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The Patriarch's Museum is part of the Royal Seminary College of Corpus Christi.
There is a ticket for the museum, that allows to visit the "Capella del Monument" (Monument Chapel), the cloister and the museum itself.
The museum has an invaluable collection of art works, including paintings by Paolo de San Leocadio, Miquel Esteve, Joan de Joanes, Francesc and Joan Ribalta, Pedro de Orrente, El Greco, Dirk Bouts, Jan Provoost, Giovanni Baglione, Bernardino Luini, Giovanni Battista Ricci. There are also copies of works by Caravaggio, Raphael, Sebastiano del Piombo, Tiziano, Andrea del Sarto.
Jan Provoost
Mons 1462 - Brugge 1529
Death and the miser
+- 1515/1521
oil on panel
Groeninge Museum, Bruges
La crucifixion de Jésus est représentée dans un vaste paysage. Au premier plan, une procession sinueuse se dirige vers une ville. Le cadrage serré et la présence de nombreux figurants confèrent à l'image un caractère théâtral. La scène illustre le moment où le centurion aveugle Longinus perce le flanc de Jésus. Une goutte de sang tombe sur la main du centurion, qui s'en touche l'œil et recouvre la vue. À cet instant précis, Jésus meurt et, comme le décrit la Bible, les ténèbres s'abattent. Fait remarquable, cela ne concerne que la ville située à l'arrière-plan, à droite ; celle de gauche est épargnée. Grâce à la fidélité de la représentation des bâtiments, on reconnaît Jérusalem, la ville sainte. Il est fort probable que Jan Provoost ait visité cette ville en pèlerinage et se soit inspiré de ses propres observations pour composer le paysage urbain de ce tableau. Il est possible que cette Crucifixion ait fait partie d'un triptyque, avec deux scènes de la vie de sainte Catherine (actuellement conservées au musée Boijmans van Beuningen de Rotterdam et au Musée royal des Beaux-Arts d'Anvers, KMSKA). Selon la reconstitution, ce triptyque aurait constitué le retable de la chapelle de Jérusalem à Bruges, où sont conservés comme reliques un éclat de la croix et un morceau de soie ayant appartenu à sainte Catherine.
Le cortège de spectateurs et de soldats retournant à Jérusalem après la crucifixion regorge de détails qui captiveront votre attention. Les gens discutent, désignent Jésus du doigt et, assis sur leurs chevaux, s'adressent la parole. L'excitation est palpable, le hennissement des chevaux et les conversations de la foule sont presque audibles.
Cela contraste fortement avec le moment où Jésus est transpercé au flanc et prononce ses dernières paroles avant de mourir. Il domine sereinement l'assemblée, accompagné seulement des deux bourreaux et de deux anges qui soutiennent son pagne. Ces chérubins constituent un élément important de la composition, car ils sont rarement représentés sur le Calvaire. Leur présence fait référence à l'Eucharistie. La mort de Jésus sur la croix est un sacrifice par lequel, selon la foi chrétienne, les croyants retrouvent l'accès au ciel. L'Eucharistie, partie intégrante de la messe liturgique où le pain et le vin (symbolisant le corps et le sang du Christ) sont partagés avec les fidèles, évoque ce sacrifice. Ceci confirme que ce tableau devait être un retable, devant lequel la messe était célébrée.
The crucifixion of Jesus is depicted in a vast landscape. In the foreground, a winding procession makes its way toward a city. The tight framing and the presence of numerous figures lend the image a theatrical quality. The scene illustrates the moment when the blind centurion Longinus pierces Jesus' side. A drop of blood falls on the centurion's hand, which he touches to his eye, restoring his sight. At that precise moment, Jesus dies, and, as the Bible describes, darkness falls. Remarkably, this only affects the city in the background, on the right; the one on the left is spared. Thanks to the faithful depiction of the buildings, we recognize Jerusalem, the holy city. It is highly probable that Jan Provoost visited this city on pilgrimage and drew upon his own observations to compose the urban landscape of this painting. It is possible that this Crucifixion was part of a triptych, along with two scenes from the life of Saint Catherine (currently housed in the Boijmans van Beuningen Museum in Rotterdam and the Royal Museum of Fine Arts Antwerp, KMSKA). According to the reconstruction, this triptych would have formed the altarpiece of the Jerusalem Chapel in Bruges, where a fragment of the cross and a piece of silk that belonged to Saint Catherine are kept as relics.
