View allAll Photos Tagged firescreen
This sits in front of a non-functioning fireplace. A few candles and "viola" ,,, ambiance. I've also used it as the icon for a group.
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FPX 36 Elite Fireplace
The catalytic 36 Elite wood fireplace, shown with the Classic Arch face, heats like a furnace and always attracts admiring glances. It features high efficiency cherry flames and Posi-Pressure heating through a quiet, remotely located 388 CFM fan which circulates the heat throughout the home. The 36 Elite also has an optional firescreen so you can use your fireplace with the doors open when you are not using the Elite to heat. After you’ve taken one look you can see why this is the only fireplace line that can be called extraordinary.
Robert Campin (1378, 1444) - www.nationalgallery.org.uk/ - www.flickr.com/photos/39713999@N04/3653137563/in/set-7215...
The Governor's apartments are located in the King's bastion in the Fortress of Louisbourg,
Slideshow Here: flickr.com/photos/whitebeard/sets/72157613402503136/show/
Firescreen artist Jules Guerin
Home of Lyric Opera of Chicago
Taken from Dress Circle, my favorite place from which to see the show (even though it just about requires a mortgage to sit there).
For the December 10, 2017 production of George Bizet's The Pearl Fishers.
Read more about the history of the building and decor:
Follower of Robert Campin active 1405
Oil on oak, 63.4 x 48.5 cm
National Gallery, London
The Virgin is seated on a wooden bench in front of a large wicker firescreen, the shape of which suggests a halo, and appears to have been nursing the infant Christ. She is shown as the Queen of Heaven in her palace. Her richly ornamented dress, precious book, the cushions and the inlaid floor are all evocative of extraordinary splendour. By contrast, her child is shown naked, as if to emphasise his humanity.
The painting underwent a major restoration in the 19th century. A broad strip on the right and a narrow strip at the top were added. The cupboard on the right, on which a chalice is placed, is unlikely to be an accurate reflection of the original composition.
The view through the window is a feature of early Netherlandish painting. All its realistic details are not easily visible to the naked eye. They include a row of shops, horsemen, and men with a ladder fighting a fire.
December 1981. A color photo taken at Christmastime in the parlor of the Queen Anne Cottage. In the photo foreground, note (left in photo) a punchbowl circled with magnolia leaves and citrus fruit on a table covered with a fancy white tablecloth. At the right, note a partial view of a carved Victorian chair. In the photo background, a round, wood-trimmed firescreen with a needlework center is placed in front of the white marble fireplace. Note the mantel is decorated with a pair of tall white candlesticks (decorated with red bows) holding red candles and pine cones, and red glass ball ornaments. A wreath is visible on the gilt-framed mirror above the mantel. Photo by Sandy Snider.
164. Firescreen, Edgar Brandt
Nan Sias
I chose to interpret this iron work Art Deco piece by showing the ability of fresh floral material to be as manipulated as iron. The construction of the design is made to form the lines and curves emphasized by the firescreen.
Years of Art in Bloom Participation: 10
Robert Campin (Maître de Flémalle) 1378-1444. Tournai . Vierge à l'enfant devant un pare-feu. The Virgin and Child before a Firescreen. vers 1440 Londres National Gallery.
Oeuvre d'un suiveur.
Work of a follower.
Il y a encore peu d'années ces peintures étaient attribuées à Robert Campin, mais les progrès techniques permettent d'affiner les attributions, et de mieux repérer les caractéristiques propres à chaque peintre.
There are still a few years these paintings were attributed to Robert Campin, but technical advances can refine allocations and better identify characteristics of each painter.
PAINTERS "PRIMITIVES" FLEMISH, AND PAINTERS "RENAISSANTS" ITALIAN
Recall the limits, and even the inaccuracies, totally misleading, of the designations of "Primitive Painters" and "Renascent Painters" in Global History (political, social, economic) and also in Art History.
Jan van Eyck (1390-1441) could have been the father of Andrea Mantegna (1431-1506). Dirk Bouts (1415-1475 is only 15 years older as Mantegna. Hugo van der Goes from 1440 to 1482) is exactly of the same generation that Mantegna or Antonello da Messina (1430-1479). David Gerard 1450-1523 is twenty years younger than Mantegna. Memling (1435-1494) is a contemporary, a little older, that Botticelli (1444-1510)
Why Van Eyck, Dirk Bouts, Van der Goes, Memling and Gerard David have been nominated, for more than a century, and even in our time (see Wikipedia in French), the "Primitives"?
Why Andra Mantegna, Botticelli, Antonello da Messina, Andrea del Castagno and their Italian contemporaries benefit of the appellation, more flattering, of painters of the "Renaissance"?
The Flemish painters of the 15th century were primitive, and the Italian painters of the 15th century were not primitive?
What joke !
In the field of the technique of painting, the few loans, of the Italian painters to Roman sculpture, which favored home a more realistic perspective and volumes, and the antique decorations they use, in no way justify as their Flemish contemporaries are described as "primitive" and them to "renascent".
In reality, the Renaissance of Europe does not date from the 15th century, but of the 11th century.
But date from the medieval times, Roman and Gothic, Catholic, the rebirth of Europe is an unbearable idea for the Ideologie of Enlightenment and for its allies or inspiring.
