#champmol

[postcard-from-the-past]

14th-century former Carthusian monastery of Champmol in Dijon, turned into a mental asylum and still serving as a psychiatric hospital these days, Burgundy region of France

French vintage postcard

[themuseumwithoutwalls]

MWW Artwork of the Day (6/12/24) Michelangelo Buonarroti (Italian, 1475-1564) Detail: Moses (1513-15) Marble statue San Pietro in Vincoli, Rome

From the 12th century, Moses is occasionally shown with horns (e.g. Claus Sluter, Well of Moses, 1395-1403, Charterhouse at Champmol, Dijon; Michelangelo, Tomb of Pope Julius II, 1513-16, San Pietro in Vincoli, Rome). These are explained by a mistranslation in the Latin Vulgate (not followed in the Authorized Version of the Bible). In the Book of Exodus (34:29-35), it is written that Moses' face shone brightly after witnessing God's Glory on Mount Sinai and returning with the second Tables of Law. St. Jerome translated the Hebrew verb for shine, similar to the word 'geren' (horn), by 'cornatus', horned: "Videbant faciem Moysi esse cornatum (They saw that Moses' face was horned)."

[amyasgothique]

|TOMB OF PHILIPPE POT| Attributed to Antoine le Moiturier •(c1425-1497)• Coming from the #abbey of Citeaux, the #tomb of Philippe Pot, a great syncopation of Burgundy who died in 1493, has been attributed to Antoine le Moiturier, also known as "maestre Anthoniet", for the evident #stylistic and compositional references also present in the #tombs of Champmol in Dijon. The deceased, locked in his armour, is carried by 8 hermetically sealed #figures in their gloomy mourning #clothes. Here, too, one can feel the importance Claus Sluter had in his #artistic career. #abbeyofciteaux #philippepot #champmol #dijion #burgundy #1493 #maestreanthoniet #antoinelemoiturier #monumental #monumebtaltomb #🎩 @be_amyas (at Citeaux Abbaye, Bourgogne, France) https://www.instagram.com/p/CAjFOa2Hz2U/?igshid=mnu16c5xxblm

[beautiful-belgium]

Unknown master (possibly Melchior Broederlam) - Nativity, part of the Antwerp-Baltimore Quadriptych ( c. 1380), Museum Mayer van den Bergh

“A small, folding altarpiece of which one half (the Annunciation, Baptism of Christ, Crucifixion) belongs to the Walters Art Museum, Baltimore, and the other (the Nativity, Resurrection, Saint Christopher) to the Museum Mayer van den Bergh, Antwerp. This extremely important masterpiece is one of the earliest paintings of the Netherlandish school. The style suggests that the artist came from Guelders, in the northern Netherlands, as did the famous Limbourg brothers, who settled in Paris. The overall theme of the six scenes--Annunciation, Nativity, Crucifixion, Resurrection, Baptism, Saint Christopher--is the divinity of Christ and the certainty of salvation. It is one of the earliest works where we find evidence of oil paint, a medium that, through its translucency, helps to bring out the richness and vibrancy of details from nature, such as the fish swimming in the Jordan River. The realism for which 15th-century Northern European painting is known is evident in the close attention paid to describing nature with such detail. The altarpiece can be traced back to the Carthusian monastery of Champmol near Dijon, France, founded by Philip the Bold (1342-1404), Duke of Burgundy, and surely was made for Philip to take on his travels.”

[skyeventide]

Bewilderment and anguish are also mirrored in the exercise of religious piety. One of the favourite subjects of figurative arts is the burial of Christ, and the cortege of the Virgin and the apostles has ample part in it, acting out a suffering that has the face of current affairs. The crucified Christ no longer is the triumphant Christ of the 12th century, with flaming eyes to remind of the imminent resurrection and final triumph: « it's a cadaver in which are reflected the terrifying signs of torture and death ». Funerary art gains an exorbitant emphasis: Claus Sluter owes his fame to the chapel of the charterhouse of Champmol and to the tomb of Philippe le Hardi, first duke of Bourgogne. Enveloped in dark cassocks, his figures in lamentation let us glimpse their features in partial view, contracted by an unhealing suffering.