The procession of spectators and soldiers returning to Jerusalem after the crucifixion is full of details that will captivate your attention. People are talking, pointing at Jesus, and, seated on their horses, conversing with one another. The excitement is palpable; the neighing of the horses and the conversations of the crowd are almost audible.
This contrasts sharply with the moment when Jesus is pierced in the side and utters his last words before dying. He serenely overlooks the assembly, accompanied only by the two executioners and two angels supporting his loincloth. These cherubs are an important element of the composition, as they are rarely depicted on Calvary scenes. Their presence alludes to the Eucharist. The death of Jesus on the cross is a sacrifice through which, according to Christian faith, believers regain access to heaven. The Eucharist, an integral part of the liturgical Mass where bread and wine (symbolizing the body and blood of Christ) are shared with the faithful, evokes this sacrifice. This confirms that this painting must have been an altarpiece, before which Mass was celebrated.
The Patriarch's Museum is part of the Royal Seminary College of Corpus Christi.
There is a ticket for the museum, that allows to visit the "Capella del Monument" (Monument Chapel), the cloister and the museum itself.
The museum has an invaluable collection of art works, including paintings by Paolo de San Leocadio, Miquel Esteve, Joan de Joanes, Francesc and Joan Ribalta, Pedro de Orrente, El Greco, Dirk Bouts, Jan Provoost, Giovanni Baglione, Bernardino Luini, Giovanni Battista Ricci. There are also copies of works by Caravaggio, Raphael, Sebastiano del Piombo, Tiziano, Andrea del Sarto.
La crucifixion de Jésus est représentée dans un vaste paysage. Au premier plan, une procession sinueuse se dirige vers une ville. Le cadrage serré et la présence de nombreux figurants confèrent à l'image un caractère théâtral. La scène illustre le moment où le centurion aveugle Longinus perce le flanc de Jésus. Une goutte de sang tombe sur la main du centurion, qui s'en touche l'œil et recouvre la vue. À cet instant précis, Jésus meurt et, comme le décrit la Bible, les ténèbres s'abattent. Fait remarquable, cela ne concerne que la ville située à l'arrière-plan, à droite ; celle de gauche est épargnée. Grâce à la fidélité de la représentation des bâtiments, on reconnaît Jérusalem, la ville sainte. Il est fort probable que Jan Provoost ait visité cette ville en pèlerinage et se soit inspiré de ses propres observations pour composer le paysage urbain de ce tableau. Il est possible que cette Crucifixion ait fait partie d'un triptyque, avec deux scènes de la vie de sainte Catherine (actuellement conservées au musée Boijmans van Beuningen de Rotterdam et au Musée royal des Beaux-Arts d'Anvers, KMSKA). Selon la reconstitution, ce triptyque aurait constitué le retable de la chapelle de Jérusalem à Bruges, où sont conservés comme reliques un éclat de la croix et un morceau de soie ayant appartenu à sainte Catherine.
Le cortège de spectateurs et de soldats retournant à Jérusalem après la crucifixion regorge de détails qui captiveront votre attention. Les gens discutent, désignent Jésus du doigt et, assis sur leurs chevaux, s'adressent la parole. L'excitation est palpable, le hennissement des chevaux et les conversations de la foule sont presque audibles.
Cela contraste fortement avec le moment où Jésus est transpercé au flanc et prononce ses dernières paroles avant de mourir. Il domine sereinement l'assemblée, accompagné seulement des deux bourreaux et de deux anges qui soutiennent son pagne. Ces chérubins constituent un élément important de la composition, car ils sont rarement représentés sur le Calvaire. Leur présence fait référence à l'Eucharistie. La mort de Jésus sur la croix est un sacrifice par lequel, selon la foi chrétienne, les croyants retrouvent l'accès au ciel. L'Eucharistie, partie intégrante de la messe liturgique où le pain et le vin (symbolisant le corps et le sang du Christ) sont partagés avec les fidèles, évoque ce sacrifice. Ceci confirme que ce tableau devait être un retable, devant lequel la messe était célébrée.
