The garden portico's design is clearly based on a Roman triumphal arch, whereas the impressive central gateway clearly draws its inspiration from the Porta Pia, a famous city gate in Rome by the Italian Renaissance artist Michelangelo (1475-1564). Rubens installed sculptures of two Roman deities above the portico: to the left stands Mercury, the god of all painters, with Minerva, the goddess of wisdom to his right. (rubenshuis.be/en/page/courtyard-and-portico) 作者: ngsunyu 时间: 2020-3-13 01:13 本帖最后由 ngsunyu 于 2020-3-13 01:15 编辑
门廊的中门模仿罗马的庇亚门（Porta Pia)。庇亚门是由米开朗基罗设计。
The garden portico's design is clearly based on a Roman triumphal arch, whereas the impressive central gateway clearly draws its inspiration from the Porta Pia, a famous city gate in Rome by the Italian Renaissance artist Michelangelo (1475-1564). Rubens installed sculptures of two Roman deities above the portico: to the left stands Mercury, the god of all painters, with Minerva, the goddess of wisdom to his right. (rubenshuis.be/en/page/courtyard-and-portico) 作者: ngsunyu 时间: 2020-3-14 00:12 本帖最后由 ngsunyu 于 2020-3-14 00:14 编辑
The portrait presents Rubens with his elder son Albert (1614-1657), the future lawyer, secretary of the Privy Council in Brussels and author of a number of archeological works. The canvas was likely done by one of the artists in Rubens?s school and is a copy of the master?s last self-portrait. The main elements of the composition correspond to Rubens?s concept of the portrait: he is presented here surrounded by objects reflecting his interests as an antiquarian and humanist. On the right, in the niche, there is the depiction of a statue from Classical Antiquity of the goddess Hekate which once was part of the master?s personal collection. The burning lamp atop the statue is an attribute of many of the artist?s works and possibly symbolizes the light of knowledge. Finally, the gesture of the child?s hand, which trustfully touches the hand of Rubens, is a sign of the boy?s affection for his father, who appears here in the role of teacher and mentor to his son in the world of science and art. A similar gesture, attesting to the spiritual closeness of spouses, is met with in Rubens?s Self-portrait with Isabella Brant (Alte Pinakothek, Munich). from hermitagemuseum.org/wps/portal/hermitage/digital-collection作者: ngsunyu 时间: 2020-3-15 00:28 本帖最后由 ngsunyu 于 2020-3-15 00:30 编辑
This painting seems to have been something of a face-saver. In 1621 Rubens supplied Lord Danvers with a Lion Hunt (now lost), a studio work, not knowing that it was intended for Charles, Prince of Wales. Danvers had it sent back as ‘a peese scarse touched by his own hand’. Rubens seems to have planned with Lord Danvers to make a peace offering to the Prince the moment he realised his mistake. Later Rubens claimed that he was concerned at the arrogance of sending a self portrait under these circumstances: ‘it did not seem fitting to send my portrait to a prince of such high rank, but he overcame my modesty’ (Rubens, letter of 10 January 1625; to Palamède de Fabri, Sieur de Valavez; 1582-1645). The most important thing, however, was that the work should be executed by Rubens and not his assistants: Lord Danvers wrote to William Trumbull in Brussels, asking ‘for his owne picture made originall and every part of it wrought with his owne hand’ (letter of 18 December 1622). Danvers adds in the same letter that this is a self portrait ‘which I heare hee hath made alreadie’; it is difficult to know if this means that Rubens redirected an existing (obviously recent) self portrait, or whether enough progress had been made on the portrait which Danvers himself instigated (through some previous, now lost, instruction) for word to get out that it was ‘made alreadie’. Whatever the explanation, the portrait is signed and dated 1623 and seems to have arrived in London in that year.
This is an interesting piece of self-promotion; it does not advertise Rubens’s invention, figure drawing or story-telling, important elements of his art. Instead we see purely pictorial qualities at their most intense: contrast of light and dark, with shades of deep black and a softly luminous face; strong accents of colour on the face and sky (again contrasting with the areas of black); variations of paint application from thinly scrubbed areas in the background, where brown underpaint shows through, to the thick, mobile rivers of oil paint, drawn by the brush, over the face. Rubens’s ‘owne hand’ is obviously and everywhere at work.
