Entries Tagged as 'exhibition'

The Facsimile Exhibition

EXHIBITION: Die Kunst der Beschreibung – Handschriften aus fünf Jahrhunderten kommentiert von Eberhard König, Freie Universität Berlin, University Library (Garystr. 39, 14195 Berlin), 8 June 2012 – 27 July 2012.

Aller Anfang der Kunstbetrachtung ist Beschreibung. Die Erkenntnis, dass eine gelungene Beschreibung nicht nur vorbereitende Übung, sondern ein Mittel rhetorischer Überzeugungskunst ist, wurzelt in der antiken Kunst der Ekphrasis. Nach dem Verständnis Nikolaus von Myras setzt die genaue Wahrnehmung Kennerschaft voraus; über Künstler, Ikonographie und Bildtraditionen sowie die Herkunft, Entstehung und Beschaffenheit des Werks, die in die Beschreibung einfließt. Entscheidend für deren Erfolg ist die sprachliche Anschaulichkeit, durch die der Zuhörer – selbst Schauender – ein zweites Mal, bereichert durch die vermittelte Wahrnehmung des Redners, zum Zuschauer wird.

Die Ausstellung Die Kunst der Beschreibung – Handschriften aus fünf Jahrhunderten kommentiert von Eberhard König präsentiert 44 Faksimiles von Handschriften, die Eberhard König im Laufe seiner über dreißigjährigen Beschäftigung mit der Buchmalerei des Mittelalters und der Renaissance kommentiert und – nicht selten in Zusammenarbeit mit Kollegen und Schülern – wissenschaftlich bearbeitet hat und die auf diese Weise oft zum ersten Mal einem größeren Publikum zugänglich gemacht werden konnten. Die anschauliche Beschreibung der Miniaturen, des Dekors und immer wieder auch der Texte und der Beziehung zwischen Bild und Text, ist fast immer das Herzstück des Kommentars. Ganz im Sinne der Ekphrasis gewinnt der Autor entscheidende Argumente für die kunsthistorische Verortung und Deutung der Handschriften aus der kenntnisreichen Anschauung.

Die Ausstellung findet statt zum 65. Geburtstag von Prof. Dr. Eberhard König, der seit 1986 am Kunsthistorischen Institut der Freien Universität Berlin lehrt, und ist Bestandteil des Colloquiums “Traditionen neu erfinden – Zum Vorlagentransfer in der Buchmalerei des Spätmittelalters”. Beide Veranstaltun- gen werden von seinen engsten Mitarbeiterinnen und Mitarbeitern organisiert.

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Perugino: Raphael’s Master

EXHIBITION: Perugino: Raphael’s Master, München, Alte Pinakothek, (Barer Straße 27, Eingang Theresienstraße), 13 October 2011 – 15 January 2012.

Pietro Perugino was one of the most successful artists of the Italian Renaissance around 1500. Prominent patrons courted his attention even some distance from Florence and Perugia, the centres in which he worked. It was not just the classical harmony and technical skill of his paintings that his contemporaries admired, but their contemplative, lyrical mood in particular.

In 1829, King Ludwig I of Bavaria managed to acquire one of the master’s principal works, The Vision of Saint Bernard, for the Alte Pinakothek. This altarpiece is an invitation to rid Perugino of the shadow cast by his pupil Raphael. The Munich exhibition is the first major show outside Italy to be devoted entirely to Perugino. It comprises 40 exquisite paintings on loan from international collections (including the Uffizi Gallery, the Louvre and the Hermitage), focussing in particular on the heyday of the artist’s career. Apart from the impressive religious works, unique examples of Perugino’s skill as a portraitist and of his mythological creations vividly illustrate the humanist ideals of the times.

A detailed catalogue, edited by Andreas Schumacher, is being published for the exhibition with contributions by Matteo Burioni, Rudolf Hiller von Gaertringen, Annette Hojer, Oliver Kase, Jens Niebaum and Andreas Schumacher.

