I’ve looked at the Egidius problem from a different perspective and by doing so I came across some helpful information. Apparently in the old days not only the first names but some of the last names were written in a Latinised form in the registers. I don’t think it happened with many names so I wasn’t aware of this until I stumbled upon an article about this particular family in which this was explained and with more helfpul information. Anyway, I found the records of Egidius’ wedding. Now I am going in search of his bigamous wife.
The book project thing is more or less finished so I can finally go back to regular oil painting and finish the three paintings that are awaiting completion. The book is quite messy but I don’t want to spend more time on it. Here are some sample pictures (some of them while in progress):
I’ve made progress with Charles the Bold too, but that’s for another Sword in the Stone post.
[Stole this quote from (the unintentionally hilarious) Knightfall. Quite befitting in the context of this post, even though it was uttered by a templar about to enter the holy lands of a voluptuous woman.]
Artwork in progress: still the same apart from a new modern martyr and miniature of a suit of armour in art school.
2. Research about the Bold’s crypto and other portraits
On Monday I traded my library books about van der Weyden and the Bold for some other books, more in particularly another one about Rogier, one about Michael Cocxcie and two about Jan van Eyck. Poor Hubert is rarely mentioned. I also checked some clues about Memling in a book I didn’t take home, mostly because it made my pile to heavy. I just took a picture of the relevant page:
The article mentioned that somebody thought the third apostle on the left of Christ was Philip the Good but the author says it looks more like his son. Side by side, he looks like the spitting image but I already mentioned this. Note that when I say Memling it could also mean his workshop
With the Columba altarpiece (see pages and earlier posts), where the red king is supposed to be a crypto of the Bold, the date is problematic. The red king looks a bit too old in relation to the age of C at the time, plus he doesn’t have that rather obvious double chin, folds near the corners of his mouth, big staring eyes and frown of the couple contemporary portraits.
There are three other candidates for a crypto portrait, basically three versions of the same painting. I also found this partially in the book about Memling but did some additional comparing. There is the Jan Floreins triptych (dated 1479) and an almost the same painting which hangs in the Prado (dated 1470), plus a third similar but not quite the same painting by an unknown painter from a bit later.
In 1893 a certain Wauters said the king on the left in the Floreins/Prado painting is a crypto of the Bold, but this was debunked by somebody else in 1899.
Why whould anyone have thought it was a crypto? Well, here are the paintings, in the presumed order of creation, followed by details, so you can judge for yourselves. For the record: The Bold was born at the end of 1433 and had dark, thick and straggly hair. Not sure about a moustache or dimple in his chin. Nb, look very closely at the one by the unknown painter, not just at the king on the right, but also the black king. Same stance and overcoat as the red king in the Columba altarpiece by Rogier but that’s it, none of the other features.
The Prado Adoration of the Magi by Memling (workshop) (around 1470):
The Adoration of the Magi by an anonymous painter (around 1475):
The Floreint triptych by Memling (workshop) (around 1479):
Here are the heads of the three kings, the middle one is mirrored:
And all three mirrored so they can be compaired with the Berlin portrait:
For completeness sake, here are two other portraits: one of the relic holder which was ordered by Charles, and the face from his tomb effigy which was created a very long time after his death (all images from Wikipedia).
Maybe I shouldn’t spend so much time on this, but it’s quite interesting to see how the Middle Ages had their own versions of stock images and no worries about copyright at all.
I was going to add something about the research about Charles of Burgundy’s mad behaviour after 1472 but this post is already too long, so that’s for a next post.
The battle of Ilion WIP. Third painting in the Tibi Soli series.
This is how messy my first layers always look. I am painting over the first layer of something I changed my mind about.
Also I am learning as I go to paint this weirdly disproportioned, somewhat comical 1500ish people and horses.
I am a big fan of Loyset Liédet. Technically, he wasn’t the best illustrator but his drawings are always very dynamic.
This is supposed to be serious but it’s hilarious.
Also by Liédet I believe. Look at those hats. The one on the right looks like a 15th century version of a hipster. And the biggest oddity of all: why is that man in the front wearing two different shoes? And there is even a clock in the background.
I have uploaded the pictures I took of the Seven Sacraments altarpiece by Rogier van der Weyden on a separate page under the menu (see above or on the right). I have not yet added my personal thoughts and background information.
The page can be found here:
V. Documents & Background > The Dukes of Burgundy > The Seven Sacraments by Rogier van der Weyden
The behind of Bacchus – Engraving after Michelangelo’s sculpture
Just a quick or not so quick post with random ramblings.
Painting/drawing: Yesterday I spent the evening sorting out some paperwork with half an eye and ear directed vs the tv where a football match some extreme bus parking was going on. In the afternoon I cleared out the remainder of my painting gear. The finished works have been wrapped up so they can be stored in the attic for the time being, apart from one unfinished painting showing the inside of a train. I wasn’t happy with it and I don’t like to waste materials so I’m going to paint over it. Drew some sketches as well. Last year was a bit of a lost year but that’s how life goes.
Exhibition visits: The trip to go and see the Caravaggios in Antwerp has been postponed due to a) train strikes b) me being ill. It will happen during the last week of July, probably.
The quest for the Holy Grail: I haven’t discovered the Grail yet, the latest old thing I figuratively unearthed was a 4 year old water bottle that had rolled under the passenger seat of my car. Now, my car is clean and empty apart from the obligatory fluo jackets, medkit and fire extinguisher so I don’t know how that escaped my attention. Furthermore, I haven’t read the Shroud of Turin book. I read Gardner’s book about Mary Magdalen first. I have never read so much rubbish in one book, tbh. There’s three more Gardners I have to wade through plus a whole lot of other digital versions of obscure books and papers about Sumer, RLC and the likes that I downloaded from Gutenberg and co (legally, I hope, you never know). The most promising book on my e-reader atm, however, is a 300 year old book about Mesopotamia. But that is for another post.
Writing: some field work coming up in the near future. For another post.
The art of others: Roberto Ferri is still showing up in the searches on this site. I have been following him for quite some time now but the better he gets at painting on a technical level, the less I’m impressed with what exactly he is painting. It’s supposed to be dark and surreal, but his paintings are becoming very contrived, lifeless and boring, with awful school picture backgrounds. The moment he figuratively went down the drain for me was the moment when he presented his own perfume on Instagram. Lol.
Anyway, there was a message on his Instagram announcing a group exhibition in the Crazy March gallery. I checked the other artists out and most of their work looked quite drab to me, except for this amazing – and heavily influenced by Bosch, I guess- painter. I am not familiar with Italian copyright laws, so here is just the link, instead of pictures: