene depicting a wayfarer. Around him is a series of miniatures including the robbery of another wayfarer, the man uses a stick to repel a dog. According to the most recent interpretations, this figure may represent the man who follows his road in spite of the temptation of sins, the Haywain triptych follows a similar narrative to The Garden of Earthly Delights. The left panel shows God giving form to Eve, unlike the Garden, though, a narrative sequence flows through the panel in different scenes. At the top, the angels are cast out of Heaven while God sits enthroned. Below this, God creates Eve from the rib of Adam, next, Adam and Eve find the serpent and the tree, the serpent offers them an apple. Finally, at the lowest part of the panel, the forces the two out of the Garden of Eden. Adam speaks with the angel, Eve, in a melancholic pose, the central panel features a large wagon of hay surrounded by a multitude of fools engaged in a variety of sins, quite apart from the sins of lust which dominates the Garden of Earthly Delights. In the center panel Bosch shows Christ in the sky, not paralleled in the Garden, an angel on top of the wagon looks to the sky, praying, but none of the other figures see Christ looking down on the world. The forward kinetic motion of the moves the viewer from present-day sin into unadulterated torture in the realms of Hell. The procession on the side of this panel bends back into the middle ground, but the right side figures continue in a straight line with the wagon. The triptych was thoroughly investigated by the scientists at The Bosch Research, Boschs palette was rather limited with pigments such as azurite, lead-tin yellow, vermilion and ochres
The Haywain Triptych
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The Haywain Triptych
The Haywain Triptych
–
The closed triptych.
35.
The Last Judgment (Bosch triptych)
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The Last Judgment is a triptych by Hieronymus Bosch, created after 1482. The triptych currently resides at the Academy of Fine Arts in Vienna, the outside of the shutters panel are painted in grisaille on panel, while the inside shutters and the center panel are painted in oil. The left and right panels measure 167.7 x 60 cm and it is not to be confused with either a fragmented piece of art by Bosch under the same title, or another full painting by Bosch, possibly by a painter in his workshop. The left panel shows the Garden of Eden, at the top God is shown seated in Heaven while the Rebel Angels are cast out of Heaven, at the foot of the panel, God creates Eve from the rib of Adam. The right panel shows a Hellscape, where the wicked are punished, the oldest mention of the painting is in a 1659 inventory of Archduke Leopold Wilhelm of Austrias collection, as by Hieronimo Bosz. In the late 18th century, the work was acquired by count Lambert-Spritzenstein, in the 17th-18th centuries, the triptych has been widely repainted and has lost part of the colors. Some art historians identified this work as that acquired by Philip I of Castile in 1504, dendrochronologic analysis proved that the painting was executed not before 1482 There is copy of the work, attributed to Lucas Cranach the Elder, in the Gemäldegalerie of Berlin. The paintings composition has similarities with the Haywain Triptych or the Garden of Earthly Delights, the central panel depicts a Last Judgement, in a more obscure atmosphere than the Hell one. Like in other contemporary Flemish triptychs, the shutters are painted in grisaille. At left is St. James in pilgrimage within a land with a hung man, at right is instead St. Bavo. One of the characters in the panel, the old woman with a child, appears in a drawing attributed to Bosch. The left panel depicts the Garden of Eden of the biblical history, in the upper section Bosch portrayed God sitting on his throne, surrounded by a luminous halo. Around him is a sky, with angels fighting rebellious angels who are turning into devils as they fall. The central painting depicts a Last Judgement, basing on Johns Book of Revelation, above is Christ as a judge, surrounded by the Virgin Mary, John the Evangelist and the apostles. The celestial zone, painted in a blue, contrasts with the rest of the panel. The punishments come from creatures of Hell, the damned are burned, speared, impaled, hung from butcher hooks, forced to eat impure food. This scene has strong similarities with the panel in Boschs Garden at the Museo del Prado. Thematically, the hell at right is not different from the Last Judgement, satan, in the center, receives the damned souls
The Last Judgment (Bosch triptych)
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The Last Judgment
The Last Judgment (Bosch triptych)
–
The closed triptych.
The Last Judgment (Bosch triptych)
–
Detail of the left panel.
The Last Judgment (Bosch triptych)
–
The central Last Judgement.
36.
Ship of Fools (painting)
–
Ship of Fools is a painting by Hieronymus Bosch, now on display in the Musée du Louvre, Paris. The surviving painting is a fragment of a triptych that was cut into several parts, the Ship of Fools was painted on one of the wings of the altarpiece, and is about two thirds of its original length. The bottom third of the panel belongs to Yale University Art Gallery and is exhibited under the title Allegory of Gluttony. The wing on the side, which has more or less retained its full length, is the Death. The two panels together would have represented the two extremes of prodigiality and miserliness, condemning and caricaturing both. Dendrochronological study has dated the wood to 1491, and it is tempting to see the painting as a response to Sebastian Brants Das Narrenschiff or even the illustrations of the first edition of 1493. Another possible source for the allegory is the 14th-century Le Pèlerinage de lÂme by Guillaume de Deguileville. A Drawing of the Ship of Fools, also in the Louvre, the same goes for the Rotterdam Marriage feast at Cana panel which can only have been painted after 1553. It has also become clear that the Rotterdam Pedlar tondo, the Paris Ship of Fools panel and the Washington Death of a Miser panel have been painted on wood from one and the same tree. The two to eight years between the felling of the tree and its use as a substrate allows The Ship of Fools to be a direct satire of a frontispiece of Sebastian Brants book
Ship of Fools (painting)
–
The Ship of Fools
Ship of Fools (painting)
–
Reconstruction of the triptych.
37.
Allegory of Gluttony and Lust
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Allegory of Intemperance is a Hieronymus Bosch painting made sometime between 1490 and 1500. It is currently in the Yale University Art Gallery in New Haven and this panel is the left inside bottom wing of a hinged triptych. The other identified parts are the The Ship of Fools, which formed the left panel, and the Death and the Miser. The central panel, if existed, is unknown, the Allegory represented a condemnation of gluttony, in the same way the right panel condemned avarice. The fragment shows a fat man riding a barrel in a kind of lake or pool and he is surrounded by other people, who push him or pour a liquid from the barrel. Below, a man swims with, above his head, a vessel with meat, the swimmers clothes lie on the shore at bottom. On the right, under a hut, a couple is devoting to lascivious acts, page at the museums official website
Allegory of Gluttony and Lust
–
Allegory of Intemperance
38.
Death and the Miser
–
Death and the Miser is a Hieronymus Bosch painting. It is currently in the National Gallery of Art in Washington, the painting is the inside of the right panel of a divided triptych. The other existing portions of the triptych are The Ship of Fools and Allegory of Gluttony and Lust, Death and the Miser belongs to the tradition of the memento mori, works that remind the viewer of the inevitability of death. The painting shows the influence of popular 15th-century handbooks on the art of dying, intended to help Christians choose Christ over sinful pleasures. As Death looms, the miser, unable to resist worldly temptations, reaches for the bag of gold offered by a demon, there are references in the painting to dichotomous modes of life. A crucifix is set on the window of the room. A thin ray of light is directed down to the bottom of the large room, a demon holding an ember lurks over the dying man, waiting for his hour. Death is dressed in flowing robes, in the foreground, Bosch possibly depicts the miser as he was previously, in full health, storing gold in his money chest while clutching his rosary. The depiction of such objects to symbolize earthly vanity, transience or decay would become a genre in itself among 17th-century Flemish artists. Whether or not the miser, in his last moments, will embrace the salvation offered by Christ or cling to his riches, is left uncertain. Boschs familiarity with the tradition of the Ars Moriendi can be seen in the top left roundel depicting the death of a sinner in The Seven Deadly Sins. There are several points of similarity, such as the figure of Death and the juxtaposition of an angel and devil at the headboard
Death and the Miser
–
Death and the Miser
Death and the Miser
–
Death of the Sinner
39.
