1.
Metropolitan Museum of Art
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The Metropolitan Museum of Art, colloquially the Met, is located in New York City and is the largest art museum in the United States, and is among the most visited art museums in the world. Its permanent collection contains two million works, divided among seventeen curatorial departments. The main building, on the edge of Central Park along Manhattans Museum Mile, is by area one of the worlds largest art galleries. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains a collection of art, architecture. On March 18,2016, the museum opened the Met Breuer museum at Madison Avenue in the Upper East Side, it extends the museums modern, the Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, Indian, and Islamic art. The museum is home to collections of musical instruments, costumes and accessories, as well as antique weapons. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries, the Metropolitan Museum of Art was founded in 1870. The founders included businessmen and financiers, as well as leading artists and thinkers of the day and it opened on February 20,1872, and was originally located at 681 Fifth Avenue. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, the museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Mets galleries. In addition to its permanent exhibitions, the Met organizes and hosts traveling shows throughout the year. The director of the museum is Thomas P. Campbell, a long-time curator and it was announced on February 28th,2017 that Campbell will be stepping down as the Mets director and CEO, effective June. On March 1st,2017 the BBC reported that Daniel Weiss shall be the acting CEO until a replacement is found, Beginning in the late 19th century, the Met started to acquire ancient art and artifacts from the Near East. From a few tablets and seals, the Mets collection of Near Eastern art has grown to more than 7,000 pieces. The highlights of the include a set of monumental stone lamassu, or guardian figures. The Mets Department of Arms and Armor is one of the museums most popular collections. Among the collections 14,000 objects are many pieces made for and used by kings and princes, including armor belonging to Henry VIII of England, Henry II of France, Rockefeller donated his more than 3, 000-piece collection to the museum. The Mets Asian department holds a collection of Asian art, of more than 35,000 pieces, the collection dates back almost to the founding of the museum, many of the philanthropists who made the earliest gifts to the museum included Asian art in their collections
2.
Victoria and Albert Museum
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The Victoria and Albert Museum, London, is the worlds largest museum of decorative arts and design, housing a permanent collection of over 4.5 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert and these include the Natural History Museum, the Science Museum and the Royal Albert Hall. The museum is a public body sponsored by the Department for Culture, Media. Like other national British museums, entrance to the museum has been free since 2001, the V&A covers 12.5 acres and 145 galleries. Its collection spans 5,000 years of art, from ancient times to the present day, from the cultures of Europe, North America, Asia and North Africa. The museum owns the worlds largest collection of sculpture, with the holdings of Italian Renaissance items being the largest outside Italy. The departments of Asia include art from South Asia, China, Japan, Korea, the East Asian collections are among the best in Europe, with particular strengths in ceramics and metalwork, while the Islamic collection is amongst the largest in the Western world. Overall, it is one of the largest museums in the world, New 17th- and 18th-century European galleries were opened on 9 December 2015. These restored the original Aston Webb interiors and host the European collections 1600–1815, at this stage the collections covered both applied art and science. Several of the exhibits from the Exhibition were purchased to form the nucleus of the collection, by February 1854 discussions were underway to transfer the museum to the current site and it was renamed South Kensington Museum. In 1855 the German architect Gottfried Semper, at the request of Cole, produced a design for the museum, but it was rejected by the Board of Trade as too expensive. The site was occupied by Brompton Park House, this was extended including the first refreshment rooms opened in 1857, the official opening by Queen Victoria was on 22 June 1857. In the following year, late night openings were introduced, made possible by the use of gas lighting, in these early years the practical use of the collection was very much emphasised as opposed to that of High Art at the National Gallery and scholarship at the British Museum. George Wallis, the first Keeper of Fine Art Collection, passionately promoted the idea of art education through the museum collections. From the 1860s to the 1880s the scientific collections had been moved from the museum site to various improvised galleries to the west of Exhibition Road. In 1893 the Science Museum had effectively come into existence when a director was appointed. The laying of the stone of the Aston Webb building on 17 May 1899 was the last official public appearance by Queen Victoria. It was during this ceremony that the change of name from the South Kensington Museum to the Victoria, the exhibition which the museum organised to celebrate the centennial of the 1899 renaming, A Grand Design, first toured in North America from 1997, returning to London in 1999
3.