The crucifixion of Jesus is depicted in a vast landscape. In the foreground, a winding procession makes its way toward a city. The tight framing and the presence of numerous figures lend the image a theatrical quality. The scene illustrates the moment when the blind centurion Longinus pierces Jesus' side. A drop of blood falls on the centurion's hand, which he touches to his eye, restoring his sight. At that precise moment, Jesus dies, and, as the Bible describes, darkness falls. Remarkably, this only affects the city in the background, on the right; the one on the left is spared. Thanks to the faithful depiction of the buildings, we recognize Jerusalem, the holy city. It is highly probable that Jan Provoost visited this city on pilgrimage and drew upon his own observations to compose the urban landscape of this painting. It is possible that this Crucifixion was part of a triptych, along with two scenes from the life of Saint Catherine (currently housed in the Boijmans van Beuningen Museum in Rotterdam and the Royal Museum of Fine Arts Antwerp, KMSKA). According to the reconstruction, this triptych would have formed the altarpiece of the Jerusalem Chapel in Bruges, where a fragment of the cross and a piece of silk that belonged to Saint Catherine are kept as relics.
The procession of spectators and soldiers returning to Jerusalem after the crucifixion is full of details that will captivate your attention. People are talking, pointing at Jesus, and, seated on their horses, conversing with one another. The excitement is palpable; the neighing of the horses and the conversations of the crowd are almost audible.
This contrasts sharply with the moment when Jesus is pierced in the side and utters his last words before dying. He serenely overlooks the assembly, accompanied only by the two executioners and two angels supporting his loincloth. These cherubs are an important element of the composition, as they are rarely depicted on Calvary scenes. Their presence alludes to the Eucharist. The death of Jesus on the cross is a sacrifice through which, according to Christian faith, believers regain access to heaven. The Eucharist, an integral part of the liturgical Mass where bread and wine (symbolizing the body and blood of Christ) are shared with the faithful, evokes this sacrifice. This confirms that this painting must have been an altarpiece, before which Mass was celebrated.
www.bps22.be/fr/Expositions/Panorama
PANORAMA
COLLECTION DE LA PROVINCE DE HAINAUT
Exposition
24.09.2016 - 22.01.2017
En parallèle à Metamorphic Earth, Panorama revisite le genre du paysage au travers d'une sélection d'œuvres contemporaines issues de la collection de la Province de Hainaut. Les œuvres choisies font ainsi écho au rapport qu'entretient l'homme à la nature, au décor et à son environnement. L'exposition rassemble une quarantaine d'artistes dont certains étoffent le propos avec des pièces récentes (hors collection). Au départ d'une multitude de points de vue, réels ou imaginaires, Panorama aborde le désir de rationaliser l'espace, de le personnifier, de l'appréhender ou de le dominer.
Curatrice : Nancy Casielles
Artistes : Gabriel Belgeonne, Balthasar Burkhard, Marie-Ange Cambruzzi, Jacques Charlier, Michel Cleempoel, Michel Couturier, Michael Dans, Edith Dekyndt, Simona Denicolai & Ivo Provoost, David Evrard, Christine Felten & Véronique Massinger, Michel Francois, Michel Frère, Bruno Goosse, Louise Herlemont, Marin Kasimir, Jan Kopp, Sébastien Lacomblez, Frédéric Lefever, Jacques Lizène, Emilio López-Menchero, Jean-Marie Mahieu, Xavier Mary, Deimantas Narkevicius, Juan Paparella, Pol Pierart, Benoit Platéus, Eric Poitevin, Benoît Roussel, Ruptz, Mira Sanders, Franck Scurti, Allan Sekula, José María Sicilia, André Stas, Thierry Tillier, Massimo Vitali.
Dans le cadre d'Asphalte#2, Cultures et Trottoirs
The Patriarch's Museum is part of the Royal Seminary College of Corpus Christi.
There is a ticket for the museum, that allows to visit the "Capella del Monument" (Monument Chapel), the cloister and the museum itself.
The museum has an invaluable collection of art works, including paintings by Paolo de San Leocadio, Miquel Esteve, Joan de Joanes, Francesc and Joan Ribalta, Pedro de Orrente, El Greco, Dirk Bouts, Jan Provoost, Giovanni Baglione, Bernardino Luini, Giovanni Battista Ricci. There are also copies of works by Caravaggio, Raphael, Sebastiano del Piombo, Tiziano, Andrea del Sarto.
