User:Johnbod/Stavelot

User:Johnbod/The Dead King and his Three Sons

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=========== A painting of a battle or military scene. The great Renaissance battle pictures of Leonardo (Battle of Anghiari 1503–6) and Michelangelo (Battle of Cascina c.1506) are now lost but are known through copies and fragments. This tradition of the heroic battle scene displayed a considerable formal debt to scenes of battle as depicted on classical sarcophagi. The 17th century saw the development of specialist battle painters such as Jacques Courtois (‘Il Borgognone’), Aniello Falcone, and Philips Wouwerman. Battles were also portrayed in tapestries which, from the 17th century onwards, largely took over from fresco as the medium for official military art. In the 19th century there was a renewed enthusiasm for the genre both in Europe and America with the production of many large-scale canvases depicting the numerous battles of that era. Battle-piece - Concise Ox dic of art terms

File:Christen Købke - View of Østerbro from Dosseringen.jpg File:Boudin Beach of Trouville.jpg File:Francesco Guardi 005.jpg

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NOT USED among whom the name of Godefroid de Claire stands out. Abbot Wibald (ruled 1130–58) was one of the greatest patrons of the arts in the 12th century;  and the remaining fragments from the retable (altar screen) at Stavelot are also high points of mediæval art,  with

Much of the finest Mosan metalwork commonly dated to the mid-12th century and later has been attributed on stylistic grounds to Godefroid of huy or his workshop and connected to the patronage of Wibald of Stavelot. There is, however, no firm evidence for these conclusions. Romanesque, §VI: Metalwork grove

Wibald enjoyed great political influence and contributed significantly to the growth of artistic activity in the Meuse area in the middle of the 12th century. Over 400 of his letters have survived, but they contain little information about his patronage. In a famous letter of 1148 he corresponded with a certain aurifaber G about an unfinished work, but this Master ‘G’ cannot be identified with Godefroid of Huy, as some scholars have suggested. Wibald had a head reliquary made for the relics of Pope Alexander I (c. 105–c. 115 AD), which were placed inside on Good Friday (13 April) 1145; it consisted of a silver gilt repoussé bust on a portable altar (Brussels, Musées Royaux A. & Hist.; see [not available online]). Wibald also commissioned three costly retables for the abbey church of Stavelot. One (untraced) had gold reliefs with scenes of the Passion paid for in part by Frederick I Barbarossa and Manuel I. The other two were of silver. One was dedicated to St Remaclus (d 670–76) and contained his reliquary, as can be seen from a drawing of 1661 (Liège, Archvs Etat). All that remains of it are two round champlevé enamel plaques (Frankfurt am Main, Mus. Ksthandwk; Berlin, Tiergarten, Kstgewmus.) and two inscriptions (Stavelot, Trésor). The other, a triptych (New York, Pierpont Morgan Lib.; see [not available online]) with illustrations from the legend of the True Cross, was probably made by order of Wibald to house two small Byzantine Triptychs with relics of the True Cross and Holy Nails, presumably gifts from Manuel I Komnenos to Wibald in 1155–6. The Maasland Triptych (New York, Pierpont Morgan Lib.), which Wibald most likely had made, was clearly based on Byzantine prototypes and later served as an example for several other reliquaries of the True Cross (c. 1160, New York priv. col.; c. 1160, Liège, Sainte-Croix

Landscape painting - Grove The first writer to discuss the aesthetics of landscape was Giovanni Paolo Lomazzo, who in his Trattato dell’arte della pittura (Libro VI, vol. lxii; Milan, 1584) gave a somewhat overwhelming and confused account of different categories of landscape, which nonetheless drew distinctions of lasting importance between ‘privileged places’, enriched with noble architecture, wild landscapes, with forests, rocks and stones, and ‘places of delight’ with fountains, fields and gardens. Clearer distinctions were created by 17th-century theorists, and Roger de Piles established the categories of heroic, or ideal landscape, and pastoral, or rustic landscape. Heroic landscape was the more elevated, yet as a whole landscape remained low in the hierarchy of the genres, placed by André Félibien higher only than fruit and flower paintings. The ideas were developed in northern Europe by such theorists as Karel van Mander, Samuel van Hoogstraten and Gérard de Lairesse. The categories developed in this period persisted, with variations, until the 19th century.

