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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
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.
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 ligorio, khoór lilla & will potter, minouk lim & frederic michon, daniel lima, lana lin, lin + lam, petra lindholm, fernando llanos, dora longo bahia, polonca lovsin, cecilia lundqvist, mary lucier, maria lusitano, jorge macchi, cynthia madansky, gintaras makarevicius, joanna malinowska, marepe, teresa margolles, gilberto martinez solares, trish maud, marssares, eileen maxson, mc messiah, mc liezuvis, vincent meessen, jonas mekas, bjřrn melhus & yves netzjammer, john menick, ohad meromi, wieslaw michalak, simone michelin, christopher miner, lim minouk & frederic michon, sarah minter, aleksandra mir, mixrice, slava mizin & sasha shaburov, avi mograbi, naeem mohaiemen, sebastián díaz morales, frédéric moser & philippe schwinger, melvin moti, tova mozard, rabih mroue, felipe mujica, matthias müller, takeshi murata, juan nascimento&daniela lovera, deimantas narkevicius, argentino neto, sergio & rivane neuenschwader, tuan andrew nguyen, jesper nordahl, love nordberg, filip noterdaeme, 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 shahbazi, wael shawky, taro shinoda, santiago sierra, silverio, guy richards smit, gregg smith, michael smith, sean snyder, aaron steffes, a.l. steiner, hito steyerl, deborah stratman, jános sugar, özlem sulak, superflex, pál szacsva y, mathilde ter heijne, tetine, kika thorne, rirkrit tiravanija, maciej toporowicz, ana torfs, cecilia torquato & andré amparo, mario garcia torres, kerry tribe, caecilia tripp, stefanos tsivopoulos, nasan tur, alexander ugay, johanna unzueta, utopia station, michael van den abeele, mona vatamanu & florin tudor, gabriel acevedo velarde, mark verabioff, katleen vermeir & ronny heiremans, dmitry vilensky, joe villablanca, gitte villesen, barbara visser, jenny vogel, sharif waked, marek wasilewski, ryszard wasko, douglas weathersby, clemens von wedemeyer, lawrence weiner, suara welitoff, aleksandra went & alicja karska, klaus weber, adrian williams, marten winters jordan wolfson, tin tin wulia, erwin wurm, cerith wyn evans, sislej xhafa, haegue yang, adnan 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.
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.
Jan Provoost, Tweeluik met de Kruisdraging en een portret van een minderbroeder, 1522, Musea Brugge, © Musea Brugge - Art in Flanders - Hugo Maertens
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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#NJJK, #NJJKkb, 4 x 100 wisselslag, Ada Dolanay, Amber Celie, Amy de Sain, Babet de Voogd, Bridget de Bat, Dag_1, Dames, De Dolfijn, Estafette, Gabriela Töpfer, Irina de Ridder, Janice Provoost, KNZB, Lize van den Nieuwenhuijzen, Medley, Meisjes, Mila Maas, NJJK2017kb, Nederland, PSV, Pieter van den Hoogenband zwemstadion, Podium, Relay, Sessie_2, Sterre Hendriks, Swimba, Swimming, Tessa Takken, ZPC De Zeeuwse Kust, ceremonie, junioren, sport, wedstrijd, www.zwemfoto.nu, zwemmen _KJO3167_20170126_192836
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.
Jan Provoost (Mons 1462-Bruges 1529, oil on panel, 119.7 x 78.5 and 119.8 x 78.8 cm. Bruges, Musea Brugge, Groeningenmuseum. Allegory galore!!! 21st Century banks/bankers/banking???
Like Minds @ Social Media Week 13-17 Feb 2012
Photography by Harry Duns (www.harryduns.com)
Event 4: Social Business Immersive
Wednesday, February 15 at 8:30 AM – 12:30 PM
Since the inception of the web there has been a huge change in how media is produced and consumed, and how organisations have built new ways of doing business online. And now, at the forefront of this evolution is social media – a phenomenon that is no longer being used by the few but by the many, and which must now be considered as an integral part of any business strategy. And yet, social media is not just changing how businesses market themselves and communicate with their audiences, it is revolutionising the way businesses are having to think and operate.