Rubens is portrayed as a courtier and diplomat, wearing sombre – but fashionable and expensive – black clothing. He carries no obvious attributes alluding to his profession, although he does wear a gold chain, which since the mid- sixteenth century had come to symbolise an artist’s success and wealth. However, unlike the gold chain prominently worn by Titian in both his surviving self-portraits, here only a small glimmer of gold can be seen beneath the sitter’s black cloak. Rubens received a number of gold chains during his career, including in 1609 one from the Archdukes Albert and Isabella of Austria and in 1623 from Christian iV of Denmark. The black hat worn at an acute angle, while fashionable, also served to conceal the artist’s hairline, which, as his self- portrait in the Galleria degli Uffizi of c.1615 demonstrates, had begun to recede.
The objects in the background of this portrait could be described as ‘a rock and a reddening sky’, which, in Latin, would read, Petrus et caelum rubens. It has been suggested that the artist included them as a play on his own name (reinforcing the Latin signature), or indeed that the whole portrait depicts a shame-faced, blushing or rubens Rubens.
By 1639, the picture was hanging in the ‘Litle roome Betwene Withdrawing roome: als called the Breakfast Chamber and the longe gallorie’ alongside self-portraits by Van Dyck and Daniel Mytens. This room was next to the King’s Bedchamber and would likely have been seen by the king on a daily basis.
Signed, dated and inscribed along top right marginetrus Paullus Rubens / se ipsum expressit / A.D MDCXXIII / Aetatis Suae XXXXV (rct.uk/collection/400156/a-self-portrait) 作者: ngsunyu 时间: 2020-3-15 00:31 本帖最后由 ngsunyu 于 2020-3-15 00:32 编辑
Rubens always represented himself as a confident and distinguished gentleman in his self-portraits, never as a painter. The other three self-portraits are located in Florence, Vienna and the British royal collection respectively.
The self-portrait in the Rubens House is the most informal of the four. He probably also intended this work to be used in the studio, as a model that his assistants could copy. This self-portrait is traditionally dated around 1630, the year in which Rubens wed Helena Fourment. The painter was 53 years old at the time. (Rubenshuis.be) 作者: ngsunyu 时间: 2020-3-16 00:56 本帖最后由 ngsunyu 于 2020-3-16 00:59 编辑
1608年，彼得·保罗·鲁本斯回到安特卫普。他在1638~1640年绘了这幅《自画像》。现展于维也纳艺术史博物馆 (Kunsthistorisches Museum Wien）。
In the final years of his life, Rubens withdrew from almost all his diplomatic duties. Despite his frequently voiced Stoic scepticism regarding courtly life - which one can also read in his eyes - Rubens embellished his self-portrait with attributes characteristic of court portraiture: the column, the sword and the glove, the turning of his body to face the viewer in order to distance himself from the latter. Although Rubens portrays himself as a painter-prince he places more emphasis on individual features - in his carefully executed face - than is customary in court portraits, thus allowing the weariness and other signs of age to become visible behind the official facade. (khm.at/Archiv/Ausstellungen/rubens/_E/frame02bf_E)作者: ngsunyu 时间: 2020-3-19 23:41 本帖最后由 ngsunyu 于 2020-3-19 23:52 编辑
