Art from the Court of Burgundy
The Patronage of Philip the Bold and John the Fearless, 1364-1419
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A brilliant patronage in whose service painters, sculptors, and goldsmiths could exercise their talents to the fullArt from the Court of Burgundy commemorates the sixth centenary of the death of Philip the Bold (1342-1404) of the house of Valois, the first Duke of Burgundy and brother of the King of France. The extraordinary artistic flowering of this period, stimulated by interaction among the princely courts of France and the Low Countries, found strikingly individual expression at the court of Burgundy. The pomp and ceremony required by the dukes produced a brilliant patronage in whose serv...
A brilliant patronage in whose service painters, sculptors, and goldsmiths could exercise their talents to the full
Art from the Court of Burgundy commemorates the sixth centenary of the death of Philip the Bold (1342-1404) of the house of Valois, the first Duke of Burgundy and brother of the King of France. The extraordinary artistic flowering of this period, stimulated by interaction among the princely courts of France and the Low Countries, found strikingly individual expression at the court of Burgundy. The pomp and ceremony required by the dukes produced a brilliant patronage in whose service painters, sculptors, and goldsmiths could exercise their talents to the full.
Remarkable architectural projects were also undertaken. The Carthusian monastery known as the Chartreuse de Champmol was one of the most important artistic worksites of this age, the crucible in which was formed works of surpassing quality: the sculptures of Claus Sluter and the paintings of Jean de Beaumetz, Melchoir Broederlam, and Jean Malouel.
Fifty-three scholars have contributed to the volume, which accompanies exhibits at the Musee des Beaux-Arts, Dijon, and the Cleveland Museum of Art.
Art from the Court of Burgundy commemorates the sixth centenary of the death of Philip the Bold (1342-1404) of the house of Valois, the first Duke of Burgundy and brother of the King of France. The extraordinary artistic flowering of this period, stimulated by interaction among the princely courts of France and the Low Countries, found strikingly individual expression at the court of Burgundy. The pomp and ceremony required by the dukes produced a brilliant patronage in whose service painters, sculptors, and goldsmiths could exercise their talents to the full.
Remarkable architectural projects were also undertaken. The Carthusian monastery known as the Chartreuse de Champmol was one of the most important artistic worksites of this age, the crucible in which was formed works of surpassing quality: the sculptures of Claus Sluter and the paintings of Jean de Beaumetz, Melchoir Broederlam, and Jean Malouel.
Fifty-three scholars have contributed to the volume, which accompanies exhibits at the Musee des Beaux-Arts, Dijon, and the Cleveland Museum of Art.