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lettres romanes 77 1-2 (2023) Enjeux de pouvoir, pouvoir en jeu. Positionnements de la littérature belge de langue française (XXe ? XXIe siècles)
Brepols - Harvey Miller, 2023 Pages: vi + 188 pages,Size:156 x 234 mm, Illustrations:3 b/w Language(s):French. ISBN 9782503603834.
¶ Anna Loba, Christophe Meurée, Joanna Teklik et Maxime Thiry, Introduction Bernard Ribémont, Science, pouvoir dans la littérature francophone de Belgique. Quelques exemples en forme de contre-utopies Agnieszka Kukuryk, L'utopie fiumaine : fête révolutionnaire selon Léon Kochnitzky Maria Giovanna Petrillo, Jean-Philippe Toussaint : le pouvoir de la littérature belge dans une clé USB Marinella Termite, Un désir de communauté entre poétique et politique : Antoine Wauters Anna Loba, Marie Gevers : contre le pouvoir des grands sur les petits Catherine Gravet, Des romancières en lutte contre le patriarcat ? Les cas de Françoise Mallet-Joris (Trois âges de la nuit, 1968) et d'Adeline Dieudonné (La Vraie Vie, 2018) Marie Giraud-Claude-Lafontaine, « Les sexes politiques » de Lisette Lombé Laurence Boudart, Et si le pouvoir de l'entreprise pouvait vaciller ? Circuit de Charly Delwart Joanna Teklik, La mémoire en décalage. L'identité en jeu. Lettres belges au lendemain de la guerre Corentin Lahouste, Du protéiforme et du palpitant : Antoine Boute et l'hétérogénéisation jubilatoire du réel Maxime Thiry, (Se) Penser en décalé : esquives et adhérences du surréalisme bruxellois Les Livres.
¶ Anna Loba, Christophe Meurée, Joanna Teklik et Maxime Thiry, Introduction Bernard Ribémont, Science, pouvoir dans la littérature francophone de Belgique. Quelques exemples en forme de contre-utopies Agnieszka Kukuryk, L'utopie fiumaine : fête révolutionnaire selon Léon Kochnitzky Maria Giovanna Petrillo, Jean-Philippe Toussaint : le pouvoir de la littérature belge dans une clé USB Marinella Termite, Un désir de communauté entre poétique et politique : Antoine Wauters Anna Loba, Marie Gevers : contre le pouvoir des grands sur les petits Catherine Gravet, Des romancières en lutte contre le patriarcat ? Les cas de Françoise Mallet-Joris (Trois âges de la nuit, 1968) et d'Adeline Dieudonné (La Vraie Vie, 2018) Marie Giraud-Claude-Lafontaine, « Les sexes politiques » de Lisette Lombé Laurence Boudart, Et si le pouvoir de l'entreprise pouvait vaciller ? Circuit de Charly Delwart Joanna Teklik, La mémoire en décalage. L'identité en jeu. Lettres belges au lendemain de la guerre Corentin Lahouste, Du protéiforme et du palpitant : Antoine Boute et l'hétérogénéisation jubilatoire du réel Maxime Thiry, (Se) Penser en décalé : esquives et adhérences du surréalisme bruxellois Les Livres.
Erik Tonen BooksVendeur professionnelN° du livre: 61550
€ 52.00 | CHF 51.5]
Mots-clés: Schilderkunst kunst paint schilder Beaux Arts Sciences antique antiek deco beeldhouwkunst beelden sculpturen & Architecture schilderen Kunst Fotografie Art Histoire patrimoine Nouveautés art arts plastiques culture histoire livre ècle Artiste peintre phot
Silver-Stained Roundels and Unipartite Panels before the French Revolution Flanders, Vol. 2: The Provinces of East and West Flanders
Brepols Publishers, 2011 Hardcover, XIV 631 pages., 300 b/w ill. 900 colour ill., 230 x 315 mm, English. ISBN 9781905375318.
¶ This checklist is the second in a series of volumes describing the silver-stained glass roundels and unipartite panels from the Middle Ages to the 18th century found in public buildings, museums and private collections in the present five provinces of Flanders (Belgium). It also includes documented roundels and unipartite panels whose whereabouts are presently unknown and those which have been removed to other locations or collections in the past. The checklist also mentions all known related material. Where possible, photographs of this material have been added. As far as the related material is concerned, the relevant publications are also mentioned. This material includes models, drawings, engravings, and roundels which belong either to the same series or to those which are copies of these series. The present volume covers the Provinces of East and West Flanders (more or less the former County of Flanders). The first checklist, concerning the Province of Antwerp, was published in 2007. Additional volumes for the Provinces of Flemish Brabant and Limburg (Vol. 3), and the one with Addenda (Vol. 4) are in the planning stage. The former County of Flanders, with the cities of Bruges and Ghent, must once have displayed huge quantities of stained glass, which for the most part have been lost or relocated. The causes and reasons for this loss include natural calamities, fires, deliberate destruction and neglect. Most of the surviving roundels are now in foreign collections: on the continent; in Great Britain; or in the United States of America. It is worthy of note that great efforts have been made in the USA and Great Britain to compile and publish checklists of silver-stained roundels and other small panels, originating from the Low Countries, whilst here, where they were produced, this series is the first genuine overview that has ever been published. During the 15th and 16th centuries roundels and small panels played an important role as 'public relations' gifts among the upper classes, the church and its associated religious orders. As these gifts played a very significant role in social life, demand for these items was very high. It is clear that the manufacture of roundels and small panels was a substantial part of the earnings of these glass workshops, which also produced monumental windows. The most popular themes were predominantly religious, but also included heraldic, secular, mythological and allegorical subjects. The seasons and months and labours of the year were also commonly found. In the late 16th and the 17th centuries the range of iconographical subjects became more secular with, among other themes, representations of professions. Heraldry also remained very important, and in the second half of the 17th and the beginning of the 18th centuries nearly all roundels and panels depicted armorials and included the name of their donors.