Azurite
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Azurite is a soft, deep blue copper mineral produced by weathering of copper ore deposits. It is also known as Chessylite after the locality at Chessy-les-Mines near Lyon. The mineral, a carbonate, has known since ancient times, and was mentioned in Pliny the Elders Natural History under the Greek name kuanos. The blue of azurite is exceptionally deep and clear, and for that reason the mineral has tended to be associated since antiquity with the blue color of low-humidity desert. Azurite is one of the two basic copper carbonate minerals, the other being bright green malachite, simple copper carbonate is not known to exist in nature. Azurite has the formula Cu322, with the copper cations linked to two different anions, carbonate and hydroxide, small crystals of azurite can be produced by rapidly stirring a few drops of copper sulfate solution into a saturated solution of sodium carbonate and allowing the solution to stand overnight. Large crystals are blue, often prismatic. Azurite specimens can be massive to nodular and they are often stalactitic in form. Specimens tend to lighten in color over time due to weathering of the surface into malachite. Azurite is soft, with a Mohs hardness of only 3.5 to 4, the specific gravity of azurite is 3.77 to 3.89. Azurite is destroyed by heat, losing carbon dioxide and water to form black, characteristic of a carbonate, specimens effervesce upon treatment with hydrochloric acid. The optical properties of such as azurite and malachite are characteristic of copper. Many coordination complexes of copper exhibit similar colors, as explained within the context of ligand field theory, the colors result from low energy d-d transitions associated with the d9 metal center. Azurite is unstable in air with respect to malachite. Azurite is also incompatible with media, such as saltwater aquariums. Azurite is not a useful pigment because it is unstable in air and it was however used as a blue pigment in antiquity. Azurite is naturally occurring in Sinai and the Eastern Desert of Egypt and it was reported by F. C. J. Depending on the degree of fineness to which it was ground and it has been known as mountain blue or Armenian stone, in addition it was formerly known as Azurro Della Magna
Azurite
–
Azurite with large crystals and light surface weathering. Shilu Mine,
Guangdong Province, China
Azurite
–
Ground azurite for use as a pigment
Azurite
–
The background of Lady with a Squirrel by
Hans Holbein the Younger was painted with Azurite
Azurite
–
The greenish tint of the Madonna's mantle in Raphael Madonna and Child Enthroned with Saints is due to azurite weathering to malachite
40.
Malachite
–
Malachite is a copper carbonate hydroxide mineral, with the formula Cu2CO32. Individual crystals are rare but do occur as slender to acicular prisms, pseudomorphs after more tabular or blocky azurite crystals also occur. The stones name derives from Greek Μολοχίτης λίθος molochitis lithos, mallow-green stone, from μολόχη molōchē, variant of μαλάχη malāchē, the mineral was given this name due to its resemblance to the leaves of the mallow plant. Archeological evidence indicates that the mineral has been mined and smelted to obtain copper at Timna Valley in Israel for over 3,000 years, since then, malachite has been used as both an ornamental stone and as a gemstone. In ancient Egypt the colour green was associated with death and the power of resurrection as well as new life and they believed that the afterlife contained an eternal paradise which resembled their lives but with no pain or suffering, and referred to this place as the ‘Field of Malachite’. Malachite was used as a pigment in green paints from antiquity until about 1800. The pigment is moderately lightfast, very sensitive to acids, and this natural form of green pigment has been replaced by its synthetic form, verditer, among other synthetic greens. Malachite is also used for decorative purposes, such as in the Malachite Room in the Hermitage, which features a huge malachite vase, and the Malachite Room in Castillo de Chapultepec in Mexico City. The Tazza, a large vase, one of the largest pieces of malachite in North America. Malachite often results from the weathering of copper ores, and is found together with azurite, goethite. Except for its vibrant green color, the properties of malachite are similar to those of azurite, Malachite is more common than azurite and is typically associated with copper deposits around limestones, the source of the carbonate. Large quantities of malachite have been mined in the Urals, Russia, ural malachite is not being mined at present, but G. N Vertushkova reports the possible discovery of new deposits of malachite in the Urals. Virtual tour of the Malachite Room Malachite, Colourlex
Malachite
–
Malachite from the
Democratic Republic of the Congo
Malachite
–
Slice through a double
stalactite, from
Kolwezi, Democratic Republic of the Congo. Size 5.9 × 3.9 × 0.7 cm.
Malachite
–
A polished slab of malachite, from the Democratic Republic of the Congo
Malachite
–
Malachite and
azurite, from
Morenci, Arizona USA. Size 4.4×4.1×2.2 cm.
41.
