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5 book(s) with the same title
Civic Group Portraits in Bruges (1650-1800) Windows on Urban History
Turnhout, Brepols, :2025 Linnen binding under illustrated dustjacket, vii + 458 pages, 216 x 280 mm, Illustrations:2 b/w, 122 col., 1 tables b/w., 7 maps color. ENG. *NEW. ISBN 9782503618395.
The patrons of civic group portraits were corporate organisations such as confraternities, craft and militia guilds, charitable institutions, and administrative bodies. Up until now, the painted civic group has been primarily seen as a product of the Dutch Republic. While the genre may have been exceptionally important in the Northern Low Countries, the present study shows that such paintings were also fundamental in the South, with Bruges playing a central role. From the late fifteenth century until 1800, both the urban elite and the artisan classes of Bruges commissioned institutional group portraits, and the forms that those artworks took responded to local conditions and needs. The patrons? self-representation in these works was meant to emphasize the internal cohesion and solidarity within their group, and to reinforce that group?s social status in the urban community. In looking carefully at these contexts, this research project has provided new interpretations for civic group portraits and has demonstrated their richness as both cultural heritage and historical sources. The Bruges works, however, represent just a portion of those produced in the Southern Netherlands during the early modern era. The author provides an updated inventory of 190 civic group portraits that he has been able to trace for the Southern Netherlands. All of these works, moreover, need to be set in a broader European context, as civic group portraits are also recorded in Venice, Paris, and England, and were likely produced elsewhere as well. Future researchers will be able to expand our understanding of the genre as a European phenomenon, continuing to reveal the significance of these remarkable artworks and use them to gain deeper insights into the past. TABLE OF CONTENTS Preface Bruges: An Urban History Chapter 1: Design and Methodology Chapter 2: Early Civic Group Portraits in Bruges, Before 1560 Chapter 3: Civic Group Portraits in Bruges, c. 1560?1650 Chapter 4: Civic Group Portraits in Bruges, 1650?1800 Chapter 5: Civic Group Portraits from Bruges in a Southern Low Countries Context, 1450?1800: A status quaestionis Conclusion Addendum: Civic Group Portraits in the Southern Netherlands, 1450?1800 Notes List of Illustrations Illustrations Photo Credits Bibliography Index
Connected Worlds of Bruges
, Hannibal Books, 2026 Hardback, 29.2 x 24.5 cm, approx. 304 pages, full-colour illustrations, English edition . ISBN 9789493416604.
A visually stunning exploration of Bruges as a global crossroads: where art, trade, and culture shaped a world city Connected Worlds of Bruges reveals the city's long-standing place at the crossroads of global history. Far from being an isolated medieval town, Bruges has always thrived within a vast network of trade routes, cultural exchange, and political ties that stretched far beyond its borders. Through a carefully curated selection of remarkable objects, each a testament to historical encounters across continents, this book tells a rich, mosaic-like story of interconnectedness. It invites readers to explore Bruges from fresh and unexpected angles, shedding light on how local and global dynamics have shaped the city's evolving identity as a world city. Published to mark the festive opening of the new art hall BRUSK in Bruges and its opening exhibition Bigger Picture Connected World of Bruges 900-1550, Belgium, from 8 May until 6 September 2026.
mondes interconnect s de Bruges
, Hannibal Books, 2026 hardcover, couverture rigide, 29,2 x 24,5 cm, environ 304 pages, illustrations en quadrichromie, dition en fran ais . ISBN 9789493416604.
Une exploration visuellement saisissante de Bruges en tant que carrefour mondial : o l'art, le commerce et la culture ont fa onn une ville-monde Les mondes interconnect s de Bruges r v le la place ancienne de la ville au croisement de l?histoire mondiale. Loin d' tre une cit m di vale isol e, Bruges a toujours prosp r au sein d'un vaste r seau de routes commerciales, d' changes culturels et de liens politiques qui s' tendaient bien au-del de ses fronti res. travers une s lection soigneusement organis e d'objets remarquables chacun t moignant de rencontres historiques entre les continents cet ouvrage propose un r cit riche, en forme de mosa que, des interconnexions. Il invite les lecteurs d couvrir Bruges sous des angles nouveaux et inattendus, en mettant en lumi re la mani re dont les dynamiques locales et globales ont fa onn l'identit volutive de la ville en tant que ville-monde. Publi l'occasion de l?inauguration festive de la nouvelle halle d'art BRUSK Bruges et de son exposition d'ouverture Vision Large Les mondes interconnect s de Bruges 900-1550, Belgique, du 8 mai au 6 septembre 2026.