Speakers include:
JP Rangaswami, Salesforce; Jon Ingham, Strategic-HCM; Euan Semple, Consultant; Joanne Jacobs, Strategy Consultant; Neville Hobson, FIR; Delphine Remy-Boutang, IBM; Lee Provoost, Dachis Group
(Aelst 1502–1550 Brussels)
The Adoration of the Magi,
oil on panel, 112 x 75 cm, framed
Provenance:
with Lambert J. Nieuwenhuys, Brussels;
Willem II, King of the Netherlands (1792-1849), acquired from L. J. Nieuwenhuys, December 1840, for Hfl. 3.300 (as Lucas van Leyden);
sale, De Vries, Roos & Brondgees, Collection King Wilhelm II, Gothic Hall, Royal Palace, The Hague, 12-20 August 1850, lot 45 (as Lucas van Leyden);
acquired after the sale by Willem Frederik Karel, Prince of the Netherlands (1797-1881), younger brother of King Willem II;
by descent to his daughter Wilhelmina Frederika Anna Elisabeth Maria (1841-1910), Princess of Wied, Princess of the Netherlands, Neuwied;
by descent to her elder son Friedrich Wilhelm Hermann Otto Karl, Prince of Wied (1872-1945), Neuwied;
by descent to his wife, Pauline Olga Helene Emma, Princess of Wied, Princess of Württemberg (1877-1965);
after her death offered for sale by her descendants;
sale, Sotheby’s, London, 5 July 1967, lot 10 (as the Master of 1518, to Hollstein for £ 6.500);
Private collection, Germany
Exhibited:
Düsseldorf, Kunsthistorische Ausstellung, 1904, pp. 77-78, no. 185 (as Herri met de Bles; at the time with monogram L and date 1525 which were later additions)
Literature:
C. J. Nieuwenhuys, Description de la Galerie des tableaux de S. M. Le Roi des Pays-Bas, avec quelques remarques sur l’histoire des peintres et sur le progress de l’art, Brussels 1843, pp. 101-104, no. 40;
M. J. Friedländer, Die Altniederländische Malerei, Die Antwerpener Manieristen, Adriaen Ysenbrandt, Berlin 1933, vol. XI, p. 124, no. 92 (as ‘Der Meister von 1518. Oben dreieckig, ursprünglich wohl geschweift. Falsch signiert L. Die Komposition ist mehrmals kopiert worden’);
M. J. Friedländer, Early Netherlandish Painting, 1974, vol. XI, p. 76, no. 92, pl. 85 (as Master of 1518);
E. Hinterding, F. Horsch, ‘A small but choice collection’, The Art Gallery of King Willem II of the Netherlands (1792-1849), Zwolle 1989, pp. 20, note 65, 43, note 178, 69, no. 45 (as Master of 1518)
The present Adoration of the Magi is a newly-attributed early masterpiece by the Flemish Renaissance polymath Pieter Coecke van Aelst. Painted around 1523, it may be seen as a crowning achievement of the young journeyman, then working in the Antwerp studio of the Master of 1518. Originally conceived for a private oratory or chapel, the high quality of the painted surface and the intricate underdrawing, revealed by infrared reflectography, place the present composition among the finest representations of this biblical subject in early modern Flanders. Coecke’ s marriage of empirical observation with his reception of Romanic styles later saw him lauded also for his designs of tapestries, stained glass, woodcuts, decorations and goldwork. Noted by contemporaries and early art historians, Lodovico Guicciardini called him ‘great’. Georg Braun described him as ‘most excellent’ and in 1604 Karel van Mander celebrated him as ‘ingenious and knowledgeable’ (see E. Cleland, Grand Design: Pieter Coecke van Aelst and Renaissance Tapestry, New York, 2014, p. 2).
We are grateful to Peter van den Brink for attributing the present painting to Pieter Coecke van Aelst, and for his assistance in cataloguing this lot.