Published by Hatje Cantz Verlag, Ostfildern 2011, 304 pages, 193 illustrations. Price: €29,90 (in the museum shop), €39,80 (trade edition).

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Devotion by Design (exhibition)

EXHIBITION: Devotion by Design: Italian Altarpieces before 1500, London, The National Gallery (Sainsbury Wing), 6 July – 2 October 2011. Admission free. Catalogue by Scott Nethersole.

As part of a programme of summer shows focusing on the National Gallery’s collection, Devotion by Design explores the function, the original location, and the development of altarpieces in Italy during the late Middle Ages and the early Renaissance.

These objects furnished altars in churches and were not originally intended to hang in a gallery as we see them today. Instead, they were created for a specific sacred context, forming the focus of devotion for worshippers.

Using the Gallery’s own collection, this exhibition investigates the development of altarpieces, looking at changes in form, style and type. It examines not only the evolution of their physical structure but also their relationship to their frames and to the monumental architecture that surrounded them.

A small section of Devotion by Design will be dedicated to altarpiece fragments, explaining the role different elements of altarpieces played in the overall ensemble. The exhibition examines the reasons why altarpieces came to be dismembered (often with the dissolution of religious institutions in the 18th and 19th centuries) and the methods that art historians now use to reassemble them.

Devotion by Design showcases altarpieces by well-known artists such as Piero della Francesca, but includes many which are less familiar. It revisits works in the National Gallery Collection in a fresh and innovative light, drawing on the wealth of scholarship undertaken in this field in recent years.

The exhibition has been reviewed by PETER HUMPHREY in The Burlington Magazine, vol. CLIII, n. 1303, October 2011, pp. 684-685.

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Se vêtir au Moyen Âge et à la Renaissance

EXHIBITION: Dressing Up and Dressing Down in the Middle Ages and Renaissance: Costume in Art.  Se vêtir au Moyen Âge et à la Renaissance, Les Enluminures, Le Louvre des Antiquaires, (2 Place du Palais-Royal, 75001 Paris, tel +331-42601558), 5 May – 25 August 2011. Contact: info@lesenluminures.com

This summer spotlights the theme of Fashion worldwide. As part of its series of 20th year anniversary celebrations, the gallery Les Enluminures plans an exhibition on fashion in its Paris space in the Louvre des Antiquaires. Approximately 35 works of art are featured in Dressing Up and Dressing Down in the Middle Ages and Renaissance: Costume in Art, from May 5 to August 25.

The exhibition will include manuscripts, single leaves and cuttings and sculpture. Dressing Up and Dressing Down is coordinated with two museum exhibitions that take place at the same time. One is at the Morgan Library and Museum in New York and is titled Illuminating Fashion. It also opens in May and continues through the summer months and is accompanied by a long-awaited publication by Roger Wieck and Ann van Buren. At the Getty Museum, Fashion in the Middle Ages, is displayed simultaneously from May 31 to August 21. It is accompanied by a Getty Publication by Margaret Scott.

The exhibition is organized around three themes. The first takes the title of the exhibition and shows how in many diverse ways people in the Middle Ages dressed their parts. It was so important to dress according to one’s station in life and occupation that the fifteenth-century proto-feminist writer, Christine de Pizan, complained that she often saw her contemporaries dressing above their social class. Thus, the nobility favored lavish houppelands (gowns) and surcotes (overcoats or tunics), often fur-lined, usually with miniver (white fur used in ceremonial garments) or squirrel. The peasants wore simpler garments.”

The second theme is “Wearing Color”. Color was frequently a code: blue for royalty, green for hope and youth, red and green together signified bold youth, and so forth. Stripes were to be strictly avoided: only prisoners, executioners, those people on the margins of society wore stripes. The middle class often wore more sober colors: witness the neutral-colored garment worn by the head of the tailor’s guild in Bologna, along with the scissors (symbol of the guild) in the margin.