Verdigris
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It is usually a basic copper carbonate, but near the sea will be a basic copper chloride. If acetic acid is present at the time of weathering, it may consist of copper acetate, the name verdigris comes from the Middle English vertegrez, from the Old French verte grez, an alteration of vert-de-Grèce. The modern French spelling of this word is vert-de-gris and it was used as a pigment in paintings and other art objects. It was originally made by hanging copper plates over hot vinegar in a pot until a green crust formed on the copper. Another method of obtaining verdigris pigment, used in the Middle Ages, was to attach copper strips to a block with acetic acid. A few weeks later the pot was dug up and the verdigris scraped off, in eighteenth-century Montpellier, France, it was manufactured in household cellars, where copper plates were stacked in clay pots filled with distilled wine. The verdigris was scraped off weekly by the women of the household, the chemical reaction exhibited between wine and copper to produce verdigris may be related to wines own oxidization process. Another method, used in the nineteenth century, had to do with reacting copper sulfate solution with solutions of lead, barium. Their sulfates are insoluble, forming precipitates and leaving the copper acetate in solution, natural or artificially created coatings of verdigris is commonly used as a patina to protect copper or bronze objects, especially in architecture. It is also used industrially as a fungicide, a catalyst for organic reactions, Verdigris has also been used in medicine. The vivid green color of copper acetate made this form of verdigris a much used pigment, until the 19th century, verdigris was the most vibrant green pigment available and was frequently used in painting. Verdigris is lightfast in oil paint, as examples of 15th-century paintings show. However, its lightfastness and air resistance are very low in other media, Copper resinate, made from verdigris by boiling it in a resin, is not lightfast, even in oil paint. In the presence of light and air, green copper resinate becomes stable brown copper oxide, in addition, verdigris is a fickle pigment requiring special preparation of paint, careful layered application and immediate sealing with varnish to avoid rapid discoloration. Verdigris has the property in oil painting that it is initially bluish-green. Verdigris fell out of use by artists as more stable green pigments became available, Copper acetate is soluble in alcohol and water and slightly soluble in ether and glycerol. It melts at 115 °C and decomposes at 240 °C and it can be prepared by reacting copper oxide, CuO, or copper carbonate, CuCO3, with acetic acid, CH3COOH. Verdigris is a chemical mixture of compounds, complexes and water
Verdigris
–
The
Statue of Liberty, showing advanced oxidization
Verdigris
–
Verdigris in
Prague Underground
42.
Ochres
–
Ochre (/ˈoʊkər/ OH-kər, from Greek, ὠχρός, ōkhrós, or ocher, is a natural earth pigment containing hydrated iron oxide, which ranges in color from yellow to deep orange or brown. It is also the name of the produced by this pigment. A variant of ochre containing an amount of hematite, or dehydrated iron oxide, has a reddish tint known as red ochre. Ochre is a family of pigments, which includes yellow ochre, red ochre, purple ochre, sienna. The major ingredient of all the ochres is iron oxide-hydroxide, known as limonite, which gives them a yellow color. Yellow ochre, FeO·nH 2O, is a hydrated iron hydroxide also called gold ochre Red ochre, Fe 2O3, takes its color from the mineral hematite. Purple ochre, is identical to red ochre chemically but of a different hue caused by different light diffraction properties associated with an average particle size. Brown ochre, also FeO, is a hydrated iron oxide. Sienna contains both limonite and an amount of manganese oxide, which makes it darker than ochre. Umber pigments contain a proportion of manganese which make them a dark brown. When natural sienna and umber pigments are heated, they are dehydrated and some of the limonite is transformed into hematite, giving them more reddish colors, called burnt sienna and burnt umber. Ochres are non-toxic, and can be used to make an oil paint that dries quickly, modern ochre pigments often are made using synthetic iron oxide. Pigments which use natural ochre pigments indicate it with the name PY-43 on the label, pieces of ochre engraved with abstract designs have been found at the site of the Blombos Cave in South Africa, dated to around 75,000 years ago. In Wales, the paleolithic burial called the Red Lady of Paviland from its coating of red ochre has been dated to around 33,000 years before present. Paintings of animals made with red and yellow ochre pigments have been found in sites at Pech Merle in France. The cave of Lascaux has an image of a horse colored with yellow estimated to be 17,300 years old. In Ancient Egypt, yellow was associated with gold, which was considered to be eternal, the skin and bones of the gods were believed to be made of gold. The Egyptians used yellow extensively in tomb painting, though occasionally they used orpiment
Ochres
–
Ochre- pigment
Ochres
–
Yellow ochre (Goldochre)- pigment
Ochres
–
Limonite, a mineraloid containing iron hydroxide, is the main ingredient of all the ochre pigments.