安东尼·范·戴克（荷蘭語：Antoon van Dyck, 英語：Sir Anthony van Dyck）出生于安特卫普的一个富裕家庭中，很早就显示出绘画才能。15岁时已经是一位有成就的画家，1618年就被安特卫普的艺术家行会接受为一个成员。几年内，他已经成为整个北欧最重要的大师鲁本斯的主要助手，鲁本斯当时称赞19岁的范·戴克为“我最好的学生”。可能正是由于鲁本斯在安特卫普的声望过于强大，所以范·戴克才经常到国外去发展。(zh.wikipedia.org/安东尼·范戴克)
安东尼·范·戴克（荷蘭語：Antoon van Dyck, 英語：Sir Anthony van Dyck）出生于安特卫普的一个富裕家庭中，很早就显示出绘画才能。15岁时已经是一位有成就的画家，1618年就被安特卫普的艺术家行会接受为一个成员。几年内，他已经成为整个北欧最重要的大师鲁本斯的主要助手，鲁本斯当时称赞19岁的范·戴克为“我最好的学生”。可能正是由于鲁本斯在安特卫普的声望过于强大，所以范·戴克才经常到国外去发展。(zh.wikipedia.org/安东尼·范戴克)
安东尼·范·戴克（荷蘭語：Antoon van Dyck, 英語：Sir Anthony van Dyck）出生于安特卫普的一个富裕家庭中，很早就显示出绘画才能。15岁时已经是一位有成就的画家，1618年就被安特卫普的艺术家行会接受为一个成员。几年内，他已经成为整个北欧最重要的大师鲁本斯的主要助手，鲁本斯当时称赞19岁的范·戴克为“我最好的学生”。可能正是由于鲁本斯在安特卫普的声望过于强大，所以范·戴克才经常到国外去发展。(zh.wikipedia.org/安东尼·范戴克)
突出部之役（英語：Battle of the Bulge、Ardennes Offensive 或 Von Rundstedt Offensive，法語：Bataille des Ardennes，德語：Ardennenoffensive。當時同盟國媒體依戰役爆發所地稱第二次亞爾丁戰役或亞爾丁之役，但盟軍將士依作戰經過稱之為突出部之役，而德國B集團軍則稱之為守護萊茵河作戰），發生於1944年12月16日到1945年1月25日，是指納粹德國於二戰末期在欧洲西線戰場比利時瓦隆的亞爾丁地區發動的攻勢。(zh.wikipedia.org/突出部之役)
The Self-portrait in the Rubens House is almost identical to that of The National Portrait Gallery in London, except that Anthony’s moustache in this portrait is turned upwards. Van Dyck shows himself to Charles I in a formal manner. The drooping moustache on the painting in London, however, is much more informal, which seems to suggest that the Antwerp master may have created it for himself. (rubenshuis.be)
Statue of sir Anthony van Dyck (Antwerp, 1599 – London, 1641) at the Meir-Leysstraat-Jezusstraat crossing in Antwerp. The statue was made by Léonard De Cuyper (1808-1891) and erected in 1856.作者: ngsunyu 时间: 2020-3-23 00:11 本帖最后由 ngsunyu 于 2020-3-31 00:33 编辑
安特卫普的 Mayer Van Den Bergh 博物馆藏有大量艺术品。其中包括老彼得·布呂赫爾等艺术大师的作品。当Fritz Mayer Van Den Bergh收藏老彼得·布呂赫爾作品时，老彼得·布呂赫爾的名字几乎无人知晓，他最神秘的作品《疯狂的各瑞特》就收藏于此。由此可见，Fritz Mayer Van Den Bergh先生独特的眼光。该博物馆于1904年正式开放。(zh.wikipedia.org/安特卫普)
安特卫普 城市公园 (荷蘭語：Stadspark) 里面的 一战纪念碑 (荷蘭語： Monument der gesneuvelden) 从酒店步行15分钟，但我错过了。
The Monument to the fallen in the Antwerp City Park is a tribute to the fallen soldiers of the First World War. It presents King Albert I as a rider with two groups of dying soldiers. The bronze statue was initiated in 1930 in the presence of King Albert I himself and his wife Queen Elisabeth. The monument was designed by sculptor Eduard Deckers. It was the winning design in a competition organized by the veterans association "Never forget" in 1922. (amazingbelgium.be/2017/05/the-monument-to-fallen-in-antwerp)作者: ngsunyu 时间: 2020-3-29 00:54 本帖最后由 ngsunyu 于 2020-3-29 00:55 编辑
今年十月，我们游览了荷兰，比利时，法国。 计划访问卢森堡，但法国铁路罢工使去卢森堡的行程出轨。 我们去的第三个城市是 安特卫普。安特卫普（荷蘭語：Antwerpen；法語：Anvers, 英語：Antwerp）是比利时最重要的商业中心、港口城市和比利时第二大城市。我们住在安特卫普中央车站汉普顿酒店 (Hampton by Hilton Antwerp Central Station) 靠近安特卫普中央车站 （荷蘭語：Station Antwerpen-Centraal，法語：Gare d'Anvers-Central)。
Between Rue de la Tête d'or/Guldenhoofdstraat and Rue au Beurre/Boterstraat (west):
From right to left: Le Roy d'Espagne, La Brouette, Le Sac, La Louve, Le Cornet and Le Renard.
