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Catalan Maps and Jewish Books The Intellectual Profile of Elisha ben Abraham Cresques (1325-1387)
Brepols 2020, 2020 Hardcover, 358 pages with 122 coloured illustrations, English, 275 x 220 mm, perfect condition. ISBN 9782503585482.
¶ This books describes the life of Elisa ben Abraham Cresques, known to many as the author of the Catalan Atlas, and focuses on the Jewish aspects of his fascinating career, his professional profile, and his scholarship. This book presents a small chapter in the intellectual history of the Jews of Majorca. Its key figure is Elisha ben Abraham Bevenisti Cresques (1325?1387) a cartographer in the service of King Peter IV of Aragon and a scribe and illuminator of Hebrew books. Elisha Cresques? career evolves at a point in time when some of the most fascinating threads of methodological interests relevant to intellectual history meet. He emerges as a hub, so to speak, where mapmaking converged with scribal work, miniature painting with scientific knowledge, and the culture of a minority with that of the majority. How he was able to negotiate his patron's expectations and his own cultural identity and frame them within the political, cultural, and religious discourses of his time is the subject of this book.
¶ This books describes the life of Elisa ben Abraham Cresques, known to many as the author of the Catalan Atlas, and focuses on the Jewish aspects of his fascinating career, his professional profile, and his scholarship. This book presents a small chapter in the intellectual history of the Jews of Majorca. Its key figure is Elisha ben Abraham Bevenisti Cresques (1325?1387) a cartographer in the service of King Peter IV of Aragon and a scribe and illuminator of Hebrew books. Elisha Cresques? career evolves at a point in time when some of the most fascinating threads of methodological interests relevant to intellectual history meet. He emerges as a hub, so to speak, where mapmaking converged with scribal work, miniature painting with scientific knowledge, and the culture of a minority with that of the majority. How he was able to negotiate his patron's expectations and his own cultural identity and frame them within the political, cultural, and religious discourses of his time is the subject of this book.
Erik Tonen BooksVendeur professionnelN° du livre: 57297
€ 125.00 | CHF 120]
Mots-clés: Schilderkunst kunst paint schilder Beaux Arts Sciences antique antiek deco beeldhouwkunst beelden sculpturen & Architecture schilderen Kunst Fotografie Art Histoire et patrimoine Nouveautés art arts plastiques histoire livre siècle Artiste peintre photo f
vitraux de la seconde moitie du XVIe siecle et de la premiere moitie du XVIIe siecle conserves en Belgique Provinces du Brabant wallon, du Hainaut, de Liege et de Namur corpus vitrearum tome VI
Brepols Publishers, 2011 hardback, 792 p., 406 colour ill., 230 x 315 mm francais. ISBN 9782930054124.
¶ Ce sixieme volume de la serie des repertoires est consacre aux vitraux de la seconde moitie du XVIe siecle et de la premiere moitie du XVIIe siecle qui subsistent en Wallonie, dans les provinces du Brabant wallon, du Hainaut, de Liege et de Namur. L'auteur, Isabelle Lecocq, s'est attachee depuis plusieurs annees a l'etude de ces vitraux monumentaux qui ont trop peu retenu l'attention des chercheurs jusqu'a present. Ces ?uvres s'inscrivent en effet dans une periode particulierement sombre et troublee de l'histoire des anciens Pays-Bas meridionaux, qui commence avec le regne de Philippe II et qui coincide avec la ?« Guerre de Quatre-Vingts Ans ?» (1568-1648). Elles meritent neanmoins une attention particuliere car elles sont l'expression concrete de la mutation generalisee qui se produisit dans l'art entre la Renaissance et le Baroque. L'auteur a realise sur place un examen minutieux et une abondante documentation photographique. L'ouvrage presente pour chaque verriere une etude systematique d'authenticite completee par une recherche approfondie des archives ainsi que par toutes les autres demarches de l'histoire de l'art. Elle a pu confirmer de maniere etayee l'evidence d'une continuite de la production de vitraux dans l'espace wallon, malgre la situation tourmentee de l'epoque. Toutes les ?uvres sont replacees dans leurs contextes artistique, technique, politique, etc., ce qui eclaire aussi l'evolution de leurs concepteurs, de leurs realisateurs et de leurs commanditaires. Le volume a ete publie avec le concours de l'Institut royal du Patrimoine artistique et le soutien du Fonds Courtin-Bouche gere par la Fondation Roi Baudouin.
¶ Ce sixieme volume de la serie des repertoires est consacre aux vitraux de la seconde moitie du XVIe siecle et de la premiere moitie du XVIIe siecle qui subsistent en Wallonie, dans les provinces du Brabant wallon, du Hainaut, de Liege et de Namur. L'auteur, Isabelle Lecocq, s'est attachee depuis plusieurs annees a l'etude de ces vitraux monumentaux qui ont trop peu retenu l'attention des chercheurs jusqu'a present. Ces ?uvres s'inscrivent en effet dans une periode particulierement sombre et troublee de l'histoire des anciens Pays-Bas meridionaux, qui commence avec le regne de Philippe II et qui coincide avec la ?« Guerre de Quatre-Vingts Ans ?» (1568-1648). Elles meritent neanmoins une attention particuliere car elles sont l'expression concrete de la mutation generalisee qui se produisit dans l'art entre la Renaissance et le Baroque. L'auteur a realise sur place un examen minutieux et une abondante documentation photographique. L'ouvrage presente pour chaque verriere une etude systematique d'authenticite completee par une recherche approfondie des archives ainsi que par toutes les autres demarches de l'histoire de l'art. Elle a pu confirmer de maniere etayee l'evidence d'une continuite de la production de vitraux dans l'espace wallon, malgre la situation tourmentee de l'epoque. Toutes les ?uvres sont replacees dans leurs contextes artistique, technique, politique, etc., ce qui eclaire aussi l'evolution de leurs concepteurs, de leurs realisateurs et de leurs commanditaires. Le volume a ete publie avec le concours de l'Institut royal du Patrimoine artistique et le soutien du Fonds Courtin-Bouche gere par la Fondation Roi Baudouin.
Erik Tonen BooksVendeur professionnelN° du livre: 31378
€ 125.00 | CHF 120]
Mots-clés: . 978 2 930054 12 4 Fine Arts
Commentary on Samuel and Kings. Expositio hystorica in Librum Regum.
Brepols Publishers, 2010 paperback, 230 p., 156 x 234 mm, english. ISBN 9782503531557.
¶ Andrew of St Victor (? 1175) was an exegete of a rare quality who set out to expound Scripture according to its literal sense, guided by the examples of Jerome and Hugh of St Victor. The books of Samuel and Kings had a great influence on the spirituality and theology of the Middle Ages. To the medieval mind, they were more than just historical accounts; they attested to an important period in God's dealings with this world, when interpreted typologically, they could also relate to other periods in the history of salvation. Yet before such higher spiritual wisdom could be attained, students at the school of St Victor first had to study the Scriptural texts at the most basic level of allegoresis: their historical, or literal, sense. The Commentary on Samuel and Kings offers such a literal explanation and gives an opportunity to study Andrew at work: as a critical researcher, who used concepts of grammar, literary theory, and science to elucidate the text and who made Jewish exegesis available to Christian scholarship, and as a compiler. His meticulous scholarship on the literal sense of Scripture formed an important component of the curriculum of the school at St Victor, where thorough learning was seen as a preparation for mystical knowledge and spiritual understanding. The source text of this volume appeared in the series Corpus Christianorum Continuatio Mediaeualis as Andreas de Sancto Victore - Expositio hystorica in librum Regum (CCCM 53A). References to the corresponding pages of the edition are provided in the margins of this translation. Frans van Liere holds a Ph.D. in medieval studies from Groningen University and is Professor of History at Calvin College (USA). His critical edition of Andrew of St Victor's Commentary on Samuel and Kings (Corpus Christianorum, Continuatio Mediaeualis 53A) appeared in 1996.
¶ Andrew of St Victor (? 1175) was an exegete of a rare quality who set out to expound Scripture according to its literal sense, guided by the examples of Jerome and Hugh of St Victor. The books of Samuel and Kings had a great influence on the spirituality and theology of the Middle Ages. To the medieval mind, they were more than just historical accounts; they attested to an important period in God's dealings with this world, when interpreted typologically, they could also relate to other periods in the history of salvation. Yet before such higher spiritual wisdom could be attained, students at the school of St Victor first had to study the Scriptural texts at the most basic level of allegoresis: their historical, or literal, sense. The Commentary on Samuel and Kings offers such a literal explanation and gives an opportunity to study Andrew at work: as a critical researcher, who used concepts of grammar, literary theory, and science to elucidate the text and who made Jewish exegesis available to Christian scholarship, and as a compiler. His meticulous scholarship on the literal sense of Scripture formed an important component of the curriculum of the school at St Victor, where thorough learning was seen as a preparation for mystical knowledge and spiritual understanding. The source text of this volume appeared in the series Corpus Christianorum Continuatio Mediaeualis as Andreas de Sancto Victore - Expositio hystorica in librum Regum (CCCM 53A). References to the corresponding pages of the edition are provided in the margins of this translation. Frans van Liere holds a Ph.D. in medieval studies from Groningen University and is Professor of History at Calvin College (USA). His critical edition of Andrew of St Victor's Commentary on Samuel and Kings (Corpus Christianorum, Continuatio Mediaeualis 53A) appeared in 1996.
Erik Tonen BooksVendeur professionnelN° du livre: 31314
€ 55.00 | CHF 53]
Mots-clés: . . . : 978 2 503 53155 7 (including Religion)
Rubens in London. Art and Diplomacy
Brepols Publishers, 2011 hardcover, 205 p., 68 b/w ill. 22 colour ill., 210 x 280 mm, English. ISBN 9781905375042.
¶ The Flemish artist Peter Paul Rubens is probably the most important foreign artist to have worked in England. The story of how this came to be, of what he did when he was in England and what he painted for King Charles I is the story of this book. Charles and his father, the first Stuart monarchs of Great Britain, led and promoted a great wave of interest in the arts, in particular the visual arts, that culminated in Rubens painting nine large canvases to decorate the ceiling of Inigo Jones's Banqetting Hall, the ceremonial centre of the Court in Whitehall - a monument that is still intact today. It is this cycle, an hitherto unappreciated masterpiece of Baroque state art, that is the focus of this book. How Rubens came to obtain the commission is a tale of international politics and diplomacy in which the artist himself played a significant role. The author relates these complex political relationships and missions with great insight and clarity, and in doing so also describes the cultural and social setting in which Rubens found himself while in London. The illustrations that accompany the text include not only many of Rubens's own paintings and drawings made when he was in London, but also some of the now well-known works by the Italian and North European Renaissance masters that Rubens would have seen in the magnificent art collections of the King and the English aristocracy. Foremost however among the illustrations are the reproductions of the Banqueting Hall ceiling itself: these are mostly in colour, showing each of the three central scenes both complete and with striking details that would be difficult to see in the Hall itself. Also the corner oval painting as well as the long, celebratory, exuberant processions on either side are reproduced in colour and in detail, so that the reader, guided by the author's full descriptions and interpretations, can experience a unique viewing and understanding of Rubens's masterpiece. The Author, Gregory Martin, has been interested in the ceiling paintings of the Banquetting Hall ever since he worked at the National Gallery in the 1960s, when he wrote the catalogue of the Gallery's Flemish paintings. Towards the end of his subsequent career at Christie's, where he was a director concerned with old master paintings, he was commissioned to write the Corpus Rubenianum volume on the ceiling decoration of the Banquetting Hall which was published in 2005. In the present book he returns to the subject, treating it and the related matter of Rubens in London in a way designed to appeal to a wider readership.
