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portraitist from 1780 to 1783. He painted several pictures of the grand princes and also began a portrait of the empress herself. 12 According to his contemporary, the painter Edward Edwards, Brompton’s work was “well received” among both aristocratic and artistic communities, but his personal life proved

In: Courtly Gifts and Cultural Diplomacy

be taken into account. In this text, starting from the collecting of the Polish aristocrat Count Edward Aleksander Raczyński (Fig. 2.1), I intend to make a number of generalisations. This approach is motivated by the fact that despite their nationality, members of the aristocracy shared the same

In: Mapping Art Collecting in Europe, 1860-1940

Part one IconograPhIc InventIon In the LIfe of Mary MagdaLene chapter one the MagdaLene as MIrror: trecento francIscan IMagery In the guIdaLottI-rInuccInI chaPeL, fLorence Michelle a. erhardt “Peccatrice Nominata, Madalena da Dio amata” (called the sinner, Magdalene, beloved of god) sings the

In: Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque

dozen startlingly direct paintings that stand apart even in a Netherlandish tradition famed for its portraiture. 6 Floris’s life-size subjects, such as Woman with a Dog (fig. 6.24; cat. P.130), confront us directly. The dim, mottled, and thinly painted background serves to propel the sitter into the

In: Frans Floris (1519/20–1570): Imagining a Northern Renaissance

Vita di Ranieri (Life of Saint Ranieri) provides an example of hagiographic writing detailing the life of the lay saint Ranieri of Pisa. In the text the author claims to be a member of the local Benincasa family, living during the last decades of the twelfth century, and a contemporary follower of the

In: A Companion to Medieval Pisa

biographies. He was, after all, a painter whose selling points were so closely connected to his patience and his “hand.” 29 As we have seen, however, pictorial and documentary evidence challenge this straightforward characterization. By the 1640s, Dou was the most famous living artist in his hometown of

In: Making Copies in European Art 1400-1600

one portrait of Niclaes Jonghelinck has come down to us, but Carl Van de Velde and Iain Buchanan have uncovered a wealth of documentary evidence about his life and mercantile activities. 11 Jonghelinck was born in Antwerp in 1517 and died there suddenly in 1570. 12 Although untitled, his family

In: Frans Floris (1519/20–1570): Imagining a Northern Renaissance

not open the sealed virginity” 35 —and that at the same time converts her into a fountain overflowing with water—to wit, a dispenser of graces which, unlike Egyptian waters (i.e., worldly pleasures), do provide eternal life. 36 So, these three symbols—the sealed fountain, the well of living waters

In: Applied Emblems in the Cathedral of Lugo

Brussels a religious procession with in between representations of saints and the life of Christ a wagon with a (man dressed like a) bear playing an organ with the chords attached to the tails of twenty living cats. The courtly specta- tors were intrigued by this ‘extravagance’.9 Also, a famous cat

In: The Anthropomorphic Lens

-breaking and image removal were multi-faceted phenomena, and the fate of Floris’s art in the violence of 1566 is a complex matter that has never been thoroughly explored. Scholars now contend that the Iconoclasm, while perhaps theologically motivated, was more orderly and focused in nature than the writings of

In: Frans Floris (1519/20–1570): Imagining a Northern Renaissance