In the 18th century, however, landscape was enriched by new aesthetic ideals; Edmund Burke’s treatise on the Sublime was widely influential, and such theorists as William Gilpin and Uvedale Price created another ideal, the Picturesque, a category between the Sublime and the Beautiful. In 1817 the Académie des Beaux-Arts in Paris founded a new Prix de Rome for paysage historique, but nonetheless the traditional academic hierarchy perished in the 19th century. Writings on landscape, for example those by John Constable and John Ruskin, were concerned rather with the problems of naturalistic landscape. From the early years of the 20th century there was a great deal of critical writing on landscape. Initially, the writers tended to concentrate on development of style and of a modern attitude to nature in landscape painting. Kenneth Clark’s Landscape into Art (1949), which discusses such landscape themes as fantasy and naturalism, remains the best short introduction to the subject

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German artSource: The Oxford Companion to Western Art

In the course of the century, an increasingly widespread form of mystical piety provoked a taste for small devotional works of intimate character, determined by habits of private meditation and greatly assisted by the development of the print medium. In the Bavarian south, this affective piety manifested itself in an extreme form of violent and subjective realism developed around the image of the suffering Christ and the Passion story.

In 1755, Winckelmann published his Gedanken über die Nachahmung der grieschischen Werke in der Malerei und Bildhauerkunst, which gave theoretical foundation to an emerging neoclassical movement that was to spread all over Europe. The painter Mengs was regarded as the leading exponent of this style in painting, although most of his career was spent in Italy and Spain. academies, which sprung up in many major cities such as Stuttgart (founded 1761) or Dresden, encouraged a form of history painting along the lines of David, under such figures as Philipp Friedrich von Hetsch and Adam Friedrich Oeser. The sculptor Schadow brought the ideals of Canova to Germany.

The 1780s saw the emergence of the Sturm und Drang movement, which attempted to overturn the ethos of the German Enlightenment. This was the first of a series of revolutionary periods which have punctuated the continuity of German culture in the course of the last two centuries. It served to effect a reaction among artists away from a prevailing academic classicism into a kind of art that was subjective and personal. In 1809, a group of Viennese painters, chief among them Overbeck and Pforr, formed a so-called Lukasbund (see Nazarenes), modelled on the idea of the medieval guild, and took up residence in an abandoned monastery outside Rome. Deeply pious, yet disillusioned by the existing forms of religious art, they sought a spiritually pure form of expression, taking as their model the art of Dürer and of Raphael, and developing a lighter palette and more ‘primitive’ figure style. Their work may be seen in the larger European context of the growing Gothic Revival, the reaction against the classical taste, and the wider Romantic movement (see Munich).

In Dresden and Hamburg, Caspar David Friedrich and Runge sought a similar spiritual renewal through the agency of Nature. Friedrich's landscapes express the immanence of the divine in a nature that is both majestic and mysterious. Typically, references to an ancient and simple Christian piety—a wayside Crucifix, a ruined Gothic church—are set within landscapes both bleak and mysterious and charged by a symbolism of form derived from older religious art. Runge, by contrast developed both an obsessional realism, as in his portrait group The Hülsenbeck Children (1805; Hamburg, Kunsthalle), and a form of allegory, expressed in a heightened neo-Raphaelesque style. The Romanticized landscape spawned a whole generation of followers and variants of which those of Karl Blechen achieved a particular prominence in the 1830s.

As in France and England, the nationalistic impulse of the Romantic movement manifested itself most notably in a form of history painting, devoted to stirring patriotic themes, exemplified by the works of Alfred Rethel and the Düsseldorf School. At the other pole of popular taste, a form of ‘petty bourgois’ genre and portraiture grew out of the Biedermeier taste. In the face of this, the tradition of classical idealism was maintained by Anselm Feuerbach, Hans von Marées, and, in sculpture, by A. von Hildebrand. The most gifted painter to emerge from the Biedermeier milieu in the 1830s was the Berlin artist Adolph von Menzel