¶ The Flemish artist Peter Paul Rubens is probably the most important foreign artist to have worked in England. The story of how this came to be, of what he did when he was in England and what he painted for King Charles I is the story of this book. Charles and his father, the first Stuart monarchs of Great Britain, led and promoted a great wave of interest in the arts, in particular the visual arts, that culminated in Rubens painting nine large canvases to decorate the ceiling of Inigo Jones's Banqetting Hall, the ceremonial centre of the Court in Whitehall - a monument that is still intact today. It is this cycle, an hitherto unappreciated masterpiece of Baroque state art, that is the focus of this book. How Rubens came to obtain the commission is a tale of international politics and diplomacy in which the artist himself played a significant role. The author relates these complex political relationships and missions with great insight and clarity, and in doing so also describes the cultural and social setting in which Rubens found himself while in London. The illustrations that accompany the text include not only many of Rubens's own paintings and drawings made when he was in London, but also some of the now well-known works by the Italian and North European Renaissance masters that Rubens would have seen in the magnificent art collections of the King and the English aristocracy. Foremost however among the illustrations are the reproductions of the Banqueting Hall ceiling itself: these are mostly in colour, showing each of the three central scenes both complete and with striking details that would be difficult to see in the Hall itself. Also the corner oval painting as well as the long, celebratory, exuberant processions on either side are reproduced in colour and in detail, so that the reader, guided by the author's full descriptions and interpretations, can experience a unique viewing and understanding of Rubens's masterpiece. The Author, Gregory Martin, has been interested in the ceiling paintings of the Banquetting Hall ever since he worked at the National Gallery in the 1960s, when he wrote the catalogue of the Gallery's Flemish paintings. Towards the end of his subsequent career at Christie's, where he was a director concerned with old master paintings, he was commissioned to write the Corpus Rubenianum volume on the ceiling decoration of the Banquetting Hall which was published in 2005. In the present book he returns to the subject, treating it and the related matter of Rubens in London in a way designed to appeal to a wider readership.
Erik Tonen BooksVendeur professionnelN° du livre: 31382
€ 106.00 | CHF 102]
Mots-clés: . : 978 1 905375 04 2 . Studies Harvey Miller Fine
Current Directions in Eleventh- and Twelfth-Century Sculpture Studies.
Brepols, 2011 XII 212 pages., 114 b/w ill., 220 x 280 mm, Languages: English,Paperback,. ISBN 9782503531656.
¶ Robert A. Maxwell and Kirk Ambrose, Introduction: Romanesque Sculpture Studies at a Crossroads - Jerome Baschet, Iconography beyond Iconography: Relational Meanings and Figures of Authority in the Reliefs of Souillac - Martin Buchsel, The Status of Sculpture in the Early Middle Ages: Liturgy and Paraliturgy in the Liber miraculorum sancte Fidis - Thomas E. A. Dale, The Nude at Moissac: Vision, Phantasia and the Experience of Romanesque Sculpture - Ilene H. Forsyth, The Date of the Moissac Portal - Dorothy F. Glass, (Re)framing Early, Romanesque Sculpture in Italy - Klaus Niehr, Sculpturing Architecture, Framing Sculpture and Modes of Contextualizing the Arts in the Eleventh and Twelfth Centuries - Jose Luis Senra, Between Rupture and Continuity: Romanesque Sculpture at the Monastery of Santo Domingo de Silos - Andrea von.
¶ Robert A. Maxwell and Kirk Ambrose, Introduction: Romanesque Sculpture Studies at a Crossroads - Jerome Baschet, Iconography beyond Iconography: Relational Meanings and Figures of Authority in the Reliefs of Souillac - Martin Buchsel, The Status of Sculpture in the Early Middle Ages: Liturgy and Paraliturgy in the Liber miraculorum sancte Fidis - Thomas E. A. Dale, The Nude at Moissac: Vision, Phantasia and the Experience of Romanesque Sculpture - Ilene H. Forsyth, The Date of the Moissac Portal - Dorothy F. Glass, (Re)framing Early, Romanesque Sculpture in Italy - Klaus Niehr, Sculpturing Architecture, Framing Sculpture and Modes of Contextualizing the Arts in the Eleventh and Twelfth Centuries - Jose Luis Senra, Between Rupture and Continuity: Romanesque Sculpture at the Monastery of Santo Domingo de Silos - Andrea von.
Erik Tonen BooksVendeur professionnelN° du livre: 32407
€ 84.00 | CHF 81]
Mots-clés: 978 2 503 53165 6 . . Century . : : : . . : . . (Re) : beeldhouwkunst beelden architectuur
Music and Patronage in the Sforza Court. Studies on Italian Music History (SML 3)
Brepols, 1999 514 p., ills., 210 x 260 mm, 1999, Languages: English, Hardback, fine condition. ISBN 9782503507064.
¶ The core of this history involves the enormous number of documents on musicians and musical patronage recovered in Milanese archives and elsewhere during the course of our research. This evidence bears on the performing organizations of the court chapel and the biscantori of the Duomo, polyphonic sources of both sacred and secular music, the monophonic observance of the liturgy, the recruitment of singers, circumstances and working conditions, requirements of clients, demands and preferences of patrons, the tangled process of the procurement of benefices, jailing, and even espionage. It pertains to the biographies and activities of musicians, including the most influential composer of the late fifteenth century, Josquin Desprez, who we know lived and worked in Milan for more than twenty years, including the entire period of Duke Galeazzo Sforza's renowned chapel of Franco-Flemish singers, one that contained the most illustrious musicians in Europe. Within the chapel a new genre of music was cultivated and musical works that exemplified the high renaissance period were composed and performed. Later, under Ludovico Sforza, Franchino Gafori wrote several theory treatises and compiled polyphonic sources of great importance. Findings in the documents have necessitated a re-evaluation of all three, including the revision of dates for a substantial part of the repertory. All historians are familiar with the long and well established tradition in which the Medici and the city of Florence have been cast as the vanguard of modernism. Although no one would wish to detract from the brilliant history of Florence, recently it has been argued that Milan was the first city state to develop modern government (along with its bureaucracy), and diplomacy, both of which pertain directly to the musicians and music of this study.
¶ The core of this history involves the enormous number of documents on musicians and musical patronage recovered in Milanese archives and elsewhere during the course of our research. This evidence bears on the performing organizations of the court chapel and the biscantori of the Duomo, polyphonic sources of both sacred and secular music, the monophonic observance of the liturgy, the recruitment of singers, circumstances and working conditions, requirements of clients, demands and preferences of patrons, the tangled process of the procurement of benefices, jailing, and even espionage. It pertains to the biographies and activities of musicians, including the most influential composer of the late fifteenth century, Josquin Desprez, who we know lived and worked in Milan for more than twenty years, including the entire period of Duke Galeazzo Sforza's renowned chapel of Franco-Flemish singers, one that contained the most illustrious musicians in Europe. Within the chapel a new genre of music was cultivated and musical works that exemplified the high renaissance period were composed and performed. Later, under Ludovico Sforza, Franchino Gafori wrote several theory treatises and compiled polyphonic sources of great importance. Findings in the documents have necessitated a re-evaluation of all three, including the revision of dates for a substantial part of the repertory. All historians are familiar with the long and well established tradition in which the Medici and the city of Florence have been cast as the vanguard of modernism. Although no one would wish to detract from the brilliant history of Florence, recently it has been argued that Milan was the first city state to develop modern government (along with its bureaucracy), and diplomacy, both of which pertain directly to the musicians and music of this study.