Ochres
–
Hematite is a more reddish variety of iron oxide, and is the main ingredient of red ochre. When limonite is roasted, it turns partially to the more reddish hematite and becomes red ochre or burnt sienna.
43.
Carmine
–
Carmine, also called cochineal, cochineal extract, crimson lake or carmine lake, natural red 4, C. I. 75470, or E120, is a pigment of a bright-red color obtained from the salt of carminic acid. The pigment is produced from some scale insects such as the cochineal scale, the English word carmine is derived from the French word carmin, from Medieval Latin carminium, from Arabic qirmiz, which itself derives from Middle Persian carmir. The Persian term carmir might come from Sanskrit krimiga, from krmi The term may also be influenced in Latin by minium, purity of color is ensured by the absence of iron. Stannous chloride, citric acid, borax, or gelatin may be added to regulate the formation of the precipitate. For shades of purple, lime is added to the alum, thus, Carmine may be prepared from cochineal, by boiling dried insects in water to extract the carminic acid and then treating the clear solution with alum. Other common substances such as cream of tartar, stannous chloride, or potassium hydrogen oxalate can also be used to effect the precipitation, use of these chemicals causes the coloring and animal matters present in the liquid to be precipitated to give a lake pigment. Aluminum from the alum gives the traditional color to carminic acid precipitates. This color is degraded by the presence of iron salts, addition of lime can give carminic acid lakes a purple cast. Other methods for the production of dye are in use, in which egg white, fish glue. The quality of carmine is affected by the temperature and the degree of illumination during its preparation and it also differs according to the amount of alumina present in it. It is sometimes adulterated with cinnabar, starch and other materials, from these, good carmine should crumble readily between the fingers when dry. Carmine can be used as an agent in histology, as a Bests carmine to stain glycogen, mucicarmine to stain acidic mucopolysaccharides. In these applications, it is applied together with a mordant, Carmine was used in dyeing textiles and in painting since antiquity. It is not very stable in oil paint, and its use ceased after new, jacopo Tintoretto used carmine in several of his paintings, including Portrait of Vincenzo Morosini and Christ Washing the Feet of the Disciples. Carmine is used as a dye in many different products such as juices, ice cream, yogurt, and candy. Although principally a red dye, it is found in foods that are shades of red, pink. As a food dye it has known to cause severe allergic reactions
Carmine
–
A cluster of
Dactylopius coccus females growing in
Barlovento,
La Palma,
Canary Islands
Carmine
–
Carmine
Carmine
–
Zapotec nests on
Opuntia ficus-indica host
cacti
44.
Madder lake
–
Alizarin or 1, 2-dihydroxyanthraquinone is an organic compound with formula C 14H 8O4 that has been used throughout history as a prominent red dye, principally for dyeing textile fabrics. Historically it was derived from the roots of plants of the madder genus, in 1869, it became the first natural pigment to be duplicated synthetically. Alizarin is the ingredient for the manufacture of the madder lake pigments known to painters as Rose madder. A notable use of alizarin in modern times is as an agent in biological research because it stains free calcium. Alizarin continues to be used commercially as a red textile dye, Madder has been cultivated as a dyestuff since antiquity in central Asia and Egypt, where it was grown as early as 1500 BC. Cloth dyed with madder root pigment was found in the tomb of the Pharaoh Tutankhamun and in the ruins of Pompeii, in the Middle Ages, Charlemagne encouraged madder cultivation. Madder was widely used as a dye in Western Europe in the Late Medieval centuries, in 17th century England, alizarin was used as a red dye for the clothing of the parliamentary New Model Army. The distinctive red color would continue to be worn for centuries, giving English, the madder dyestuff is combined with a dye mordant. According to which mordant used, the color may be anywhere from pink through purple to dark brown. In the 18th century the most valued color was a bright red known as Turkey Red, the combination of mordants and overall technique used to obtain the Turkey Red originated in the Middle East or Turkey. It was a complex and multi-step technique in its Middle Eastern formulation, the process was simplified in late 18th-century Europe. This resulting madder lake has a color, and can be used more efficaciously. This general method of preparing lakes has been known for centuries but was simplified in the late 18th, in 1826, the French chemist Pierre-Jean Robiquet found that madder root contained two colorants, the red alizarin and the more rapidly fading purpurin. About the same time, the English dye chemist William Henry Perkin independently discovered the same synthesis, the subsequent discovery that anthracene could be abstracted from coal tar further advanced the importance and affordability of alizarins artificial synthesis. The synthetic alizarin could be produced for a fraction of the cost of the product. The principal synthesis entailed oxidation of anthraquinone-2-sulfonic acid with sodium nitrate in concentrated sodium hydroxide, Alizarin itself has been in turn largely replaced today by the more light-resistant quinacridone pigments developed at DuPont in 1958. Alizarin is one of ten dihydroxyanthraquinone isomers and its molecular structure can be viewed as being derived from anthraquinone by replacement of two neighboring hydrogen atoms by hydroxyl groups. It is soluble in hexane and chloroform, and can be obtained from the latter as red-purple crystals, Alizarin changes color depending on the pH of the solution it is in, thereby making it a pH indicator
Madder lake
Madder lake
–
Alizarin
Madder lake
–
alizarin
color
Madder lake
–
Johannes Vermeer, Christ in the House of Martha and Mary, 1654-56. The red blouse of Mary is painted in madder lake
45.