Jean Provoost (1465-1529) Annunciation (1515-1520) - the Flemish Room - White Palace - Genoa
UNESCO World Heritage Site (2006)
Nella straordinaria cornice di via Garibaldi, la magnifica Strada Nuova rinascimentale e barocca dichiarata Patrimonio dell’Umanità UNESCO, ha sede un originale percorso museale che collega tre importanti palazzi genovesi: Palazzo Rosso, Palazzo Bianco e Palazzo Doria Tursi.
A Palazzo Bianco si può ammirare una importante raccolta di pittura genovese, italiana e europea dal XVI al XVIII secolo: accanto ad autentici capolavori di artisti italiani (Caravaggio, Veronese), fiamminghi (Hans Memling, Gerard David, Jean Provost, Rubens, Van Dyck), olandesi (Steen), francesi (Vouet, Lancret) e spagnoli (Zurbaràn, Murillo), spicca infatti una vasta rassegna di pittura genovese dal Cinquecento al Settecento (Cambiaso, Strozzi, Piola, Magnasco).
In the extraordinary setting of Garibaldi Street, the magnificent New Renaissance and Baroque Road declared UNESCO World Heritage Site, is located an original museum that connects three important Genoese palaces: Palazzo Rosso, Palazzo Bianco and Palazzo Doria Tursi.
A Palazzo Bianco you can admire an important collection of Genoese paintings, Italian and European from the sixteenth to the eighteenth century: beside masterpieces of Italian artists (Caravaggio, Veronese), Flemish (Hans Memling, Gerard David, Jean Provost, Rubens, Van Dyck ), Dutch (Steen), French (Vouet, Lancret) and Spanish (Zurbaran, Murillo), stands out a vast collection of Genoese paintings from the sixteenth to the eighteenth century (Cambiaso, Strozzi, Piola, Magnasco).
Jean Provoost (1465-1529) detail Annunciation (1515-1520) - the Flemish Room - White Palace - Genoa
UNESCO World Heritage Site (2006)
Nella straordinaria cornice di via Garibaldi, la magnifica Strada Nuova rinascimentale e barocca dichiarata Patrimonio dell’Umanità UNESCO, ha sede un originale percorso museale che collega tre importanti palazzi genovesi: Palazzo Rosso, Palazzo Bianco e Palazzo Doria Tursi.
A Palazzo Bianco si può ammirare una importante raccolta di pittura genovese, italiana e europea dal XVI al XVIII secolo: accanto ad autentici capolavori di artisti italiani (Caravaggio, Veronese), fiamminghi (Hans Memling, Gerard David, Jean Provost, Rubens, Van Dyck), olandesi (Steen), francesi (Vouet, Lancret) e spagnoli (Zurbaràn, Murillo), spicca infatti una vasta rassegna di pittura genovese dal Cinquecento al Settecento (Cambiaso, Strozzi, Piola, Magnasco).
In the extraordinary setting of Garibaldi Street, the magnificent New Renaissance and Baroque Road declared UNESCO World Heritage Site, is located an original museum that connects three important Genoese palaces: Palazzo Rosso, Palazzo Bianco and Palazzo Doria Tursi.
A Palazzo Bianco you can admire an important collection of Genoese paintings, Italian and European from the sixteenth to the eighteenth century: beside masterpieces of Italian artists (Caravaggio, Veronese), Flemish (Hans Memling, Gerard David, Jean Provost, Rubens, Van Dyck ), Dutch (Steen), French (Vouet, Lancret) and Spanish (Zurbaran, Murillo), stands out a vast collection of Genoese paintings from the sixteenth to the eighteenth century (Cambiaso, Strozzi, Piola, Magnasco).
Staatliche Museen zu Berlin, Kupferstichkabinett. Seen at Dürer’s Journeys, National Gallery, London
Jean Provoost (1465-1529) St.Peter (1515-1520) - the Flemish Room - White Palace - Genoa
UNESCO World Heritage Site (2006)
Nella straordinaria cornice di via Garibaldi, la magnifica Strada Nuova rinascimentale e barocca dichiarata Patrimonio dell’Umanità UNESCO, ha sede un originale percorso museale che collega tre importanti palazzi genovesi: Palazzo Rosso, Palazzo Bianco e Palazzo Doria Tursi.