The Genesis of the Adoration of the Magi
The painting has been fully documented with the aid of infrared reflectography (IRR). The IRR displays the underdrawings of the composition, applied with brush and black paint on what appears to be a layer of lead white on top of the ground. The underdrawings are clearly freehanded, applied with brille and energy. All the figures in the foreground were prepared in detail, with elegant, meandering contour lines; the shadows were prepared in advance by means of hatching, parallel strokes, as well as some limited cross-hatching for the deeper shadows. The figures in the middle ground are only loosely sketched in preparation and the figures in the back not at all; they were only added during the paint stage. It is a system that was used again and again in early 16th century Antwerp painters’ studios and we encounter this type of underdrawing not only with the Master of 1518, but also with the so-called Master of the Antwerp Adoration, Adriaen van Overbeke and Jan de Beer. The absence of underdrawing for the brocade and other decorative motifs, visible in the finished painting, was also typical of early 16th century Antwerp painters’ studios.
A close examination of the painting and the underlying drawing reveals the various changes the painter of the Adoration of the Magi carried through. Many of these corrections have to do with small shifts in the position of hands or faces, clearly meant to improve and finalize the composition. The Christ Child itself is a good example to demonstrate this. The underdrawing shows that the right hand was directed more towards the kneeling Caspar, whereas Christ’s left hand had already disappeared inside the golden cup. In painting the scene, the artist decided to show a more restrained Christ Child, since greed is hardly a virtue. At the lower right of the composition the entrance to the Nativity Grotto is visible. In the first arrangement of our Adoration of the Magi, it appears that a ladder was foreseen to the left of the cave entrance, a rather puzzling idea that was abandoned in favour of the present stone staircase. The Geburtshöhle, as it is called in German, is a recurring motif in Christian iconography that was especially popular in early 16th century painting and it occurs in almost every single Antwerp Adoration of the time, as can be witnessed in the various examples that were painted by Jan de Beer and his contemporaries.
The most dramatic change in the composition, however, is to be found in the upper right portion of the painting’s architectural setting. Hanging from a ring set into the arch’s tracery, the artist had planned to paint a decorative festoon, held by two putti on either side, at the entrance of the vaulted gateway. While the ring and putti were repositioned, playing an extraordinary act of pantomime, the festoon never reached the painted stage. It is quite likely that the idea of a painted festoon was abandoned in favour of an enlarged tower.
The present type of underdrawing is most certainly comparable with the handwriting of the Master of 1518, visible in the Lübeck altarpiece, its predella panels in Stuttgart, the Crucifixion triptych in the Holy Blood-Museum in Bruges and the Marriage of the Virgin in St. Louis. However, although the drawings may be comparable, both in function and in method, they differ stylistically and appear not to be by the same hand. The lines of the Lübeck and Bruges underdrawings are a type of highly finished underdrawing that looks like a woodcut in its fixed pattern of parallel- and cross-hatching for the modeling of forms and system of lighting throughout the composition. Employed by other Antwerp Mannerist artists this style of underdrawing is commonly referred to as the ‘woodcut convention’ (see M. W. Ainsworth, Pieter Coecke van Aelst as a Panel Painter, in: E. Cleland a. o., Grand Design. Pieter Coecke van Aelst and Renaissance Tapestry, exhibition catalogue, New York 2014, p. 26). Indeed, this very specific type of underdrawing is reminiscent of Dürer woodcuts, where the linear quality and flat two-dimensional approach are in the forefront, creating a clearly readable pattern for assistants to take up the task of painting in the various elements of the composition. Quite often such a pattern is the result of the use of a cartoon, followed by tracing the lines in brush and black paint. In the Lübeck altarpiece underdrawing and painting seem to be two different sides of the coin, two separate parts of the genesis of the altarpiece, not necessarily executed by the same artist.
The underdrawing of the Adoration of the Magi differs stylistically from the Lübeck altarpiece, and more importantly, seems to part of one single process, from the hand of a single artist. As can be judged from the preparation of the greyish white cloak of the black magus Balthasar, the underdrawing has been applied with a swift brush, searching for the right contour lines and volume. This creative energy in the underdrawing phase differs fundamentally with the finished underdrawing in the ‘woodcut convention,’ that has been prepared with the painted composition in mind. When the Adoration of the Magi is compared with the various painted scenes of the Lübeck Altarpiece, there can hardly be any doubt that our painter was trained in the studio of the Master of 1518, whoever he may have been. The colour pattern is strikingly similar and so are the elongated figures, for example Balthasar with his counterpart in the Lübeck Adoration of the Magi. The elegant dancing step of our Balthasar was quite literally replicated from the figure on the extreme left of the Betrothal of the Virgin, next to the young Joseph. The decorative architectural backdrop is evidently based on the examples of the Master of 1518, visible in the Lübeck Altarpiece and even the festoon, held by two putti, as was initially planned for the Adoration, is visible in paint in the background of the Betrothal of the Virgin. However, the figures of the Master of 1518 show his preference for a two-dimensional presentation, as can be seen in its most extreme form in the Magdalene of the Crucifixion triptych in the Holy Blood Museum in Bruges. By contrast, the painter of the Adoration of the Magi placed his figures in different planes of the composition and tried to give them more volume and plasticity. That he did not succeed everywhere can be regarded as a token of his lack of experience.