Bistre
–
Bistre can refer to two things, a very dark shade of grayish black, a shade of brown made from soot, or the name for a color resembling the brownish pigment. Bistres appearance is generally of a grayish brown, with a yellowish cast. Beechwood was burned to produce the soot, which was boiled and diluted with water, many Old Masters used bistre as the ink for their drawings. The first recorded use of bistre as a name in English was in 1727. At right is displayed the color brown, a medium brownish tone of the color bistre. This is the tone of bistre that most closely matches the sample in the 1930 book A Dictionary of Color by Maerz. This tone of bistre is the color of the ink that was used by the Old Masters for their drawings, the source of this color is, ISCC-NBS Dictionary of Color Names --Color Sample of Bistre. At right is displayed the color French bistre, which is the tone of bistre called bistre in the Pourpre. com color list, for pictures of bistre colored postage stamps, see the article on the color Bistre in the French Wikipedia
Bistre
–
[Sex] workers at rest, a drawing drawn using bistre pigment by
Jean-Honoré Fragonard (1732–1806)
46.
Museum Boijmans Van Beuningen
–
Museum Boijmans Van Beuningen is an art museum in Rotterdam in the Netherlands. It is located at the Museumpark in the district Rotterdam Centrum, close to the Kunsthal and it houses the collections of Frans Jacob Otto Boijmans and Daniël George van Beuningen. In the collection, ranging from medieval to contemporary art, are works of Rembrandt, Claude Monet, Vincent van Gogh, in 2013, the museum had 292,711 visitors and was the 14th most visited museum in the Netherlands. The museum was established in 1849 as Museum Boymans with the collection of Frans Jacob Otto Boijmans, the painter and art dealer, Arie Johannes Lamme, was named the museums first Director. Much of the original collection was destroyed in a fire in 1864. The collection of businessman Daniël George van Beuningen was added in 1958, the spelling was changed to Museum Boijmans Van Beuningen in 1996. The museum has a diverse collection ranging from medieval to contemporary art, much of the collection came to the museum through the two private collections mentioned above, but many others have contributed throughout the years. The collection also includes one of the richest assembly of works on paper in the world from the Middle Ages to the present times, aRTtube is a website with videos about art and design. Museum Boijmans Van Beuningen produces, together with TV Rijnmond, a series on art. Boijmans TV is based on an idea by Wilfried de Jong, Boijmans TV is created by a team of creative specialists in different disciplines. It is more than an art magazine, apart from the artists, the visitor, the attendant. Each episode of Boijmans TV can be viewed on ArtTube after it has been broadcast, sjarel Ex has been the museum director since 2004. The museum had 292,711 visitors in 2013 and that year it was the most visited museum in Rotterdam and the 14th most visited museum in the Netherlands. It had an estimated 270,000 visitors in 2015, media related to Museum Boijmans Van Beuningen at Wikimedia Commons Official website
Museum Boijmans Van Beuningen
–
The south side of the museum in 2007
Museum Boijmans Van Beuningen
–
The Glorification of the Virgin (c. 1490–95) by
Geertgen tot Sint Jans
Museum Boijmans Van Beuningen
–
The "Little" Tower of Babel, c. 1563, by
Pieter Bruegel the Elder
Museum Boijmans Van Beuningen
–
Wassily Kandinsky, 1911, Reiter (Lyrishes), oil on canvas, 94 x 130 cm
47.