№ 1: Le Roy d'Espagne (Dutch: Den Coninck van Spaigniën; "The King of Spain"), House of the Corporation of Bakers, built in 1696. Originally, the three bays to the right of the entrance formed an independent house (Saint-Jacques), accessible through a door located on Rue au Beurre/Boterstraat. The very dilapidated building was completely rebuilt in 1901–1902. It is decorated with busts of Saint Aubert (patron saint of bakers) and Charles II of Spain.
№ 2–3: La Brouette (Dutch: Den Cruywagen; "The Wheelbarrow"), House of the Corporation of Greasers since the 15th century, built in stone in 1644. The facade partly resisted the bombardment of 1695 and was rebuilt in 1697 under the direction of Jean Cosyn. Decorated with a statue of Saint Giles (patron saint of greasers), it was restored in 1912. The left door opened into a now disappeared alleyway that led onto Rue au Beurre.
№ 4: Le Sac (Dutch: Den Sack; "The Bag"), House of the Corporation of Carpenters, whose tools decorate the facade since the 15th century. Built in stone in 1644, partly spared by the bombardment, it was rebuilt by the carpenter Antoine Pastorana in 1697. This house was restored in 1912 by the architect Jean Seghers. Nowadays, the House of the Belgian Master Chocolatiers is located in this building.
№ 5: La Louve (Dutch: Den Wolf or Den Wolvin; "The She-Wolf"), House of the Oath of Archers, built in 1690 by Pierre Herbosch. In 1696, the facade was rebuilt with a horizontal cornice, surmounted by a base where a statue was placed of a Phoenix rising from the ashes, symbol of the reconstruction of the city after the bombardment. The decorated pediment of Apollowas restored in 1890–1892 by the architect of the city of Brussels, Victor Jamaer, according to the original drawings. The bas-relief represents Romulus and Remus suckling the she-wolf.
№ 6: Le Cornet (Dutch: Den Horen; "The Cornet"), House of the Corporation of Boatmen since the 15th century, rebuilt in 1697 by Antoine Pastorana who drew its gable in the shape of a ship stern. The sculptures are by Peter van Dievoet, and by a contract passed on 3 April 1697, the deans of the Trade of Boatmen entrusted Peter van Dievoet with the execution of the whole sculpting of the facade. The building was restored from 1899 to 1902.
№ 7: Le Renard (Dutch: In den Vos; "The Fox"), House of the Corporation of Haberdashers since the 15th century, rebuilt in 1699. It contains bas-reliefs above the ground floor, allegorical sculptures of the four continents, and at the top, a (now disappeared) statue of Saint Nicholas, patron of haberdashers.