¶ This checklist is the second in a series of volumes describing the silver-stained glass roundels and unipartite panels from the Middle Ages to the 18th century found in public buildings, museums and private collections in the present five provinces of Flanders (Belgium). It also includes documented roundels and unipartite panels whose whereabouts are presently unknown and those which have been removed to other locations or collections in the past. The checklist also mentions all known related material. Where possible, photographs of this material have been added. As far as the related material is concerned, the relevant publications are also mentioned. This material includes models, drawings, engravings, and roundels which belong either to the same series or to those which are copies of these series. The present volume covers the Provinces of East and West Flanders (more or less the former County of Flanders). The first checklist, concerning the Province of Antwerp, was published in 2007. Additional volumes for the Provinces of Flemish Brabant and Limburg (Vol. 3), and the one with Addenda (Vol. 4) are in the planning stage. The former County of Flanders, with the cities of Bruges and Ghent, must once have displayed huge quantities of stained glass, which for the most part have been lost or relocated. The causes and reasons for this loss include natural calamities, fires, deliberate destruction and neglect. Most of the surviving roundels are now in foreign collections: on the continent; in Great Britain; or in the United States of America. It is worthy of note that great efforts have been made in the USA and Great Britain to compile and publish checklists of silver-stained roundels and other small panels, originating from the Low Countries, whilst here, where they were produced, this series is the first genuine overview that has ever been published. During the 15th and 16th centuries roundels and small panels played an important role as 'public relations' gifts among the upper classes, the church and its associated religious orders. As these gifts played a very significant role in social life, demand for these items was very high. It is clear that the manufacture of roundels and small panels was a substantial part of the earnings of these glass workshops, which also produced monumental windows. The most popular themes were predominantly religious, but also included heraldic, secular, mythological and allegorical subjects. The seasons and months and labours of the year were also commonly found. In the late 16th and the 17th centuries the range of iconographical subjects became more secular with, among other themes, representations of professions. Heraldry also remained very important, and in the second half of the 17th and the beginning of the 18th centuries nearly all roundels and panels depicted armorials and included the name of their donors.
Erik Tonen BooksVendeur professionnelN° du livre: 31303
€ 95.00 | CHF 94]
Mots-clés: Artist ? vetrate ? vitraux ? glasramen ? ? Silver . 2: C.. . : 978 1 905375 31 8
Corpus of Medieval Misericords, Belgium and the Netherlands
Brepols Publishers, 2010 hardback, 231 p., 600 b/w ill. 1 colour ill., 215 x 280 mm, English. ISBN 9782503516004.
¶ The Corpus of Medieval Misericords (XIII-XXVI) consists of five volumes; the first four focus on the misericords and related choir stall carvings in specific regions of Europe. The fifth includes an extensive iconographic index of themes common to various countries as well as themes that are unique to a single country. Volume III of this series, Medieval Misericords in Belgium and the Netherlands, covers the churches in the Low Countries that still contain gothic misericords with carved figures and narratives inspired by oral traditions such as proverbs and folk tales, as well as by manuscript marginalia, romanesque capitals, illustrated bibles, engravings, playing cards.. A vast portrayal of medieval life - rural activities, urban occupations, conjugal relationships, monastic life - is displayed in these carvings under the seats of choir stalls along with costumes of the times, town and collegiate architecture, mechanical devices.
¶ The Corpus of Medieval Misericords (XIII-XXVI) consists of five volumes; the first four focus on the misericords and related choir stall carvings in specific regions of Europe. The fifth includes an extensive iconographic index of themes common to various countries as well as themes that are unique to a single country. Volume III of this series, Medieval Misericords in Belgium and the Netherlands, covers the churches in the Low Countries that still contain gothic misericords with carved figures and narratives inspired by oral traditions such as proverbs and folk tales, as well as by manuscript marginalia, romanesque capitals, illustrated bibles, engravings, playing cards.. A vast portrayal of medieval life - rural activities, urban occupations, conjugal relationships, monastic life - is displayed in these carvings under the seats of choir stalls along with costumes of the times, town and collegiate architecture, mechanical devices.
Erik Tonen BooksVendeur professionnelN° du livre: 31376
€ 144.00 | CHF 142.5]
Mots-clés: . . : 978 2 503 51600 4 Fine Arts
subjects from history. III. The Constantine Series, Corpus Rubenianum Ludwig Burchard part XIII subjects from history. volume 3.
Brepols - Harvey Miller, 2011 Hardback 400 pages., 180 x 265 mm, Languages: English, ISBN 9781905375868.
¶ In 1622, Rubens designed his second tapestry series, The Story of Constantine, for which he executed twelve oil sketches, all of which are currently preserved in public and private collections in America and Europe. Tapestries produced after the lost cartoons, which were in turn painted after the oil sketches, were woven in the tapestry factories in the faubourgs of Saint Marcel and Saint Germain in Paris. Based on new archival research and a critical examination of the literature on the Constantine series, this book firmly embeds the genesis, and iconographical and stylistic features of the set in its specific artistic, manufactural, and commercial matrix, and thus develops the first truly inclusive approach to Rubens's Story of Constantine. Analysis of the entrepreneurial strategy of Marc Comans and Francois de la Planche, directors of the factory in the faubourg of Saint Marcel, the correspondence between Rubens and Peiresc, the provenance of the twelve oil sketches, and the iconographical programme reveals that the series was not commissioned by the French king Louis XIII, as has long been believed, but by Comans and de la Planche. A close reading of Rubens's primary literary source, Caesar Baronius's Annales Ecclesiastici, shows that the artist must have intended the twelve scenes to hang in a sequence different from the generally accepted one, though seventeenth-century buyers and viewers could have seen and interpreted the Constantine series quite differently, as their view was distorted by the jumble of Constantinian legends and motifs that had lodged in the cultural memory of Latin Christianity. Finally, the book explores the area of tension between the set's austere monumentality and highly sophisticated aesthetic, which was rooted in Rubens's profound knowledge of classical and Renaissance art and in his earlier forays into the free and creative application of these sources, contemporary French and Brussels tapestry sets, and the pictorial and decorative qualities, possibilities and challenges inherent in the medium itself.
