1.
Metropolitan Museum of Art
–
The Metropolitan Museum of Art, colloquially the Met, is located in New York City and is the largest art museum in the United States, and is among the most visited art museums in the world. Its permanent collection contains two million works, divided among seventeen curatorial departments. The main building, on the edge of Central Park along Manhattans Museum Mile, is by area one of the worlds largest art galleries. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains a collection of art, architecture. On March 18,2016, the museum opened the Met Breuer museum at Madison Avenue in the Upper East Side, it extends the museums modern, the Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, Indian, and Islamic art. The museum is home to collections of musical instruments, costumes and accessories, as well as antique weapons. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries, the Metropolitan Museum of Art was founded in 1870. The founders included businessmen and financiers, as well as leading artists and thinkers of the day and it opened on February 20,1872, and was originally located at 681 Fifth Avenue. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, the museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Mets galleries. In addition to its permanent exhibitions, the Met organizes and hosts traveling shows throughout the year. The director of the museum is Thomas P. Campbell, a long-time curator and it was announced on February 28th,2017 that Campbell will be stepping down as the Mets director and CEO, effective June. On March 1st,2017 the BBC reported that Daniel Weiss shall be the acting CEO until a replacement is found, Beginning in the late 19th century, the Met started to acquire ancient art and artifacts from the Near East. From a few tablets and seals, the Mets collection of Near Eastern art has grown to more than 7,000 pieces. The highlights of the include a set of monumental stone lamassu, or guardian figures. The Mets Department of Arms and Armor is one of the museums most popular collections. Among the collections 14,000 objects are many pieces made for and used by kings and princes, including armor belonging to Henry VIII of England, Henry II of France, Rockefeller donated his more than 3, 000-piece collection to the museum. The Mets Asian department holds a collection of Asian art, of more than 35,000 pieces, the collection dates back almost to the founding of the museum, many of the philanthropists who made the earliest gifts to the museum included Asian art in their collections
Metropolitan Museum of Art
–
The Metropolitan Museum of Art
Metropolitan Museum of Art
Metropolitan Museum of Art
–
The facade of the Met dominates the city's "
Museum Mile ".
Metropolitan Museum of Art
–
The Great Hall
2.
Victoria and Albert Museum
–
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
Victoria and Albert Museum
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Entrance to the Victoria and Albert Museum
Victoria and Albert Museum
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In 2000,
an 11 metre high, blown glass chandelier by
Dale Chihuly was installed as a focal point in the rotunda at the V&A's main entrance.
Victoria and Albert Museum
–
Henry Cole, the museum's first director
Victoria and Albert Museum
–
Frieze detail from internal courtyard showing Queen Victoria in front of the 1851 Great Exhibition.
3.
Miniature (illuminated manuscript)
–
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
Miniature (illuminated manuscript)
–
Miniature of the
Trojan Horse, from the
Vergilius Romanus, a manuscript of
Virgil 's
Aeneid, early 5th century.
Miniature (illuminated manuscript)
–
Miniature of
Abraham meeting
angels, from the
Cotton Genesis, 5th–6th century.
Miniature (illuminated manuscript)
–
Miniature of seven physicians from the
Vienna Dioscurides, early 6th century.
Miniature (illuminated manuscript)
–
This lavishly decorated text that opens the
Gospel of John in the
Book of Kells, early 9th century, shows the
Insular style of illumination: decorative and not illustrative.
4.
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
5.
Ghent
–
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
Ghent
–
View of Ghent from the
Cathedral with
Belfry of Ghent and
Saint Nicholas church visible
Ghent
–
Ghent in 1775
Ghent
–
Buildings along the
Leie river in the city of Ghent
Ghent
–
The Justitiepaleis in Ghent, c. 1895
6.
Antwerp
–
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
Antwerp
–
Antwerp Antwerpen
Antwerp
–
Coat of arms
Antwerp
–
The
Onze-Lieve-Vrouwekathedraal (Cathedral of our Lady) and the
Scheldt river.
Antwerp
–
Grote Markt
7.
Alexander Bening
–
Alexander Bening, also Sanders Bening, was an early 16th-century miniature painter of the Ghent-Bruges school and Netherlandish tradition. His date of birth is unknown, Bening was part of a South Netherlandish family of illuminators. He married Kathelijn van der Goes, Bening had two sons, Simon Bening, who was trained in his fathers craft, and Paul Bening, whose profession is unknown. No documented work is known by Bening, records indicate in 1469 he became a member of the Guild of Saint Luke. Sanders and his family lived in Ghent, but in 1486 he also joined the Bruges Guild of St John and St Luke, gerard David, purity of vision in an age of transition, an exhibition catalog from The Metropolitan Museum of Art, which contains material on Bening
Alexander Bening
–
August by Alexander and Simon Bening,
Biblioteca Marciana
8.
Bruges
–
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
Bruges
–
A canal in Bruges with the famous
Belfry in the background
Bruges
–
The
Markt ("Market square")
Bruges
–
The 'Burg', painted c. 1691 – 1700 by
Meunincxhove
Bruges
–
An old street in Bruges, with the
Church of Our Lady tower in the background
9.
Guild of Saint Luke
–
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
Guild of Saint Luke
–
Jan Gossaert, St. Luke Painting the Madonna, c. 1520-25).
Kunsthistorisches Museum, Vienna
Guild of Saint Luke
–
Saint Luke Drawing the Virgin, c. 1435–1440. 137.5 x 110.8cm.
Museum of Fine Arts, Boston. This was the classic subject for paintings given to the guilds
Guild of Saint Luke
–
The Governors of the
Haarlem Guild of St. Luke in 1675.
