Rogier Van Der Weyden And Stone Sculpture In Brussels

Tiles form an important part of the great Dutch tradition of tin-glazed earthenware, internationally renowned as 'Delftware'. The presence of the right raw materials and know-how as well as a sufficiently large clientele allowed tile production to reach an impressive scale in the provinces of Holland, Friesland and Utrecht. In this way the Netherlands wrote its own fascinating chapter in the world history of tiles. In this publication the Foundation of Friends of the Dutch Tile Museum in Otterlo present tiles and tile pictures from the Friends' collections. The catalogue gives a detailed description of all the items illustrated. Supplemented by a number if examples from museum collections, a canon of approximately four hundred years of Dutch tile culture is thus created and also opened up to an international audience.

Brussels has become the “capital” of Europe, serving as the headquarters for key regional and international agencies, including the European Union, the North Atlantic Treaty Organization, UN organizations, multinational businesses, lobbying firms, governmental groups, and nongovernmental organizations. Its status as a diplomatic, political, and economic center assumes ever greater importance as the EU grows in depth and breadth. This second edition of Historical Dictionary of Brussels covers its history through a chronology, an introductory essay, appendixes, and an extensive bibliography. The dictionary section has over 900 cross-referenced entries on important personalities, politics, economy, foreign relations, religion, and culture. This book is an excellent access point for students, researchers, and anyone wanting to know more about Brussels.

In Pious Memories Douglas Brine examines the context, function, and meaning of early Netherlandish memorials (in the form of sculptures, paintings, and brasses), and the role they played in commemorating the dead in the Low Countries during the fifteenth century.

A significant new interpretation of the emergence of Western pictorial realism When Jan van Eyck (c. 1390–1441) completed the revolutionary Ghent Altarpiece in 1432, it was unprecedented in European visual culture. His novel visual strategies, including lifelike detail, not only helped make painting the defining medium of Western art, they also ushered in new ways of seeing the world. This highly original book explores Van Eyck’s pivotal work, as well as panels by Rogier van der Weyden and their followers, to understand how viewers came to appreciate a world depicted in two dimensions. Through careful examination of primary documents, Noa Turel reveals that paintings were consistently described as au vif: made not “from life” but “into life.” Animation, not representation, drove Van Eyck and his contemporaries. Turel’s interpretation reverses the commonly held belief that these artists were inspired by the era’s burgeoning empiricism, proposing instead that their “living pictures” helped create the conditions for empiricism. Illustrated with exquisite fifteenth-century paintings, this volume asserts these works’ key role in shaping, rather than simply mirroring, the early modern world.

This volume offers unparalleled coverage of all aspects of art and architecture from medieval Western Europe, from the 6th century to the early 16th century. Drawing upon the expansive scholarship in the celebrated 'Grove Dictionary of Art' and adding hundreds of new entries, it offers students, researchers and the general public a reliable, up-to-date, and convenient resource covering this field of major importance in the development of Western history and international art and architecture.

The history of northern Renaissance art, from the late 14th to the early 16th century, drawing on a rich range of sources to show how northern European art dominated the visual culture of Europe in this formative period