¶ In 1622, Rubens designed his second tapestry series, The Story of Constantine, for which he executed twelve oil sketches, all of which are currently preserved in public and private collections in America and Europe. Tapestries produced after the lost cartoons, which were in turn painted after the oil sketches, were woven in the tapestry factories in the faubourgs of Saint Marcel and Saint Germain in Paris. Based on new archival research and a critical examination of the literature on the Constantine series, this book firmly embeds the genesis, and iconographical and stylistic features of the set in its specific artistic, manufactural, and commercial matrix, and thus develops the first truly inclusive approach to Rubens's Story of Constantine. Analysis of the entrepreneurial strategy of Marc Comans and Francois de la Planche, directors of the factory in the faubourg of Saint Marcel, the correspondence between Rubens and Peiresc, the provenance of the twelve oil sketches, and the iconographical programme reveals that the series was not commissioned by the French king Louis XIII, as has long been believed, but by Comans and de la Planche. A close reading of Rubens's primary literary source, Caesar Baronius's Annales Ecclesiastici, shows that the artist must have intended the twelve scenes to hang in a sequence different from the generally accepted one, though seventeenth-century buyers and viewers could have seen and interpreted the Constantine series quite differently, as their view was distorted by the jumble of Constantinian legends and motifs that had lodged in the cultural memory of Latin Christianity. Finally, the book explores the area of tension between the set's austere monumentality and highly sophisticated aesthetic, which was rooted in Rubens's profound knowledge of classical and Renaissance art and in his earlier forays into the free and creative application of these sources, contemporary French and Brussels tapestry sets, and the pictorial and decorative qualities, possibilities and challenges inherent in the medium itself.
Erik Tonen BooksVendeur professionnelN° du livre: 32029
€ 125.00 | CHF 124]
Mots-clés: . .
Jan Rombouts. The Discovery of an Early Sixteenth-Century Master in Louvain.
brepols, 2011 Hardback with dusjacket, 312 p., 237 b/w ill. 48 colour ill., 210 x 297 mm, Languages: English. new, fine condition !. ISBN 9782503525693.
¶ This monograph introduces the sixteenth-century Louvain artist Jan Rombouts (c. 1480 ? 1535), whose oeuvre was previously assigned to Jan van Rillaer. Debates concerning Rombouts's identity are explored in detail by means of reinterpretation of published archival documents and the discovery of numerous new documents. The publication of the sources, most with full transcriptions, provides a sound basis for the author's arguments supporting the new identification.The remaining oeuvre of the artist, as it is known today, comprises engravings and paintings. This monograph argues for the expansion of Rombouts's oeuvre with some dozen stained-glass windows, roundels and a drawn design for a church window, while suggestions are put forth for other possible attributions. Attention is given to the historical context for Rombouts's activity as a glass painter, and the attributions of these works, none of which are monogrammed, are made by comparing their style with that of works securely attributed to the artist. This section is backed up by numerous illustrations of the windows, many of which are quite inaccessible. Finally, a discussion of archival sources concerning the Louvain confraternity of St Luke and commissions for works of art to local artists in the period covered by the book, form the rich historical background against which Jan Rombouts executed his oeuvre of engravings, paintings, roundels and stained-glass windows. The size, individuality, diversity and craftsmanship of this oeuvre enable us to finally identify and place him securely within the history of south Netherlandish art of his time.
¶ This monograph introduces the sixteenth-century Louvain artist Jan Rombouts (c. 1480 ? 1535), whose oeuvre was previously assigned to Jan van Rillaer. Debates concerning Rombouts's identity are explored in detail by means of reinterpretation of published archival documents and the discovery of numerous new documents. The publication of the sources, most with full transcriptions, provides a sound basis for the author's arguments supporting the new identification.The remaining oeuvre of the artist, as it is known today, comprises engravings and paintings. This monograph argues for the expansion of Rombouts's oeuvre with some dozen stained-glass windows, roundels and a drawn design for a church window, while suggestions are put forth for other possible attributions. Attention is given to the historical context for Rombouts's activity as a glass painter, and the attributions of these works, none of which are monogrammed, are made by comparing their style with that of works securely attributed to the artist. This section is backed up by numerous illustrations of the windows, many of which are quite inaccessible. Finally, a discussion of archival sources concerning the Louvain confraternity of St Luke and commissions for works of art to local artists in the period covered by the book, form the rich historical background against which Jan Rombouts executed his oeuvre of engravings, paintings, roundels and stained-glass windows. The size, individuality, diversity and craftsmanship of this oeuvre enable us to finally identify and place him securely within the history of south Netherlandish art of his time.
Erik Tonen BooksVendeur professionnelN° du livre: 27673
€ 132.00 | CHF 130.5]
Mots-clés: . . Sixteenth Century : 978 2 503 52569 3 & Performing Arts general Medieval paint antique kunst
Life of Christ before the Passion. The Ministry of Christ . Corpus Rubenianum Ludwig Burchard volume V -2.
Brepols - Harvey Miller, 2017 Hardcover with dusjacket. 360 p., 149 b/w ill. + 46 colour ill., 180 x 265 mm, Languages: English. ISBN 9781909400863.