Erik Tonen BooksVendeur professionnelN° du livre: 29620
€ 75.00 | CHF 72]
Mots-clés: . . : 978 2 503 50706 4 muziek musica art Franco Flemish
Anatomical Studies 1./ Study heads and anatomical studies / Corpus Rubenianum Ludwig Burchard , vol. 20.1
2022 Hardcover with dusjacket, 220 pages, Size:175 x 260 mm, Illustrations:94 b/w, 62 col. fine!. ISBN 9780905203805.
¶ The central theme of Rubens's paintings is the human figure, often represented nude or partially clothed and involved in dramatic action. As a history painter, Rubens's acclaimed skill in rendering the human body whether male or female, lean or fleshy, mature in years or young, animated or lifeless, vigorous or diseased, heroic or cowering, sensuous or decrepit, idealised or blemished and imperfect enabled him to vie with the greatest artists ever known, while creating increasing demand for his work among Europe's intellectual, cultural, religious and political lite. His mastery in depicting human figures and their dynamic movements suggests that he followed the example of Leonardo da Vinci (1452?1519), Michelangelo Buonarroti (1475?1564) and other Italian artists he admired, who made extensive studies of human anatomy. As pointed out by two recent perceptive scholars, however, the robust, muscular male nudes in action who appear in so many of Rubens's narrative paintings are often anatomically inaccurate. Moreover, and as will become clear in this volume, Rubens's approach to anatomical study was not closely similar to that of any of his forbears. In many respects his ways of working are comparable to those of Michelangelo, who used the knowledge he acquired through dissection not to pursue verisimilitude but to invent the anatomy of his figures according to his own idea of physical beauty, strength and expression. Yet unlike Italian Renaissance artists such as Leonardo, Michelangelo, and Alessandro Allori (1535?1607), Rubens did not perform or witness dissections and seems to have rarely studied from the live nude model. What, then, was the nature and extent of Rubens's study of human anatomy? The present volume will offer an answer to that question, while also establishing when and where most of his anatomical works were made and reassessing the issue of their intended purpose.
¶ The central theme of Rubens's paintings is the human figure, often represented nude or partially clothed and involved in dramatic action. As a history painter, Rubens's acclaimed skill in rendering the human body whether male or female, lean or fleshy, mature in years or young, animated or lifeless, vigorous or diseased, heroic or cowering, sensuous or decrepit, idealised or blemished and imperfect enabled him to vie with the greatest artists ever known, while creating increasing demand for his work among Europe's intellectual, cultural, religious and political lite. His mastery in depicting human figures and their dynamic movements suggests that he followed the example of Leonardo da Vinci (1452?1519), Michelangelo Buonarroti (1475?1564) and other Italian artists he admired, who made extensive studies of human anatomy. As pointed out by two recent perceptive scholars, however, the robust, muscular male nudes in action who appear in so many of Rubens's narrative paintings are often anatomically inaccurate. Moreover, and as will become clear in this volume, Rubens's approach to anatomical study was not closely similar to that of any of his forbears. In many respects his ways of working are comparable to those of Michelangelo, who used the knowledge he acquired through dissection not to pursue verisimilitude but to invent the anatomy of his figures according to his own idea of physical beauty, strength and expression. Yet unlike Italian Renaissance artists such as Leonardo, Michelangelo, and Alessandro Allori (1535?1607), Rubens did not perform or witness dissections and seems to have rarely studied from the live nude model. What, then, was the nature and extent of Rubens's study of human anatomy? The present volume will offer an answer to that question, while also establishing when and where most of his anatomical works were made and reassessing the issue of their intended purpose.
Erik Tonen BooksVendeur professionnelN° du livre: 58359
€ 145.00 | CHF 139.5]
Mots-clés: Schilderkunst kunst paint schilder Beaux Arts Sciences antique antiek deco beeldhouwkunst beelden sculpturen & Architecture schilderen Kunst Fotografie Art Histoire et patrimoine Nouveautés art arts plastiques culture histoire livre siècle Artiste peintre
Medieval Holy Women in the Christian Tradition c.1100-c.1500 9782503531809
Brepols Publishers, 2010 hardcover XI 748 p., 3 b/w ill., 7 b/w line art, 156 x 234 mm Languages: English, Latin, French. ISBN 9782503531809.
¶ The first comprehensive survey of the major - but much neglected - contribution made by holy women to the religious culture of the later Middle Ages. Medieval Holy Women in the Christian Tradition offers the first wide-ranging study of the remarkable women who contributed to the efflorescence of female piety and visionary experience in Europe between 1100 and 1500. This volume offers essays by prominent scholars in the field which extend the boundaries of our previous knowledge and understanding of medieval holy women. While some essays provide new perspectives on the familiar names of the unofficial canon of mulieres sanctae, many others bring into the spotlight women less familiar now, but influential in their own time and richly deserving of scholarly attention. The five general essays establish a context for understanding the issues affecting female religious witness in the later Middle Ages. The geographical arrangement of the volume allows the reader to develop an awareness of the particular cultural and religious forces in seven different regions and to recognize how these influenced the writing and reception of the holy women of that area. Seventeen major figures have essays devoted exclusively to each of them; in addition, the survey chapters on each region introduce the reader to many more. The extensive bibliographies which follow each chapter encourage further reading and study. Alastair Minnis was Director of the Centre for Medieval Studies and Head of the Department of English at the University of York, and is currently Douglas Tracy Smith Professor of English at Yale University. A Fellow of the Medieval Academy of America and of the English Association, he is the author of six monographs and the editor or co-editor of fifteen further volumes. Rosalynn Voaden (D.Phil., University of York, UK) is the author of God's Words, Women's Voices: The Discernment of Spirits in the Writing of Late-Medieval Women Visionaries, and is the editor or co-editor of several volumes in the field. She was a Research Fellow at St Anne's College, Oxford, and is currently Associate Professor of English at Arizona State University.