Miniature (illuminated manuscript)
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These include Persian miniatures, and their Mughal, Ottoman and other Indian offshoots. This article gives an art historical account of the miniature form, for the techniques involved in production, see illuminated manuscript. The earliest extant miniatures are a series of colored drawings or miniatures cut from the Ambrosian Iliad and they are similar in style and treatment with the pictorial art of the later Roman classical period. Of even greater value from a point of view are the miniatures of the Vatican manuscript of Virgil, known as the Vergilius Vaticanus. They are in a perfect condition and on a larger scale than the Ambrosian fragments. The drawing is quite classical in style, and the idea is conveyed that the miniatures are copies from an older series. The colors are opaque, indeed, in all the miniatures of early manuscripts the employment of body color was universal. The method followed in placing the different scenes on the page is highly instructive of the practice followed, as we may presume, by the artists of the early centuries. Again, for the purpose of securing something like perspective, an arrangement of zones was adopted. It was reserved for the Byzantine school to break away more decidedly from the natural presentment of things, but on comparing the miniatures of the Byzantine school generally with their classical predecessors, one has a sense of having passed from the open air into the cloister. Under the restraint of ecclesiastical domination Byzantine art became more and more stereotyped, the tendency grows to paint the flesh-tints in swarthy hues, to elongate and emaciate the limbs, and to stiffen the gait. Browns, blue-greys and neutral tints are in favor, in the miniatures of Byzantine manuscripts are first seen those backgrounds of bright gold which afterwards appear in such profusion in the productions of every western school of painting. The influence of Byzantine art on that of medieval Italy is obvious, the early mosaics in the churches of Italy, such as those at Ravenna and Venice, also afford examples of the dominating Byzantine influence. In the native schools of illumination of Western Europe, decoration only was the leading motive, the highest qualities of the miniatures of the 10th and 11th century of this school lie in fine outline drawing, which had a lasting influence on the English miniature of the later centuries. But the southern Anglo-Saxon school rather stands apart from the line of development of the western medieval miniature. Under the Carolingian monarchs there developed a school of painting derived from classical models, in this school, which owed its origin to the encouragement of Charlemagne, it is seen that the miniature appears in two forms. Accompanied as it was with profuse decoration in border and initial, on the other hand, there is also the miniature in which there is an attempt at illustration, as, for example, the depicting of scenes from the Bible. Here there is freedom, and we trace the classical style which copies Roman, as distinguished from Byzantine
4.
Early Netherlandish 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
5.
Ghent
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Ghent is a city and a municipality in the Flemish Region of Belgium. It is the capital and largest city of the East Flanders province and it is a port and university city. With 240,191 inhabitants in the beginning of 2009, Ghent is Belgiums second largest municipality by number of inhabitants, the current mayor of Ghent, Daniël Termont, leads a coalition of the Socialistische Partij Anders, Groen and Open VLD. The ten-day-long Ghent Festival is held every year and attended by about 1–1.5 million visitors, archaeological evidence shows human presence in the region of the confluence of Scheldt and Leie going back as far as the Stone Age and the Iron Age. Most historians believe that the name for Ghent, Ganda, is derived from the Celtic word ganda which means confluence. Other sources connect its name with a deity named Gontia. There are no records of the Roman period, but archaeological research confirms that the region of Ghent was further inhabited. When the Franks invaded the Roman territories from the end of the 4th century and well into the 5th century, they brought their language with them and Celtic, around 650, Saint Amand founded two abbeys in Ghent, St. Peters and Saint Bavos Abbey. The city grew from several nuclei, the abbeys and a commercial centre, around 800, Louis the Pious, son of Charlemagne, appointed Einhard, the biographer of Charlemagne, as abbot of both abbeys. In 851 and 879, the city was attacked and plundered twice by the Vikings. Within the protection of the County of Flanders, the city recovered and flourished from the 11th century, by the 13th century, Ghent was the biggest city in Europe north of the Alps after Paris, it was bigger than Cologne or Moscow. Within the city walls lived up to 65,000 people, the belfry and the towers of the Saint Bavo Cathedral and Saint Nicholas Church are just a few examples of the skyline of the period. The rivers flowed in an area where land was periodically flooded. These rich grass meersen were ideally suited for herding sheep, the wool of which was used for making cloth, during the Middle Ages Ghent was the leading city for cloth. The wool industry, originally established at Bruges, created the first European industrialized zone in Ghent in the High Middle Ages, the mercantile zone was so highly developed that wool had to be imported from Scotland and England. This was one of the reasons for Flanders good relationship with Scotland and England, Ghent was the birthplace of John of Gaunt, Duke of Lancaster. Trade with England suffered significantly during the Hundred Years War, the city recovered in the 15th century, when Flanders was united with neighbouring provinces under the Dukes of Burgundy. High taxes led to a rebellion and eventually the Battle of Gavere in 1453, around this time the centre of political and social importance in the Low Countries started to shift from Flanders to Brabant, although Ghent continued to play an important role
6.