¶ The works discussed span the entirety of Rubens's career and attest to the complexity of the iconographic division in which the depictions of Jesus Christ's public life were thought and created. The present volume V - 2 of the Corpus Rubenianum catalogues Rubens's exploration and representation of the theme of the public life of Christ. The period in Christ's life during which he spread his message by wandering and preaching with the apostles in the Holy Land, offered a particularly poignant and important part of religious discourse within the context of the Counter-Reformation period in the Netherlands. In order to rebut the Calvinists and their call for the stripping of imagery and lavish decoration from churches, and the destruction of furniture and altarpieces that followed, the Roman Catholic Church sought to establish an innovative and powerful visual rhetoric with renewed urgency. The scenes from the ministry of Christ could serve as potent reminders of the core values of Roman Catholic spirituality. Rubens, as a devout Catholic, created a number of impressive paintings to express this, although most of the works he produced seem to have been intended for the open market. The works discussed span the entirety of Rubens's career and attest to the complexity of the iconographic division in which the depictions of Jesus Christ's public life were thought and created.
¶ The works discussed span the entirety of Rubens's career and attest to the complexity of the iconographic division in which the depictions of Jesus Christ's public life were thought and created. The present volume V - 2 of the Corpus Rubenianum catalogues Rubens's exploration and representation of the theme of the public life of Christ. The period in Christ's life during which he spread his message by wandering and preaching with the apostles in the Holy Land, offered a particularly poignant and important part of religious discourse within the context of the Counter-Reformation period in the Netherlands. In order to rebut the Calvinists and their call for the stripping of imagery and lavish decoration from churches, and the destruction of furniture and altarpieces that followed, the Roman Catholic Church sought to establish an innovative and powerful visual rhetoric with renewed urgency. The scenes from the ministry of Christ could serve as potent reminders of the core values of Roman Catholic spirituality. Rubens, as a devout Catholic, created a number of impressive paintings to express this, although most of the works he produced seem to have been intended for the open market. The works discussed span the entirety of Rubens's career and attest to the complexity of the iconographic division in which the depictions of Jesus Christ's public life were thought and created.
Erik Tonen BooksVendeur professionnelN° du livre: 50406
€ 165.00 | CHF 163.5]
Mots-clés: Fine kunst paint anvers schilderkunst peint Performing Arts Painting Baroque painting
Classical Manuscript Illustrations
Miller-brepols, 2012 Hardback with dusjacket in fine condition !, Languages: English, 413pp. illustration in color. ISBN 9781905375769.
¶ The Paper Museum (?Museo Cartaceo?) is a collection of some 10,000 drawings and prints assembled during the seventeenth century by the Roman patron and collector, Cassiano dal Pozzo, and his younger brother, Carlo Antonio. It represents one of the most significant attempts before the age of photography to embrace human knowledge in visual form, documenting ancient art and culture, architecture and topography, natural history and social customs.The 160 drawings catalogued in this volume are derived from five ancient manuscripts: the famous Vatican Vergil, the so-called ?Roman? Vergil, the Vatican Terence, and the less well-known Palatine Agrimensores, all in the Vatican Library, and from a fifth codex, now lost, known as the Chronography or Calendar of the year 354. The bulk of the drawings were copied for Cassiano between 1632 and 1634 for the purpose of studying both the characters depicted and the allied evidence of ancient costume and artefacts. By the later seventeenth century, when Pietro Santi Bartoli executed the last group of drawings in the present volume for Carlo Antonio, manuscript illustrations had come to be cherished as much for their rarity as examples of ancient painting as for their documentary value. Introductory essays provide an overview of the dal Pozzo commissions, the manuscripts and their history down to Cassiano's day, as well as their study in the wider context of classical scholarship through to the eighteenth century. All the drawings are reproduced in colour at full page, with accompanying descriptions of the subjects or relevant ancient verses in modern translation and brief commentaries.
¶ The Paper Museum (?Museo Cartaceo?) is a collection of some 10,000 drawings and prints assembled during the seventeenth century by the Roman patron and collector, Cassiano dal Pozzo, and his younger brother, Carlo Antonio. It represents one of the most significant attempts before the age of photography to embrace human knowledge in visual form, documenting ancient art and culture, architecture and topography, natural history and social customs.The 160 drawings catalogued in this volume are derived from five ancient manuscripts: the famous Vatican Vergil, the so-called ?Roman? Vergil, the Vatican Terence, and the less well-known Palatine Agrimensores, all in the Vatican Library, and from a fifth codex, now lost, known as the Chronography or Calendar of the year 354. The bulk of the drawings were copied for Cassiano between 1632 and 1634 for the purpose of studying both the characters depicted and the allied evidence of ancient costume and artefacts. By the later seventeenth century, when Pietro Santi Bartoli executed the last group of drawings in the present volume for Carlo Antonio, manuscript illustrations had come to be cherished as much for their rarity as examples of ancient painting as for their documentary value. Introductory essays provide an overview of the dal Pozzo commissions, the manuscripts and their history down to Cassiano's day, as well as their study in the wider context of classical scholarship through to the eighteenth century. All the drawings are reproduced in colour at full page, with accompanying descriptions of the subjects or relevant ancient verses in modern translation and brief commentaries.
Erik Tonen BooksVendeur professionnelN° du livre: 37625
€ 159.90 | CHF 158.5]
Mots-clés: 978 1 905375 76 9 old book livre letteren literatuur prent print grafiek graveur plantin plantijn
Cartographie et pouvoir au XVIe siècle L'atlas de Jacques de Deventer
Brepols 2019, 2019 Hardcover, 351 pages, 89 illustrations de couleur, Texte en Francais, 275 x 220 mm, tres bon etat. ISBN 9782503586069.