¶ The first comprehensive survey of the major - but much neglected - contribution made by holy women to the religious culture of the later Middle Ages. Medieval Holy Women in the Christian Tradition offers the first wide-ranging study of the remarkable women who contributed to the efflorescence of female piety and visionary experience in Europe between 1100 and 1500. This volume offers essays by prominent scholars in the field which extend the boundaries of our previous knowledge and understanding of medieval holy women. While some essays provide new perspectives on the familiar names of the unofficial canon of mulieres sanctae, many others bring into the spotlight women less familiar now, but influential in their own time and richly deserving of scholarly attention. The five general essays establish a context for understanding the issues affecting female religious witness in the later Middle Ages. The geographical arrangement of the volume allows the reader to develop an awareness of the particular cultural and religious forces in seven different regions and to recognize how these influenced the writing and reception of the holy women of that area. Seventeen major figures have essays devoted exclusively to each of them; in addition, the survey chapters on each region introduce the reader to many more. The extensive bibliographies which follow each chapter encourage further reading and study. Alastair Minnis was Director of the Centre for Medieval Studies and Head of the Department of English at the University of York, and is currently Douglas Tracy Smith Professor of English at Yale University. A Fellow of the Medieval Academy of America and of the English Association, he is the author of six monographs and the editor or co-editor of fifteen further volumes. Rosalynn Voaden (D.Phil., University of York, UK) is the author of God's Words, Women's Voices: The Discernment of Spirits in the Writing of Late-Medieval Women Visionaries, and is the editor or co-editor of several volumes in the field. She was a Research Fellow at St Anne's College, Oxford, and is currently Associate Professor of English at Arizona State University.
Erik Tonen BooksVendeur professionnelN° du livre: 31307
€ 130.00 | CHF 125]
Mots-clés: 1100 c.1500 . . (.) : 978 2 503 53180 9 (including History Religion)
Flemish Primitives IV Masters with Provisional Names
Brepols Publishers, 2006 hardcover, 458 pages., 316 b/w ill. 195 colour ill., 210 x 297 mm, English. ISBN 9782503517438.
¶ The fourth volume examines all the works attributed to masters with provisional names from the 1470s to the first half of the 16th century (Master of the Joseph Sequence, Master of the Magdalen Legend, Master of the Orsoy Altarpiece, Master of the Saint Barbara Legend, Master of the Saint Catherine Legend, Master of the Saint Lucy Legend, Master of the Saint Ursula Legend, Master of the View of Saint-Gudule, Master of 1473). It was towards 1900 that anonymous works were first grouped, on the basis of stylistic affinities, around certain paintings presenting particular characteristics. Each group is attributed to an anonymous master named after the painting (the eponymous work) which forms the basis for this group. These ensembles serve to give direction to the work of art historians, in the hope of identifying these anonymous painters at a later date. Some of these groups, to which new works have been added over past decades, appear fairly heterogeneous, and merit critical reexamination in the light of modern analysis methods. Like the three previous volumes, it is published in English and abundantly illustrated with colour photographs of the investigated paintings, detail photographs and comparative material. Each of the nineteen paintings has been submitted to exhaustive and detailed examination following a scientific research method which has been fully established over the years. This includes, on the one hand, examination of the supports and the original frames, dendrochronological analysis, infrared reflectography, stereomicroscopic observation, radiographic analysis, ultraviolet fluorescence imaging and, where possible, examination of paint samples and, on the other hand, historical, iconographic and stylistic analysis, dating, attribution and bibliography. Information is drawn from documents in the museum's archives and supplemented with material held at the Royal Institute for the Study and Conservation of Belgium's Artistic Heritage (IRPA/KIK) and the Centre for the Study of Fifteenth-Century Painting in the Southern Netherlands and the Principality of Liege. Each group of paintings attributed to a master with a provisional name is introduced with a short status quaestionis evoking the origins of the grouping and the principal publications relating to it. In their notices on the individual paintings, the authors have based their research on comparing them as closely as possible with the works around which each ensemble is grouped. Certain paintings in the Royal Museums of Fine Arts of Belgium are themselves eponymous works. In these cases the authors have made every effort to document these reference works as thoroughly as possible.
¶ The fourth volume examines all the works attributed to masters with provisional names from the 1470s to the first half of the 16th century (Master of the Joseph Sequence, Master of the Magdalen Legend, Master of the Orsoy Altarpiece, Master of the Saint Barbara Legend, Master of the Saint Catherine Legend, Master of the Saint Lucy Legend, Master of the Saint Ursula Legend, Master of the View of Saint-Gudule, Master of 1473). It was towards 1900 that anonymous works were first grouped, on the basis of stylistic affinities, around certain paintings presenting particular characteristics. Each group is attributed to an anonymous master named after the painting (the eponymous work) which forms the basis for this group. These ensembles serve to give direction to the work of art historians, in the hope of identifying these anonymous painters at a later date. Some of these groups, to which new works have been added over past decades, appear fairly heterogeneous, and merit critical reexamination in the light of modern analysis methods. Like the three previous volumes, it is published in English and abundantly illustrated with colour photographs of the investigated paintings, detail photographs and comparative material. Each of the nineteen paintings has been submitted to exhaustive and detailed examination following a scientific research method which has been fully established over the years. This includes, on the one hand, examination of the supports and the original frames, dendrochronological analysis, infrared reflectography, stereomicroscopic observation, radiographic analysis, ultraviolet fluorescence imaging and, where possible, examination of paint samples and, on the other hand, historical, iconographic and stylistic analysis, dating, attribution and bibliography. Information is drawn from documents in the museum's archives and supplemented with material held at the Royal Institute for the Study and Conservation of Belgium's Artistic Heritage (IRPA/KIK) and the Centre for the Study of Fifteenth-Century Painting in the Southern Netherlands and the Principality of Liege. Each group of paintings attributed to a master with a provisional name is introduced with a short status quaestionis evoking the origins of the grouping and the principal publications relating to it. In their notices on the individual paintings, the authors have based their research on comparing them as closely as possible with the works around which each ensemble is grouped. Certain paintings in the Royal Museums of Fine Arts of Belgium are themselves eponymous works. In these cases the authors have made every effort to document these reference works as thoroughly as possible.
Erik Tonen BooksVendeur professionnelN° du livre: 31375
€ 135.00 | CHF 130]
Mots-clés: . d'Olne . . . . : 978 2 503 51743 8
CARAVAGGIO AND PICTORIAL NARRATIVE, Dislocating the Istoria in Early Modern Painting
Brepols Publishers, 2011 Hardcover, VII 654 p., 0 b/w ill. 336 colour ill., 225 x 300 mm. ISBN 9781905375486.