Antwerp
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Antwerp is a city in Belgium, the capital of Antwerp province in the region of Flanders. With a population of 510,610, it is the most populous city proper in Belgium and its metropolitan area houses around 1,200,000 people, which is second behind Brussels. Antwerp is on the River Scheldt, linked to the North Sea by the Westerschelde estuary, the Port of Antwerp is one of the biggest in the world, ranking second in Europe and within the top 20 globally. Antwerp has long been an important city in the Low Countries, the inhabitants of Antwerp are nicknamed Sinjoren, after the Spanish honorific señor or French seigneur, lord, referring to the Spanish noblemen who ruled the city in the 17th century. The city hosted the 1920 Summer Olympics, according to folklore, notably celebrated by a statue in front of the town hall, the city got its name from a legend about a giant called Antigoon who lived near the Scheldt river. He exacted a toll from passing boatmen, and for those who refused, he severed one of their hands, eventually the giant was killed by a young hero named Silvius Brabo, who cut off the giants own hand and flung it into the river. Hence the name Antwerpen, from Dutch hand werpen, akin to Old English hand and wearpan, a longstanding theory is that the name originated in the Gallo-Roman period and comes from the Latin antverpia. Antverpia would come from Ante Verpia, indicating land that forms by deposition in the curve of a river. Note that the river Scheldt, before a period between 600 and 750, followed a different track. This must have coincided roughly with the current ringway south of the city, however, many historians think it unlikely that there was a large settlement which would be named Antverpia, but more something like an outpost with a river crossing. However, John Lothrop Motley argues, and so do a lot of Dutch etymologists and historians, aan t werp is also possible. This warp is a hill or a river deposit, high enough to remain dry at high tide. Another word for werp is pol hence polders, historical Antwerp allegedly had its origins in a Gallo-Roman vicus. Excavations carried out in the oldest section near the Scheldt, 1952–1961, produced pottery shards, the earliest mention of Antwerp dates from the 4th century. In the 4th century, Antwerp was first named, having been settled by the Germanic Franks, the name was reputed to have been derived from anda and werpum. The Merovingian Antwerp was evangelized by Saint Amand in the 7th century, at the end of the 10th century, the Scheldt became the boundary of the Holy Roman Empire. Antwerp became a margraviate in 980, by the German emperor Otto I, in the 11th century Godfrey of Bouillon was for some years known as the marquis of Antwerp. In the 12th century, Norbert of Xanten established a community of his Premonstratensian canons at St. Michaels Abbey at Caloes
7.
Bruges
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Bruges is the capital and largest city of the province of West Flanders in the Flemish Region of Belgium, in the northwest of the country. The area of the whole city amounts to more than 13,840 hectares, including 1,075 hectares off the coast, the historic city centre is a prominent World Heritage Site of UNESCO. It is oval and about 430 hectares in size, the citys total population is 117,073, of whom around 20,000 live in the city centre. The metropolitan area, including the commuter zone, covers an area of 616 km2 and has a total of 255,844 inhabitants as of 1 January 2008. Along with a few other canal-based northern cities, such as Amsterdam and Stockholm, Bruges has a significant economic importance thanks to its port and was once one of the worlds chief commercial cities. Bruges is well known as the seat of the College of Europe, the name probably derives from the Old Dutch for bridge, brugga. Also compare Middle Dutch brucge, brugge, and modern Dutch bruggehoofd, the form brugghe would be a southern Dutch variant. The Dutch word and the English bridge both derive from Proto-Germanic *brugjō-, Bruges was a location of coastal settlement during prehistory. This Bronze Age and Iron Age settlement is unrelated to medieval city development, in the Bruges area, the first fortifications were built after Julius Caesars conquest of the Menapii in the first century BC, to protect the coastal area against pirates. The Franks took over the region from the Gallo-Romans around the 4th century. The Viking incursions of the century prompted Count Baldwin I of Flanders to reinforce the Roman fortifications, trade soon resumed with England. Bruges received its city charter on 27 July 1128, and new walls and canals were built, in 1089 Bruges became the capital of the County of Flanders. Since about 1050, gradual silting had caused the city to lose its access to the sea. A storm in 1134, however, re-established this access, through the creation of a channel at the Zwin. The new sea arm stretched all the way to Damme, a city became the commercial outpost for Bruges. Bruges had a location at the crossroads of the northern Hanseatic League trade. They developed, or borrowed from Italy, new forms of merchant capitalism, whereby several merchants would share the risks and profits and they employed new forms of economic exchange, including bills of exchange and letters of credit. The city eagerly welcomed foreign traders, most notably the Portuguese traders selling pepper and other spices, the citys entrepreneurs reached out to make economic colonies of England and Scotlands wool-producing districts
8.
