#musée condé

[dreamconsumer]

Louis-Philippe d'Orléans, dit le Gros (1725-1785). Par Nicolas-André Courtois.

[artesplorando]

Musée Condé

[marionsinspirations]

[francepittoresque]

EXPOSITION | Ingres, l'artiste et ses princes ➽ https://bit.ly/Exposition-Ingres Artiste à succès de la première moitié du XIXe siècle, Jean-Auguste-Dominique Ingres (1780-1867) est un peintre inclassable et souvent visionnaire. Derrière son apparent classicisme transparaissent une originalité et une recherche de la perfection qui continuent à fasciner

[cuties-in-codices]

flying tortoise

in an illuminated collection of fables, swabia, ca. 1480

source: Chantilly, Musée Condé, Ms. 680 (olim 1389), fol. 85v

[centuriespast]

CARRACCI, Annibale Sleeping Venus c. 1602 Oil on canvas, 190 x 328 cm Musée Condé, Chantilly

[artthatgivesmefeelings]

Louis de Boullogne II, Attributed (French, 1654-1733) Portrait du comte de Toulouse en costume de novice de l'Ordre du Saint-Esprit (The Count of Toulouse in the habit of a novice of the Holy Spirit), 1693 Chantilly, musée Condé

[canvasmirror]

Jean-Auguste-Dominique Ingres (French, 1780-1867) • Self-Portrait, Aged 24 • 1804 • Musée Condé, Chantilly, France

"Drawing is the honesty of art.”— Jean-Auguste-Dominique Ingres

[allegorypaintings]

Allegory

Artist: Piero di Cosimo (Florentine, 1462-1522)

Date: c. 1500

Medium: Oil on panel

Collection: National Gallery of Art, Washington, DC, United States

Overview

Best known for his portraits, altarpieces, and religious and mythological narratives, Piero di Cosimo created only one surviving allegory. In this painted personification of abstract concepts, a winged woman, largely nude despite her two layers of mantles secured by knots, extends a sprig of juniper and daintily holds a rearing stallion by a string. She has been convincingly identified as Chastity, who effortlessly contains the forces of Lust embodied by her virile steed. The figures occupy a rocky island adorned with barren trees, surrounded by a misty waterscape. The double-tailed mermaid who energetically parts the seas before them may be understood as a siren symbolizing the dangers of carnal passion.

In the Renaissance, recondite allegories such as this often adorned the covers and reverses of portraits, testifying to the virtues of their sitters. Piero’s panel may originally have decorated his likeness of Simonetta Vespucci in the guise of Cleopatra (Musée Condé, Chantilly). The work’s spare execution and delicate gray tonalities, punctuated by the brilliant red of the lady’s costume, would befit this secondary function. The evocative, even impressionistic atmosphere that envelops the figures is typical of Piero, whose powers of fantastic invention are matched by careful attention to the natural prospect.

[resplendentoutfit]

Joos van Cleve (Dutch, c. 1485-1540/1541) • Portrait of Eleanor of Austria • c. 1530 • Musée Condé, Oise, France

Details

The Resplendent Outfit: The outrageous, extravagant, sometimes humorous and often beautiful outfits worn by subjects of old portraits; captioned, as an attempt at satire; a little history occasionally thrown in the mix.

Outrageous

Extravagant ✅️

Humorous

Beautiful ✅️

[wonder-worker]

Marguerite de Navarre’s discussion of courtly love, La Coche (The Coach) (1541–42), was dedicated to [Anne de Pisseleu]. The relations between Marguerite and Anne were complex. Sometimes described as rivals, they often shared tactical objectives in court politics and, though Marguerite was waspish about many others in her talks with foreign envoys, she never was about Anne. There was clearly also some sympathy between them in matters of religion, which in Anne’s case developed later into Protestantism. Marguerite’s poem is a discussion about the miseries and pains of love, which are submitted by Marguerite to the arbitration of Madame d’Étampes in the absence of her brother the king. The text also contains an extended eulogy of Anne (though not named directly) in which she is likened to ‘a sun midst stars who spares nothing for her friends, nor stoops to vengeance on her foes’. Marguerite addresses her as cousin and mistress. There are several illuminated copies, the best known in the Musée Condé showing Marguerite presenting the work to Anne."