The young Pieter Coecke in the Studio of the Master of 1518
The Adoration of the Magi is in fact a youthful work by Pieter Coecke van Aelst, who probably finished his training with Bernard van Orley in Brussels, before he came to Antwerp, where he married Anna van Dornicke, before 1526 and became a citizen of Antwerp automatically. In 1527 he would enroll into the Guild of Saint Luke as a free master and started his own workshop. The Adoration of the Magi no doubt was produced when Coecke was still active as assistant or journeyman in the studio of the Master of 1518 and therefore remains within the broad stylistic contours of the older painter. A date between 1522 and 1527 therefore seems most likely, like several other paintings that have been discussed recently within the same context, such as a triptych with the Adoration of the Magi in the collection of Hester Diamond, New York, Christ carrying the Cross in the Basel Kunstmuseum and Christ taking leave of his mother in Glasgow Kelvingrove Art Gallery and Museum. The triptych with the Adoration of the Magi in New York lends itself perfectly well to a detailed stylistic comparison. That work of art is probably the earliest of the four mentioned, slightly earlier than our painting with the same subject. The architecture, the vistas, the use of plans and especially the facial types are interchangeable in such a way that it is safe to assume the same painter at work here. The facial type and even the slightly sad expression of Melchior, to the right of our Adoration, is literally repeated in the figure of the High Priest in the The Presentation of Christ in the Temple. The present Virgin with her downcast eyes finds herself repeated in her counterpart on the left wing of the New York altarpiece and the young man with the trumpet has taken the guise of an angel. The paintings in Glasgow and Basel appear to have been painted slightly later, circa 1525-26 and show how the young painter developed in such a short period. An example of which can be seen in the complicated composition of the Basel picture, with the enormous dynamic of the figures engaged in the procession, far removed from Coecke’s beginnings with the Master of 1518.
A Royal Provenance
The present Adoration of the Magi has a royal provenance. Between 1840 and 1850 it was part of the collection of King William II of the Netherlands. William started collecting long before he would occupy the throne in October 1840; he bought his first paintings in 1815 or 1816, when the Dutch Royal Family still used Brussels as a part-time residence. His first collection was largely destroyed when a fire broke out in the right wing of the Brussels palace where the young prince resided. In 1823 he acquired an important group of Early Netherlandish paintings from the art dealer L.J. Nieuwenhuys. By the end of 1823 he had amassed a collection of nearly fifty paintings, thirty-seven of which were characterized as ‘Gothic’, including masterpieces by Van Eyck, Memling, Van der Weyden and Simon Marmion. William’s love for ‘Flemish Primitives’ was probably fed by the fact that he felt more at home in the Roman Catholic south than the Protestant north, and he spent much of his time in the palace at Brussels.15th and 16th century sacred works became widely available in Europe under the rule of Napoleon Bonaparte. The Nieuwenhuys family dominated this art market in the Rhineland where the ‘Säkularisation’ of 1802 made altarpieces – usually fragmented – accessible to art collectors. Combined with the ‘rediscovery’ of the Flemish primitives this led to a burgeoning enthusiasm for the collecting of early German and Netherlandish art.