Guild of Saint Luke
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The Guild of Saint Luke was the most common name for a city guild for painters and other artists in early modern Europe, especially in the Low Countries. They were named in honor of the Evangelist Luke, the saint of artists. One of the most famous such organizations was founded in Antwerp and it continued to function until 1795, although by then it had lost its monopoly and therefore most of its power. In most cities, including Antwerp, the government had given the Guild the power to regulate defined types of trade within the city. Guild membership, as a master, was required for an artist to take on apprentices or to sell paintings to the public. Similar rules existed in Delft, where members could sell paintings in the city or have a shop. The guild of Saint Luke not only represented painters, sculptors, and other artists, but also—especially in the seventeenth century—dealers, amateurs. In traditional guild structures, house-painters and decorators were often in the same guild, however, as artists formed under their own specific guild of St. Luke, particularly in the Netherlands, distinctions were increasingly made. In general, guilds also made judgments on disputes between artists and other artists or their clients, in such ways, it controlled the economic career of an artist working in a specific city, while in different cities they were wholly independent and often competitive against each other. Although it did not become an artistic center until the sixteenth century, Antwerp was one of, if not the first. It is first mentioned in 1382, and was given privileges by the city in 1442. The registers, or Liggeren, from the guild exist, cataloging when artists became masters, who the dean for each year was, what their specialities were, and the names of any students. Perhaps because of this link, for a period they had a rule that all miniatures needed a tiny mark to identify the artist, only under special privileges, such as court artist, could an artist effectively practice their craft without holding membership in the guild. Membership also allowed members to sell works at the guild-owned showroom, Antwerp, for example, opened a market stall for selling paintings in front of the cathedral in 1460, and Bruges followed in 1482. Guilds of St. Luke in the Dutch Republic began to reinvent themselves as cities there changed over to Protestant rule, many St. Luke guilds reissued charters to protect the interests of local painters from the influx of southern talent from places like Antwerp and Bruges. Many cities in the republic became more important artistic centres in the late sixteenth. Amsterdam was the first city to reissue a St. Lukes charter after the reformation in 1579, and it included painters, sculptors, engravers, for example, Gouda, Rotterdam, and Delft, all founded guilds between 1609 and 1611. On the other hand, these distinctions did not take effect at that time in Amsterdam or Haarlem, in the Haarlem Guild of St. Luke, however, a strict hierarchy was attempted in 1631 with panel painters at the top, though this hierarchy was eventually rejected
9.