Jan de Bray painted himself second from the left. Surprisingly, fewer such group portraits exist for painters than other Guild occupations.
Guild of Saint Luke
–
1730s engraving of the Delft Guild of St. Luke, by an unknown artist. Today the location of the
Vermeer Centre
10.
Calligraphy
–
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
Calligraphy
–
Calligraphy
Calligraphy
–
Calligraphy of the German word "Urkunde"(deed)
Calligraphy
–
Folio 27r from the Lindisfarne Gospels (c.700) contains the
incipit from the
Gospel of Matthew.
Calligraphy
–
Calligraphy in a
Latin Bible of 1407 on display in
Malmesbury Abbey,
Wiltshire, England. This bible was hand written in Belgium, by Gerard Brils, for reading aloud in a
monastery.
11.
Levina Teerlinc
–
Levina Teerlinc was a Flemish Renaissance miniaturist who served as a painter to the English court of Edward VI, Mary I and Elizabeth I. Teerlinc was the second eldest of five sisters, Alexandra, Anne, Claire, and Barbara, the children of Simon Bening, Bening probably trained his daughter as a manuscript painter. Teerlinc may have worked in her father’s workshop before her marriage, in 1545, she moved with her husband, George Teerlinc of Blankenberge, to England. During her time in England, she served as the royal painter to Henry VIII, whose royal painter. Her annuity for this position was £40 - rather more than Holbein had been paid, whilst she was a real celebrity, no works by her are currently known. Later she served as a gentlewoman in the households of both Mary I and Elizabeth I. In 1559 Teerlinc was appointed tutor in painting to the Kings daughter at the Spanish Court and her documented works include paintings presented as gifts to the sovereign at the New Year including an image of the Trinity for Mary I in 1553. However, Teerlinc is best known for her position in the rise of the portrait miniature. There is documentation that she created numerous portraits of Elizabeth I and she might have trained Nicholas Hilliard, by training a goldsmith, in the methods of miniature portraiture. Hilliard would go on to be the supreme miniature portraitist of the era, attributing Teerlincs works is challenging because she did not always sign them. Some scholars also speculate that many of the miniatures were lost in the fire at Whitehall, a 1983 exhibition at the Victoria and Albert Museum represented the first occasion when a group of miniatures has been assembled which can be attributed to Levina Teerlinc. Since the exhibition also performed the function for her predecessor as court miniaturist, Lucas Hornebolte. She also probably designed the Great Seal of England for Mary I, Levina Teerlinc, Portrait of Lady Katherine Grey, About 1555–60, Victoria and Albert Museum, Museum no. P. 10-1979 Levina Teerlinc, Portrait of a Young Woman,1566, Victoria, P. 21-1954 Levina Teerlinc, Portrait of Mary Dudley, Lady Sidney, ca.1575, Victoria and Albert Museum, Museum no. Portrait of Queen Mary I, Collection of the Duke of Buccleuch Levina Teerlinc, Portrait of a Young Woman, Collection of H. M. the Queen, Windsor Castle Levina Teerlinc. Portrait of Elizabeth I in State Robes, Collection of Welbeck Abbey Artists of the Tudor court Women artists Chadwick, harris, Anne Sutherland and Linda Nochlin, Women Artists, 1550-1950, Los Angeles County Museum of Art, Knopf, New York,1976. Strong, Roy, Artists of the Tudor Court, The Portrait Miniature Rediscovered, 1520-1620, Victoria & Albert Museum exhibition catalogue,1983, ISBN 0-905209-34-6
Levina Teerlinc
–
An Elizabethan
Maundy, miniature by Levina Teerlinc, c. 1560.
Levina Teerlinc
–
Portrait of
Elizabeth I by Levina Teerlinc, c. 1565.
12.
Portrait miniature
–
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
Portrait miniature
–
Miniature portrait of an unidentified man, by
Nicholas Hilliard, 1572.
Portrait miniature
–
A
display case with 18th-century portrait miniatures at the
National Museum in
Warsaw.
Portrait miniature
–
Portrait Miniature of Margaret Roper by
Hans Holbein the Younger, c. 1535–36
Portrait miniature
–
Christian Horneman 's miniature portrait of
Ludwig van Beethoven (1802)
13.
Artists of the Tudor Court
–
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
Artists of the Tudor Court
–
The Rainbow Portrait, an image of Elizabeth I as the "Queen of Love and Beauty" by
Isaac Oliver c. 1600, epitomizes the elaborate iconography associated with later Tudor court portraiture
Artists of the Tudor Court
–
Drawing of Jane Seymour by Holbein, 1536–37
Artists of the Tudor Court
–
Portrait of Jane Seymour by Holbein, 1536–37
Artists of the Tudor Court
–
Detail of
Georg Hoefnagel 's 1568 watercolour of the south frontage of
Nonsuch Palace, one of the only two good images - which differ considerably. The stucco reliefs are shown in blue-ish grey.
14.
Book of hours
–
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
Book of hours
–
Book of hours, Paris c. 1410. Miniature of the
Annunciation, with the start of
Matins in the
Little Office, the beginning of the texts after the calendar in the usual arrangement.
Book of hours
–
Opening from the
Hours of Catherine of Cleves, c. 1440, with Catherine kneeling before the Virgin and Child, surrounded by her family heraldry. Opposite is the start of
Matins in the
Little Office, illustrated by the Annunciation to
Joachim, as the start of a long cycle of the
Life of the Virgin.
Book of hours
–
Even this level of decoration was more rich than that of most books, though less than the lavish amounts of illumination in luxury books, which are those most often seen reproduced.
Book of hours
–
A full-page miniature of May, from a calendar cycle by
Simon Bening, early 16th century.