The third theme, “Accessorizing Costume”, throws a spotlight on rings and some pendants. At least in Italy sumptuary laws regulated the wearing of gold jewelry, but plenty of silver and even bronze jewelry was available for the lower estates. Merchants wore their rings on the index finger for ease of sealing with them. The numerous paintings of the period in which wealthy sitters wear as many as 8 to 10 rings on a single hand show just how popular this bejeweled accessory had become.

This exhibition, which is the second in a series of four to celebrate our 20th year anniversary, will give to our audience of gallery-goers—composed mostly of European and Americans—a chance to see many works in which fashion figures. Paris is, after all, ‘the fashion capital of the world!’ Those who can’t come to Paris will visit the exhibition virtually—such is the beauty of the Internet.

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Fashion in the Middle Ages at the Getty

EXHIBITION: Fashion in the Middle Ages at The J. Paul Getty Museum (1200 Getty Center Drive, Los Angeles, CA), 31 May – 14 August 2011. Catalogue by Margaret Scott.

Clothes are far more than a physical covering to protect the body from the elements; they can reveal much about a person. An evening gown, a doctor’s white coat, cowboy boots—today these can all be clues to social status, profession, or geographic origin. In the Middle Ages, clothing was integral to identifying one’s place in the world. Medieval people were highly skilled at reading the meaning of fashion, which is reflected throughout the painted pages of illuminated manuscripts. In Philosophy Presenting the Seven Liberal Arts to Boethius, female personifications of philosophy and the seven liberal arts are portrayed in a range of late medieval fashions. Themes in this exhibition range from the extravagant cost of clothing worn by the elite, to styles and fabrics permitted by custom and law, to the nventiveness that embellishes historical depictions of fashion.

Material Wealth
While at times containing fanciful or idealized images of clothing, manuscript illuminations often reflect the actual styles and fabrics of the Middle Ages, as well as the economic factors behind them. For the medieval viewer, color and material provided essential information about the social status of the figures on the page. For example, scholars wore red robes that carried the additional prestige associated with the high cost of crimson dye. Peasants wore cheap, undyed wool in shades of brown and gray. Such distinctions offer valuable insights into the world of fashion, allowing us to imagine what the books’ makers and owners might have been wearing and why. In an image in which he is shown kneeling in prayer, Charles the Bold, Duke of Burgundy, wears a fabric of gold thread that, in the 1400s, was usually made by wrapping gilt-silver foil around a core of silk. Gold cloth was the ultimate status symbol in medieval clothing.

Dressing the Part
Manuscript illuminators used costume to help place figures in the strict social hierarchy of the Middle Ages and to identify people by profession. Monks, doctors, lawyers, knights, scholars, queens, and courtiers could all be recognized at a glance by their distinctive clothing. It would be a mistake to regard all illuminations as direct reflections of medieval dress. In chivalric romances, wealthy patrons sought images of a perfect world, populated with glamorous versions of themselves and even peasants that were too well dressed. In an image made by an unknown French illuminator, fashions worn by the courtiers who accompanied the Emperor Sigismund reflect the way that impractical dress conveyed status. According to a law of 1463, short gowns that revealed men’s buttocks were restricted to the upper classes.

Another Time, Another Place
Since medieval manuscripts were often biblical or historical in nature, certain conventions arose for dressing figures from the past. Costumes for Christ and the apostles were based on the late classical garments seen in surviving Roman paintings. Other biblical figures were clothed in whimsical interpretations of the fashions worn in the Middle East and beyond. Jews and Muslims were frequently presented in turbans, fanciful headdresses, and striped fabrics that were associated with contemporary non–Christians as well as people from ancient history. A page from an Armenian Bible shows the Old Testament King David in the bejeweled ceremonial dress of Christian Byzantine emperors who had ruled the eastern portion of the Roman Empire. Although the Byzantine Empire had long ago fallen to the Ottoman Turks, its artistic traditions survived in Persia. King David’s clothing nostalgically links him to the world of Byzantium and the ancient past.

