ellapronkraft.
2014-09-25 Limoges, Musée des beaux-arts de Limoges, palais de l'Évêché (BAL) Haute Vienne, Limousin DSCN5313
The enamels
The collection of enamel is one of the largest and richest in the world, it includes:
Enamels of the Middle Ages (eleventh to fourteenth centuries) with cloisonné enamel and champlevé enamels. Among the important parts, we can see a cloisonné medallion the eleventh century, found during excavations in St. Ganja, a true incunabula of enamelling limousine. Plate Visitation illustrates the Grass technical widely used at the end of the twelfth century. Reliquaries include the shrine of the martyrdom of Thomas Becket, the shrine of the martyrdom of St. Valerie or, among others, a shrine of the Massacre of the Innocents or the amazing flower shaped reliquary of St Valerie. Other objects (crosses, cross, pyxis, sconces, incense, candlesticks, belt buckles, gemellions, monstrance ...) show the expertise of Limousin artists for both religious and secular production. Are fitted to these enamels unglazed pieces or enamelled beaches reduced, revealing the talent of artisans copper, enamel inextricably linked with several blank gilded copper, a clasp, pyxides, cross, etc. In addition, objects from the rich treasures of the churches in the region are regularly temporary storage based on common needs.
Painted enamels from the Renaissance. From the late fifteenth century, Limoges enamel invent new technique akin to painting in its implementation. They begin by performing religious plates (Nativity and entombment Nickname Monværni), sometimes of great quality and technical (Triptych of the Nativity of the Great Master Front). Around the 1530s, occurred the first shaped pieces (cups, plates, pitchers, salt, flat (flat abduction of Europe by Jean Court from the prestigious Yves Saint Laurent and Pierre Bergé, salt, etc. )) .dropoff window The themes depicting objects are also more varied, including borrowed from mythology (plates of the Golden Fleece by Pierre Reymond, Laocoön Plaque by Pierre Courteys) or profane with the portraits of Léonard Limosin (Galiot Portrait Genouillace) .dropoff window Religious productions continue in parallel with series of plates illustrating particular the Passion of Christ and mounted altarpieces whose museum houses one of the few surviving examples of integrity (altarpiece of Le Mesnil-sous-Jumièges). The museum houses one of the most complete sets of Limoges painted enamels of the seventeenth-eighteenth centuries with pieces of enamel from the particular Laudin families Noualhier.
Also enamels of the nineteenth century.
2014-09-25 Limoges, Musée des beaux-arts de Limoges, palais de l'Évêché (BAL) Haute Vienne, Limousin DSCN5313
The enamels
The collection of enamel is one of the largest and richest in the world, it includes:
Enamels of the Middle Ages (eleventh to fourteenth centuries) with cloisonné enamel and champlevé enamels. Among the important parts, we can see a cloisonné medallion the eleventh century, found during excavations in St. Ganja, a true incunabula of enamelling limousine. Plate Visitation illustrates the Grass technical widely used at the end of the twelfth century. Reliquaries include the shrine of the martyrdom of Thomas Becket, the shrine of the martyrdom of St. Valerie or, among others, a shrine of the Massacre of the Innocents or the amazing flower shaped reliquary of St Valerie. Other objects (crosses, cross, pyxis, sconces, incense, candlesticks, belt buckles, gemellions, monstrance ...) show the expertise of Limousin artists for both religious and secular production. Are fitted to these enamels unglazed pieces or enamelled beaches reduced, revealing the talent of artisans copper, enamel inextricably linked with several blank gilded copper, a clasp, pyxides, cross, etc. In addition, objects from the rich treasures of the churches in the region are regularly temporary storage based on common needs.
Painted enamels from the Renaissance. From the late fifteenth century, Limoges enamel invent new technique akin to painting in its implementation. They begin by performing religious plates (Nativity and entombment Nickname Monværni), sometimes of great quality and technical (Triptych of the Nativity of the Great Master Front). Around the 1530s, occurred the first shaped pieces (cups, plates, pitchers, salt, flat (flat abduction of Europe by Jean Court from the prestigious Yves Saint Laurent and Pierre Bergé, salt, etc. )) .dropoff window The themes depicting objects are also more varied, including borrowed from mythology (plates of the Golden Fleece by Pierre Reymond, Laocoön Plaque by Pierre Courteys) or profane with the portraits of Léonard Limosin (Galiot Portrait Genouillace) .dropoff window Religious productions continue in parallel with series of plates illustrating particular the Passion of Christ and mounted altarpieces whose museum houses one of the few surviving examples of integrity (altarpiece of Le Mesnil-sous-Jumièges). The museum houses one of the most complete sets of Limoges painted enamels of the seventeenth-eighteenth centuries with pieces of enamel from the particular Laudin families Noualhier.
Also enamels of the nineteenth century.