15.
Parchment
–
Parchment is a writing material made from specially prepared untanned skins of animals—primarily sheep, calves, and goats. It has been used as a medium for over two millennia. Vellum is a finer quality parchment made from the skins of kids, lambs and it may be called animal membrane by libraries and museums that wish to avoid distinguishing between parchment and the more restricted term vellum. Today the term parchment is often used in non-technical contexts to refer to any animal skin, particularly goat, sheep or cow, that has been scraped or dried under tension. Vellum in theory refers exclusively to calfskin, and is used to denote a quality of material. The term parchment originally referred only to the skin of sheep and, occasionally, the word parchment evolved from the name of the city of Pergamon which was a thriving center of parchment production during the Hellenistic period. This account, originated in the writings of Pliny the Elder, is dubious because parchment had been in use in Anatolia, in the 2nd century BC a great library was set up in Pergamon that rivaled the famous Library of Alexandria. Writing on prepared animal skins had a history, however. H. Ibscher, and preserved in the Cairo Museum, a roll of the Twelfth Dynasty now in Berlin, the text now in the British Museum. Though the Assyrians and the Babylonians impressed their cuneiform on clay tablets, early Islamic texts are also found on parchment. In the later Middle Ages, especially the 15th century, parchment was largely replaced by paper for most uses except luxury manuscripts, new techniques in paper milling allowed it to be much cheaper than parchment, it was still made of textile rags and of very high quality. With the advent of printing in the fifteenth century, the demands of printers far exceeded the supply of animal skins for parchment. Although most copies of the Gutenberg Bible are on paper, some were printed on parchment,12 of the 48 surviving copies, in 1490, Johannes Trithemius preferred the older methods, because handwriting placed on parchment will be able to endure a thousand years. But how long will printing last, which is dependent on paper and it lasts for two hundred years that is a long time. In fact high quality paper from this period has survived 500 years or more very well, the heyday of parchment use was during the medieval period, but there has been a growing revival of its use among artists since the late 20th century. Although parchment never stopped being used it had ceased to be a choice for artists supports by the end of 15th century Renaissance. This was partly due to its expense and partly due to its working properties. When the water in paint media touches parchments surface, the collagen melts slightly, forming a bed for the paint
Parchment
–
Central European (Northern) type of finished parchment made of
goatskin stretched on a wooden frame
Parchment
–
Latin
Grant written on fine parchment or
vellum with
seal dated 1329
Parchment
–
A 1385 copy of the
Sachsenspiegel, a German legal code, written on parchment with straps and clasps on the binding
Parchment
–
A Sefer
Torah, the traditional form of the
Hebrew Bible, is a scroll of parchment.
16.
Labours of the Months
–
The term Labours of the Months refers to cycles in Medieval and early Renaissance art depicting in twelve scenes the rural activities that commonly took place in the months of the year. They are often linked to the signs of the Zodiac, and are seen as response to Gods ordering of the Universe. The Labours of the Months are frequently found as part of large sculptural schemes on churches, the manuscripts are important for the development of landscape painting, containing most of the first painting where this was given prominence. The most famous cycle is that painted in the early 15th century by Hermann, Pol, in the 16th century, late in the history of the theme, Simon Bening produced especially fine cycles which link the Limbourgs with the landscape paintings of Peter Breughel the Elder. The contents of cycles varied with date, location, and the purpose of the work. The Tres Riches Heures du Duc de Berry was designed for the use of a great magnate. Italian cycles often advance the agricultural scenes a month earlier than ones from the Low countries or England, the impact of the onset of the Little Ice Age has been detected in differences between early and late examples. A few sculpted examples of the many surviving are, Chartres cathedral, west, otranto Cathedral, Zodiac signs and labours form part of the mosaic scenes which cover the entire floor. Carlisle Cathedral, the capitals of the twelve piers of the choir each contain a figure representing one of the labours of the months. The Labours of the months occur in those rose windows that are dedicated to the Creation. In these windows, the months are part of a complex iconographical scheme, other windows have the Labours of the Months specifically as their subject matter. Basilica of Saint Denis, rose window of Creation in the north transept, webster, The Labors of the Months in Antique and Mediaeval Art to the End of the Twelfth Century. Bridget Ann Henisch, The Medieval Calendar Year
Labours of the Months
–
Illustration from
Très riches heures du Duc de Berry, 1412-16, by Pol and Hermann de Limbourg, representing the month of August and depicting, in the foreground, the Nobility riding out to hunt with falcons while in the midground, the harvest takes place and the workers cool off in the river. One of the Duc's many castles, Étampes, completes the scene. Illumination on vellum, 22,5 x 13,6 cm
Labours of the Months
–
The Month of September from the Fontana Maggiore in
Perugia (c. 1275), by Nicola and Giovanni Pisano, shows the treading of grapes.
Labours of the Months
–
Chartres Cathedral, the months of December, January and February
17.
