#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

[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 ✅️

[themuseumwithoutwalls]

MWW Artwork of the Day (1/25/23) Limbourg Brothers (Dutch, fl. 1385–1416) Les Très Riches Heures du Duc de Berry: Fall and the Expulsion from Paradise (c. 1416) Tempera on vellum, 29.4 x 21 cm. Musée Condé, Chantilly

The picture has no frame, the border of the whole representation being provided by the wall of Paradise. It is from this frame that Adam and Eve have to enter a world which has no boundaries, in which the very shores of the sea vanish, apparently turning into clouds in the infinity of space. Although the ground of the Garden of Eden is stretched behind the figures like a tapestry, it is not merely a decorative surface, since the gradual darkening of the fresh green lawn conveys spatiality. In fact the hardly discernible nuances of green seem to lend the circle a spherical quality. The painter's intention in this respect is also evinced by the use of perspective in the delineation of the fountain and also of the gate (for example, the roof of the fountain is seen and represented from below, whereas its hexagonal basin appears as if seen from above; indeed, the latter does not turn as steeply into the plane of the picture as does the ground itself).

For more Medieval illuminated manuscripts, see this MWW Special Collection: https://www.facebook.com/media/set/?vanity=TheMuseumWithoutWalls&set=a.419770264795015

[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

[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]

[isadomna]

Jean Gossaert (copia): «Retrato de Mencía de Mendoza», 1532-1535. Musée Condé, Chantilly.

She was Marchioness of Zenete, Countess of Nassau, Duchess of Calabria and Vicereine of Valencia

She was a leading figure of the Renaissance in the Netherlands and known for her progressive opinions of the education of women.

A disciple of Juan Luis Vives, she was an admirer of Erasmus of Rotterdam. Mencia de Mendoza was called the most Erasmian woman in Spain.

However, the artistic patronage of Mencía de Mendoza did not stop at acquiring works of art, but included more public initiatives, such as the University of Valencia project or the patronage of students from Valencia, on whom she bestowed grants for studying at different Spanish and European universities. At the same time, the Marchioness of Zenete emerges as a key figure for analysing artistic‐cultural relations between Spain and the Low Countries in the first half of the sixteenth century. Her relationship with other Spaniards, both those living outside Spain, such as Felipe de Guevara or Juan Luis Vives, and those within, who acted as her intermediaries in the purchase of works of art, was also important in this respect. As patron and intermediary, Mencía de Mendoza acted as ‘cultural ambassador’ for Spanish art in Breda and for Flemish art in Castile and Aragon.

Noelia García Pérez, Mencía de Mendoza, Marquesa de Zenete: an art collector in sixteenth‐century Spain

[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