#musée de Condé

[marionsinspirations]

[dreamconsumer]

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

[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

[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"

[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

[turangalila]

Matheus de Sancto Johanne (– ca.1391) — Je chante un chant en merencoliant (Rondeau - isorhythmic) [(fol.16r) MS 564 (Chantilly Codex). Musée Condé, Chantilly, France]

Je chante ung chant en merencoliant. a cort de plour en ris desacordé. Ma dame quant de s'amor vois priant.

Doucour n'i truis je, ne nuil beau semblant. s'en sui mort quant ne m'en voy acorder.

—  Inclite flos orti Gebennensis (Ballade) [(fol.41r) MS 564 (Chantilly Codex). Musée Condé, Chantilly, France] [(fol.15r) MS {alpha}.M.5.24 (Codex Modena A; ModA) Biblioteca Estense, Modena, Italy]

Inclite flos orti Gebenensis Cuius odor balsamis dulcior, Prestantibus roribus immensis Orbem replet ceteris altior.

Salveque iocundare nec ad teram velis declinare propter paucum ventum. Nam dicitur: In adversis virtus perficitur

_ CODEX CHANTILLY vol.3 Tetraktys (2016, Olive Music – KTC 1917)

[gogmstuff]

Mostly undated images of Louise Marie d’Orléans, first Queen of the Belgians (from top to bottom) -

La Princesse Louise d'Orléans by Villain (Royal Collection - RCIN 616217). From their Web site; fixed foxing & spots w Pshop 1613X2000 @300 714kj.

Louise of Orléans (1812-1850), Queen consort of the Belgians by Gustaaf Wappers (location ?). From liveinternet.ru/users/4000579/post313359485; fixed spots w Pshop & enlarged to screen 1778X2700 @144 1.7Mj.

Marie-Louise d'Orleans by Joseph-Desire Court (Musée Condé - Chantilly, Hauts de France, France). From french-painters.blogspot 650X769 @96 110kj.

Louise by Adolph Mouilleron (Royal Collection - RCIN 612115). From their Web site 1265X2000 @300 1.1Mj.

ca. 1851 Louise, Queen of the Belgians by Guglielmo Faija (Royal Collection - RCIN 422341) 624X750 @150 150kj.

[coulisses-onirisme]

Sasseta, Mariage mystique de Saint François (musée Condé, Chantilly) La charité, la pauvreté, l'humilité.

Le Monstre marin ; L'Enlèvement d'Amymoné (autre titre)

Titre

Le Monstre marin ; L'Enlèvement d'Amymoné (autre titre)