Landscape
–
A landscape is the visible features of an area of land, its landforms and how they integrate with natural or man-made features. The character of a landscape helps define the self-image of the people who inhabit it and it is the dynamic backdrop to people’s lives. Landscape can be as varied as farmland, a landscape park, the activity of modifying the visible features of an area of land is referred to as landscaping. There are several definitions of what constitutes a landscape, depending on context, the term landscape emerged around the turn of the sixteenth century to denote a painting whose primary subject matter was natural scenery. Land may be taken in its sense of something to people belong. The suffix ‑scape is equivalent to the more common English suffix ‑ship, the roots of ‑ship are etymologically akin to Old English sceppan or scyppan, meaning to shape. The suffix ‑schaft is related to the verb schaffen, so that ‑ship, the word landscape, first recorded in 1598, was borrowed from a Dutch painters term. An example of this usage can be found as early as 1662 in the Book of Common Prayer, Could we but climb where Moses stood. Setting, In works of narrative, it includes the moment in time and geographic location in which a story takes place. Picturesque, The word literally means in the manner of a picture, fit to be made into a picture, and used as early as 1703, gilpin’s Essay on Prints defined picturesque as a term expressive of that peculiar kind of beauty, which is agreeable in a picture. A view, A sight or prospect of some landscape or extended scene, wilderness, An uncultivated, uninhabited, and inhospitable region. Cityscape, The urban equivalent of a landscape, in the visual arts a cityscape is an artistic representation, such as a painting, drawing, print or photograph, of the physical aspects of a city or urban area. Seascape, A photograph, painting, or other work of art depicts the sea. Geomorphology is the study of the origin and evolution of topographic and bathymetric features created by physical or chemical processes operating at or near Earths surface. Geomorphology is practiced within physical geography, geology, geodesy, engineering geology, archaeology and this broad base of interests contributes to many research styles and interests within the field. The surface of Earth is modified by a combination of processes that sculpt landscapes, and geologic processes that cause tectonic uplift and subsidence. Many of these factors are strongly mediated by climate, the Earth surface and its topography therefore are an intersection of climatic, hydrologic, and biologic action with geologic processes. Desert, Plain, Taiga, Tundra, Wetland, Mountain, Mountain range, Cliff, Coast, Littoral zone, Glacier, Polar regions of Earth, Shrubland, Forest, Rainforest, Woodland, Jungle, Moors
Landscape
–
A
prairie:
Badlands National Park,
South Dakota, USA.
Landscape
–
Tropical
rainforest, Fatu Hiva Island,
Marquesas Islands,
French Polynesia.
Landscape
–
Tundra in
Siberia, Russia.
Landscape
–
Taiga (Boreal forest),
Alaska, US.
18.
Pieter Brueghel 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 Brueghel the Elder
–
The Painter and The Connoisseur, c. 1565 is thought to be Bruegel's
self-portrait.
Pieter Brueghel the Elder
–
The Seven Deadly Sins or the Seven Vices - Anger, 1558
Pieter Brueghel the Elder
–
The Peasant Wedding, 1566–69, oil on panel
Pieter Brueghel the Elder
–
The Blind Leading the Blind, 1568
19.
Self-portrait
–
A self-portrait is a representation of an artist that is drawn, painted, photographed, or sculpted by that artist. With better and cheaper mirrors, and the advent of the panel portrait, Portrait of a Man in a Turban by Jan van Eyck of 1433 may well be the earliest known panel self-portrait. He painted a portrait of his wife, and he belonged to the social group that had begun to commission portraits. The genre is venerable, but not until the Renaissance, with increased wealth and interest in the individual as a subject, a self-portrait may be a portrait of the artist, or a portrait included in a larger work, including a group portrait. Many painters are said to have included depictions of specific individuals, including themselves, in these works, the artist usually appears as a face in the crowd or group, often towards the edges or corner of the work and behind the main participants. Rubenss The Four Philosophers is a good example and this culminated in the 17th century with the work of Jan de Bray. Many artistic media have used, apart from paintings, drawings. In the famous Arnolfini Portrait, Jan van Eyck is probably one of two figures glimpsed in a mirror – a surprisingly modern conceit. The Van Eyck painting may have inspired Diego Velázquez to depict himself in view as the painter creating Las Meninas, as the Van Eyck hung in the palace in Madrid where he worked. This was another modern flourish, given that he appears as the painter, in what may be one of the earliest childhood self-portraits now surviving, Albrecht Dürer depicts himself as in naturalistic style as a 13-year-old boy in 1484. In later years he appears variously as a merchant in the background of Biblical scenes, leonardo da Vinci may have drawn a picture of himself at the age of 60, in around 1512. The picture is often reproduced as Da Vincis appearance, although this is not certain. In the 17th century, Rembrandt painted a range of self-portraits, family and professional group paintings, including the artists depiction, became increasingly common from the 17th century on. From the later 20th century on, video plays a part in self-portraiture. Vigée-Lebrun painted a total of 37 self-portraits, many of which were copies of earlier ones, Women artists have historically embodied a number of roles within their self-portraiture. Most common is the artist at work, showing themselves in the act of painting, or at least holding a brush and palette. Often, the viewer if the clothes worn were those they normally painted in. Images of artists at work are encountered in Ancient Egyptian painting, one of the first self-portraits was made by the Pharaoh Akhenatens chief sculptor Bak in 1365 BC
Self-portrait
–
Raphael, c. 1517–1518,
Uffizi Gallery
Self-portrait
Self-portrait
–
Pieter Claesz, Vanitas with Violin and Glass Ball, the artist is visible in the reflection, 1625.
Self-portrait
–
Sandro Botticelli 's painting of the
Adoration of the Magi has an "inserted self-portrait". The position in the (right) corner, and the gaze out to the viewer, are very typical of such self-portraits.
20.
Albert of Mainz
–
Cardinal Albert of Brandenburg was Elector and Archbishop of Mainz from 1514 to 1545, and Archbishop of Magdeburg from 1513 to 1545. Born in Kölln, Albert was the son of John Cicero, Elector of Brandenburg. After their fathers death, Albert and his older brother Joachim I Nestor became margraves of Brandenburg in 1499, in 1514 he obtained the Electorate of Mainz, and in 1518 was made a cardinal at the age of 28. An agent of the Fuggers subsequently traveled in the Cardinals retinue in charge of the cashbox and he procured the services of John Tetzel to sell the indulgences. This so infuriated Martin Luther that he was driven to write his famous 95 Theses which led to the Reformation, Luther sent these to Albert on 31 October 1517 and according to tradition nailed them to the door of Castle Church in Wittenberg. Albert forwarded the theses to Rome, suspecting them of heresy, Cardinal Albert needed a prestigious church that met his expectations at a central location in his Residenz town. Albert feared for his peace of mind in heaven, and collected more than 8,100 relics and 42 holy skeletons which needed to be stored and these precious treasures known as Hallesches Heilthum and indirectly related to the sale of indulgences had triggered the Reformation a few years before. The new doctrines nevertheless made considerable progress in his dominions, during his latter years showed more intolerance towards the Protestants, and favoured the teaching of the Jesuits in his dominions. The service must have been at least partly conducted in the open air, Jonas began a successful preaching crusade and attracted so many people the church overflowed. Cardinal Albert left the town for good, after the estates in the city had announced that they would take over his enormous debt at the bank of Jacob Fugger. Halle became Protestant and in 1542 Jonas was appointed as priest to St. Marys, Albert adorned the collegiate church at Halle and the cathedral at Mainz in sumptuous fashion, and took as his motto the words Domine, dilexi decorem domus tuae. A generous patron of art and learning, he counted Erasmus among his friends and he died at the Martinsburg, Mainz in 1545. Kardinal Albrecht von Brandenburg, ein Renaissancefürst auf dem Mainzer Bischofsthron, der Kardinal Albrecht von Brandenburg, Renaissancefürst und Mäzen. 2 v. Regensburg, Schnell + Steiner,2006, katalog / herausgegeben von Thomas Schauerte—Bd. Essays / herausgegeben von Andreas Tacke, mit Beiträgen von Bodo Brinkmann, note, Exhibition held September 9 – November 26,2006, Halle an der Saale. Prayer Book of Cardinal Albrecht of Brandenburg, the J. Paul Getty Museum, viewed 24 July 2016
Albert of Mainz
–
Albert of Mainz, painted by
Lucas Cranach the Elder in 1526
Albert of Mainz
–
Cardinal Albert, Archbishop of Mainz, by Lucas Cranach the Elder, 1526
Albert of Mainz
–
Meeting of Saint
Erasmus of Formiae and
Saint Maurice, by
Matthias Grünewald, between 1517 and 1523. Grünewald used Albert of Mainz, who commissioned the painting, as the model for St. Erasmus (left).
21.
Emperor Charles V
–
Charles V was ruler of both the Spanish Empire from 1516 and the Holy Roman Empire from 1519, as well as of the Habsburg Netherlands from 1506. He voluntarily stepped down from these and other positions by a series of abdications between 1554 and 1556, through inheritance, he brought together under his rule extensive territories in western, central, and southern Europe, and the Spanish colonies in the Americas and Asia. As a result, his domains spanned nearly four square kilometers and were the first to be described as the empire on which the sun never sets. Charles was the heir of three of Europes leading dynasties, the Houses of Valois-Burgundy, Habsburg, and Trastámara and he inherited the Burgundian Netherlands and the Franche-Comté as heir of the House of Valois-Burgundy. From his own dynasty, the Habsburgs, he inherited Austria and he was also elected to succeed his Habsburg grandfather, Maximilian I, as Holy Roman Emperor, a title held by the Habsburgs since 1440. Charles was the first king to rule Castile and Aragon simultaneously in his own right, the personal union, under Charles, of the Holy Roman Empire with the Spanish Empire resulted in the closest Europe would come to a universal monarchy since the death of Louis the Pious. France recovered and the wars continued for the remainder of Charless reign, enormously expensive, they led to the development of the first modern professional army in Europe, the Tercios. The struggle with the Ottoman Empire was fought in Hungary and the Mediterranean, after seizing most of eastern and central Hungary in 1526, the Ottomans’ advance was halted at their failed Siege of Vienna in 1529. A lengthy war of attrition, conducted on his behalf by his younger brother Ferdinand, in the Mediterranean, although there were some successes, Charles was unable to prevent the Ottomans’ increasing naval dominance and the piratical activity of the Barbary Corsairs. Charles opposed the Reformation and in Germany he was in conflict with the Protestant Princes of the Schmalkaldic League who were motivated by religious and political opposition to him. Once the rebellions were quelled the essential Castilian and Burgundian territories remained mostly loyal to Charles throughout his rule, Charles’s Spanish dominions were the chief source of his power and wealth, and they became increasingly important as his reign progressed. In the Americas, Charles sanctioned the conquest by Castillian conquistadors of the Aztec, Castillian control was extended across much of South and Central America. The resulting vast expansion of territory and the flows of South American silver to Castile had profound long term effects on Spain. Charles was only 56 when he abdicated, but after 34 years of rule he was physically exhausted and sought the peace of a monastery. Upon Charles’s abdications, the Holy Roman Empire was inherited by his younger brother Ferdinand, the Spanish Empire, including the possessions in the Netherlands and Italy, was inherited by Charles’s son Philip II. The two empires would remain allies until the 18th century, Charles was born in 1500 as the eldest son of Philip the Handsome and Joanna of Castile in the Flemish city of Ghent, which was part of the Habsburg Netherlands. The culture and courtly life of the Burgundian Low Countries were an important influence in his early life and he was tutored by William de Croÿ, and also by Adrian of Utrecht. He also gained a decent command of German, though he never spoke it as well as French, a witticism sometimes attributed to Charles is, I speak Spanish to God, Italian to women, French to men and German to my horse
Emperor Charles V
–
Charrles V by
Titian, 1548.
Alte Pinakothek, Munich, Germany
Emperor Charles V
–
Copper coin "korte" with portrait of Charles V, struck in Antwerp, 1548
Emperor Charles V
–
A young Charles V, by
Bernard van Orley,
Louvre Museum, Paris, France
Emperor Charles V
–
Charles V, 1533, by
Titian.
Museo del Prado, Madrid, Spain
22.
Cistercian
–
A Cistercian is a member of the Cistercian Order (/sɪˈstɜːrʃən/, abbreviated as OCist or SOCist, a religious order of monks and nuns. They are variously called the Bernardines, after the highly influential St, the original emphasis of Cistercian life was on manual labour and self-sufficiency, and many abbeys have traditionally supported themselves through activities such as agriculture and brewing ales. Over the centuries, however, education and academic pursuits came to dominate the life of their monasteries, after that the followers of the older pattern of life became known as the Cistercians of the Original Observance. The term Cistercian, derives from Cistercium, the Latin name for the village of Cîteaux and it was in this village that a group of Benedictine monks from the monastery of Molesme founded Cîteaux Abbey in 1098, with the goal of following more closely the Rule of Saint Benedict. The best known of them were Robert of Molesme, Alberic of Cîteaux and the English monk Stephen Harding, Bernard of Clairvaux entered the monastery in the early 1110s with 30 companions and helped the rapid proliferation of the order. By the end of the 12th century, the order had spread throughout France and into England, Wales, Scotland, Ireland, Spain, Portugal, Italy, the keynote of Cistercian life was a return to literal observance of the Rule of St Benedict. The most striking feature in the reform was the return to manual labour, especially field-work, Cistercian architecture is considered one of the most beautiful styles of medieval architecture. Additionally, in relation to such as agriculture, hydraulic engineering and metallurgy. The monastery church of Cluny Abbey, the largest in Europe, had become wealthy from rents, tithes, feudal rights and pilgrims who passed through Cluniac houses on the Way of St. James. On March 21,1098, Roberts small group acquired a plot of marshland just south of Dijon called Cîteaux, during the first year, the monks set about constructing lodging areas and farming the lands of Cîteaux, making use of a nearby chapel for Mass. In Roberts absence from Molesme, however, the abbey had gone into decline, and Pope Urban II, the remaining monks of Cîteaux elected Alberic as their abbot, under whose leadership the abbey would find its grounding. Robert had been the idealist of the order, and Alberic was their builder, upon assuming the role of abbot, Alberic moved the site of the fledgling community near a brook a short distance away from the original site. Alberic discontinued the use of Benedictine black garments in the abbey and he returned the community to the original Benedictine ideal of manual work and prayer, dedicated to the ideal of charity and self sustenance. Alberic also forged an alliance with the Dukes of Burgundy, working out a deal with Duke Odo of Burgundy concerning the donation of a vineyard as well as stones with which they built their church. The church was consecrated and dedicated to the Virgin Mary on November 16,1106, on January 26,1108, Alberic died and was soon succeeded by Stephen Harding, the man responsible for carrying the order into its crucial phase. The order was fortunate that Stephen was an abbot of extraordinary gifts, and he framed the original version of the Cistercian Constitution or regulations, the Carta caritatis. Although this was revised on several occasions to meet needs, from the outset it emphasised a simple life of work, love, prayer. Cistercian abbeys also refused to admit children, allowing adults to choose their religious vocation for themselves – a practice later emulated by many of the older Benedictine houses
Cistercian
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St
Bernard of Clairvaux, one of the most influential early Cistercians
Cistercian
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The Cistercian
coat of arms
Cistercian
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Vietnamese Cistercian monks standing in a
cloister and wearing their
religious habits
Cistercian
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An illumination of
Stephen Harding (right) presenting a model of his church to the
Blessed Virgin Mary (Municipal Library, Dijon). Cîteaux, c. 1125. At this period Cistercian illumination was the most advanced in France, but within 25 years it was abandoned altogether under the influence of Bernard of Clairvaux.
23.
Koksijde
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Koksijde is a town and a municipality in Belgium. It is located on the North Sea coast in the southwest of the Flemish province of West Flanders, the municipality comprises apart from Koksijde, the villages of Oostduinkerke, St-Idesbald and Wulpen. On January 1,2006, Koksijde municipality had a population of 21,269 on a total area of 43.96 km². Since 1995 Marc Vanden Bussche has been mayor of Koksijde, the municipality of Koksijde comprises the deelgemeenten Koksijde, Oostduinkerke, Sint-Idesbald and Wulpen. The old town centre of Koksijde is located two kilometers from the shoreline. Close by the sea, a new tourist centre, Koksijde-bad, has developed, a bit to the west on the territory is the hamlet of Sint-Idesbald. The old town centre of Oostduinkerke is located more than one kilometer from the coastline as well, over 4 kilometers inland is the rural polder village of Wulpen. The archeological site has been restored, and is open to the public, the attic of the museum contains a remarkable collection of liturgical silverware. The British Military Cemetery bears witness to British sacrifices in the Battle of Dunkirk, the Paul Delvaux museum in St-Idesbald houses the largest collection of paintings from this Belgian surrealist painter in the world. The annual Duinencross Koksijde cyclo-cross race, part of the UCI Cyclo-cross World Cup, in 1994 and 2012 the UCI Cyclo-cross World Championships were held here. Koksijde operates the Koksijde Golf ter Hille golf club
Koksijde
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Koksijde Zeedijk (Seadike)
Koksijde
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Flag
Koksijde
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Hoge Blekker, highest dune on the Flemish coast
Koksijde
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Koksijde, church: de Sint Pieterskerk
24.