Following the Belgian revolution, William’s collection in Brussels was held hostage until 1840, when he had succeeded his father as King of the Netherlands. Shortly after William’s accession, he acquired the present Adoration of the Magi from Lambert J. Nieuwenhuys, for 3300 guilders. This sale was recorded (with the panel at that time being listed as a work by Lucas van Leyden) in an annotated copy of the 1840 auction catalogue, formerly owned by the treasurer of the King’s estate, now in the archives of the RKD. In 1842, the present panel was hung in the newly built Gothic Hall, behind the Kneuterdijk Palace in The Hague, which was specifically built for William’s collection. In a watercolour of the interior of the Gothic Hall, made by Huib van Hove in 1842, the present panel with its typical shape and the frame it still had in the twentieth century, can be found in the right-hand corner in the back, next to Jan Provoost’s The Virgin Mary in Glory, now conserved in the Hermitage, St Petersburg (inv. no. ГЭ-417).
When the King’s collection was auctioned after his death in 1850, the ‘Gothic’ pictures accounted for one third of the sale, among them the present Coecke van Aelst work (with regard to the background or the circumstances of the sale, see Hinterding/Horsch 1989, pp. 38-45; of its content, ibid., pp. 55-114). Several pictures did not find a buyer, probably due to the high reserves, including the Adoration of the Magi. The painting was subsequently sold for the reserve price to Prince Frederik, the younger brother of the deceased William II, together with nineteen other old master paintings, including the Simon Marmion and the triptych of the Heereman family by Jacob Cornelisz. van Oostsanen, conserved at the Rijksmuseum, Amsterdam. Subsequently the Adoration of the Magi remained in Neuwied in the Rhineland for nearly a century, where Frederik’s daughter Marie resided after she married the Prince of Wied. The painting stayed in Frederik’s family until it was offered for sale in 1967. After the sale, the painting remained in private German hands and has now surfaced for the first time since 1967.
When the present picture was exhibited at the Kunsthistorische Ausstellung in Düsseldorf in 1904, it was wrongfully attributed to Herri met de Bles. This was, however, a misconceived suggestion that the painting was of the same hand as the Adoration of the Magi in the Alte Pinakothek, Munich, who was later re-named Pseudo Bles, due to the fact that the original attribution was based on a falsified signature. This Bles-group remained a ‘name of convenience’ for a long time, until Friedländer brought some order in the staggering amount of anonymous triptychs, fragments from compound altarpieces and devotional pictures that were made in the first quarter of the sixteenth century in Antwerp (see M. J. Friedländer, Die altniederländische Malerei, vol. XI, Die Antwerpener Manieristen. Adriaen Ysenbrant, Berlin 1933). It was Friedländer who gave the present Adoration of the Magi to the Master of 1518. The Master of 1518 was identified, and named from the large altarpiece of the Life of the Virgin in Our Lady’s Church in Lübeck, which is placed within a chapel that bears the inscription ‘1518.‘ With this altarpiece Friedländer grouped many pictures that shared the same stylistic features.
Conclusion
The Adoration of the Magi is the centre panel of a triptych, from which the wings, as so often, were separated in the past. The original shape of the top of the panel was altered as well. It most likely would have been comparable to the central Adoration of the Hester Diamond triptych, in its original form. The separation of the centre panel and wings as well as the altered shape, a frequent practice of late 18th and early 19th centuries, occurred before the sale of the panel to King William II, evidenced in the watercolor of the 1840s. The high quality of the painted surface as well as the typical underdrawing were the work of the young Pieter Coecke van Aelst, at the time he was still producing paintings as a journeyman in the Antwerp studio of the Master of 1518. The painting can be dated to circa 1523, in-between the Hester Diamond Adoration triptych and the Basel Christ carrying the Cross and is a significant addition the Flemish polymath’s early oeuvre.
Technical analysis by Gianluca Poldi:
Many non-invasive spectroscopic measures were carried out to study the pigments. The artist chose azurite as the only blue, used together with lead white in different proportions for the sky, the mountains, the various blue clothes including the deep blue of the Virgin Mary’s cloak. The same mineral pigment was employed, together with red lake, to obtain grey-purple tones of some garments. A cobalt blue pigment constitutes the modern integrations in the sky.
All the green areas are made with verdigris (copper acetate), mixed with lead white or lead-tin yellow to achieve brighter colours. This yellow was used alone in the lights of the tree foliage, in light yellow clothes and in many objects to imitate gold, while shadows are obtained with yellow and brown ochre.
Bright, intense red clothes are based on vermillion, shadowed with red lake. A good quality coccid-derived red lake was used in many areas, such as the Virgin’s red dress and the outer part of Caspar’s ermine mantle.
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.