Tag: burgundians

Flipje!

Dit is het boek waar ik het eerder over had. Gisteren gaan ophalen bij de lokale boekenboer. Nog niet in begonnen. Het zal me wel een aantal avonden zoet houden want het boek is tamelijk dik (bijna 600 blz).

De Flip ziet er op zijn portretten altijd heel seutig/paterachtig uit. Niet te geloven dat dat zo’n fuifnummer en vrouwengek was, eigenlijk.


Thursday update: Hugo II

Thursday update on a Saturday:

Still not well at all, so don’t go outside much, let alone Bruges. This post is going to be mostly an info dump.

WIP: depends on how well I feel, so mostly in short bursts. Working on several things at the same time in art school, mostly semi-abstract landscapes and anatomical studies. At home: working on the two Burgundians (new layer on the background), Ilion, and two portraits, including a fictional portrait of Egidius, based on some sketches I made last week. I erased that last one yesterday evening, going to start over from scratch. I have an idea for a new Burgundian painting too. Also, the B’s portrait is driving me mad. The library book which has a good close-up picture of the original is due this week so I have to finish his face the coming days but it’s not going anywhere.

My brother tipped me off on a new book about Burgundians. It’s written by a comedian or something, not sure what it will be like, it supposedly contains a lot of anecdotes. I am quite curious. My brain is already overflowing with anecdotes and useless Burgundian info, to the point that I even know what sort of toothpaste the B used. The local bookshops were already sold out (of the book, not the B’s toothpaste) so I’ll have to be patient until Wednesday. Burgundians are still hot apparently. I forgot the title and the author but it’s got good old Philippe on the cover.

Apart from reading a couple short biographies, I haven’t done any other research regarding “the sword in the stone”on purpose but gathered more info by accident.

When I was researching Egidius, my supposed ancestor, the past couple weeks (see earlier posts) I came across an online version of a medieval chronicle by Enguerrand de Monstrel via a simple online search for a certain d’Oignies (can’t recall his or her first name atm) who appears somewhere in the charts. Enguerrand from above writes about a certain Philippe d’Oignies who fought together with Charles the Bold (and died, nb). There is a footnote about Philippe d’Oignies in Enguerrand: “Some call him Gilles”. Gilles is the French form of Egidius (Also spelled Aegidius). However , though this is interesting and a bizarre coincidence, Philippe and “my” Egidius have nothing to do with one another, they’re not even from the same time period, so there is nothing further to investigate about them for the moment. There is a place with the name Oignies in France and one in Belgium so it’s not yet clear to me which d’Oignies my research subject originates from. I have put the Egidius quest on the back burner at the moment, because I’m stuck.

On Wednesday I popped into the thrift store on my way home from an errand. The novel section contained mostly the same old Twilight/Dan Brown/Fifty shades selection but for the first time in months there was a large supply of new non-fiction books. This resulted in two new additions to my collection. The first one is a catalogue about Lodewijk van Gruuthuuse (1422-1492).

I am not going to explain in detail who LvG is here but you can check Lodewijk van Gruuthuse‘s history on Wikipedia (insert disclaimer for the errors here). The ticket of the exhibition in 1992 where this catalogue was probably originally acquired was still stuck somewhere between the pages.

Gruuthuuse was likely the owner of the manuscript that was named after him and which contains middle Dutch prayers, songs and poems. One of the poems in this manuscript is ‘Egidius waer bestu bleven’.

Another book I came across, probably from the same collection donated to the recycling shop:

I have no idea what it looks like on the inside. It is still covered in plastic. The short description of this book on Bol is not very positive, though, lol.

Yesterday morning, while I was filling some boxes, I absentmindedly leafed through a book from the family collection and came across a bookmark on a page about (the somewhat bizarre imho) Marie d’Oignies. I didn’t know who she was so I looked up some information about her, see link. Note that there are several inaccuracies in the English version of the wiki page. Marie was a 12/th 13th century mystic, connected with the priory of Oignies (B). During my earlier research concerning d’Oignies, I had already come across Hugo d’Oignies. He is not the Hugo of the earlier post, that was the painter Hugo van der Goes. Hugo of Oignies was a renowned 12th/13th century metalworker and jeweler, who crafted many reliquaries. As for time period, this is somewhat later than the time Thierry d’Alsace returned from Constantinople. Not sure if some of it is connected in any way.