¶ Une interprétation novatrice de l'atlas de Jacques de Deventer et de sa place au sein de l'histoire de la cartographie. Dans la seconde moitié du XVIe siècle, Jacques de Deventer a réalisé, à la demande de Philippe II, les plans de plus de 250 villes des Pays-Bas espagnols. Cette collection est exceptionnelle par son ampleur, son homogénéité et sa précision. De plus, pour la plupart des localités, il s'agit de la plus ancienne représentation cartographique conservée. Enfin, ces plans de «?villes?» figurent également une partie des terres alentour. Depuis leur redécouverte au XIXe siècle, ces documents ont suscité de nombreuses recherches. Cependant, la plupart les considéraient comme des instruments militaires ou comme le pur produit d'une «?cartographie'scientifique?». Mais, est-ce réellement la seule manière de les comprendre?? Grâce à une déconstruction approfondie d'une série de plans, la présente étude cherche à comprendre ce caractère exceptionnel. Vision de la ville, perception de l'espace, rôle de l'hinterland, procédés de représentation ou profil du cartographe sont autant d'aspects analysés. Ils permettent de comprendre que, malgré un résultat troublant de modernité, cette collection est largement tributaire des codes de son époque et relève plus du document politique que militaire. Plus largement, il s'agit de voir ce que cette réévaluation apporte à l'histoire du développement de la cartographie au XVIe siècle.
¶ Une interprétation novatrice de l'atlas de Jacques de Deventer et de sa place au sein de l'histoire de la cartographie. Dans la seconde moitié du XVIe siècle, Jacques de Deventer a réalisé, à la demande de Philippe II, les plans de plus de 250 villes des Pays-Bas espagnols. Cette collection est exceptionnelle par son ampleur, son homogénéité et sa précision. De plus, pour la plupart des localités, il s'agit de la plus ancienne représentation cartographique conservée. Enfin, ces plans de «?villes?» figurent également une partie des terres alentour. Depuis leur redécouverte au XIXe siècle, ces documents ont suscité de nombreuses recherches. Cependant, la plupart les considéraient comme des instruments militaires ou comme le pur produit d'une «?cartographie'scientifique?». Mais, est-ce réellement la seule manière de les comprendre?? Grâce à une déconstruction approfondie d'une série de plans, la présente étude cherche à comprendre ce caractère exceptionnel. Vision de la ville, perception de l'espace, rôle de l'hinterland, procédés de représentation ou profil du cartographe sont autant d'aspects analysés. Ils permettent de comprendre que, malgré un résultat troublant de modernité, cette collection est largement tributaire des codes de son époque et relève plus du document politique que militaire. Plus largement, il s'agit de voir ce que cette réévaluation apporte à l'histoire du développement de la cartographie au XVIe siècle.
Erik Tonen BooksVendeur professionnelN° du livre: 57298
€ 120.00 | CHF 119]
Mots-clés: Schilderkunst kunst paint schilder Beaux Arts Sciences antique antiek deco beeldhouwkunst beelden sculpturen & Architecture schilderen Kunst Fotografie Art Histoire patrimoine Nouveautés art arts plastiques culture histoire livre Artiste peintre photo fot
francais medieval
Brepols, 2009 396 pages., 5 b/w ill., 156 x 234 mm,Languages: French, Paperback. ISBN 9782503532059.
¶ Le Francais medieval est un manuel specifiquement adapte aux besoins du chercheur en histoire du Moyen Age. Evitant le recours systematique a une terminologie linguistique complexe, il se veut une introduction accessible et complete qui devrait faciliter l'acces aux textes les plus varies, quelles qu'en soient la date et l'origine geographique. Pour atteindre son objectif, l'ouvrage se divise en trois parties. La premiere est un parcours rapide, largement bibliographique et critique, de l'histoire du francais au Moyen Age. Elle insiste sur des definitions-clefs, comme celles de ?« dialecte ?» et de ?« scripta ?», ainsi que sur la variation du francais ecrit. La deuxieme partie reproduit le mouvement de comprehension d'un texte, de l'identification des mots a l'analyse syntaxique. Enfin, une anthologie commentee de plus de cinquante extraits brosse un vaste panorama de la production textuelle en francais medieval, des sources litteraires aux documents de la pratique, du XIIe a la fin du XVe siecle.
¶ Le Francais medieval est un manuel specifiquement adapte aux besoins du chercheur en histoire du Moyen Age. Evitant le recours systematique a une terminologie linguistique complexe, il se veut une introduction accessible et complete qui devrait faciliter l'acces aux textes les plus varies, quelles qu'en soient la date et l'origine geographique. Pour atteindre son objectif, l'ouvrage se divise en trois parties. La premiere est un parcours rapide, largement bibliographique et critique, de l'histoire du francais au Moyen Age. Elle insiste sur des definitions-clefs, comme celles de ?« dialecte ?» et de ?« scripta ?», ainsi que sur la variation du francais ecrit. La deuxieme partie reproduit le mouvement de comprehension d'un texte, de l'identification des mots a l'analyse syntaxique. Enfin, une anthologie commentee de plus de cinquante extraits brosse un vaste panorama de la production textuelle en francais medieval, des sources litteraires aux documents de la pratique, du XIIe a la fin du XVe siecle.
Erik Tonen BooksVendeur professionnelN° du livre: 31321
€ 44.00 | CHF 43.5]
Mots-clés: : 978 2 503 53205 9 witte kast
Contes pour les gens de cour
Brepols Publishers, 1993 paperback, 344 p., 130 x 190 mm. ISBN 9782503503066.