¶ Truly a distinguished achievement, this book is required reading for general readers as well as specialists in the history of art" (Charles Dempsey, The Johns Hopkins University) A very important part of Caravaggio's production consists of pictorial narratives, mostly religious. Thus, according to early modern aesthetics, Caravaggio practiced the artistic genre of the istoria: the most discussed and thoroughly defined pictorial institution of his time. Unanimously, seventeenth-century artists and art theorists censored and condemned Caravaggio's art for its numerous deficiencies and faults in regard to the principles of the istoria. In spite of all these testimonies, Caravaggio's innovations in and misuses of the techniques specific to early modern pictorial narrative have never been systematically studied, debated, and put into historical perspective. In this volume, Lorenzo Pericolo argues that Caravaggio's multiple experimentations with the traditional devices of the istoria not only represent the core of an unprecedented "poetics of dislocation," but also unsettled, dismantled, and expanded the scope of pictorial narrative in ways that would have redefined and deeply transformed the concept of painting and artistic creation, had Caravaggio's enterprise not have been ferociously criticized and stigmatized as both aberrant and defective. To solidly establish the importance and groundbreaking charge of Caravaggio's work, Pericolo examines the notion of Leon Battista Alberti's istoria as interpreted and developed by early modern artists and theorists'from Leonardo to Vasari, from Lomazzo to Poussin, and from Michelangelo to Bellori'in vast surveys in which the concepts of diachrony, duration, eurythmy, propriety, verisimilitude, and pictorial truth? among others'are carefully examined on a theoretical and practical level. By analyzing the paintings of Caravaggio's followers such as Cecco del Caravaggio, Battistello Caracciolo, Valentin de Boulogne and, not least, Diego Velazquez, Pericolo explores how Caravaggio's innovations in the domain of pictorial narrative were variously construed, elaborated upon, and brought to fruition in the aftermath of the master's death in 1610, thereby offering a critical explanation of the implosion and extinction of the Caravaggesque movement in the 1630s. Among the flood of recent books devoted to Caravaggio, whose popularity now stands at the zenith, Lorenzo Pericolo's profound and passionate study stands out for its sensitive and learned presentation of an argument that is both historically true and critically revealing to present-day sensibilities. Thoroughly at home in the vast literature devoted to Baroque art in general and to Caravaggio in particular, Pericolo also brings to his subject an unrivaled understanding of modern theoretical techniques on the one hand, and, on the other, an unrivaled mastery of seventeenth-century artistic theory, profoundly based in Aristotelian poetics and in rhetorical techniques. Through extended close readings of Caravaggio's paintings, arranged in roughly chronological order, Pericolo brilliantly teases out the theoretical and practical choices that confronted Caravaggio, and that further determined reception of his work, both in the positive and negative senses, by highly sophisticated contemporary audiences. Beyond this, Pericolo is a remarkably sensitive guide to Caravaggio's expression of profound, wrenching and often painful, emotions caught in eternal suspension, the sources of both his contemporaries? discomfort and our own, modern, recognition and appreciation. Truly a distinguished achievement, this book is required reading for general readers as well as specialists in the history of art.
¶ Truly a distinguished achievement, this book is required reading for general readers as well as specialists in the history of art" (Charles Dempsey, The Johns Hopkins University) A very important part of Caravaggio's production consists of pictorial narratives, mostly religious. Thus, according to early modern aesthetics, Caravaggio practiced the artistic genre of the istoria: the most discussed and thoroughly defined pictorial institution of his time. Unanimously, seventeenth-century artists and art theorists censored and condemned Caravaggio's art for its numerous deficiencies and faults in regard to the principles of the istoria. In spite of all these testimonies, Caravaggio's innovations in and misuses of the techniques specific to early modern pictorial narrative have never been systematically studied, debated, and put into historical perspective. In this volume, Lorenzo Pericolo argues that Caravaggio's multiple experimentations with the traditional devices of the istoria not only represent the core of an unprecedented "poetics of dislocation," but also unsettled, dismantled, and expanded the scope of pictorial narrative in ways that would have redefined and deeply transformed the concept of painting and artistic creation, had Caravaggio's enterprise not have been ferociously criticized and stigmatized as both aberrant and defective. To solidly establish the importance and groundbreaking charge of Caravaggio's work, Pericolo examines the notion of Leon Battista Alberti's istoria as interpreted and developed by early modern artists and theorists'from Leonardo to Vasari, from Lomazzo to Poussin, and from Michelangelo to Bellori'in vast surveys in which the concepts of diachrony, duration, eurythmy, propriety, verisimilitude, and pictorial truth? among others'are carefully examined on a theoretical and practical level. By analyzing the paintings of Caravaggio's followers such as Cecco del Caravaggio, Battistello Caracciolo, Valentin de Boulogne and, not least, Diego Velazquez, Pericolo explores how Caravaggio's innovations in the domain of pictorial narrative were variously construed, elaborated upon, and brought to fruition in the aftermath of the master's death in 1610, thereby offering a critical explanation of the implosion and extinction of the Caravaggesque movement in the 1630s. Among the flood of recent books devoted to Caravaggio, whose popularity now stands at the zenith, Lorenzo Pericolo's profound and passionate study stands out for its sensitive and learned presentation of an argument that is both historically true and critically revealing to present-day sensibilities. Thoroughly at home in the vast literature devoted to Baroque art in general and to Caravaggio in particular, Pericolo also brings to his subject an unrivaled understanding of modern theoretical techniques on the one hand, and, on the other, an unrivaled mastery of seventeenth-century artistic theory, profoundly based in Aristotelian poetics and in rhetorical techniques. Through extended close readings of Caravaggio's paintings, arranged in roughly chronological order, Pericolo brilliantly teases out the theoretical and practical choices that confronted Caravaggio, and that further determined reception of his work, both in the positive and negative senses, by highly sophisticated contemporary audiences. Beyond this, Pericolo is a remarkably sensitive guide to Caravaggio's expression of profound, wrenching and often painful, emotions caught in eternal suspension, the sources of both his contemporaries? discomfort and our own, modern, recognition and appreciation. Truly a distinguished achievement, this book is required reading for general readers as well as specialists in the history of art.
Erik Tonen BooksVendeur professionnelN° du livre: 31302
€ 199.00 | CHF 191]
Mots-clés: . : 978 1 905375 48 6 Fine Arts
Humbertus de Romanis. De predicatione crucis.
Brepols Publishers, 2018 Latin and French edition available, hardback. ISBN 9782503575636.