與市政廳面對面的為「國王之家」，也稱作 「面包房」(法語： Maison du Roi ，荷蘭語： Broodhuis) 是13世纪，原建筑式木制建筑，当时的面包师烤制面包后，在此出售。1405年改为石制建筑。在19世纪60年代末，面包房被推倒重建，新建筑采用新哥特式，在此收藏了许多艺术作品。现在是 布魯塞尔城市博物館（法語：Musée de la ville de Bruxelles，荷蘭語：Museum van de Stad Brussel）。(zh.wikipedia.org/布魯塞尔大广场)
House of the Dukes of Brabant (French: Maison des Ducs de Brabant, Dutch: Huis van de Hertogen van Brabant), set of seven houses grouped behind the same monumental facade designed by Guillaume de Bruyn and modified in 1770, so called because of the busts of the Dukes of Brabant which adorn it. It was restored between 1881 and 1890. (en.wikipedia.org/Grand_Place) 作者: ngsunyu 时间: 2020-4-1 00:20 本帖最后由 ngsunyu 于 2020-4-2 00:37 编辑
Between Rue Charles Buls/Karel Bulsstraat and Rue des Chapeliers/Hoedenmakersstraat (south):
From right to left: L'étoile, Le Cygne, L'Arbre d'Or, La Rose and Le Mont Thabor
在市政廳左側的第一栋是這頂樓有一颗星的「星星樓」。
№ 8: L'étoile (Dutch: De Sterre; "The Star"), House of the Amman, rebuilt in 1695. It was demolished in 1852 with the whole side of the street which corner it occupies, and which was then called Rue de l'étoile/Sterrestraat, to allow the passage of a horse-drawn tramway. Rebuilt in 1897, at the initiative of then-mayor of Brussels, Charles Buls, by replacing the ground floor with a colonnade, it became an annex to the neighbouring house. The street was renamed Rue Charles Buls/Karel Bulsstraat in honour of the mayor and plaque is affixed under the house, next to the monument to Everard t'Serclaes, in tribute to him as well as to the builders of the Grand Place.
№ 9: Le Cygne (Dutch: De Zwane; "The Swan"), bourgeois house rebuilt in 1698 by financier Pierre Fariseau whose monogram is placed in the centre of the facade. It was bought in 1720 by the Corporation of Butchers who modified the upper part. Restored between 1896 and 1904. The founding congress of the Belgian Workers' Party was held there in April 1885. It is also in this house that Karl Marx wrote the Manifesto of the Communist Party.
法国著名作家维克多•雨果的公寓则坐落在天鹅餐厅的左侧。這棟為「金樹樓」，為「啤酒公會」，現在內部分啤酒博物館。金樹樓上方最明顯好辨識的特徵，就是一個鍍金騎著馬的 查理·亞歷山大 (Charles-Alexandre de Lorraine)。他从1748年到1780年担任奥属尼德兰统治者。
№ 10: L'Arbre d'Or (Dutch: In den Gulden Boom; "The Golden Tree"), House of the Corporation of Brewers (now converted into a brewery museum). It is dated 1696 and was restored in 1901. During the construction of this house, the architect Guillaume de Bruyn pronounced the famous sentence: "You had the conscience to work for eternity!". This house is adorned with sculptures by Marc de Vos and Peter van Dievoet and is capped by an equestrian statue of Charles Alexander of Lorraine, which was installed in 1752 to replace another of Maximilian II Emmanuel of Bavaria, governor during the reconstruction of Brussels.
金樹樓左側這棟就是「玫瑰屋」。
№ 11: La Rose (Dutch: De Roos; "The Rose"), private house rebuilt in 1702 and restored in 1901.