Calligraphy
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Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, a contemporary calligraphic practice can be defined as, the art of giving form to signs in an expressive, harmonious, and skillful manner. Modern calligraphy ranges from functional inscriptions and designs to fine-art pieces where the letters may or may not be readable, classical calligraphy differs from typography and non-classical hand-lettering, though a calligrapher may practice both. It is also used for props and moving images for film and television, testimonials, birth and death certificates, maps, the principal tools for a calligrapher are the pen and the brush. Calligraphy pens write with nibs that may be flat, round, for some decorative purposes, multi-nibbed pens—steel brushes—can be used. However, works have also created with felt-tip and ballpoint pens. There are some styles of calligraphy, like Gothic script, which require a stub nib pen, Writing ink is usually water-based and is much less viscous than the oil-based inks used in printing. Normally, light boxes and templates are used to achieve straight lines without pencil markings detracting from the work, ruled paper, either for a light box or direct use, is most often ruled every quarter or half inch, although inch spaces are occasionally used. This is the case with litterea unciales, and college-ruled paper often acts as a guideline well, common calligraphy pens and brushes are, Quill Dip pen Ink brush Qalam Fountain pen Western calligraphy is recognizable by the use of the Latin script. The Latin alphabet appeared about 600 BC, in Rome, and by the first century developed into Roman imperial capitals carved on stones, Rustic capitals painted on walls, in the second and third centuries the uncial lettering style developed. As writing withdrew to monasteries, uncial script was more suitable for copying the Bible. It was the monasteries which preserved calligraphic traditions during the fourth and fifth centuries, at the height of the Empire, its power reached as far as Great Britain, when the empire fell, its literary influence remained. The Semi-uncial generated the Irish Semi-uncial, the small Anglo-Saxon, each region developed its own standards following the main monastery of the region, which are mostly cursive and hardly readable. Christian churches promoted the development of writing through the copying of the Bible, particularly the New Testament. Two distinct styles of writing known as uncial and half-uncial developed from a variety of Roman bookhands, the 7th-9th centuries in northern Europe were the heyday of Celtic illuminated manuscripts, such as the Book of Durrow, Lindisfarne Gospels and the Book of Kells. Charlemagnes devotion to improved scholarship resulted in the recruiting of a crowd of scribes, according to Alcuin, Alcuin developed the style known as the Caroline or Carolingian minuscule. The first manuscript in hand was the Godescalc Evangelistary — a Gospel book written by the scribe Godescalc. Carolingian remains the one hand from which modern booktype descends
10.
Portrait miniature
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A portrait miniature is a miniature portrait painting, usually executed in gouache, watercolour, or enamel. They were especially valuable in introducing people to other over distances. Soldiers and sailors might carry miniatures of their loved ones while traveling, the first miniaturists used watercolour to paint on stretched vellum. During the second half of the 17th century, vitreous enamel painted on copper became increasingly popular, in the 18th century, miniatures were painted with watercolour on ivory, which had now become relatively cheap. As small in size as 40 mm ×30 mm, portrait miniatures were used as personal mementos or as jewellery or snuff box covers. The portrait miniature developed from the manuscript, which had been superseded for the purposes of book illustration by techniques such as woodprints. Lucas Horenbout was another Netherlandish miniature painter at the court of Henry VIII and these might be paintings, or finished drawings with some colour, and were produced by François Clouet, and his followers. Following these men we find Simon Renard de St. André, others whose names might be mentioned were Joseph Werner, and Rosalba Carriera. The colours are opaque, and gold is used to heighten the effect and they are often signed, and have frequently also a Latin motto upon them. Hilliard worked for a while in France, and he is identical with the painter alluded to in 1577 as Nicholas Belliart. Hilliard was succeeded by his son Lawrence Hilliard, his technique was similar to that of his father, but bolder, Isaac Oliver and his son Peter Oliver succeeded Hilliard. Isaac was the pupil of Hilliard, Peter was the pupil of Isaac. The two men were the earliest to give roundness and form to the faces they painted and they signed their best works in monogram, and painted not only very small miniatures, but larger ones measuring as much as 10 in ×9 in. They copied for Charles I of England on a small scale many of his famous pictures by the old masters, other miniaturists at about the same date included Balthazar Gerbier, George Jamesone, Penelope Cleyn and her brothers. Samuel Cooper was a nephew and student of the elder Hoskins and he spent much of his time in Paris and Holland, and very little is known of his career. His work has a breadth and dignity, and has been well called life-size work in little. His portraits of the men of the Puritan epoch are remarkable for their truth to life and he painted upon card, chicken skin and vellum, and on two occasions upon thin pieces of mutton bone. The use of ivory was not introduced until long after his time and his work is frequently signed with his initials, generally in gold, and very often with the addition of the date
11.