¶ Que peut faire un clerc de l'administration royale, a la fin du XIIe siecle, s'il est dote d'un humour feroce, d'une langue agile, d'une culture vaste et eclectique, d'un gout irrepressible pour les bonnes histoires colorees et corsees, face a la montee en force des nouvelles modes litteraires de la litterature en francais et des romans courtois? Il prend une plume et redige de "bonnes histoires pour les gens de cour", pour montrer qu'on peut s'amuser en latin, de facon moins ridicule a ses yeux que ceux qui palissent d'amour aux pieds des dames. Gautier Map, clerc anglais richement prebende, grand conteur et amuseur des milieux de la cour de Henri II Plantagenet, est a la fois attire et agace par les themes fantastiques, merveilleux et amoureux qui font les delices de la cour anglaise lorsque la reine Alienor y sejourne. Il veut faire encore mieux: plus varie, plus subtil, plus savant, plus drole et moins naif. S'il meprise l'amour courtois, ce n'est pas par pudibonderie; s'il ecrit dans la langue savante de son temps, ce n'est pas par timidite. Son oeuvre, que par nonchalance sans doute il garda dans ses papiers personnels, est fantaisiste, insolente, ironique; c'est pour les ethnologues un reservoir de renseignements sur des coutumes et des traditions que personne avant lui n'avait notees, pour les historiens de la litterature un temoignage d'une epoque ou rien n'etait encore joue entre la langue vulgaire et le latin (qui pouvaient encore se donner la replique), pour tous un moment privilegie de l'emergence dans la litterature europeenne d'un art du recit qui aboutit de temps en temps, dans ce recueil jamais ennuyeux ni banal, a d'eblouissantes reussites.
¶ Que peut faire un clerc de l'administration royale, a la fin du XIIe siecle, s'il est dote d'un humour feroce, d'une langue agile, d'une culture vaste et eclectique, d'un gout irrepressible pour les bonnes histoires colorees et corsees, face a la montee en force des nouvelles modes litteraires de la litterature en francais et des romans courtois? Il prend une plume et redige de "bonnes histoires pour les gens de cour", pour montrer qu'on peut s'amuser en latin, de facon moins ridicule a ses yeux que ceux qui palissent d'amour aux pieds des dames. Gautier Map, clerc anglais richement prebende, grand conteur et amuseur des milieux de la cour de Henri II Plantagenet, est a la fois attire et agace par les themes fantastiques, merveilleux et amoureux qui font les delices de la cour anglaise lorsque la reine Alienor y sejourne. Il veut faire encore mieux: plus varie, plus subtil, plus savant, plus drole et moins naif. S'il meprise l'amour courtois, ce n'est pas par pudibonderie; s'il ecrit dans la langue savante de son temps, ce n'est pas par timidite. Son oeuvre, que par nonchalance sans doute il garda dans ses papiers personnels, est fantaisiste, insolente, ironique; c'est pour les ethnologues un reservoir de renseignements sur des coutumes et des traditions que personne avant lui n'avait notees, pour les historiens de la litterature un temoignage d'une epoque ou rien n'etait encore joue entre la langue vulgaire et le latin (qui pouvaient encore se donner la replique), pour tous un moment privilegie de l'emergence dans la litterature europeenne d'un art du recit qui aboutit de temps en temps, dans ce recueil jamais ennuyeux ni banal, a d'eblouissantes reussites.
Erik Tonen BooksVendeur professionnelN° du livre: 31373
€ 12.00 | CHF 12]
Mots-clés: : 978 2 503 50306 6 Classics Ancient History Oriental Studies literature Medieval
IMITATION AND ILLUSION, Applied Brocade in the Art of the Low Countries in the Fifteenth and Sixteenth Centuries
Brepols Publishers, 2011 hard cover, 660 p., 230 x 290 mm, Languages: English. ISBN 9782930054117.
¶ In the late Middle Ages luxurious textiles were among the most highly prized indicators of status and wealth and an essential requirement of prestigious secular and ecclesiastical life. The depiction of these sumptuous silks and gold brocades was a crucial element in the visual arts, and their realistic and recognizable representation was a challenge to every artist. Painters and polychromers strove to imitate the fashionable fabrics by using applied brocade, a highly sophisticated form of relief decoration that adhered to panel paintings, murals and sculpture and through the play of light and shadow evoked the dazzling illusion of gold-brocaded cloths. Imitation and Illusion is the result of a detailed study of applied brocade in the art of the Low Countries. Eleven fascinating and innovative chapters offer an in-depth examination of the historical, geographical, morphological and technical aspects of this cast tin relief technique. New light is also shed on artistic collaboration and workshop practice in the fifteenth and early sixteenth century. The catalogue includes 86 well known and lesser known panel and wall paintings, sculptures, altarpieces, and architectural elements produced between 1420 and 1540, decorated with applied brocade and providing stunning testimony to the visual variety and material magnificence of late-medieval art. Abundantly illustrated, Imitation and Illusion investigates the artistic production of the fifteenth- and sixteenth-century Low Countries from an intriguing and original perspective. It represents a significant contribution to our understanding of medieval polychromy and will appeal to everyone whose curiosity is aroused by the illusionistic ingenuity of the medieval artist.
¶ In the late Middle Ages luxurious textiles were among the most highly prized indicators of status and wealth and an essential requirement of prestigious secular and ecclesiastical life. The depiction of these sumptuous silks and gold brocades was a crucial element in the visual arts, and their realistic and recognizable representation was a challenge to every artist. Painters and polychromers strove to imitate the fashionable fabrics by using applied brocade, a highly sophisticated form of relief decoration that adhered to panel paintings, murals and sculpture and through the play of light and shadow evoked the dazzling illusion of gold-brocaded cloths. Imitation and Illusion is the result of a detailed study of applied brocade in the art of the Low Countries. Eleven fascinating and innovative chapters offer an in-depth examination of the historical, geographical, morphological and technical aspects of this cast tin relief technique. New light is also shed on artistic collaboration and workshop practice in the fifteenth and early sixteenth century. The catalogue includes 86 well known and lesser known panel and wall paintings, sculptures, altarpieces, and architectural elements produced between 1420 and 1540, decorated with applied brocade and providing stunning testimony to the visual variety and material magnificence of late-medieval art. Abundantly illustrated, Imitation and Illusion investigates the artistic production of the fifteenth- and sixteenth-century Low Countries from an intriguing and original perspective. It represents a significant contribution to our understanding of medieval polychromy and will appeal to everyone whose curiosity is aroused by the illusionistic ingenuity of the medieval artist.