Book cover with a self portrait of Hugo (Image: Wikipedia)

Hugo is one of the four brothers that founded the priory of Oignies. One of those brothers was called Gilles de Walcourt, who is not only also called Egidius in places, but seems to have some ties to my original Egidius research too. There are also a number of other odd coincidental links, so more work to be done.

Chalice that supposedly belonged to Gilles de Walcourt (Image: Wikipedia)


Art: The lamb and the ladies

Part III of the Gent trip – Other parts: see earlier posts

As a last minute addition to the program, we visited the Ladies of the Baroque exhibition, as it was the final day of this temporary exhibition. We had only about an hour before the departure of our ride to its next destination so I was told there would be no time for the regular collection and the restoration of the van Eyck altarpiece. (major disappointment – It is not ‘See Naples and die’ it is ‘See the Lamb or die’).

According to the museum’s website it is not allowed to take pictures of temporary exhibitions so I didn’t take any. The paintings on display were by Italian female baroque painters (but there were a couple by men too), including the famous Artemisia Gentileschi, but also Sofonisba Anguissola (1532-1625), Fede Galizia (1578-1630), Giovanna Garzoni (1600-1670), as well as Orsola Maddalena Caccia (1596-1676), Lavinia Fontana (1552-1614), Virginia da Vezzo (1601-1638) and Elisabetta Sirani (1638-1665). It was very crowded and the rooms were very small unfortunately. The selection was relatively small and the paintings were very baroque and carrivagesque, with lots of blood decipitated Holoferneses. I suppose that says a lot about the men in those days, lol. Unfortunately most of the paintings were also – ahm, I’m very sorry, ladies – rather mediocre, apart from Artemisia’s whose paintings stood out amongst the rest. I went to see Michaela Wautier’s baroque paintings at the MAS earlier this year, and admittedly these are from a somewhat later period, but they were so much better overall.

The visit of the ladies took less than expected which left half an hour for the rest of the museum which is a bit of a maze. I decided to concentrate on the Primitives and try to find van Eyck. I got lost at first among some rather strange neoclassicist paintings and bumped into a couple small but very beautiful paintings from a much earlier date. Note that the pictures are not very good as I quickly took them with my phone so I could look them up on the internet.

Portrait of a lady by Pieter Pourbus (1523-1584), small painting, much better in real also

Small portraits of Lieven Van Pottelsberghe and Livina Van Steelant by Gerard Horenbout, a miniature painter (1465-1541). In real the colours and the faces are amazing.

The medieval paintings ended up being in the rooms immediately on the right of the main hall so I found my way back there and encountered the – almost legendary – panels of the mystic lamb. On Sunday the panels undergoing restoration are displayed behind a window in a small dark corridor, so actually better than when they are working on them, I suppose. No pictures allowed so I’ll borrow a stock version of the middle panel from Wikipedia just for illustration purposes. The panels on display were the bottom parts, ie, the copy of the Judges, the knights, the lamb and the hermits and the other one on the right.

Bizarre to stand so close to the same painting that old Philip once stood before almost 600 years ago (I suppose he did in any case, the reports of the inauguration in 1432 are contradictory, not sure about the B, he was aahhmmm, fickle and not good friends with the Gent people, also he wasn’t born yet) .

In the adjoining rooms there are some other paintings from Burgundian times. There was not much time so I just picked a few to have a good look at. There is a Madonna by Rogier van der Weyden but I took no picture of it. Same for the copy of a Lamentation by Hugo van der Goes. Here is the image from Wikipedia.

The above is a very dramatic Man of Sorrows by an anonymous painter. The angels are a bit funny, not the intention of the artist, I guess.

There was also a small and long painting called Titus’ conquest of Jerusalem, attributed to the Viennese Master of Mary of Burgundy. Upon checking this is a miniature painter who supposedly also provided artwork for Charles the Bold’s prayer book from which I copied a miniature.

Left side of the painting, image from Wikipedia
Part of the right side, own picture.

And the last painting in the series was interesting for another reason. It is a painting, not in a very good condition, consisting of two small panels, called The Holy Trinity and Saints, dating from 1480-1490, and painted by an anonymous painter. Here they are, you’ll probably see why it struck me.

Everybody is looking away or down, except one guy on the right who seems to look straight at the spectator or at something else outside the small world of this painting, as if he’s looking through a window. It is somewhat eerie. I don’t know if it means something. Maybe it was an heretic, or maybe it is that one person that always spoils the group picture.

That’s all for now, folks.


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