玫瑰屋左側這棟就是「塔泊山」。
№ 12: Le Mont Thabor (Dutch: In den Bergh Thabor; "The Mount Thabor"), private house rebuilt in 1699 and restored in 1885. (en.wikipedia.org/Grand_Place)作者: ngsunyu 时间: 2020-4-2 00:20 本帖最后由 ngsunyu 于 2020-4-2 00:24 编辑
小于连（荷蘭語：Manneken-Pis，法語：le Petit Julien），又譯為撒尿小童像、尿尿小童，是比利時首都布魯塞爾的市標。這座聞名於世的小男孩銅像是一座落於市中心步行區的雕像及噴水池。這個五歲小孩身材的雕像不大（身高約53公分），但有將近四百年的歷史（设立于 1618 至 1619 年间）。现今的雕像是 1965 年的复制品，原始雕像则被置于布鲁塞尔城市博物馆里。
關於雕像起源有許多流傳的說法。其中一個是1142年，哥特佛瑞德公爵（荷蘭語：Godfried III van Leuven，法語：Godefroid III de Louvain）領軍對抗外敵，就在軍隊落敗之際，公爵將自己的小兒子放在搖籃裡掛在樹下，用來激勵軍隊士氣，最後得以擊敗了敵軍，得以凱旋。另外一個流行的故事是一位叫于连（荷蘭語：Julianske，法語：Julien）的男童半夜起來尿尿，看到鄰居的房子伸出一條燃燒中的引信（一說是遇到法軍正要以火藥炸城），小孩找不到水源撲滅，靈機一動用灑尿把引信熄滅解救受困的人，為了感念這個小童而在原地做個石雕像永遠保留，供後人憑弔。(zh.wikipedia.org/尿尿小童) 作者: ngsunyu 时间: 2020-4-2 08:20
布鲁塞尔司法宫（荷兰文: Het Justitiepaleis , 法文：Palais de Justice）是比利时最重要的法院建筑，也是布鲁塞尔的知名地标。它建于1866年－1883年，属折衷主义风格，建筑师是约瑟夫·波拉尔（英语：Joseph Poelaert）。建筑、地皮以及装潢的总造价约合4千5百万比利时法郎。它是19世纪所建的最大的建筑。(zh.wikipedia.org/布鲁塞尔司法宫)
比利时皇家美术博物馆（荷兰文：Koninklijke Musea voor Schone Kunsten van België，法文：Musées royaux des Beaux-Arts de Belgique）是比利时重要的美術类博物馆。
该组博物馆包括：The Oldmasters Museum (古代艺术博物馆 , French: Musée Oldmasters, Dutch: Oldmasters Museum) is a museum in Brussels, Belgium, dedicated to European painters from the 15th to the 18th centuries. It is one of the constituent museums of the Royal Museums of Fine Arts of Belgium. The museum was founded in 1801 by Napoleon Bonaparte. It was originally named the Musée royal d'art ancien ("Royal Museum of Ancient Art").
罗吉尔·范·德·韦登（Rogier van der Weyden，约1399年或1400年~1464年6月18日），出生于今天的比利时图尔奈，是早期尼德兰画家，现存作品以宗教三联画、祭坛画、单人或双人肖像画为主。范·德·韦登的绘画生涯及其成功，在世期间便取得了国际声誉，他的画常被销往意大利和西班牙，也常受到尼德兰及外国王公贵族的委托，包括菲利普三世(勃艮第)。至15世纪下半页，范·德·韦登已经超越扬·凡·艾克成为更受欢迎的画家。但他的受欢迎程度仅持续到17世纪，审美的变化导致他在18世纪时几乎被彻底遗忘。他的声望在之后的两百年中渐渐被恢复；现在，他已与罗伯特·坎平、扬·凡·艾克被列为早期弗拉芒三大艺术家之一，并被广泛肯定为最具影响力的15世纪北欧艺术家。(zh.wikipedia.org/罗希尔·范德魏登)
法語：Triptyque Sforza. Panneau central : Christ en croix avec la Vierge, saint Jean l'Evangéliste et trois donateurs ; volet gauche : Nativité, saint Hippolyte (?) et saint François ; volet droit : Saint Jean-Baptiste, sainte Catherine et sainte Barbe ; revers, volet gauche : Saint Jérôme et le lion ; revers, volet droit : Saint Georges et le dragon (ca. 1458)
荷蘭語：Sforzatriptiek, Centraal paneel : Christus aan het kruis met Maria en Johannes de Evangelist en drie schenkers ; linkerluik : Geboorte van Christus met de heiligen Hippolytus (?) en Franciscus ; rechterluik : De heiligen Johannes de Doper, Catharina en Barbara ; keerzijde, linkerluik : De heilige Hiëronymus en de leeuw ; keerzijde, rechterluik : De heilige Joris en de draak (ca. 1458)作者: ngsunyu 时间: 2020-4-4 00:08 本帖最后由 ngsunyu 于 2020-4-4 03:08 编辑
罗吉尔·范·德·韦登 的《勃艮第的安东尼肖像》繪於1456~1464年。
法語：Portrait d'Antoine de Bourgogne,
荷蘭語：Portret van Antoon van Bourgondië
Antoine de Bourgogne (1421 – 5 May 1504), known to his contemporaries as the Bastard of Burgundy or Le grand batard ("the Grand Bastard"), was the natural son (and second child) of Philip III, Duke of Burgundy, and one of his mistresses, Jeanne de Presle.[1] He was comte de La Roche (Ardenne), de Grandpré, de Sainte-Menehould et de Guînes, seigneur de Crèvecoeur, Beveren et Tournehem, and chevalier of the Golden Fleece.