A Palazzo Bianco si può ammirare una importante raccolta di pittura genovese, italiana e europea dal XVI al XVIII secolo: accanto ad autentici capolavori di artisti italiani (Caravaggio, Veronese), fiamminghi (Hans Memling, Gerard David, Jean Provost, Rubens, Van Dyck), olandesi (Steen), francesi (Vouet, Lancret) e spagnoli (Zurbaràn, Murillo), spicca infatti una vasta rassegna di pittura genovese dal Cinquecento al Settecento (Cambiaso, Strozzi, Piola, Magnasco).
In the extraordinary setting of Garibaldi Street, the magnificent New Renaissance and Baroque Road declared UNESCO World Heritage Site, is located an original museum that connects three important Genoese palaces: Palazzo Rosso, Palazzo Bianco and Palazzo Doria Tursi.
A Palazzo Bianco you can admire an important collection of Genoese paintings, Italian and European from the sixteenth to the eighteenth century: beside masterpieces of Italian artists (Caravaggio, Veronese), Flemish (Hans Memling, Gerard David, Jean Provost, Rubens, Van Dyck ), Dutch (Steen), French (Vouet, Lancret) and Spanish (Zurbaran, Murillo), stands out a vast collection of Genoese paintings from the sixteenth to the eighteenth century (Cambiaso, Strozzi, Piola, Magnasco).
Jean Provoost (1465-1529) St. Elizabeth of Hungary (1515-1520) - the Flemish Room - White Palace - Genoa
UNESCO World Heritage Site (2006)
Nella straordinaria cornice di via Garibaldi, la magnifica Strada Nuova rinascimentale e barocca dichiarata Patrimonio dell’Umanità UNESCO, ha sede un originale percorso museale che collega tre importanti palazzi genovesi: Palazzo Rosso, Palazzo Bianco e Palazzo Doria Tursi.
A Palazzo Bianco si può ammirare una importante raccolta di pittura genovese, italiana e europea dal XVI al XVIII secolo: accanto ad autentici capolavori di artisti italiani (Caravaggio, Veronese), fiamminghi (Hans Memling, Gerard David, Jean Provost, Rubens, Van Dyck), olandesi (Steen), francesi (Vouet, Lancret) e spagnoli (Zurbaràn, Murillo), spicca infatti una vasta rassegna di pittura genovese dal Cinquecento al Settecento (Cambiaso, Strozzi, Piola, Magnasco).
In the extraordinary setting of Garibaldi Street, the magnificent New Renaissance and Baroque Road declared UNESCO World Heritage Site, is located an original museum that connects three important Genoese palaces: Palazzo Rosso, Palazzo Bianco and Palazzo Doria Tursi.
A Palazzo Bianco you can admire an important collection of Genoese paintings, Italian and European from the sixteenth to the eighteenth century: beside masterpieces of Italian artists (Caravaggio, Veronese), Flemish (Hans Memling, Gerard David, Jean Provost, Rubens, Van Dyck ), Dutch (Steen), French (Vouet, Lancret) and Spanish (Zurbaran, Murillo), stands out a vast collection of Genoese paintings from the sixteenth to the eighteenth century (Cambiaso, Strozzi, Piola, Magnasco).
EVR Boston
February 8 – April 13, 2007
a project by Anton Vidokle and Julieta Aranda
Carpenter Center
24 Quincy Street
Boston, MA 02138
Monday – Friday: noon – 5
Saturday & Sunday: 1 - 5
Carpenter Center Lecture
by Anton Vidokle and Julieta Aranda
Thursday, February 8 2007, 6 pm
Carpenter Center lecture hall
reception with the artists to follow
e-flux video rental (EVR) is a project comprising a free video rental, a public screening room, and a film and video archive that is constantly growing. This collection of near 700 works of film and video art has been assembled in collaboration with over 60 international artists, curators and critics. Orignally presented on New York, at 53 Ludlow Street in 2004, EVR has been presented in Amsterdam, Berlin, Frankfurt, Seoul, Istanbul, Canary Islands, Austin Texas, Budapest, Antwerp, and Miami.
Every time EVR is installed in a new city, local arts professionals are invited to serve as selectors, choosing artists whose work is added to the collection. In addition, a program of screenings of works from the EVR collection is part of the project. In Boston, the program will continue with the participation from interns from the departments of Visual and Environmental Studies, History of Art and Architecture, as well as Mass Art and the Museum School in Boston.