Excess is everywhere, even in the sermons of preachers, which mingle the ardour of fire and atrocious cold, worms and hunger, chains and darkness, filth and screams: the representation of hell's torments, in everything alike to those of earthly life, deliberately attempts to create a vertigo of horrors. It's an endless spiral: like « a patient who got used to too-strong remedies, man only reacted to the most energic of stimulants. In order to make a virtue shine in all its splendour one had to resort to extreme examples, that a more balanced moral conscience would be inclined to consider a parody of virtue »: we glorify the patience of Saint Giles who, wounded by an arrow, prays God to keep the wound open all his life; we praise the sobriety of saints who blend their food with ashes.

— Ernesto Ferrero, Barbablù translated by yours truly

[cma-medieval-art]

Saint John the Baptist in a Landscape, Petrus Christus, c. 1445, Cleveland Museum of Art: Medieval Art

The overall style of this painting suggests that it was painted by an artist closely associated with the Netherlandish painter Jan van Eyck. The facial structure of the saint as well as the artist’s treatment of his cloak are typical of van Eyck’s follower, Petrus Christus. Christus was active in the city of Bruges and was a probable pupil and successor to Jan van Eyck, with whom his paintings have often been confused. Here, Christus depicts John the Baptist as an isolated, monumental figure without his typical hairshirt or other references to his life. This approach is derived from Claus Sluter’s monumental image of Saint John from the portal at Champmol and from manuscript illuminators working for Philip the Bold and his brother Jean de Berry. Here, John holds the Lamb of God, a symbol of Christ’s sacrifice and a reference to John’s proclamation of Christ’s redemption of humankind. Upon his death, Christus was succeeded by Hans Memling as the next great painter in Bruges. Size: Unframed: 40.2 x 12.5 cm (15 13/16 x 4 15/16 in.); Painted surface: 39.6 x 11.5 cm (15 9/16 x 4 1/2 in.) Medium: oil on panel

https://clevelandart.org/art/1979.80

[ghostcanvas]

Melchior Broederlam, Champmol Altarpiece (wings) (1393–1399)

[ilariapapillo]

Malchior Broederlam, Altare di Champmol e particolare con l’Annunciazione, 1399, Musée des Beaux-Arts, Francia

[heyitsararts]

ALTARE DI CHAMPMOL

Nome🍁: Altare di Chapmol

Autore🍁: Melchior Broederlam

Data🍁: 1393-1399

Materiale e tecnica🍁: tempera su legno

Contesto originale: Melchior Broederlam fu un pittore fiammingo attivo nelle Fiandre sul finire del XIV secolo. Questi due trittici sono le uniche due opere sicuramente attribuite a lui.

Stile e descrizione🍁: Le quattro scene dipinte sul dorso dei pannelli laterali sono relative all'infanzia di Cristo: abbiamo Annunciazione e Visitazione a sinistra e Presentazione al tempo e Fuga in Egitto a destra. Le due strutture architettoniche sicuramente richiamano Giotto poiché infatti definisco e suddividono gli spazi, e in questo modo consentono la rappresentazione di quattro diverse scene : dunque lo stile di Broederlam è compreso nel gotico internazionale. In ogni caso, comunque l'artista riesce ad avvicinare l'opera all'ambiente alla quale era destinata, ossia un monastero, tramite una rappresentazione interiorizzata del paesaggio e un'attenzione alla forza espressiva delle figure. Abbiamo dunque dei riferimenti a modelli italiani, come la Presentazione al Tempio infatti si rifá a quella di Ambrogio Lorenzetti. Troviamo un'innovativo utilizzo dell'olio e un sottomodellato a tratteggio, costituito da lunghe e distanziate pennellate incrociate. Broederlam sarà infatti poi ripreso da artisti come Robert Campin e Jan van Eyck.

Collocazione attuale🍁: Digione, Museo delle Belle Arti

Durante il terzo millennio del 400, anche la pittura fiamminga si evolve velocemente. Nelle Fiandre infatti, ci fu un passaggio tra il gotico cortese a maniera nuova di fare arte, ma non fu così brusco come in Italia: infatti non ci fu nessuno recupero della classicità, che non faceva parte della cultura fiamminga. La pittura nordica non poneva l'uomo al centro, come decisamente faceva il Rinascimento Italiano, ma curava un'attenta indagine alla realtà che portava gli artisti a cercare di riprodurre le scene nei dettagli più minimi (abiti, arredi, piante, animali...).