Cathars
–
Catharism was a Christian dualist or Gnostic revival movement that thrived in some areas of Southern Europe, particularly northern Italy and southern France, between the 12th and 14th centuries. The followers were known as Cathars and are now remembered for a prolonged period of persecution by the Catholic church which did not recognise their belief as truly Christian. It appeared in Europe in the Languedoc region of France in the 11th century, the beliefs are believed to have been brought from Persia or the Byzantine Empire. Cathar beliefs varied between communities, because Catharism was initially taught by ascetic priests who had set few guidelines, the Catholic Church denounced its practices including the Consolamentum ritual, by which Cathar individuals were baptized and raised to the status of perfect. Though the term Cathar has been used for centuries to identify the movement, in Cathar texts, the terms Good Men or Good Christians are the common terms of self-identification. The idea of two Gods or principles, one being good and the evil, was central to Cathar beliefs. All visible matter, including the body, was created by this evil god. This was the antithesis to the monotheistic Catholic Church, whose principle was that there was only one God. From the beginning of his reign, Pope Innocent III attempted to end Catharism by sending missionaries and by persuading the local authorities to act against them. In 1208 Innocents papal legate Pierre de Castelnau was murdered while returning to Rome after excommunicating Count Raymond VI of Toulouse, who, in his view, was too lenient with the Cathars. Pope Innocent III then abandoned the option of sending Catholic missionaries and jurists, declared Pierre de Castelnau a martyr and launched the Albigensian Crusade which all but ended Catharism. The origins of the Cathars beliefs are unclear, but most theories agree they came from the Byzantine Empire, mostly by the trade routes and spread from the First Bulgarian Empire to the Netherlands. The name of Bulgarians was also applied to the Albigensians, and that there was a substantial transmission of ritual and ideas from Bogomilism to Catharism is beyond reasonable doubt. St John Damascene, writing in the 8th century AD, also notes of a sect called the Cathari, in his book On Heresies. He says of them, They absolutely reject those who marry a second time, conclusions about Cathar ideology continue to be fiercely debated with commentators regularly accusing their opponents of speculation, distortion and bias. There are a few texts from the Cathars themselves which were preserved by their opponents which give a glimpse of the workings of their faith. One large text which has survived, The Book of Two Principles, elaborates the principles of theology from the point of view of some of the Albanenses Cathars. Cathars, in general, formed a party in opposition to the Catholic Church
Cathars
–
This portrays the story of a disputation between
Saint Dominic and the Cathars (Albigensians), in which the books of both were thrown on a fire and St Dominic's books were miraculously preserved from the flames. Painting by
Pedro Berruguete
Cathars
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The
Occitan cross was a "Cathar rallying symbol".
Cathars
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Cathars being expelled from Carcassonne in 1209. In this group, women appear to be nearly as numerous as men and the Crusaders seem to give women equally harsh treatment for their beliefs.
Cathars
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Cathars being burnt at the stake in an
auto-de-fé presided over by Saint Dominic, as depicted by
Pedro Berruguete.
48.
Adamites
–
The Adamites, or Adamians, were adherents of an Early Christian sect that gathered in North Africa in the 2nd, 3rd and 4th centuries. There were later similar sects in Europe and they wore no clothing during their religious services. The obscure sect, dating probably from the 2nd century, professed to have regained Adams primeval innocence, various accounts are given of their origin. Some have thought them to have been an offshoot of the Carpocratian Gnostics, who professed a sensual mysticism, theodoret held this view of them, and identified them with the licentious sects whose practices are described by Clement of Alexandria. Others, on the contrary, consider them to have been misguided ascetics, who strove to extirpate carnal desires by a return to simpler manners, st. Epiphanius and Augustine of Hippo mention the Adamites by name, and describe their practices. They called their church Paradise, claiming that its members were re-established in Adam, practices similar to those just described appeared in Europe several times in later ages. Everywhere they met with opposition from the mainstream churches. Jan Žižka, the Hussite leader, nearly exterminated the sect in 1421, in the following year, the sect was widely spread over Bohemia and Moravia, and especially hated by the Hussites because they rejected transubstantiation, the priesthood and the Supper. The strife between the Adamites and the Taborites is dramatized in Against All, the part of Otakar Vávras Hussite film trilogy. A brief revival of these took place in Bohemia after 1781. The Austrian government suppressed the last remnants of the Neo-Adamites in Bohemia by force in 1849, adamskostuum Anarchist naturism Christian naturism Freedomites Taborite
Adamites
–
Adamites being rounded up by men with guns
49.