In the 1960s and 70s, artists were drawn to working with video in part because it was cheap to use and easily reproduced and distributed. But video art has become increasingly assimilated to the precious-object economy of the art world. EVR is an exploration on the current processes of circulation and distribution of video art, and is structured to function like a regular video store, except that it operates for free. VHS tapes can be watched in the space, or, once a viewer fills out a membership form and contract, they can be checked out and taken home. A changing selection of works showcasing the depth and breadth of the collection will be screened during all times the exhibition is open to the public, coordinated by local students from Harvard and Boston-area arts schools.
This project also includes a special series of screenings on Tuesday nights curated by local artists, writers and curators as well as interns from the departments of Visual and Environmental Studies and History of Art and Architecture, Massachusetts College of Art, and the School of the Museum of Fine Arts.
Works selected by: fernanda arruda, marilyn arsem, defne ayas, gabriel perez barreiro, rene barilleaux, regine basha, thomas bayrle, katrin becker, ariane beyn, cis bierinckx, daniel birnbaum, osman bozkurt, adam budak, cac tv, annette dimeo carlozzi, luca cerizza, binna choi, mariana david, catherine david, nikola dietrich, power ekroth, mai abu eldahab, esra ersen, jose louis falconi, hedwig fijen, elena filipovic, lauri firstenberg, susanne gaensheimer, gabrielle giattino, massimiliano gionni, julieta gonzález, francesca grassi, andrea grover, cao guimaraes, alfred guzzetti, jörg heiser, arne hendriks, sofia hernandez, maria hlavajova, jens hoffmann, teresa hubbard & alexander birchler, anthony huberman, pierre huyghe, eungie joo, yu hyun jung, christoph keller, sung won kim, adam klimczak, anders krueger, pablo leon de la barra, fernando llanos, omar lopez-chahoud, jaroslaw lubiak, bill lundberg, ives maes, karen mahaffy, raimundas malasauskas, franco marinotti, vi ncent meessen, viktor misiano, edit molnár, kassandra nakas, molly nesbit, hans ulrich obrist, lívia páldi, november paynter, wim peeters & marie denkens, zsolt petrányi natasa petresin, stephen prina, risa puleo, alia rayyan, karyn riegel, david rych, hyun jun ryu, esra sarigedik, nermin saybasili, itala schmeltz, stefanie schulte strathaus, basak senova, henk slager, hajnalka somogy, ali subotnik, christine tohme, regina vater, gilbert vicario, florian waldvogel, franciska zólyom, nathalie zonnenberg
Artists: 24/7 tv, a-clip, vahram aghasyan, doug aitken, lucas ajemian, nevin aladag, kamal aljafari, jennifer allora & guillermo calzadilla, paulo almeida, can altay, carlos amorales, andré amparo, j tobias anderson, alexander apóstol, vasco araújo, assume vivid astro focus, michel auder, sven augustijnen, alexandra bachzetsis, miriam bäckström, lucas bambozzi, edson barrus, judith barry, yael bartana, taysir batniji, thomas bayrle, sarah beddington, patricia belli, elisabetta benassi, kazimierz bendkowski, roberto berliner, janet biggs, colectivo bijari, marc bijl, johanna billing, julien jonas bismuth, alberto bitar e leonardo bitar, john bock, manon de boer, mike bouchet, frank boue, andrea bowers, osman bozkurt, ulla von brandenburg, pavel braila, candice breitz, wojciech bruszewski, martin butler, chris caccamise, yane calovski & FOS, mircea cantor, domenico cappello, carolina caycedo, alex cecchetti & christian frosi, alejandro cesarco, juan cespedes, paul chan, terry chatkupt, marcos chaves, mina cheon, loulou cherinet, olga chernysheva, ali cherri, sunah choi, heman chong & isabel cornaro, kerstin cmelka, cecilia condit, joost conijn, marie cool & fabio balducci, alexander costello, alfredo b. crevenna, carlo crovato, roberto cuoghi, federico curiel, hubert czerepok, marilá dardot, simona denicolai & ivo provoost, marta deskur, angela detanico y rafael lain, stefaan dheedene, wilson diaz, melissa dubbin & aaron s. davidson, ivan edeza, effi & amir, james elaine/william basinski, fouad elkoury, hala elkoussy, shahram entekhabi & mieke bal, annika eriksson, espacio la culpable, marcell esterházy, extrastruggle, héctor falcón, matias faldbakken, jeanne faust/jorn zehe, rochelle feinstein, jakup ferri, dirk fleischmann, oriana fox, alicia framis, jonah freeman, gabrielle fridriksdottir, anna friedel, peter friedl, yang fudong, rene gabri, rubén galindo, andrea geyer, gilbert & george, jérémie gindre, christoph girardet, piero golia, emilio gómez muriel, francis gomila, dominique gonzales-foerster, rogelio a. gonzáles, rogelio a. gonzales jr., jacqueline goss, laurent grasso, loris gréaud, sagi groner, christian grou & tapio snellman, eva grubinger, cao guimaraes, dmitry gutov & radek group, joanna hadjithomas & khalil joreige, driton hajredini, yang-ah ham, adad hannah, sharon hayes, daniel herskowitz, shere hite, karl holmqvist, judith hopf & stephan geene, vlatka horvat, laszlo hudak & imre lenart, jane hudson, oliver husain, kristina inciuraite, las indestables, matthew day jackson, christian jankowski, evaldas jansas, tom johnson, ilya kabakov, gülsün karamustafa, franka kaßner, leopold kessler, hassan khan, nesrine khodr, laleh khorramian, heidi kilpelainen, changkyum kim, se-jin kim, shin il kim, tae-eun kim, szabolcs kisspál, leszek knaflewski, seung wook koh, jeroen kooijmans, korpys/löffler, katarzyna kozyra, elke krystufek, pawel kwiek, tim lee, crystobal lehyt, dominik lejman, jesse lerner, xavier le roy, erik van lieshout, deborah 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sophie nys, yoshua okon, bjargey ólafsdóttir, anneč olofsson, yoko ono, els opsomer, anna orlikowska, tanja ostojic & david rych, the otolith group, chan-kyong park, philippe parreno, sean paul & david dempewolf, jenny perlin, diego perrone, alessandro pessoli, michael pfrommer, pablo pijnappel, john pilson, steven pippin, michelangelo pistoletto, shannon plumb, rafael portillo & manuel san fernando, linda post, liza may post, dean proctor & michael laub, the atlas group/walid raad, judy radul, orit raff, anne-britt rage, arturas raila, khaled d. ramadan, tere recarens, mandla reuter, jae oon rho, robin rhode, józef robakowski, camila rocha, tracey rose, douglas ross, karl ingar rřys, julika rudelius, daniel rumiancew, david rych, natascha sadr haghigian, anri sala, samir, fernando sánchez castillo, beatriz santiago muńoz, julia scher, markus schinwald, andrea schneemeier, karin schneider & nicolás guagnini & jeff preiss, meggie schneider & bin-chuen choi, corinna schnitt, solmaz 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yildiz, carey young, akram zaatari, olivier zabat, florian zeyfang, igor zupe and others
History
In 1696, Governor Benjamin Fletcher approved the purchase of land in Lower Manhattan by the Church of England community for construction of a new church. The parish received its charter from King William III on May 6, 1697. Its land grant specified an annual rent of 60 bushels of wheat.[6] The first rector was William Vesey (for whom nearby Vesey Street is named), a protege of Increase Mather, who served for 49 years until his death in 1746.
First Trinity Church
Loyalist Charles Inglis, Rector of Trinity Church (1765–1783)
The first Trinity Church building, a modest rectangular structure with a gambrel roof and small porch, was constructed in 1698, on Wall Street, facing the Hudson River. The land on which it was built was formerly a formal garden and then a burial ground.It was built because in 1696, members of the Church of England (Anglicans) protested to obtain a "charter granting the church legal status" in New York City. According to historical records, Captain William Kidd lent the runner and tackle from his ship for hoisting the stones.
Anne, Queen of Great Britain, increased the parish's land holdings to 215 acres (870,000 m2) in 1705. Later, in 1709, William Huddleston founded Trinity School as the Charity School of the church, and classes were originally held in the steeple of the church. In 1754, King's College (now Columbia University) was chartered by King George II of Great Britain, and instruction began with eight students in a school building near the church.
