6. Kunstcentra
1350-1420 PARIJS
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The October Master (Barthélemy d'Eyck?) Detail of the October miniature from the calendar of the Très Riches Heures, showing the medieval Louvre palace, parchment, c.1440. |
* Charles V's remodelling of the Louvre entailed an ambitious programme of sculptural decoration, including the famous 'grande vis', a large stairwell 20m high and 5m wide with 83 steps set with 10 life-size stone figures of the king, the queen, their male children (the future Charles VI and Louis of Orleans), the Dukes of Berry, Burgundy, and Anjou, and at the top figures of the Virgin and St John. Only its foundations remain today.
*eerst onder Charles V, daarna onder
Charles VI)
* Charles V was called 'sage et eloquent', while his son was 'large et debonnare'. Charles VT's queen, Isabeau of Bavaria, shared his tastes in rich attire, and was an important patron of manuscripts, tapestries, and metalwork, especially during the periodic bouts of madness the king suffered from, when she took charge of the royal finances. Isabeau spent large sums of money on gifts for her children and family, notably metalwork: most famously, the Goldenes Rössl [24]-a work which epitomizes the high level of techni cal skill and invention one could find in Paris around 1400-was ordered by her as a present for the king for New Year 1405.
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* In Christine de Pisan presents her book to Isabeau of Bavaria, (miniature heading Christine de Pisan's Œuvres, parchment, 1414) she is shown fabulously dressed in a room hung with heraldic tapestries on which the arms of herself and her husband are displayed, receiving a book from Christine de Pisan, who kneels at her feet, a gift-giving moment which took place at New Year 1414. The relative social positions of all the women in the room are made clear by the levels of expense in the fabrics of their dresses and the elaborateness of their headresses.
* As well as the king and queen, in the late fourteenth century the princes of the blood (Berry, Burgundy, Anjou, and Orléans), all avid consumers of luxury goods (as their extensive inventories attest), used Paris as their principal residence, and all embellished their hôtels here.
* in de 14e eeuw was Parijs aan de top: 200 000 inwoners,
alle belangrijke mensen (ook van andere bisdommen en hertogdommen) hadden hun
residentie in Parijs
* De vraag naar luxegoederen was daarmee ook groot. Dit was een magneet voor kunstenaars en ambachtslieden, waarvan er een opmerkelijk aantal afkomstig waren uit noordelijke gebieden.
* Getijdenboek van Jean II Le Meingre
(Boucicaut), 1401-1408, waarvan de schilder, de Boucicaut-Meester, wellicht uit
Brugge komt (Jacques Coene)
In the early 1400s, the Boucicaut Master was the leading master of manuscript illumination in Paris and one of the most influential artists working in the International style in northern Europe. The Boucicaut Master appears to have supervised a talented team of artists who produced manuscripts commissioned by the king of France, high-ranking aristocrats, and the wealthy bourgeoisie. He probably also made works sold on the open market. He produced illuminations of exceptional naturalism that capture the elegance and refinement of court taste. The name Boucicaut derives from the identification of his hand in a book of hours made for the Maréchal de Boucicaut, Jean le Meingre II, the marshal of France. (link met 75 voorbeelden van zijn werk)
Meester van Boucicaut
(Boucicaut Master | Maître de Boucicaut)
Frans boekverluchter uit de Gotiek. Werkzaam in Parijs van 1405-1420. Geldt als één van de belangrijkste miniatuurschilders uit het 1e kwart van de 15e eeuw. Ontleent zijn naam aan een getijdenboek dat hij rond 1405-1408 verluchtte voor Jean le Meingre, maarschalk van Boucicaut, nu in Parijs, Musée Jacquemart-André.
Deze miniaturist wijdde zich als een van de eerste beeldende kunstenaars van Europa aan het weergeven van licht, lucht en landschap. Hij is de ontdekker van de luchtperspectief: de hemel wordt geleidelijk lichter naar de horizon toe. Hij schilderde bovendien als eerste wolken. De personages hebben een rustiek, realistisch karakter, Ze staan niet voor maar in het landschap. Ook de interieurs wekken de illusie van een diepe ruimte en verwijzen vooruit naar de realistische binnenkamers in het werk van Jan van Eyck. De Boucicaut Meester kende de Noord-Italiaanse en Toscaanse schilderkunst. Hij ontving opdrachten van de families Visconti uit Milaan en Trenta uit Lucca.
De Boucicaut Meester is ook wel vereenzelvigd met de Vlaamse boekverluchter Jacques Coene.
* rond 1420: krankzinnige koning (Karel VI), hongersnoden, sociale onrust, Engelse bezetting. De markt stort in. De 'makers' trekken naar het noorden naar de steden van het Bourgondische hof van Phillip de Goede
1420 1550 VLAANDEREN
* Brugge, leper, Gent
This is a medieval war standard from 15th century Ghent. A standard is a flag that was carried into battle with an army, to show their allegiance. This particular standard depicts the Maiden of Ghent and the lion from the city’s coat of arms. There is also a gothic gilded letter “G” which stands for Ghent. Together, the images of the Maiden and the lion are a very famous symbol for the city representing unity and power.