Petrus Christus in Renaissance Bruges, an Interdisciplinary Approach
, Brepols, Paperback, V+221 pages ., 210 x 297 mm, 1995. ISBN 9782503504445.
An interdisciplinary approach to the works of Petrus Christus incorporating the papers of the 1994 Petrus Christus Symposium at The Metropolitan Museum in New York. During the past few decades, admirers of Petrus Christus have been astonishingly fortunate. Unknown or forgotten paintings in the style of Christus have turned up with surprising regularity: in the 1950s, the wonderful Kansas City Holy Family; in the 1960s the Birmingham Christ and the Bruges Isabella of Portugal Presented by Saint Elisabeth in the 1980s, the Cleveland Baptist and the problematic Bruges panels of the Annunciation and the Nativity. Nothing, of course, can compensate for the loss, during World War II, of the Dessau Crucifixion, and the Berlin wing panels of the Baptist and Saint Catherine. We had to wait until 1974 for the first monograph devoted to Christus, but since then two more books on Christus have been published and important discoveries have been made about his career in Bruges. Thanks to Maryan Ainsworth and her colleagues, we had a truly marvellous exhibition, where we had the privilige of studying more of Chrsitus' paintings than he himself can ever have seen gathered in one place. The exhibition itself initiated a new phase in Christus studies and it is the ideal beginning. If problems of attribution and chronology are ever to be settled, they had to be settled during the exhibition. This publication offers the papers of the 1994 Petrus Christus Symposium at The Metropolitan Museum in New York. L. Campbell, Approaches to Petrus Christus, W. Blockmans, The Creative Environment: Inventions and Functions of Bruges Art Production, C. Harbison, Fact, Symbol, Ideal, Roles for Realism in Early Netherlandish Painting, G.B. Canfield, The Reception of Flemish Art in Renaissance Florence and Naples, M.P.J. Martens, Discussion, J. Upton, PETRUS.XPI.ME.FECIT, The Transformation of a Legacy, S. Buck, Petrus Christus' Berlin Wings and the Metropolitan Museum's Eyckian Diptych, S. Jones, The Virgin of Nicholas van Maelbeke and the Followers of Jan Van Eyck, C. Eisler, Discussion, L. Gellman, Two Lost Portraits by Petrus Christus.
Manuscrits enlumines des anciens Pays-Bas meridionaux, Manuscrits de Louis de Bruges
, brepols, 2010 Hardback, 280 p., 460 b/w ill., 210 x 300 mm, ISBN: 978-2-7177-2396-0 Languages: French . ISBN 9782717723960.
At the court of Burgundy, Louis of Bruges was one of the most remarkable bibliophiles of the 15th century. The majority of his collection consists of secular volumes written in French. Copiously illustrated and in large format, the books often deal with classical history and chronicles, and form a homogeneous artistic corpus, created for the most part in Bruges by selected artists. This volume presents, for the first time, Louis of Bruges' corpus of manuscripts in a format that allows for comparisons with contemporary works. Introduced by a synthetic overview, the catalogue contains descriptions grouped by artist, supplemented by some 460 illustrations. French text. A la cour de Bourgogne, Louis de Bruges fut ? apres Philippe le Bon ? le plus remarquable bibliophile du XVe siecle. Ce personnage joua un role politique de premier plan jusqu?a sa mort survenue en 1492, et sa bibliotheque revint a Louis XII. La plupart des volumes sont profanes et de langue francaise ; abondamment illustres et de tres grand format ils se rapportent souvent a l?histoire antique et aux chroniques. Ce sont 75 titres repartis en plus de 110 volumes. Ces manuscrits forment un corpus artistique homogene, puisqu?ils sont principalement produits a Bruges, plus rarement a Anvers ou a Gand, par des artistes choisis. Si certains sont identifies (Guillaume Vrelant, Loyset Liedet, Jean Hennecart ou Lieven van Lathem), beaucoup restent anonymes malgre la qualite de leur art. Certains voient ici leur corpus defini pour la premiere fois par comparaison avec des manuscrits conserves dans d?autres bibliotheques. Les notices, regroupees par artiste, sont precedees d?une presentation synthetique faisant le point sur chacun d?eux. Bati sur des descriptions methodiques et rigoureuses, ce catalogue possede aussi une dimension monographique et propose un vaste panorama de l?enluminure flamande appuye sur quelque 460 illustrations.