Erik Tonen BooksVendeur professionnelN° du livre: 31301
€ 99.00 | CHF 98]
Mots-clés: : 978 2 930054 11 7 .; .; Fine & Performing Painting painting Other forms Decorative
Commentaire de l'Apocalypse, Tyconius
Brepols Publishers, 2011 paperback, 220 pages., 156 x 234 mm, text Français. ISBN 9782503540689.
¶ L'Apocalypse johannique a longtemps pose probleme dans l'Eglise ancienne, en raison de son caractere hermetique et de l'abus qu'en ont fait les sectes millenaristes. L'Orient ne l'a recue que tardivement, non sans restriction, dans le canon des Ecritures. En Occident, elle n'a pas suscite les memes reticences. Elle le doit a un exegete genial, qui a su en proposer une lecture a la fois politiquement correcte, theologiquement acceptable et spirituellement utile, dans un contexte historique tres different de celui ou elle avait ete redigee. Tyconius, qui a vecu en Afrique du Nord dans la seconde moitie du IVe siecle, appartenait a l'Eglise donatiste, mais il etait loin de partager sans reserve sa doctrine. Il en prenait meme le contre-pied sur des points fondamentaux. Cela n'a pas empeche que son commentaire de l'Apocalypse ait subi le sort commun a la plupart des ouvrages reputes, a tort ou a raison, heretiques: il n'a plus ete recopie et s'est perdu. Cependant, les commentateurs de l'antiquite chretienne et du haut moyen age s'en sont inspires de facon a ce point etroite, qu'il est possible de reconstituer, par comparaison, leur source commune. Ce texte fondateur, dont on trouvera ici la traduction, a ete edite dans la serie latine du Corpus Christianorum sous le numero 107A. Des renvois aux pages correspondantes de l'edition sont fournis dans les marges de cette publication. Monseigneur Roger Gryson, professeur emerite a l'Universite catholique de Louvain, est connu notamment par ses travaux sur l'histoire des institutions ecclesiastiques dans l'antiquite, l'arianisme latin et la critique textuelle de la Bible latine.
¶ L'Apocalypse johannique a longtemps pose probleme dans l'Eglise ancienne, en raison de son caractere hermetique et de l'abus qu'en ont fait les sectes millenaristes. L'Orient ne l'a recue que tardivement, non sans restriction, dans le canon des Ecritures. En Occident, elle n'a pas suscite les memes reticences. Elle le doit a un exegete genial, qui a su en proposer une lecture a la fois politiquement correcte, theologiquement acceptable et spirituellement utile, dans un contexte historique tres different de celui ou elle avait ete redigee. Tyconius, qui a vecu en Afrique du Nord dans la seconde moitie du IVe siecle, appartenait a l'Eglise donatiste, mais il etait loin de partager sans reserve sa doctrine. Il en prenait meme le contre-pied sur des points fondamentaux. Cela n'a pas empeche que son commentaire de l'Apocalypse ait subi le sort commun a la plupart des ouvrages reputes, a tort ou a raison, heretiques: il n'a plus ete recopie et s'est perdu. Cependant, les commentateurs de l'antiquite chretienne et du haut moyen age s'en sont inspires de facon a ce point etroite, qu'il est possible de reconstituer, par comparaison, leur source commune. Ce texte fondateur, dont on trouvera ici la traduction, a ete edite dans la serie latine du Corpus Christianorum sous le numero 107A. Des renvois aux pages correspondantes de l'edition sont fournis dans les marges de cette publication. Monseigneur Roger Gryson, professeur emerite a l'Universite catholique de Louvain, est connu notamment par ses travaux sur l'histoire des institutions ecclesiastiques dans l'antiquite, l'arianisme latin et la critique textuelle de la Bible latine.
Erik Tonen BooksVendeur professionnelN° du livre: 31312
€ 59.00 | CHF 58.5]
Mots-clés: l'Apocalypse . publisher : 978 2 503 54068 9
The Old Testament / Corpus Rubenianum Ludwig Burchard part III
Brepols - Harvey Miller, 1989 Hardcover with dusjacket, 402 pages, incl. 178 ills., 180 x 265 mm,. ISBN 9780905203645.
¶ This series, edited by Professor d'Hulst, is a definitive multi-volumed catalogue raisonné of the work of the great Flemish painter Peter Paul Rubens. Part III provides sixty-seven outstanding examples of Rubens's gift as a narrator, bearing witness to the fertility of his imagination, the accuracy of his drawings, and the inspired skill of his brushwork. Each work is considered in light of the best scholarship, with full provenances for the originals and the copies, a record of exhibitions in which they have been shown, as well as the literature in which they have been discussed. Everything catalogued is also illustrated with additional comparative illustrations.
¶ This series, edited by Professor d'Hulst, is a definitive multi-volumed catalogue raisonné of the work of the great Flemish painter Peter Paul Rubens. Part III provides sixty-seven outstanding examples of Rubens's gift as a narrator, bearing witness to the fertility of his imagination, the accuracy of his drawings, and the inspired skill of his brushwork. Each work is considered in light of the best scholarship, with full provenances for the originals and the copies, a record of exhibitions in which they have been shown, as well as the literature in which they have been discussed. Everything catalogued is also illustrated with additional comparative illustrations.
Erik Tonen BooksVendeur professionnelN° du livre: 57351
€ 150.00 | CHF 148.5]
Mots-clés: Book Manuscript Studies & Palaeography Codicology Illumination & illustration books (including History Religion) & Theology Judaeo Christian : texts criticism & exegesis /Hebrew Bible Fine & Performing Arts Painting Baroque painting
Portraits After Existing Prototypes Corpus Rubenianum Ludwig Burchard part XIX.- 4
Brepols - Harvey Miller, 2016 Hardcover with dusjacket.340 p., 130 b/w ill. + 100 colour ill., 180 x 265 mm, Languages: English. ISBN 9781909400580.