Auteur

Dürer Albrecht En savoir plus

Création

Date de création

1498 vers

Description

L’une des estampes les plus mystérieuses de Dürer, baptisée par ce dernier le « Monstre marin » (Meerwunder) dans son Journal aux Pays-Bas, semble convoquer l’un des mythes germaniques auxquels on aime généralement associer l’artiste. Un monstre mi-homme mi-poisson, affublé de bois de cerf et brandissant une carapace de tortue en guise de bouclier, enlève une jeune princesse, coiffée, selon les interprétations, à la milanaise ou à l’orientale. Elle lance un regard aussi éploré que résigné vers la rive où elle prenait les eaux avec ses compagnes terrorisées, alors qu’accourent ses parents désemparés. Ce drame marin s’inscrit dans un paysage alpin, devant un château semblable à celui de Nuremberg, tandis qu’au fond apparaît dans le lointain un petit bateau que le monstre semble redouter. Dürer fait preuve ici d’une maîtrise absolue de la technique du burin, disposant un dense réseau de lignes horizontales pour ménager des reflets sur l’eau et former un fond plus sombre qui met les figures en valeur. La scène d’enlèvement, hautement sensuelle, semble n’être qu’un prétexte pour graver un gracieux nu féminin à l’antique. C’était une préoccupation partagée par son contemporain Jacopo de’ Barbari, qui reprit le motif de la nudité alanguie dans la Victoire se reposant parmi les trophées : la construction du corps, le placement des bras, la lumière venant de la droite ou le traitement de la poitrine sont rigoureusement identiques. Jacopo réutilisa cette même pose pour sa gravure religieuse de la Vierge à l’Enfant qui fut diffusée en Allemagne (voir par exemple sa reprise dans le relief de Hans Daucher, Bâle, Historisches Museum, inv.-Nr.1932.1159, vers 1515). Les échanges entre Dürer et Barbari étaient en effet nourris : ce dernier avait d’ailleurs proposé un peu plus tôt un triton comparable au monstre dürérien (gravure de Triton et Néréide, vers 1496-1497) ; tous deux s’inspirèrent d’ailleurs très certainement des monstrueux dieux marins de Mantegna. Comme Barbari, Dürer porta un intérêt grandissant au nu féminin classique à partir de la fin des années 1490, notamment après son retour d’Italie. On peut enfin noter des similitudes entre la composition du Monstre marin et le dessin de L’Enlèvement d’Europe (Albertina, inv. 3062) ou le nu féminin qui est tiré de ce dernier (Albertina, inv. 3072). Le Monstre marin n’a été associé avec certitude à aucune source littéraire : on a voulu y reconnaître Amymoné enlevée par Poséidon, la nymphe Périmélé sauvée par le même dieu, ou encore Scylla courtisée par Glaucos, une créature mi-homme, mi-poisson. Mais peut-être faut-il écarter la mythologie gréco-romaine et se tourner plutôt vers une légende germanique (comme celle des origines antiques de Nuremberg), à moins qu’il ne s’agisse de la métaphore, chère aux humanistes proches de Dürer, du transfert de la Renaissance à l’antique depuis l’Italie jusqu’au nord des Alpes. Mathieu Deldicque

[bm2ab]

Crowd Scenes . 02 November 2024 . Très Riches Heures du Duc de Berry . Limbourg brothers Paul, Johan and Herman

The Très Riches Heures du Duc de Berry (French pronunciation: [tʁɛ ʁiʃz‿œʁ dy dyk də beʁi]; English: The Very Rich Hours of the Duke of Berry), or Très Riches Heures, is an illuminated manuscript that was created between c. 1412 and 1416. It is a book of hours, which is a Christian devotional book and a collection of prayers said at canonical hours. The manuscript was created for John, Duke of Berry, the brother of King Charles V of France, by Limbourg brothers Paul, Johan and Herman. The book is now MS 65 in the Musée Condé, Chantilly, France.

Consisting of a total of 206 leaves of very fine quality parchment,[2] 30 cm (12 in) in height by 21.5 cm (8+1⁄2 in) in width, the manuscript contains 66 large miniatures and 65 small. The design of the book, which is long and complex, has undergone many changes and reversals. Many artists contributed to its miniatures, calligraphy, initials, and marginal decorations, but determining their precise number and identity remains a matter of debate. Painted largely by artists from the Low Countries, often using rare and costly pigments and gold, and with an unusually large number of illustrations, the book is one of the most lavish late medieval illuminated manuscripts. The work was created in the late artistic phase of the International Gothic style.

[artejoke]

Gothic the t-shirt

Limbourg Brothers or Barthélemy d'Aick, Les Très Riches Heures du duc de Berry juillet, 1412-1416 or 1440, Musée Condé

[visualpoett]

Paradise from Les très riches heures du Duc de Berry. Limbourg brothers ~ ca.1416; Musée Condé

[yes-bernie-stuff]

The Exorcism

Mark 1:29-39 Jesus cast out many devils and healed the sick The Exorcism, Illuminated page from Les Très Riches Heures du Duc de Berry, Painted by the Frères de Limbourg, Executed between 1411-1416, Tempera on vellum, folio 166r © Musée Condé, Paris 

[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.

[chansonsinternationales]

Les derniers secrets du plus beau manuscrit du Moyen Âge révélés