Inoltre con la pittura fiamminga abbiamo lo sviluppo di un nuovo stile pittorico, la pittura ad olio, che permette di ottenere una stesura del colore trasparente e luminosa, che si adatta meglio ad una resa naturalistica della realtà.

[banji-effect]

Pleurant from Champmol

[raskolnikoffnbksawyer]

Henri BELLECHOSE Le Retable de saint Denis (détails).

211 x 162 cm

Bois transposé sur toile en 1852, fond d'or, achevé en 1416. Retable destiné à l'église de la chartreuse de Champmol, près de Dijon.

Musée du Louvre, Paris, France.

[sofiartidote-blog]

Melchior Broederlam, Altare di Champmol, 1393-1399, tempera su tavola, Musée des Beaux-Arts, Dijon.

Annunciazione, pannello di sinistra.

[coloursofmyroom]

De retour du Musée des Beaux-Arts de Dijon

Récemment rénové, c’est l’un des plus beaux musées des Beaux-Arts que j’ai eu l’occasion de visiter (malgré le parcours un peu déconcertant...), qui m’a impressionné tant par la qualité que par l’ampleur des collections : 46 salles, de l’Antiquité à la seconde moitié du XXe siècle. Les salles consacrées à l’art médiéval sont parmi les plus riches. Ce panneau d’un polyptyque de Konrad Witz, L’Empereur Auguste et la Sybille de Tibur est une évocation particulièrement saisissante de l’espérance et de la foi, tandis que les toiles de nombreux peintres primitifs suisses et allemands, plutôt rares dans nos musées, partagent un style insolite, “rebondi”, coloré et truculent, attentif aux détails (Retable de la Passion du Maître à l’oeillet de Baden ; Chevauchée des Rois Mages du Maître de la Déploration de Saarnen).

Mais le clou de cette section médiévale est à chercher du côté des six salles consacrées au Moyen-Age bourguignon : la série des portraits des quatre ducs ; les extraordinaires retables en bois doré commandés en 1390 à deux flamands,  Jacques de Baerze et Melchior Broederlam, pour la chartreuse de Champmol, qui sont d’une richesse, d’une souplesse et d’un raffinement extraordinaires (voir ci-dessous) ; et, naturellement, les deux tombeaux de Philippe le Hardi et de Jean Sans Peur et Marguerite de Bavière, dont les pleurants en albâtre, tous différents, émeuvent par leur détresse silencieuse.

La Renaissance est également bien illustrée : Pontormo, l’Ecole de Fontainebleau, Titien et surtout Véronèse avec son admirable Moïse sauvé des eaux (ci-dessous) aux coloris éclatants, à la touche vive, à la composition théâtrale dont l’harmonie ‘exclut pas un goût pour le bizarre, avec le nain et le jeune valet noir. Pour revenir au foyer bourguignon, il faut mentionner encore l’étonnante armoire du sculpteur et ébéniste Hugues Sambin (auteur également de la Maison Maillard et d’une porte du Palais de Justice de Dijon) qui développe un langage ornemental d’une grande profusion marqué par des influences antiquisantes et italianisantes.

Moins touché par les collections des XVIIe et XVIIIe siècles, je retiendrai toutefois le Souffleur à la lampe de Georges de La Tour. A l’étage inférieur, belle salle des Statues néoclassique, dominée par l’admirable Hébé et l’aigle de Jupiter de François Rude. Une salle entière est ensuite consacrée au sculpteur dijonnais et à son épouse, Sophie Frémiet, peintre en vogue sous le Second Empire. C’est toujours un plaisir de découvrir les artistes locaux : Félix Trutat, dont la triste et troublante Bacchante annonce l’Olympia de Manet, François Pompon ou Félix Ziem, dont le Constantinople (ci-dessous) conjugue une lumière turnerienne et une touche riche et empâtée.