During the American Revolutionary War the city became the British military and political base of operations in North America, following the departure of General George Washington and the Continental Army shortly after Battle of Long Island and subsequent local defeats. Under British occupation clergy were required to be Loyalists, while the parishioners included some members of the revolutionary New York Provincial Congress, as well as the First and Second Continental Congresses.
The church was destroyed in the Great New York City Fire of 1776, which started in the Fighting Cocks Tavern, destroying between 400 and 500 buildings and houses, and leaving thousands of New Yorkers homeless. Six days later, most of the city's volunteer firemen followed General Washington north. Rev. Charles Inglis served throughout the war and then to Nova Scotia on evacuation with the whole congregation of Trinity Church.
The Rev. Samuel Provoost was appointed Rector of Trinity (1784–1800) in 1784, and the New York State Legislature ratified the charter of Trinity Church, deleting the provision that asserted its loyalty to the King of England. Whig patriots were appointed as vestrymen. In 1787, Provoost was consecrated as the first Bishop of the newly formed Diocese of New York. Following his 1789 inauguration at Federal Hall, George Washington atended Thanksgiving service, president over by Bishop Provoost, at St. Paul's Chapel, a chapel of the Parish of Trinity Church. He continued to attend services there until the second Trinity Church was finished in 1790. St. Paul's Chapel is currently part of the Parish of Trinity Church and is the oldest public building in continuous use in New York City.
Second Trinity Church
Construction on the second Trinity Church building began in 1788; it was consecrated in 1790. St. Paul's Chapel was used while the second Trinity Church was being built.
The second Trinity Church was built facing Wall Street; it was 200 feet tall, and longer and wider than its predecessor. Building a bigger church was beneficial because the population of New York City was expanding. The church was torn down after being weakened by severe snows during the winter of 1838–39.
The second Trinity Church was politically significant because President Washington and members of his government often worshiped there. Additional notable parishioners included John Jay and Alexander Hamilton.
Saint-Aignan-sur-Cher (Loir-et-Cher).
Ancien Hôtel de la Prévôté (XVIe siècle).
Cette maison faisait partie, avec les deux suivantes, des bâtiments de la maréchaussée.
Elle passait pour être l'ancien hôtel de la Prévôté, le tribunal et la prison se trouvant dans les maisons voisines.
Au XVIe siècle, le prévôt était un agent du seigneur qui remplissait les fonctions de juge seigneurial.
Jan Provoost, Tweeluik met de Kruisdraging en een portret van een minderbroeder, 1522, Musea Brugge, © Musea Brugge - Art in Flanders - Hugo Maertens
Sint-Gilliskerk (Saint-Gillis church) in the Sint-Gillis Quarter of Bruges, in Flanders, Belgium.
Around 1240, the Saint-Gillis church was built as an auxiliary chapel of the parish of Our Lady. No data has been stored on the view of the first church. Possibly she was of wood. In 1258 the Saint-Gillis church was already mentioned as a parish church. It was not until 1311 that the parish became independent and the adjoining cemetery, which disappeared in the 19th century, was dedicated. Meanwhile, the first church building was replaced by a basilical church, inspired by the Scheldt Gothic.
Four pillars in Tournai limestone and the old window area of the central aisle were preserved. Some parts of the current transept are still 13th-century. Between 1462 and 1479 the second church was extended to a pseudo church church. Until today, little has changed in this form. Hall churches are typical of the brick Gothic of the coastal region.
During the 15th and 16th centuries, a number of important artists, including Hans Memling, Jan Provoost , Lanceloot Blondeel , Pieter Pourbus and the Claeissens family, found their final resting place in and around the church. There are no more leftovers from their graves.
From the middle of the 17th century, the church was adapted to the taste of the baroque. In 1750 the tower was raised on one floor, with the four corner turrets on the second floor being demolished. The Sint-Gilliskerk was then used for demolition several times, but was always spared, despite the poor condition in which it was wrong. At the end of the 19th century, the building underwent a thorough neo-Gothic restoration led by the Ghent architect Auguste Van Assche. This restoration is particularly noticeable in the interior.
The most important piece of art inside is the so-called ' Veelluik van Hemelsdale', with scenes from the life of Jesus, by Pieter Pourbus. There are also paintings from, among others, Jacob Van Oost and Jan Garemijn and numerous other works of art.
I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.
More information at fransimo.info/?p=1100
ID:7d3c33c21e27dd86954962271d5c3c8e
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