Artists of the Tudor court
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The Tudor period was one of unusual isolation from European trends for England. At the start the Wars of the Roses had greatly disrupted artistic activity, however these were both painted abroad. In the Tudor period foreign artists were recruited and often welcomed lavishly by the English court, much energy was also expended on decorative painting of fixtures and fittings, often of a very temporary nature. There was also the Master of the Revels, whose Office was responsible for festivals and tournaments, jewellery and metalwork were regarded as extremely important, and far more was spent on them than on painting. Holbein produced many designs for now-vanished table ornaments in precious metals. The main artistic interests of Henry VIII were music, building palaces and tapestry, of which he had over 2,000 pieces, the Flemish set with the Story of Abraham still at Hampton Court Palace is one grand set from late in his reign. She is reputed to have had paintings of her burnt that did not match the image she wished to be shown. There was also probably much decorative painting, the scattered fragments and images that have survived suggest that the awestruck accounts of visitors were not exaggerated. Many of the artists active at the Tudor court were connected by ties of family, marriage, Lucas Horenbout, who began painting and illuminating for Henry VIII in the mid-1520s, was accompanied in his workshop by his sister Susannah, who was also an illuminator. It is generally accepted that Lucas Horenbout taught Hans Holbein the Younger the techniques of painting miniatures on vellum when Holbein was engaged by Henry VIII in the early 1530s. In Bruges, Gerard was associated with Sanders Bening or Benninck and his son Simon, Simon Benings eldest daughter Levina Teerlinc was also trained as an illuminator. John Bettes the Elder apprenticed his son, John the Younger to Hilliard, hilliards most famous student, Isaac Oliver, later limner to Anne of Denmark and Henry, Prince of Wales, was married to the niece of Marcus Gheeraerts the Younger. Gheeraerts was also the brother-in-law of Lucas de Heeres apprentice John de Critz the Elder, who took the dynasty into the Stuart period,1545 until his death in 1558. Hans Eworth, in England from c,1549, portrait-painter and recorded as a designer for the Office of the Revels Steven van Herwijck, portrait medallist, visited 1562, resident 1565 until his death in 1567. Steven van der Meulen, arrived 1560, naturalized 1562, and he submitted alternative designs for Henrys tomb, and a painted terracotta bust by him may be of Henry VIII as a boy. De Cock Dutch portrait and history painter, probably in England c. Browne died in office in December 1532. Andrew Wright, 1532–1544, about whom little is known Antony Toto, really Antonio di Nunziato dAntonio, a Florentine pupil of Ridolfo Ghirlandajo, from 1544 and he was the first Serjeant Painter who can be evidenced as an artist rather than an artisan. He had a Florentine colleague Bartolommeo Penni, brother of the more distinguished Gianfrancesco, Raphaels right-hand man, and Luca
12.
Book of hours
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The book of hours is a Christian devotional book popular in the Middle Ages. It is the most common type of surviving medieval illuminated manuscript, Books of hours were usually written in Latin, although there are many entirely or partially written in vernacular European languages, especially Dutch. The English term primer is usually now reserved for books written in English. Tens of thousands of books of hours have survived to the present day, in libraries, the typical book of hours is an abbreviated form of the breviary which contained the Divine Office recited in monasteries. It was developed for lay people who wished to incorporate elements of monasticism into their devotional life, reciting the hours typically centered upon the reading of a number of psalms and other prayers. The Marian prayers Obsecro te and O Intemerata were frequently added, as were devotions for use at Mass, the book of hours has its ultimate origin in the Psalter, which monks and nuns were required to recite. By the 12th century this had developed into the breviary, with cycles of psalms, prayers, hymns, antiphons. Eventually a selection of texts was produced in much shorter volumes, many books of hours were made for women. There is some evidence that they were given as a wedding present from a husband to his bride. Frequently they were passed down through the family, as recorded in wills, the earliest surviving English example was apparently written for a laywoman living in or near Oxford in about 1240. It is smaller than a modern paperback but heavily illuminated with major initials, by the 15th century, there are also examples of servants owning their own Books of Hours. In a court case from 1500, a woman is accused of stealing a domestic servants prayerbook. Very rarely the books included prayers specifically composed for their owners, some include images depicting their owners, and some their coats of arms. These, together with the choice of saints commemorated in the calendar, eamon Duffy explains how these books reflected the person who commissioned them. He claims that the character of these books was often signaled by the inclusion of prayers specially composed or adapted for their owners. Furthermore, he states that as many as half the surviving manuscript Books of Hours have annotations, such additions might amount to no more than the insertion of some regional or personal patron saint in the standardized calendar, but they often include devotional material added by the owner. By at least the 15th century, the Netherlands and Paris workshops were producing books of hours for stock or distribution and these were sometimes with spaces left for the addition of personalized elements such as local feasts or heraldry. The book’s goal was to help his devout patroness to structure her daily life in accordance with the eight canonical hours, Matins to Compline
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Media related to Simon Bening at Wikimedia Commons