He also enjoyed sporting success; the arrow he holds in the Van der Weyden portrait is presumed to relate to his year as "archer king" in 1463, after winning the annual contest of the archer's guild of St Sebastian in Bruges. (en.wikipedia.org/Anthony, bastard of Burgundy)作者: ngsunyu 时间: 2020-4-4 00:12 本帖最后由 ngsunyu 于 2020-4-4 03:06 编辑
罗吉尔·范·德·韦登 的《让·德·弗罗伊蒙的双联画右翼》繪於約1464年。
法語：Volet d'un diptyque. Portrait de Jean de Froimont (avers) / Saint Laurent (revers),
荷蘭語：Luik van een diptiek. Portret van Jean de Froimont (voorzijde) / De heilige Laurentius (keerzijde),
双联画右翼正面是让·德·弗罗伊蒙的肖像。双联画右翼背面是聖洛朗肖像。
双联画左翼正面是圣母子像，收藏於 法国卡昂美术馆 (Musée des Beaux-Arts de Caen) 。 因此，在2010年，比利时和法国共同发行了两枚邮票。一枚是双联画右翼让·德·弗罗伊蒙肖像。一枚是双联画左翼圣母子像。
Of all the Burgundian aristocrats depicted by Rogier van der Weyden, one of the last whose identity remains a mystery is the man in the Brussels museum who has come to be known as "Laurent Froimont". To date, nobody has succeeded in securing the exact identity of this figure, who seems to have been close to the Burgundian court. The discovery of an unpublished book of hours, preserved in the Princeton University Library and illuminated in the entourage of Jacquemart Pilavaine, a miniaturist from Mons, invites us to reexamine this question. The margins of this manuscript contain the motto RAISON LENSEIGNE, which also appears in the painted portrait. Furthermore, the borders of the manuscript display coats-of-arms that allow for the identification of the original owners of the book: Jean de Froimont, counselor of the feudal court of Hainaut, and Jeanne de le Croix, member of the Mona aristocracy. Froimont undertook several missions for the dukes of Burgundy, Philip the Good and Charles the Bold. He occupied an important place in Hainaut society during the third quarter of the 15 th century, and might have been related, through marriage, to van der Weyden himself. This discovery also invites reexamination of the dating of the Brussels panel, as well as its traditional attribution to Rogier. It provides evidence of the strong ties that the famous painter continued to maintain with Hainaut, even once he was based in Brussels. (The identification of the Froimont portrait by Rogier Van der Weyden
Article in Revue de l Art 139(1):21-36 · January 2003)作者: ngsunyu 时间: 2020-4-4 15:55 本帖最后由 ngsunyu 于 2020-4-5 10:36 编辑
彼得·保罗·鲁本斯 的《帕拉塞尔斯的肖像》繪於1617~1618年。
关于画家彼得·保罗·鲁本斯 的信息请参考 第 8~19 楼。
关于 帕拉塞尔斯 的信息请参考 科学家百人箓 (one hundred most influential scientists of all times) 第 16 楼。
The most famous portrait of Paracelsus is a work by Flemish painter Peter Paul Rubens. Probably Paracelus was portrayed by his contemporary, the Flemish artist Quentin Metsys (c.1465-1530), and Rubens made a copy from that original, now disappeared. This copy was made in 1617/18 and is now displayed in Room 52 (Rubens Room) of the Musées royaux des Beaux-Arts de Belgique in Brussels. (Himetop.wikidot.com) 作者: ngsunyu 时间: 2020-4-7 00:09 本帖最后由 ngsunyu 于 2020-4-7 01:21 编辑