The "Middle ages", time of "Renaissance", is a fact totally subversive. This should not be.
Yet the real history, not falsified by ideologies is that the Renaissance in Europe, is in no way a renaissance era in politics, in economics, or in the morals of society.
European civilization continues in 1400 and 1500, directly on the momentum of the great start, independent, fully autonomous, which began in the late 10th century with the end of the second great invasions, those Muslim, Norman and Hungarian.
It is in the 11th century that the cities are reborn, and that the European economy is developing in all areas, first in North and Central Italy, but soon also in Flanders, in the valleys of the Rhine, of the Danube, and even on the shores of the Baltic.
What happens, for against, in Italy, to the Renaissance, is an important cultural event, which see Greco-Roman antiquity in a new light.
The knowledge of antiquity is clearly renewed among the elites. The filter, almost exclusive for centuries, of the Catholic Church is attenuated.
The main causes are the "reconqête", which allowed to take possession of Muslim libraries and translate new Greek works, mainly in Spain. Another cause is the irresistible advance of Muslims to Byzantium, which many scholars fleeing from the city.
The cultural phenomenon of the "Renaissance" refers only to the elite, which accesses new themes of thought, oriented by mythology, philosophy, history, science, of the Greek and Latin antiquity .
For the peoples, there is absolutely nothing changed. The dominant ideology remains Catholicism and Orthodoxy. And living conditions absolutely identical.
Architectural evolution is sharper than in painting or sculpture. New forms appear in Italy, forms, more inspired by Greek and Roman architecture.
But in painting and sculpture, which changes, more obviously, and quickly, these are the themes of the frescoes, paintings, sculptures:
The Mythology, philosophy, Greek and Roman history, become grounds for painting and sculpting, not in replace, but beside on religious motives.
Similarly, in Italy, the decor of painting and sculpture, even when the subjects remain religious, are often borrowed from ancient architecture.
In Flanders, as in all of northern Europe, around 1450, the themes of painting and sculpture, the decor of the scenes are always inspired almost exclusively by the Catholic religion and Gothic art
In Italy Not.
Flanders will adopt the decor and themes from antiquity later, around 1500.
Under the influence of the thought of antiquity, a very relative secularization of European culture appears therefore in Italy, among the elite around 1400.
This secularization of culture is presented as a rationalization of European thought, and thus the beginnings of modern progressive thought. A progress. Hence the invention of the term "Renaissance"
In fact, the "Renaissance" culturally, is not progress. This is in no way looking to the future. It is a look into the Past. The Renaissance is a return to the antiquity, and to some of its values! Values that actually had been overshadowed in part by Catholicism and Orthodoxy
Moreover, this vision of a European history, in moral progress, of a Europe outgoing of the barbarous times, out of the religion, to get into the "modern era" of the Reason, is a sinister joke when we remember the religious wars that will soon put Europe in fire and blood. The fanaticism of Protestant churches is responsible for the huge massacres of the religious wars in France, and the exterminations of the Thirty Years War in Germany, as well as Catholic fanaticism.
This official history of humanity, morally progressing, is a sinister joke when we remember the Irish Catholics massacres committed by the English Protestants. More than 500,000 deaths in the 17th century, the time of the "Republic" of Cromwell.
This presentation of European history, in progress, is a joke quite sinister when we remember of the ideological fanaticisms of Jacobinism in France, of the ultra nationalism in Europe, of the communism and of the Nazism. Fanaticisms that determine European history to 19th and 20th century. And when we want to remember the tens of millions of deaths that are the result.
The progress, in morals or politics, even suppose possible, which is not demonstrated, it is certainly not to replace one ideology by another. This is certainly not to replace religion by a secular ideology. It's not more intelligent or more moral, to be an atheist than to be a believer. Progress would be to ensure that all ideologies, secular or sacred, tolerate and live together, or at least nearby.
But for "the Enlightenment" and its allies or inspirers, facts do not matter. The key is the Legend.
And that is how and why the Flemish painters of the 15th century are "primitives", and those Italians "renascent".
Ideology, command the history, the art history, and the art of a society.
Exhibition: The Extraordinary Leek Embroidery Society - Textiles, People, Places (26th June - 14th September 2013) at the Nicholson Museum & Art Gallery, Leek.
A beautiful firescreen - stitched by either Anne Grace (1868-1959) or Annie Redfern (1875-1953) - the label is not very clear. The exhibition includes detailed biographical notes about many of the embroiderers. Annie Redfern is one of the pupils included on the 1888 photograph with Elizabeth Wardle.
Designer: Jane McGown Flynn
Hooked by: Suzi Joones
Pattern is copyrighted
Pattern available from Honey Bee Hive Designs
164. Firescreen, Edgar Brandt
Nan Sias
I chose to interpret this iron work Art Deco piece by showing the ability of fresh floral material to be as manipulated as iron. The construction of the design is made to form the lines and curves emphasized by the firescreen.
Years of Art in Bloom Participation: 10
164. Firescreen, Edgar Brandt
Nan Sias
I chose to interpret this iron work Art Deco piece by showing the ability of fresh floral material to be as manipulated as iron. The construction of the design is made to form the lines and curves emphasized by the firescreen.
Years of Art in Bloom Participation: 10