¶ Rubens was mesmerised by faces. He studied physiognomy, the pseudo-science that began making headway in the sixteenth century, which postulated that a person's character could be read from their facial features. He made geometrical analyses of the faces of ancient emperors and heroes. He invested a great deal of time in detailed anatomical studies, sometimes based on nature, and equally often on antique busts and coins. At times it seems as though the master wanted to know and understand every nook and cranny of the human face. To this end he studied man himself and the way in which the ancients dealt with nature. His best portrait copies, thus, are not strictly copies but rather studies in which art history, craftsmanship, literature and theory merge into an emulation of art and nature. They are works in which the artist was looking for what ultimately captivated him the most: man in all of his myriad facets, and the perspectives art afforded to better understand man.
¶ Rubens was mesmerised by faces. He studied physiognomy, the pseudo-science that began making headway in the sixteenth century, which postulated that a person's character could be read from their facial features. He made geometrical analyses of the faces of ancient emperors and heroes. He invested a great deal of time in detailed anatomical studies, sometimes based on nature, and equally often on antique busts and coins. At times it seems as though the master wanted to know and understand every nook and cranny of the human face. To this end he studied man himself and the way in which the ancients dealt with nature. His best portrait copies, thus, are not strictly copies but rather studies in which art history, craftsmanship, literature and theory merge into an emulation of art and nature. They are works in which the artist was looking for what ultimately captivated him the most: man in all of his myriad facets, and the perspectives art afforded to better understand man.
Erik Tonen BooksVendeur professionnelN° du livre: 50407
€ 165.00 | CHF 163.5]
Mots-clés: Fine Performing Arts Painting Baroque painting paint peint kunst schilder anvers
Willem Key (1516-1568). Portrait of a Humanist Painter .
Brepols, 2011 Hardback with dusjacket., Languages: English, 345 pages., 50 b/w ill. 150 colour ill., 190 x 250 mm, fine condition. ISBN 9782503536781.
¶ Willem Key was one of the leading portrait and history painters in sixteenth-century Antwerp. He was born in Breda in 1516. Following in his older brother Wouter's footsteps, Willem went to Antwerp to become a painter. He studied under Pieter Coecke (1529) and later, like Frans Floris, apprenticed in the workshop of Lambert Lombard in Liege before becoming a free master in 1542. In 1568, just when he had reached the top of his abilities and enjoyed the patronage of outstanding individuals and institutions, Willem Key died suddenly. The artist's biographer and painter Karel van Mander tells us that Key was blessed with ?Sulcke edele gheesten,? such a noble mind. And, he had a ?Docta manus,? a learned hand, as the Bruges humanist and painter Domenicus Lampsonius phrased this topos in 1572. This is the first monograph to place Willem Key and his oeuvre in a historical framework. It demonstrates why the nobility, including the Duke of Alba and Cardinal Granvelle, considered him the best portrait painter of his day and why leading humanists viewed his many history paintings as eloquent visualizations of contemporary art theory. The reason why Willem Key's peers regarded him as such an exceptional painter lay in his creative ability to do battle on an uneven playing field with the artists who had been to Italy. In his reconciliation of the Netherlandish tradition with the rapidly advancing Italian manner, Key grasped the spirit of the Renaissance as formulated by Alberti. The quintessence of Key's art inspired numerous artists in his own time and later, including the grandmaster of the Baroque, Pieter Paul Rubens. By shedding light on this amazing confrere of Pieter Bruegel, Pieter Aertsen, Anthonis Mor and Frans Floris and placing him in the highly complex and fascinating time he lived in, this monograph and catalogue raisonne of the art of Willem Key restores the artist to his rightful place in sixteenth-century Antwerp art.
¶ Willem Key was one of the leading portrait and history painters in sixteenth-century Antwerp. He was born in Breda in 1516. Following in his older brother Wouter's footsteps, Willem went to Antwerp to become a painter. He studied under Pieter Coecke (1529) and later, like Frans Floris, apprenticed in the workshop of Lambert Lombard in Liege before becoming a free master in 1542. In 1568, just when he had reached the top of his abilities and enjoyed the patronage of outstanding individuals and institutions, Willem Key died suddenly. The artist's biographer and painter Karel van Mander tells us that Key was blessed with ?Sulcke edele gheesten,? such a noble mind. And, he had a ?Docta manus,? a learned hand, as the Bruges humanist and painter Domenicus Lampsonius phrased this topos in 1572. This is the first monograph to place Willem Key and his oeuvre in a historical framework. It demonstrates why the nobility, including the Duke of Alba and Cardinal Granvelle, considered him the best portrait painter of his day and why leading humanists viewed his many history paintings as eloquent visualizations of contemporary art theory. The reason why Willem Key's peers regarded him as such an exceptional painter lay in his creative ability to do battle on an uneven playing field with the artists who had been to Italy. In his reconciliation of the Netherlandish tradition with the rapidly advancing Italian manner, Key grasped the spirit of the Renaissance as formulated by Alberti. The quintessence of Key's art inspired numerous artists in his own time and later, including the grandmaster of the Baroque, Pieter Paul Rubens. By shedding light on this amazing confrere of Pieter Bruegel, Pieter Aertsen, Anthonis Mor and Frans Floris and placing him in the highly complex and fascinating time he lived in, this monograph and catalogue raisonne of the art of Willem Key restores the artist to his rightful place in sixteenth-century Antwerp art.
Erik Tonen BooksVendeur professionnelN° du livre: 28737
€ 55.00 | CHF 54.5]
Mots-clés: : 978 2 503 53678 1 . (1516 1568). sixteenth century paint peint
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