Desiderius Erasmus
–
Desiderius Erasmus Roterodamus, known as Erasmus or Erasmus of Rotterdam, was a Dutch/Netherlandish Renaissance humanist, Catholic priest, social critic, teacher, and theologian. Erasmus was a scholar and wrote in a pure Latin style. Among humanists he enjoyed the sobriquet Prince of the Humanists, and has called the crowning glory of the Christian humanists. He also wrote On Free Will, The Praise of Folly, Handbook of a Christian Knight, On Civility in Children, Copia, Foundations of the Abundant Style, Julius Exclusus, and many other works. Erasmus remained a member of the Roman Catholic Church all his life, remaining committed to reforming the Church and he also held to the Catholic doctrine of free will, which some Reformers rejected in favor of the doctrine of predestination. His middle road approach disappointed and even angered scholars in both camps, Erasmus died suddenly in Basel in 1536 while preparing to return to Brabant, and was buried in Basel Minster, the former cathedral of the city. A bronze statue of him was erected in his city of birth in 1622, Desiderius Erasmus is reported to have been born in Rotterdam on 28 October in the late 1460s. He was named after Saint Erasmus of Formiae, whom Erasmuss father Gerard personally favored, a 17th-century legend has it that Erasmus was first named Geert Geerts, but this is unfounded. He was born in Rotterdam, but there are insufficient records to confirm that, a well-known wooden picture indicates, Goudæ conceptus, Roterodami natus. According to an article by historian Renier Snooy, Erasmus was born in Gouda, the exact year of his birth is debated, with most biographers citing the year as 1466. Some evidence confirming 1466 can be found in Erasmuss own words, of twenty-three statements Erasmus made about his age, all and he was christened Erasmus after the saint of that name. Although associated closely with Rotterdam, he lived there for four years. Information on his family and early life comes mainly from vague references in his writings and his parents were not legally married. His father, Gerard, was a Catholic priest and curate in Gouda, little is known of his mother other than that her name was Margaretha Rogerius and she was the daughter of a physician from Zevenbergen, she may have been Gerards housekeeper. Erasmus was given the highest education available to a man of his day. During his stay there the curriculum was renewed by the principal of the school, for the first time ever Greek was taught at a lower level than a university in Europe, and this is where he began learning it. He also gleaned there the importance of a relationship with God but eschewed the harsh rules. His education there ended when plague struck the city about 1483, and his mother, in 1492, poverty forced Erasmus into the consecrated life
Desiderius Erasmus
–
Desiderius Erasmus in 1523 as depicted by
Hans Holbein the Younger. The Greek and Latin words on the book translate to "The Herculean Labours of Erasmus of Rotterdam".
Desiderius Erasmus
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Bust by
Hildo Krop (1950) at
Gouda, where Erasmus spent his youth
Desiderius Erasmus
–
Portrait of Desiderius Erasmus by
Albrecht Dürer, 1526, engraved in
Nuremberg, Germany.
Desiderius Erasmus
–
Bronze statue of Erasmus in Rotterdam. It was created by
Hendrick de Keyser in 1622, replacing a stone statue of 1557.
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listen);[2] born Jheronimus van Aken[3] [jeːˈroːnimɵs fɑn ˈaːkə(n)];[4] c. 1450 – 9 August 1516) was a Dutch/Netherlandish draughtsman and painter from Brabant. He is widely considered one of the most notable representatives of Early Netherlandish painting school, his work is known for its fantastic imagery, detailed landscapes, and illustrations of religious concepts and narratives.[5] Within his lifetime his work was collected in the Netherlands, Austria, and Spain, and widely copied, especially his macabre and nightmarish depictions of hell.
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