The Limbourg Brothers

In 2005 Museum Het Valkhof in Nijmegen presented the exhibition ‘The Limbourg Brothers. Nijmegen Masters at the French Court (1400-1416)’. This was the first time that original miniatures from four manuscripts by the Limbourg brothers were shown in the Netherlands. The exhibition formed an excellent opportunity to invite prominent scholars to share their views on the art of the Limbourg brothers during a two-day conference. This publication presents in written form the conference papers delivered by some of the leading scholars in the field.

Clark examines the book of hours in the context of medieval culture, the book trade in Paris, and the role of Paris as an international center of illumination. 64 illustrations, 40 in color.

Comprehensive and entertaining, this volume presents black-and-white and color images from medieval illuminated manuscripts, woodcuts from the dawn of printing, and illustrations by Merian, Seba, Cuvier, Audubon, and many others. Detailed bibliographies and artist biographies.

Although the Nijmegen artists Herman, Paul and Jean de Limbourg were barely thirty years old when they suddenly died in 1416, they already had a formidable career behind them. Now, almost six hundred years after their creation, the colourful and highly refined miniatures in the "Belles Heures" and "Tr s Riches Heures du Duc de Berry" still speak vividly to our imagination. In 2005 Museum Het Valkhof in Nijmegen presented the exhibition The Limbourg Brothers. Nijmegen Masters at the French Court (1400-1416) . This was the first time that original miniatures from four manuscripts by the Limbourg brothers were shown in the Netherlands. The exhibition formed an excellent opportunity to invite prominent scholars to share their views on the art of the Limbourg brothers during a two-day conference. This publication presents in written form the conference papers delivered by some of the leading scholars in the field. In that respect, the volume acts as an addendum to the catalogue. Contributors are Hanneke van Asperen, Gregory T. Clark, Herman Th. Colenbrander, Rob D ckers, Eberhard K nig, Margaret Lawson, Stephen Perkinson, Pieter Roelofs and Victor M. Schmidt.

'A perfect introduction to art for parents and children to enjoy together.' - The Guardian A brand-new combined, revised, and expanded edition of the ground-breaking, iconic art book series for children - perfect for readers aged 7-12 Two decades ago, Phaidon published the first volume in The Art Book for Children series (adapted especially for children from Phaidon's iconic The Art Book), which quickly became beloved by children and parents the world over. To share its legacy with a new generation of readers, this combined, updated, and expanded edition pairs a selection of 'best of' artists from the original series with 30 brand-new contemporary entries. This single volume features 60 artists through a wide range of large-scale, full-page reproductions of their artworks, including paintings, photographs, sculptures, video, prints, and installations from across time and space. Each page showcases defining artworks by the artists, combined with an interactive and informative conversation, giving relatable and memorable contexts for children, and inspiring a curiosity and appreciation for the Visual Arts that will continue into adulthood. With a fresh new design, this book both features the 'best of' from the original two volumes, plus new entries, specially selected in collaboration with art historian and writer, Ferren Gipson. Ages 7-12

Although liminality has been studied by scholars of medieval and seventeenth-century art, the role of the threshold motif in Netherlandish art of the late fourteenth, fifteenth and early sixteenth centuries -- this late medieval/early 'early modern' period -- has been much less fully investigated. Thresholds and Boundaries: Liminality in Netherlandish Art (1385-1550) addresses this issue through a focus on key case studies (Sluter's portal of the Chartreuse de Champmol and the calendar pages of the Limbourg Brothers' Très Riches Heures), and on important formats (altarpieces and illuminated manuscripts). Lynn F. Jacobs examines how the visual thresholds established within Netherlandish paintings, sculptures, and manuscript illuminations become sites where artists could address relations between life and death, aristocrat and peasant, holy and profane, and man and God--and where artists could exploit the "betwixt and between" nature of the threshold to communicate, paradoxically, both connections and divisions between these different states and different worlds. Building on literary and anthropological interpretations of liminality, this book demonstrates how the exploration of boundaries in Netherlandish art infused the works with greater meaning. The book's probing of the -- often ignored --meanings of the threshold motif casts new light on key works of Netherlandish art.