Crucifixion
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It is principally known from classical antiquity, but remains in occasional use in some countries. The crucifixion of Jesus is a narrative in Christianity. Ancient Greek has two verbs for crucify, ana-stauro, from stauros, stake, and apo-tumpanizo crucify on a plank, in earlier pre-Roman Greek texts anastauro usually means impale. New Testament Greek uses four verbs, three of them based upon stauros, usually translated cross, prospegnumi, to fix or fasten to, impale, crucify occurs only once at the Acts of the Apostles 2,23. The English term cross derives from the Latin word crux, the Latin term crux classically referred to a tree or any construction of wood used to hang criminals as a form of execution. The term later came to specifically to a cross. The English term crucifix derives from the Latin crucifixus or cruci fixus, past participle passive of crucifigere or cruci figere, Crucifixion was often performed in order to terrorize and dissuade its witnesses from perpetrating particularly heinous crimes. Victims were left on display after death as warnings to others who might attempt dissent, Crucifixion was usually intended to provide a death that was particularly slow, painful, gruesome, humiliating, and public, using whatever means were most expedient for that goal. Crucifixion methods varied considerably with location and time period, in some cases, the condemned was forced to carry the crossbeam to the place of execution. A whole cross would weigh well over 135 kg, but the crossbeam would not be quite as burdensome, weighing around 45 kg. Upright posts would presumably be fixed permanently in place. Objects used in the crucifixion of criminals, such as nails, were sought as amulets with perceived medicinal qualities, while a crucifixion was an execution, it was also a humiliation, by making the condemned as vulnerable as possible. Although artists have depicted the figure on a cross with a loin cloth or a covering of the genitals. Writings by Seneca the Younger state some victims suffered a stick forced upwards through their groin, despite its frequent use by the Romans, the horrors of crucifixion did not escape mention by some of their eminent orators. Frequently, the legs of the executed were broken or shattered with an iron club, an act called crurifragium. This act hastened the death of the person but was meant to deter those who observed the crucifixion from committing offenses. The gibbet on which crucifixion was carried out could be of many shapes, at times the gibbet was only one vertical stake, called in Latin crux simplex. This was the simplest available construction for torturing and killing the condemned, frequently, however, there was a cross-piece attached either at the top to give the shape of a T or just below the top, as in the form most familiar in Christian symbolism
Crucifixion
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Protester tied to a cross in Washington D.C, photography by Oliver F. Atkins (1970)
Crucifixion
Crucifixion
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Crucifixion of Jesus by
Marco Palmezzano (Uffizi,
Florence), painting c. 1490
Crucifixion
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Prisoner kneeling on chains, thumbs supporting arms, photographic print on
stereo card,
Mukden, China (c 1906).
25.
Cambridge University Library
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Cambridge University Library is the main research library of the University of Cambridge in England. It is also the biggest of 114 libraries within the University. The Library is a scholarly resource for both the members of the University of Cambridge and for external researchers. Cambridge University Library comprises the main University Library and its affiliated libraries, as at August 2015, twenty-one affiliated libraries were associated with the main University Library, which is often referred to within the University as the University Library or just the UL. Through legal deposit, purchase and donation it receives around 100,000 items every year, the main University Library holds approximately 8 million items. Its original location was the Universitys Old Schools near Senate House until it outgrew the space there, the current acting librarian is Professor Christopher Young. As early as the century, Cambridge University owned a collection of manuscripts. These would have kept in chests along with other valuables. A common library can be traced to the beginning of the 15th century, the earliest catalogue is dated ca. 1424, at which there were 122 volumes in the library. The second earliest surviving catalogue was drawn up in 1473, from the 16th century onwards it received generous donations or bequests of books and growth was considerably increased once the privilege of legal deposit had been granted. The current main University Library building was constructed between 1931 and 1934 under architect Giles Gilbert Scott, who designed the neighbouring Clare Memorial Court. The site had been used by the First Eastern General Hospital, built at the outbreak of the First World War on the 8 acres joint cricket field of Kings and Clare Colleges. The hospital had 1,700 beds at its height and treated some 70,000 casualties between 1914 and 1919, the library is a Grade II listed building. Inside are a number of 17th- and 18th century bookcases including the ones designed for the old University Library by James Essex in 1731-4, the building bears a marked resemblance to Scotts industrial architecture, including Bankside Power Station. The library tower stands 157 feet tall,6 feet shorter than the top of St Johns College Chapel and 10 feet taller than the peak of Kings College Chapel. Supposedly, in opening the building, Neville Chamberlain referred to it as this magnificent erection, contrary to popular belief, pornographic material is not stored in the tower. The library has been extended several times, the main building houses the Japanese and Chinese collections in the Aoi Pavilion, an extension donated by Tadao Aoi and opened in 1998. The library is building a new facility in Ely
Cambridge University Library
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Cambridge University Library
Cambridge University Library
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Construction of the current main UL building in the 1930s.
Cambridge University Library
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The University Library (background) and Trinity College Wren Library (foreground), as viewed from St John's College chapel tower
Cambridge University Library
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The Squire Law Library.
26.