-David Potter, "The Life and After-Life of a Royal Mistress: Anne de Pisseleu, Duchess of Étampes"

[royalty-nobility]

King Henry III of France on Horseback

Artist: French School

Date: c. 1580-1589

Medium: OIl on panel

Collection: Musée Condé, Chantilly, France

Henry III of France

Henry III (19 September 1551 – 2 August 1589) was King of France from 1574 until his assassination in 1589, as well as King of Poland and Grand Duke of Lithuania from 1573 to 1575.

As the fourth son of King Henry II of France, he was not expected to inherit the French throne and thus was a good candidate for the vacant throne of the Polish–Lithuanian Commonwealth, where he was elected monarch in 1573. During his brief rule, he signed the Henrician Articles into law, recognizing the szlachta's right to freely elect their monarch. Aged 22, Henry abandoned Poland–Lithuania upon inheriting the French throne when his brother, Charles IX, died without issue.

France was at the time plagued by the Wars of Religion, and Henry's authority was undermined by violent political factions funded by foreign powers: the Catholic League (supported by Spain and the Pope), the Protestant Huguenots (supported by England and the Dutch) and the Malcontents (led by Henry's own brother the Duke of Anjou and Alençon, a party of Catholic and Protestant aristocrats who jointly opposed the absolutist ambitions of the king). Henry III was himself a politique, arguing that a strong and centralised yet religiously tolerant monarchy would save France from collapse.

After the death of Henry's younger brother Francis, Duke of Anjou, and when it became apparent that Henry would not produce an heir, the Wars of Religion developed into a succession crisis, the War of the Three Henrys. Henry III's closest heir was his distant cousin, King Henry III of Navarre, a Protestant. The Catholic League, led by Henry I, Duke of Guise, sought to exclude Protestants from the succession and championed the Catholic Charles, Cardinal of Bourbon, as Henry III's heir.

Henry had the Duke of Guise murdered in 1588 and was in turn assassinated by Jacques Clément, a Catholic fanatic, in 1589. He was succeeded by the King of Navarre who, as Henry IV, assumed the throne of France as the first king of the House of Bourbon and eventually converted to Catholicism.

[aurelianasrandomramblings]

Widow robes of a noble lady in the first half of the 18th century

"Louise Françoise in widow robes (by Pierre Gobert, 1737). Musée Condé"

source: wikipedia

[themuseumwithoutwalls]

MWW Artwork of the Day (12/27/23) Limbourg Brothers (Dutch, fl. 1385–1416) Les Très Riches Heures du Duc de Berry: Adoration of the Magi (c. 1416) Tempera on vellum, 29.4 x 21 cm. Musée Condé, Chantilly

The elaborately costumed Magi and their colorful entourages, complete with dromedaries and cheetahs, converge on the rickety stable in Bethlehem to pay homage in the decorous manner of court etiquette. Mary attended by six charming maidens, sits frontally to the left while her nude infant blesses the eldest Magus kneeling before him. The elegant composition with its rich surface pattern and bright colors was to become a standard formula for the Adoration of the Magi, north and south, replacing the more simplified versions in which only the three kings appear before the stable.

[dreaminginthedeepsouth]

Jean Colombe, The Pentecost from Les Très Riches Heures de Jean, duc de Berry (1485). :: The Virgin surrounded by the apostles receives the holy spirit in a basilica

Musée Condé, Chantilly Ms 65/1284 f.79r :: (Robert Scott Horton)

* * * *

Pentecost is an invitation to dream. For when a community of faith quits dreaming dreams, it has little to offer either its members or the wider world.

Like any good dream, these dreams involve adopting a new perspective on what's possible, rousing our creativity to free us from conventional expectations. They help us see that maybe what we thought was outlandish actually lies within reach. Maybe I can find freedom from what binds me. Maybe there can be justice. Maybe I can make a difference. Maybe a person's value isn't determined by her income. Maybe the future of our economy or our society or our planet is not yet determined. Maybe God is here with me, even if my current struggles never go away.

~ Matthew L. Skinner, a professor of New Testament at Luther Seminary Illustration : What We Do For Love ~ Catherine G Mcelroy [h/t Paul Corby]

[cuties-in-codices]

"the dog and its reflection"

in an illustrated collection of fables, swabia, ca. 1480

source: Chantilly, Musée Condé, Ms. 680 (olim 1389), fol. 20v