Gustave Moreau, Jean-Jacques Henner (avec un émouvant Réveil de l’enfant), Courbet, Guillaumin, Monet, Tissot complètent, entre autres, ces salles très agréables. Le XXe siècle est composé presque exclusivement de la donation Granville, où la Seconde école de Paris est abondamment représentée : nombreux Maria Helena da Silva, Bissière, Poliakoff, Estève, Soulages, Pagava, Manessier, Bazaine... Mais surtout une dizaine de toiles de Nicolas de Staël, réalisées entre 1945 et 1952, durant une période de retour à la figuration, sensible dans la très belle série des Footballeurs, dont le ballet heurté tente de s’extraire de la pesanteur de la matière.

[cma-medieval-art]

Mourner from the Tomb of Philip the Bold, Duke of Burgundy (1364-1404), Claus de Werve, 1404-10, Cleveland Museum of Art: Medieval Art

Throughout most of their history these alabaster mourners have evoked a sense of awe and mystery as well as curiosity and admiration. They were originally arranged in processional order around the sides of the ducal tomb within a marble arcade in the Chartreuse de Champmol. The realistically carved mourners remain the most famous elements from Philip the Bold’s tomb. Carved by Claus de Werve, no two are alike. They retain minute details of costume and features, and the faces of some are nearly portrait-like in their depiction of facial creases and expression, suggesting actual individuals, while the faces of others are partly obscured by their cowls. Size: Overall: 41 x 12.7 x 15 cm (16 1/8 x 5 x 5 7/8 in.) Medium: vizille alabaster

https://clevelandart.org/art/1958.66

[a-burgundian-in-paris]

A Conference Gone Wrong (Montereau, 1419):

Assassination of John the Fearless, duke of Burgundy, during a failed peace conference he held with dauphin Charles and other Armagnac leaders on the bridge of Montereau (10th September 1419). Soon thereafter his son Philip sealed an alliance with Lancastrian invaders, which led to the new Anglo-Burgundian regime established by the treaty of Troyes. An old story holds that a century later, while visiting the charterhouse of Champmol where John was buried, French king Francis I was shown the duke's skull and, as he noticed a big gash in it, the monk who served him as a guide allegedly remarked: 'Sire, c'est le trou par où les Anglois passerent en France' ('My lord, that's the hole through which the English entered France'). Enguerrand de Monstrelet's Chronique: Paris, BnF, ms. Français no. 5084, fol. 1r (detail). #burgundy #valoisburgundy #medieval #illuminatedmanuscript #johnthefearless #jeansanspeur #bnf #gallica #ducsdebourgogne #armagnacsetbourguignons #hundredyearswar #moyenage #dukeofburgundy #frenchhistory #history #middleages

[jmeier15-blog]

Week 2 blog post

In reading chapter 14, it was all about the Renaissance period and how it developed over that time period. I found that the paintings were interesting and was intriguing to see how different artists depicted very similar paintings with their own styles. For instance, the Madonna Enthroned painting by Cimabue and the Madonna Enthroned painting by Giotto. They are the same painting in general but each artists has their own way of representing the smaller aspects of it.

In the chapter, the paintings were interesting, however, I was more drawn to the sculptures. I found this odd for me as typically I like painting more than sculpture. I found that this era and style of art was not so much the style that I am drawn to. Whenever I am out driving or shopping or doing anything in my day to day, I like to look at different scenarios and scenery as what they would look like if I were to paint them or photograph them. Thinking of how would they differ from the actual moments I see visually is what draws me to art in general.

The sculptures by Claus Sluter, 'Chartreuse de Champmol' and 'Well of Moses' are both very intricate in design. They are animated by the way the artist places the folds in the clothing and the way he brings realism to the statues as together they create a story.

In 'Chartreuse de Champmol' he has Mary standing center gazing at baby Jesus while the others gaze at her adoring her child. Mary looks upon her child as though she sees no one else. I can relate to this statue in certain aspect. Having children myself, I can understand that moment shared between a mother and a new child. It's as though the world around you disappears, the pain and fear from the past hours melt away as you gaze upon your newborn. There are even spectators that take in the moment of you and your new child, be it the father, your parents or anyone else close to you who was able to share in that moment. I believe that this moment is captured in this sculpture.