J. Paul Getty Museum
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The J. Paul Getty Museum, commonly referred to as the Getty, is an art museum in California housed on two campuses, the Getty Center and Getty Villa. The Getty Center is in the Brentwood neighborhood of Los Angeles and is the location of the museum. The collection features Western art from the Middle Ages to the present and its estimated 1.3 million visitors annually make it one of the most visited museums in the United States. The museums second location, the Getty Villa, is in the Pacific Palisades neighborhood and displays art from ancient Greece, Rome, and Etruria. In 1974, J. Paul Getty opened a museum in a re-creation of the Villa of the Papyri at Herculaneum on his property in Pacific Palisades, in 1982, the museum became the richest in the world when it inherited US$1.2 billion. In 1997, the moved to its current location in the Brentwood neighborhood of Los Angeles. Detailed information about the J. Paul Getty Museum’s collections is provided on GettyGuide, at the GettyGuide stations in the Museum, visitors can get information about exhibitions, interact with a timeline, watch videos on art-making techniques, and more. Also available at the Museum, the GettyGuide multimedia player features commentary from curators and conservators on many works of art, with GettyGuide on the Web, one may browse the Museum’s collection and bookmark works of art to create a customized tour and printable map. In 1984, Frel was demoted, and in 1986, he resigned, the Getty is involved in a controversy regarding proper title to some of the artwork in its collection. The museums previous curator of antiquities, Marion True, was indicted in Italy in 2005 on criminal charges relating to trafficking in stolen antiquities, similar charges have been addressed by the Greek authorities. The primary evidence in the case came from the 1995 raid of a Geneva, Switzerland, in 2005 True was forced to tender her resignation by the Board of Trustees, which announced her early retirement. Italy allowed the statute of limitations of the charges filed against her to expire in October 2010, True is currently under investigation by Greek authorities over the acquisition of a 2, 500-year-old funerary wreath. The wreath, along with a 6th-century BC statue of a woman, have returned to Greece and are exhibited at the Archaeological Museum of Thessaloniki. The Getty Museum resisted the requests of the Italian government for two decades, only to admit later that there might be problems attached to the acquisition. In 2006, Italian senior cultural official Giuseppe Proietti said, The negotiations havent made a step forward. Only after he suggested the Italian government to take cultural sanctions against the Getty, suspending all cultural cooperation, in another unrelated case in 1999, the Getty Museum had to hand over three antiquities to Italy after determining they were stolen. A Summary Catalogue of European Decorative Arts in the J. Paul Getty Museum was published in 2001, indeed, some discrete works are provided with annotations, e. g. In 2016, the head of the Greek god Hades was returned to Sicily
J. Paul Getty Museum
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J. Paul Getty Museum
J. Paul Getty Museum
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The Getty attracts approximately 1.8 million visitors a year.
J. Paul Getty Museum
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Architect
Richard Meier chose beige-colored Italian
travertine panels to cover the retaining walls and to serve as paving stones for the arrival plaza and Museum courtyard.
J. Paul Getty Museum
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Fra Bartolommeo, The Rest on the Flight Into Egypt with St. John the Baptist, about 1509
27.
Arrest of Jesus
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The arrest of Jesus is a pivotal event recorded in the canonical gospels. The event ultimately leads, in the Gospel accounts, to Jesus crucifixion, the arrest led immediately to his trial before the Sanhedrin, during which they condemned him to death and handed him to Pilate the following morning. In Christian theology, the events from the Last Supper until the crucifixion and resurrection of Jesus are referred to as the Passion, in the New Testament, all four Gospels conclude with an extended narrative of Jesus arrest, trial, crucifixion, burial, and resurrection. In each Gospel, these five events in the life of Jesus are treated with more detail than any other portion of that Gospels narrative. Scholars note that the reader receives an almost hour-by-hour account of what is happening, once there, he is described as leaving the group so that he can pray privately. The synoptics state that Jesus asked God that his burden be taken from him, Luke states that an angel appeared and strengthened Jesus, who then returned to his disciples. At that point, Judas gave Jesus a kiss, as a sign to those that had accompanied Judas as to who Jesus was. Having been identified, the officers arrested Jesus, although one of Jesus disciples thought to them with a sword. The Gospel of John specifies that it had been Simon Peter who had cut off the ear of Malchus, the servant of Caiaphas, Luke adds that Jesus healed the wound. John, Matthew, and Luke state that Jesus criticized the violent act, in Matthew, Jesus made the well known statement all who live by the sword, shall die by the sword. The account in the Gospel of John differs from that of the synoptics, chronology of Jesus Life of Jesus in the New Testament Brown, Raymond E. An Introduction to the New Testament Doubleday 1997 ISBN 0-385-24767-2 Brown, the New Jerome Biblical Commentary Prentice Hall 1990 ISBN 0-13-614934-0 Kilgallen, John J. A Brief Commentary on the Gospel of Mark Paulist Press 1989 ISBN 0-8091-3059-9 Miller, Robert J. Editor The Complete Gospels Polebridge Press 1994 ISBN 0-06-065587-9
Arrest of Jesus
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The Taking of Christ by
Caravaggio, 1602.
Arrest of Jesus
Arrest of Jesus
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The Capture of Christ by
Fra Angelico, c. 1440, depicting Judas and Peter, cutting the ear of the
Malchus, the servant of
Caiaphas.
28.
Golf book
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The Golf Book is the common name for an illuminated manuscript Book of Hours in the Use of Rome dating from the 1540s. Only 23 pages remain of the created by the illuminator Simon Bening. It owes its name to one illustration in the calendar. It is presumed to have made for a Swiss patron as the book includes a miniature painting of St Boniface of Lausanne. Hours of Hennessy British Library catalogue record for manuscript, item Add MS24098 British Library online gallery
Golf book
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September- Four men playing a game that resembles golf
Golf book
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March- gardening and felling trees; and playing with rattles
Golf book
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May- Boating party; and archery
Golf book
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September- Ploughing, sowing and harrowing; and playing with marbles and stilts
29.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
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Screenshot 2012
,_f.27r_-_BL_Add_MS_24098.jpg)
Media related to Simon Bening at Wikimedia Commons