Agnes van den Bossche was likely not a highly successful artist. She only painted on cloth, producing mostly banners, standards, and flags. She worked in the Ghent artists’ guild for over 30 years and received commissions from the city, although it is unclear in what esteem van den Bossche was held. Scholars cite different evidence in order to make opposing claims, and a decision has not yet been reached.
*Some argue that van den Bossche must have been a prestigious painter because she was commissioned to paint the canopy of the Virgin of Tournai for three separate festivals – a task that was usually assigned to the most esteemed artists at the time.
*Other scholars point out, however, that there is no evidence that van den Bossche painted altarpieces or devotional works of any kind, which were the most valued forms of artwork. Scholars on this side of the argument also argue that the Maiden of Ghent standard is not particularly high quality. The painting is crude when viewed from close range, and it was painted on linen, which is the most basic fabric used to make standards.
Agnes van den Bossche came from a household of painters and so took up the family business. Her father was Tristan van den Bossche, a master painter in the 1470s and 1480s, and her brothers were also painters for the city. It was common, in the medieval period, for women who were the children of painters to adopt their father’s trade. Also, van den Bossche lived in Ghent, which in addition to being the home of the Ghent-Bruges school of illumination, was also close to the major art centers of Bruges, Brussels, and Antwerp. Major art centers such as these were more likely to employ female painters because they had large scale markets for art commissions and thus needed to sustain a large number of artists, regardless of their sex.
* na 1430 ook de Brabantse steden Brussel, Antwerpen, Leuven
Bloei Bourgondische staat:
*1369: Filips de Stoute huwt Margaretha van Vlaanderen → Bourgondische staat
*1430: Filips de Goede voegt Brabant toe aan Bourgondië
*1468 Karel de Stoute en Margaretha van York trouwen
→ paleizen van *het hof en hofhouding en adelijke aanhang bieden aan vele kunstenaars en ambachtslieden werk
→ honderden Vlaamse en Brabantse kunstenaars uit Brugge,
Brussel, Antwerpen
→ kosmopolitische steden met *immigranten en
buitenlandse handelaars als doelgroep voor kunstenaars
- directe koop
- versturen naar land van herkomst
- optreden als kunstagent voor landgenoten
→ internationale handel in luxe-producten op de *jaarmarkten van
o.a. Brugge en Antwerpen
Metaal-, goud- en zilverwerk
*The duke's desire for metalwork was particularly significant, and this field of production must have depended very heavily on this source of custom.
During his reign Philip the Good patronized fifteen different goldsmiths in Bruges alone, and around 180 in total are named in the ducal accounts from the fifteenth century.
Next to nothing remains of these commissions, but Philip poured money into this medium: it was, as with the French kings before them,
* the gift of choice to family and courtiers on New Year's Day, to visiting royalty, on the occasion of the baptism of a child or the marriage of a relative.
* the material of votive offerings.
Reliquary of Charles the Bold
Gérard Loyet, 1467 — 1471
Cathedral of St Paul, Liège
* Philip's son Charles spent even more money on works in this medium, and he created a new post of argentier who was responsible for all outlay on gold and silver plate, cloth of gold, gifts, and offerings in precious metalwork.
Manuscripten
Jean le Tavernier
Adoration of the Magi, miniature from the Hours of Philip the Good, parchment, c.1450.
Tavernier seems to have been well acquainted with the paintings of the Master of Flémalle and Rogier van der Weyden. He worked extensively for Philip the Good, specializing in grisaille miniatures, called 'histories en blanc et noir' in the accounts, many of which illustrated secular volumes. This prayer book shows him employing this technique with its greatest refinement: the restricted palette still ranges widely through grey to shades of brown and blue, and the cream of the parchment is allowed to show through to further vary the effect.
* By contrast with objects of precious metalwork, a high proportion of the manuscripts commissioned by the duke survive, allowing a clear idea of courtly taste and preferences in this field. Philip probably commissioned more manuscripts than any other European ruler at this period; all of them were made in his Netherlandish towns, and many of them were richly illuminated.
* They ranged from liturgical and devotional texts, such as his exquisite grisaille prayer book to romances, chronicles, and ancient texts in translation.
* Philip also commissioned translations into French of histories of his recently acquired territories such as Brabant and Hainaut, to which were added prefaces which present the duke as the legitimate heir or rightful ruler. These books are big, heavy volumes, made as large as the skin of a sheep would allow, and richly illuminated.
* The most glamorous of these politically charged manuscripts was the three-volume Chroniques de Hainaut by Jacques de Guise, translated and partially transcribed by Jean Wacquelin in Mons, delivered to the duke for his approval of the text in Bruges, parts then illuminated in Brus sels and others in Bruges, with 123 miniatures in total. Such a combination of different people and places for each stage of the book was a common scenario for the production of manuscripts in the southern Netherlands, made possible by the eminently portable and divisible-nature of their unbound bifolio.
* Rogier van der Weyden, Filips de Goede ontvangt Jean Wauquelins vertaling van de Chroniques de Hainaut, 1448