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Passion in Venice

EXHIBITION – Passion in Venice: Crivelli to Tintoretto and Veronese, New York, Museum of Biblical Art (1865 Broadway at 61st Street, New York, NY 10023, phone: 212.408.1500), 11 February – 12 June 2011.

Passion in Venice presents a sacred theme central to the history of Christian Art: Christ as Man of Sorrows.  This devotional image offers the piteous, half-length Savior variously paradoxically standing erect in death, slumped in death and supported by angels, or displaying some pre-resurrection combination of vitality and death.  This portrayal of Christ visualizes Isaiah 53:3: “He was despised, and rejected by men; a man of sorrows, and acquainted with grief.”  Its origins rooted in Byzantium, the figure entered Venetian art in the late Middle Ages after which it flourished locally for centuries, eventually acquiring its own name in dialect, Cristo Passo.  The exhibition will trace the ongoing conventions and artistic permutations of this visual type into modern times.

Drawn from international loans, Passion in Venice examines the rich visual tradition of the sorrowful Christ in Venice through a wide range of representations of the theme across different media, including illuminated manuscripts, paintings, prints, sculpture, and liturgical objects.  The exhibition also will address the issue of how this remarkable theme – the dead Christ beyond space and time – reflected and shaped Venetian piety in the Renaissance and immediately thereafter.

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The Glory of the Page

EXHIBITION: The Glory of the Page. Manuscript Illuminations from the Permanent Collection, The Cleveland Museum of Art, 6 November 2010 – 17 April 2011.

The history of the book forms one of the chief categories of the material culture of medieval and Renaissance Europe. Its history spans at least a millennium, and for many of us today these handwritten, richly embellished works of art represent the quintessential form of medieval artistic expression. Their appeal is both intimate and timeless. The illuminated manuscript is undoubtedly the most tactile and recognizable of all such collectibles from this era.

The history of manuscript illumination corresponds almost exactly with the epoch we know as the Middle Ages, a vast period of about a thousand years. An illuminated manuscript is a book that was written and decorated by hand sometime between the fall of Rome, in the late 5th century AD, and the perfection of printing technology towards the end of the 15th century. Its texts were written on vellum (animal skin), not paper. These were enlivened by the application of colorful inks, pigments, and gold. In antiquity, literature was thought of as something spoken or heard.

The Middle Ages broke with this tradition by considering a literary text as something to be revealed visually to be understood through the written word. Often elaborately decorated in a multitude of styles and formats, illuminated manuscripts flourished in ecclesiastical, monastic, devotional, courtly, legal, and academic contexts throughout the Middle Ages and early Renaissance. This exhibition presents a selection of liturgical, academic, and biblical leaves from the museum’s permanent collection.

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Códices de la Capilla Sixtina

Exposición: Códices de la Capilla Sixtina. Manuscritos miniados en colecciones españolas, Madrid, Biblioteca Nacional de España (Sala Hipóstila), 20 de octubre 2010 – 09 de enero 2011. Organizan: Biblioteca Nacional de España, Centro de Estudios Europa Hispánica (CEEH) y Cabildo Primado de la Catedral de Toledo. Comisarias: Elena De Laurentiis y Emilia Anna Talamo. Catálogo de exposición dirigido por: Elena De Laurentiis.

Durante los trágicos acontecimientos de la ocupación francesa de Roma en 1798, el cardenal Francisco Antonio de Lorenzana, legado extraordinario de Carlos IV ante la Santa Sede, adquirió numerosos códices litúrgicos procedentes de la Sacristía de la Capilla Sixtina y los envió a Toledo para salvaguardarlos de la «maxima in Urbis direptione». Después los donó a la Catedral Primada, donde aún se conservan en su gran mayoría. Otros fueron a parar, tras varias vicisitudes, a la colección Borbón-Lorenzana de la Biblioteca de Castilla-La Mancha y a la Biblioteca Nacional de España.