¶ Le volume offre une edition critique de la somme de la predication des croisades par le dominicain Humbert de Romans, redigee vers 1266-1268. Il s'agit d'un ?manuel? pour les predicateurs destine a accompagner la propagande des croisades en Palestine. Le texte semble avoir ete repandu a l'epoque. Nous en disposons de 23 manuscrits. Il n'est pas exclu qu'il ait ete utilise pendant les guerres saintes du quinzieme siecle contre les Turcs et les Hussites. Ce traite n'a jamais fait l'objet d'une edition critique. Les historiens des croisades l'ont toujours cite d'apres l'incunable de 1495. Ce texte nous renseigne sur la predication des croisades sur lesquelles nous avons peu de sources. Valentin Portnykh a fait ses etudes aux Universites de Novossibirsk (Russie) et de Lumiere Lyon 2, ou il a obtenu le doctorat sous la direction du Professeur Nicole Beriou. Il enseigne actuellement a l'Universite de Novossibirsk. Ses recherches portent sur les croisades en Terre sainte, notamment sur leurs aspects ideologiques.
¶ Le volume offre une edition critique de la somme de la predication des croisades par le dominicain Humbert de Romans, redigee vers 1266-1268. Il s'agit d'un ?manuel? pour les predicateurs destine a accompagner la propagande des croisades en Palestine. Le texte semble avoir ete repandu a l'epoque. Nous en disposons de 23 manuscrits. Il n'est pas exclu qu'il ait ete utilise pendant les guerres saintes du quinzieme siecle contre les Turcs et les Hussites. Ce traite n'a jamais fait l'objet d'une edition critique. Les historiens des croisades l'ont toujours cite d'apres l'incunable de 1495. Ce texte nous renseigne sur la predication des croisades sur lesquelles nous avons peu de sources. Valentin Portnykh a fait ses etudes aux Universites de Novossibirsk (Russie) et de Lumiere Lyon 2, ou il a obtenu le doctorat sous la direction du Professeur Nicole Beriou. Il enseigne actuellement a l'Universite de Novossibirsk. Ses recherches portent sur les croisades en Terre sainte, notamment sur leurs aspects ideologiques.
Erik Tonen BooksVendeur professionnelN° du livre: 51540
€ 195.00 | CHF 187.5]
Mots-clés: classics ancient oriental studies literature medieval renaissance european history crusades
Jean de Westphalie et Thierry Martens. La decouverte de la Logica Vetus (1474) et les debuts de l'imprimerie dans les Pays-Bas meridionaux (avec un fac-simile).
Turnhout, Brepols, 2009 Broche, 127pp + facsimile en coul. hors texte, 16x25cm., neuf. Texte francais et latin. ISBN 9782503528410.
¶ La Bibliotheque royale de Belgique a fait l'acquisition recemment d'une edition de la Logica vetus d'Aristote imprimee a Alost par Jean de Westphalie et Thierry Martens en 1474. Cet achat revet un caractere exceptionnel tant par la rarete de cette impression que pour son interet concernant l'histoire de l'emergence de l'imprimerie en Belgique. En effet, ce livre, jusqu'alors uniquement connu par huit feuillets, comporte un colophon mentionnant non seulement l'adresse bibliographique complete du livre, mais aussi le lien qui unissait les deux typographes : Thierry Martens est ainsi qualifie d'associe ? socius ? de Jean de Westphalie. La presentation de cet ouvrage sera l'occasion de revenir sur les debuts du premier atelier typographique de Belgique ainsi que sur les debats historiographiques qui lui sont lies. Un fac-simile de cet unicum rehausse l'interet de cette publication pour les incunabulistes et les amateurs de livres anciens.
¶ La Bibliotheque royale de Belgique a fait l'acquisition recemment d'une edition de la Logica vetus d'Aristote imprimee a Alost par Jean de Westphalie et Thierry Martens en 1474. Cet achat revet un caractere exceptionnel tant par la rarete de cette impression que pour son interet concernant l'histoire de l'emergence de l'imprimerie en Belgique. En effet, ce livre, jusqu'alors uniquement connu par huit feuillets, comporte un colophon mentionnant non seulement l'adresse bibliographique complete du livre, mais aussi le lien qui unissait les deux typographes : Thierry Martens est ainsi qualifie d'associe ? socius ? de Jean de Westphalie. La presentation de cet ouvrage sera l'occasion de revenir sur les debuts du premier atelier typographique de Belgique ainsi que sur les debats historiographiques qui lui sont lies. Un fac-simile de cet unicum rehausse l'interet de cette publication pour les incunabulistes et les amateurs de livres anciens.
Erik Tonen BooksVendeur professionnelN° du livre: 30581
€ 65.00 | CHF 62.5]
Mots-clés: . (1474) l'imprimerie Pays Bas ( fac simile) 9782503528410 histoire geschiedenis boekdrukkunst belgie
Flemish Primitives III, Hieronymus Bosch, Albrecht Bouts, Gerard David, Colijn de Coter, Goossen van der Weyden.
Brepols Publishers, 2002 hardcover, 392 p., 223 b/w ill. 140 colour ill., ills., 210 x 297 mm, English. ISBN 9782503512297.
¶ The third volume comprises investigations on seventeen paintings by a final group of preeminent, identified artists from the period of transition at the end of the fifteenth and the beginning of the sixteenth century, to which the authors adjust various attributions and interpretations. The third volume includes a final group of preeminent, identified artists from the period of transition at the end of the 15th and the beginning of the 16th century. Artistic production at this time was still rooted in late medieval thought, yet more and more seized with new renaissance developments, and at a permanent state of ferment with constantly changing needs of society. The catalogue deals with correspondingly complex issues of interpretation through the works of Hieronymus Bosch, Albrecht Bouts, Gerard David, Colijn de Coter and Goossen van der Weyden. It comprises a technical, stylistic and iconographical investigation of seventeen paintings on the basis of a scientific research method, which has been fully established over the years. The authors have been able to adjust various attributions and interpretations. At the same time most valuable discoveries have been made with regard to the provenance of some work belonging to the Albrecht Bouts and Colijn de Coter Groups. "Fur die weitere Forschung zu den betreffenden Kunstlern oder den fraglichen Werken wird der Band eine unverzichtbare Basis darstellen." (S. Kemperdick in Sehepunkte, 3 (2003), nr. 1, 15.01.2003).
