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| Flemish Primitives page 1 page 2 page 3 | | Exhibition - De dageraad van de Bourgondische eeuw' (The dawn of the Burgundian century)14 September 2007 – 6 January 2008
Kleine interessante dossiertentoonstelling over kunst en cultuur in de tijd van Lodewijk van Maele (†1386). Tijdens Lodewijks regeringstijd werd bijvoorbeeld in Brugge het indrukwekkende stadhuis gebouwd, met een gebeeldhouwde genealogie van de graven van Vlaanderen op de gevel. Hij was de laatste graaf van Vlaanderen van de Dampierre-dynastie. Het huwelijk van Lodewijks dochter Margareta van Vlaanderen met de Bourgondische hertog Filips de Stoute luidde een nieuw tijdperk in. | Bruegel to Rubens: masterpieces of Flemish painting
Exhibition - 28 September 2007 – 6 April 2008
The Queen's Gallery, Palace of Holyroodhouse
This exhibition brings together 50 of the finest Flemish Renaissance paintings in the Royal Collection, works of art characterised by their flawless technique, fine craftsmanship and miraculous realism, whether it be in the depiction of a face, a flower or a torch-lit interior. In the first half of the 16th century the Low Countries was the richest and most civilised region of Europe. Remarkably Flemish culture survived the tragedy of the Eighty Years War (1568-1648). Pieter Bruegel the Elder’s Massacre of the Innocents is a savage satire on Spanish suppression; Rubens and others welcomed the prospect of peace with powerful celebrations of the beauty and fertility of the Flemish landscape.
Royal acquisition of Flemish painting and patronage of artists, in particular Rubens and Van Dyck, had an enormous impact on English artists. Among the many highlights of the exhibition are Quinten Massys’s moving portrait of Erasmus and masterful landscapes by Rubens, including three from the artist’s own collection. | Bruges and The Flemish Primitives - Connoisseurs and the general public alike are well aware that the collective name 'Flemish Primitives', used to designate the artists of the fifteenth-century Southern Netherlands, is not intended to be pejorative. This rather misleading name for what is, for the most part, a highly accomplished body of late-medieval and pre-Renaissance paintings, arose in the nineteenth century. It expresses the Romantics' sense of nostalgia for the pure, spiritual and innovative character of this monumental, technically innovative and highly skilled school of oil painting. | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
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