El hallazgo de estos espléndidos códices miniados –en muy buen estado de conservación– ha permitido reconstruir y presentar en parte el que fuera uno de los núcleos de manuscritos litúrgicos más importantes y valiosos del patrimonio bibliográfico pontificio. Utilizados por papas, cardenales, patriarcas, obispos y arzobispos para los servicios litúrgicos en la Capilla Sixtina, los libros de sacristía estaban mucho más profusamente miniados que los de capilla, utilizados por los cantores. A diferencia de estos últimos –en su gran mayoría conservados en la Biblioteca Apostólica Vaticana– los códices de sacristía terminaron dispersándose. Los manuscritos fueron desmembrados, despojados de sus miniaturas, y sus fragmentos se encuentran hoy desperdigados en colecciones públicas y privadas de todo el mundo.

La exposición muestra por primera vez al público los manuscritos sixtinos recuperados por el cardenal Lorenzana en su totalidad: cuarenta preciosos códices miniados, fechados entre los siglos XI y XVIII, pertenecientes a los papas y a los cardenales de la corte pontificia. La riqueza de las miniaturas y el valor de las encuadernaciones, en las que aparecen los escudos de los propietarios de los códices, confirman el prestigio de sus dueños. El objetivo principal de esta exposición es ofrecer, a través de las obras que en ella se muestran, un panorama general del estado de la miniatura en Roma entre los siglos XV y XVII con una particular atención al Cinquecento y el Seicento, momentos en los que esta refinada producción artística continuó desarrollándose, sobre todo en la corte pontificia, gracias al mecenazgo de papas y cardenales.

Exposiciones virtuales

Autor: Elena De Laurentiis y Emilia Anna Talamo; Encuadernación: Tapa dura con sobrecubierta; Lengua: española (English version).

The exhibition has been reviewed by ELENA DE LAURENTIIS, in Alumina, 32, 2011, pp. 58-65; and ANNE MARIE EZE, in The Burlington Magazine, vol. CLIII, n. 1296, March 2011, pp. 207-208.

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France 1500: Exhibition 1

Exposition: France 1500, entre Moyen Âge et Renaissance, Paris, Galeries nationales, Grand Palais, Paris, 6 octobre 2010 – 10 janvier 2011.

L’exposition explore un moment de rencontres artistiques et d’effervescence créatrice sans précédent en France, et pourtant encore souvent méconnu. Il s’agit de la première manifestation d’envergure consacrée à la période charnière constituée par les règnes de Charles VIII (1483-1498) et de Louis XII (1498-1515), dominée par la personnalité d’Anne de Bretagne, épouse successivement de ces deux rois. Époque de reprise économique, de croissance démographique, d’ambitions territoriales avec les fameuses guerres d’Italie, et d’un développement culturel placé sous le signe de l’humanisme, ce fut surtout un temps d’épanouissement comme de contrastes sur le plan artistique. Néanmoins ces mouvements restent souvent ignorés, à tel point que la plupart des ouvrages consacrés à l’art européen de la période ne mentionnent pas ou peu la France.

A travers plus de 200 œuvres magistrales et grâce à des études récentes, l’exposition permet donc de brosser un tableau plus juste de ce moment où la France se trouve à la croisée de nombreux chemins, tout en interrogeant les notions de tradition et de mouvement, de continuité et de rupture. Les œuvres des plus grands peintres de la période font l’objet de quelques regroupements exceptionnels, ainsi par exemple des tableaux du Maître de Moulins, alias Jean Hey, le peintre « français » le plus célèbre de cette époque, grâce à des prêts prestigieux de Chicago, Munich, Bruxelles, Autun ou Paris. De remarquables ensembles de sculptures et de vitraux venus de toute la France, des tapisseries prêtées par des collections publiques ou privées d’Europe et des Etats-Unis, de rares pièces d’orfèvrerie complètent ce panorama. L’art du livre, manuscrit ou imprimé occupe une place majeure dans la production artistique du temps ; il est représenté dans ce panorama par quelques-uns de ses plus grands chefs-d’œuvre, grâce notamment aux prêts généreux de la Bibliothèque nationale de France qui conserve un fonds d’une richesse unique pour cette période.

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France 1500: Exhibition 2

EXHIBITION – France 1500: The Pictorial Arts at the Dawn of the Renaissance, Le Louvre des Antiquaires (2 Place du Palais-Royal, 75001 Paris), 9 September – 28 November 2010.

This exhibition is coordinated with a major international exhibition, Entre Moyen Age et Renaissance France 1500, organized by the Réunion des musées nationaux (Paris) and the Art Institute of Chicago. The museum exhibition takes place in Paris (Grand Palais, October 6, 2010 to January 10, 2011) and in Chicago (February 26, 2011 to May 30, 2011). Our complementary exhibition brings together approximately 45 diverse works that include manuscripts, Books of Hours, single leaves and cuttings, coffrets with early xylographs, and stained glass. Among the artists are: Jean Bourdichon, the Master of the Très Petites Heures d’Anne de Bretagne, Jean Fouquet, Noel Bellemare, Guillaume Barbe, and many others. Some of the themes of the exhibition are: the French Humanism, the Dominance of Paris, the Influence of Italy and the North. They encourage a re-appreciation of the flourishing of the arts at the dawn of the Renaissance.

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Calligraphic Masterpieces

EXHIBITION: Calligraphic Masterpieces. William Morris the Scribe. From the Icelandic sagas to the Rubaiyat of Omar Khayyam, William Morris Gallery (Lloyd Park, Forest Road, Walthamstow E17 4PP, Tel. 020 8496 4390), 19 June – 22 August 2010.

The Gallery’s summer show explores William Morris’ remarkable achievements in calligraphy and manuscript illumination. Morris was enraptured by beautiful books. The exhibition focuses on the 1870s, his most intense period of calligraphic activity. The exhibits demonstrate his extraordinary range of interests from the Icelandic sagas to the Rubaiyat of Omar Khayyam. Important loans from other UK institutions make this a must see for all those interested in the art of writing.

The William Morris Gallery is the only public Gallery devoted to William Morris – designer, craftsman, writer, socialist and conservationist – and displays an internationally important collection illustrating his life, achievements and influence.

Click here to view the site of the William Morris Gallery

Treasures of Lambeth Palace Library

EXHIBITION: Treasures of Lambeth Palace Library, Lambeth Palace Library (Lambeth Palace Road, London SE1 7JU, ph. +44-20-78981400), 17 May – 23 July 2010,

Lambeth Palace Library is one of the earliest public libraries in England, founded in 1610 under the will of Archbishop Richard Bancroft. In celebration of its 400th anniversary in 2010, the Library is opening a fascinating exhibition to the public in the Great Hall of Lambeth Palace.

The exhibition draws upon the Library’s incomparably rich and diverse collections of manuscripts, archives and books, some of which will be on display for the first time. It reveals how the collections have developed since 1610 and explores the history surrounding the people who owned, studied or used them as aids to prayer and devotion.

Highlights of the exhibition include:
* The MacDurnan Gospels, written and illuminated in Ireland in the 9th century
* The Lambeth Bible, masterpiece of Romanesque art
* 13th century Lambeth Apocalypse
* A Gutenberg Bible printed in 1455, the first great book printed in Western Europe from movable metal type
* Books owned and used by King Richard III, King Henry VIII, Queen Katherine of Aragon, Queen Elizabeth I and King Charles I as well as landmark texts in the history of the Church of England
* An exceptionally rare edition of the Babylonian Talmud which survived a 1553 Papal Bull ordering all copies to be burnt, which was rediscovered in 1992
* The warrant for the execution of Mary Queen of Scots
* Papers of archbishops, bishops and leaders of church and state, ranging from the 13th century to the modern day, including papers relating to the rebuilding of St Paul’s Cathedral after the Great Fire and physicians’ reports on the illness of King George III.

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