¶ The third volume comprises investigations on seventeen paintings by a final group of preeminent, identified artists from the period of transition at the end of the fifteenth and the beginning of the sixteenth century, to which the authors adjust various attributions and interpretations. The third volume includes a final group of preeminent, identified artists from the period of transition at the end of the 15th and the beginning of the 16th century. Artistic production at this time was still rooted in late medieval thought, yet more and more seized with new renaissance developments, and at a permanent state of ferment with constantly changing needs of society. The catalogue deals with correspondingly complex issues of interpretation through the works of Hieronymus Bosch, Albrecht Bouts, Gerard David, Colijn de Coter and Goossen van der Weyden. It comprises a technical, stylistic and iconographical investigation of seventeen paintings on the basis of a scientific research method, which has been fully established over the years. The authors have been able to adjust various attributions and interpretations. At the same time most valuable discoveries have been made with regard to the provenance of some work belonging to the Albrecht Bouts and Colijn de Coter Groups. "Fur die weitere Forschung zu den betreffenden Kunstlern oder den fraglichen Werken wird der Band eine unverzichtbare Basis darstellen." (S. Kemperdick in Sehepunkte, 3 (2003), nr. 1, 15.01.2003).
Erik Tonen BooksVendeur professionnelN° du livre: 31374
€ 115.00 | CHF 110.5]
Mots-clés: : 978 2 503 51229 7brepols . Fine Arts
Flemish Primitives I. The Master of Flemalle and Rogier van der Weyden Groups.
Brepols Publishers, 1996 hardback 308 pages., incl. 67 colour ill. and 174 halftones, 210 x 297 mm, English Catalogue of Early Netherlandish Painting: Royal Museums of Fine Arts of Belgium (CENP 1). ISBN 9782503505015.
¶ This catalogue includes paintings by the Master of Flemalle and Rogier van der Weyden Groups, now in the Royal Museums of Fine Arts of Belgium in Brussels, as well as thourough analyses and colour reproductions. The publication of the first in a five-volume scholarly catalogue of the 15th-century southern Netherlandish paintings in the Royal Museums of Fine Arts of Belgium in Brussels is a long awaited event. The museums' rich collection of Flemish Primitives boasts paintings by Rogier van der Weyden, Gerard David, Petrus Christus, Dirk Bouts, Hans Memling and Hieronymus Bosch. It also includes several important works by artists with provisional names from the schools of Tournai, Bruges and Brussels, such as the Master of Flemalle, the Master of the St Lucy Legend and the Master of the Life of Joseph. This multi-volume English-language catalogue will include approximately 100 paintings. Each work is the subject of a thourough analysis covering technical, historical, iconographical and stylistic aspects. The catalogue contains colour reproductions of each painting as well as other visual documentation from laboratory investigations (infrared reflectograms, ultra-violet fluorescence photographs; X-radiographs, macro photographs), photographs of related works and diagrams of the original frames. The wealth of documentation presented in this volumes makes it an indispensable reference for both scholars and amateurs interested in 15th-century painting.
¶ This catalogue includes paintings by the Master of Flemalle and Rogier van der Weyden Groups, now in the Royal Museums of Fine Arts of Belgium in Brussels, as well as thourough analyses and colour reproductions. The publication of the first in a five-volume scholarly catalogue of the 15th-century southern Netherlandish paintings in the Royal Museums of Fine Arts of Belgium in Brussels is a long awaited event. The museums' rich collection of Flemish Primitives boasts paintings by Rogier van der Weyden, Gerard David, Petrus Christus, Dirk Bouts, Hans Memling and Hieronymus Bosch. It also includes several important works by artists with provisional names from the schools of Tournai, Bruges and Brussels, such as the Master of Flemalle, the Master of the St Lucy Legend and the Master of the Life of Joseph. This multi-volume English-language catalogue will include approximately 100 paintings. Each work is the subject of a thourough analysis covering technical, historical, iconographical and stylistic aspects. The catalogue contains colour reproductions of each painting as well as other visual documentation from laboratory investigations (infrared reflectograms, ultra-violet fluorescence photographs; X-radiographs, macro photographs), photographs of related works and diagrams of the original frames. The wealth of documentation presented in this volumes makes it an indispensable reference for both scholars and amateurs interested in 15th-century painting.
Erik Tonen BooksVendeur professionnelN° du livre: 31316
€ 99.00 | CHF 95]
Mots-clés: . . . Syfer d'Olne 978 2 503 50501 5
vitraux de la premiere moitie du XVIe siecle conserves en Belgique Vol. IV: Provinces de Liege, Luxembourg, Namur,
Turnhout, Brepols, 1981 Hardback, 444 pages., 318 b/w ill., 230 x 315 mm. FINE. ISBN 02010174.
¶ Dans ce volume, ce sont surtout les verrieres conservees dans la ville de Liege (eglise Saint-Jacques, basilique Saint-Martin, cathedrale Saint-Paul) qui permettent de realiser la facon dont les edifices de l'epoque devaient etre decores. A l'epoque, sous le regne du prince-eveque Erard de la Marck, la richesse de la Principaute de Liege permettait un important developpement des arts. Les vitraux liegeois conserves montrent, d'une part, des liens indeniables avec la production contemporaine dans d'autres regions des anciens Pays-Bas meridionaux et, d'autre part, une richesse ornementale extraordinaire et inventive. Certains autres vitraux etudies presentent une facture plus populaire mais qui devait se manifester tres frequemment dans toutes les regions. Languages : French.
¶ Dans ce volume, ce sont surtout les verrieres conservees dans la ville de Liege (eglise Saint-Jacques, basilique Saint-Martin, cathedrale Saint-Paul) qui permettent de realiser la facon dont les edifices de l'epoque devaient etre decores. A l'epoque, sous le regne du prince-eveque Erard de la Marck, la richesse de la Principaute de Liege permettait un important developpement des arts. Les vitraux liegeois conserves montrent, d'une part, des liens indeniables avec la production contemporaine dans d'autres regions des anciens Pays-Bas meridionaux et, d'autre part, une richesse ornementale extraordinaire et inventive. Certains autres vitraux etudies presentent une facture plus populaire mais qui devait se manifester tres frequemment dans toutes les regions. Languages : French.
Erik Tonen BooksVendeur professionnelN° du livre: 37236
€ 44.00 | CHF 42.5]
Mots-clés: glas glasraam religieuze kunst religious art religieux verre
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