布魯塞爾樂器博物館 (法語：Musée des Instruments de musique de Bruxelles, 荷蘭語：Muziekinstrumentenmuseum, MIM) 是位於比利時布魯塞爾市中心的一座博物館，這座博物館是皇家藝術和歷史博物館的一部分，收藏有超過8,000件珍貴的樂器藏品。(zh.wikipedia.org/布魯塞爾樂器博物館)
圣弥额尔圣古都勒大教堂(St. Michael and St. Gudula Cathedral)坐落于布鲁塞尔的Treurenberg山上。(法語：Cathédrale Saints-Michel-et-Gudule, 荷蘭語：Sint-Michiels- en Sint-Goedelekathedraal), 通常简写为"Sint-Goedele"。(zh.wikipedia.org/圣弥额尔圣古都勒主教座堂)
根特有两座火车站。两座火车站都在老城外围，根特堤门站（Gent-Dampoort）在老城东部，离老城更近，步行即可。我们选择这个车站下车。根特圣彼得站（Gent-Sint-Pieters）在老城南部，有电车直通老城区；我们选择这个车站上车由于它靠近美术博物馆（Museum voor Schone Kunsten）。
The altarpiece was recovered by the Allied group Monuments, Fine Arts, and Archives program after the war and returned to Belgium in a ceremony presided over by Belgian royalty at the Royal Palace of Brussels, where the 17 panels were displayed for the press. (en.wikipedia.org/wiki/Ghent_Altarpiece)
扬·凡·艾克（Jan van Eyck）是早期尼德兰画派最伟大的画家之一，也是十五世纪北欧后哥德式绘画的创始人，被誉为“油画之父”。他以写实的精细描写和微妙的光影表现，使作品闻名于世。
近期，其名作《根特祭坛画the Ghent Altarpiece）》中的《神秘的献祭羔羊（Adoration of the Mystic Lamb）》阶段性修复工作告一段落。《根特祭坛画》（the Ghent Altarpiece）是15世纪荷兰画家凡·埃克兄弟创作的一幅祭坛组画中的核心图，展现了《圣经》中众人站在即将被献祭的羔羊前礼拜的场景。该组油画现存于比利时根特·圣·巴夫大教堂，被认为是世界上第一件真正的油画作品。
这场令人着迷的展览庆祝了祭坛画修复过程中的关键一步。扬·凡·艾克在他的合作者，其兄弟胡伯特（Hubert）逝世的六年后，于1432年完成了《根特祭坛画》的创作。自2012年以来，根特美术馆一直在认真地，科学地逐步对这幅名作进行修复。 现在最有名的部分，《神秘的献祭羔羊》（Adoration of the Mystic Lamb）重新出现了，回归了原来的色彩与细节。
We know Jan to have been an exquisite painter of miniatures who worked for the Dukes of Burgundy, and there are many aspects of the work here consistent with the detailed work of a manuscript illuminator, but there are also some important differences, particularly in scale. The relatively large size of the panels pushed Jan to new heights of virtuosity as a master of light; directional light, saturation, the softest scale of illuminations in the gradation of shadow, the construction of space through light and shade, symphonies of reflection and refraction alive in a world of textured surfaces—literally, the light of the world. Here, for the first time on such a scale, is a picture of the completely natural world saturated by the light of God—the perfect intermingling of divine illumination with the created world—and all described in paint. Van Eyck creates a world within the painting as substantial and real as the world outside the painting. Say what you will about Brunelleschi and Masaccio and linear perspective in Florence, without the subtlety of oil paint, their works look like mathematical equations beside the painted world of the Ghent Altarpiece. (khanacademy.org/humanities/renaissance-reformation/northern-renaissance1/burgundy-netherlands/a/vaneyck-ghentaltar) 作者: ngsunyu 时间: 2020-4-13 00:32 本帖最后由 ngsunyu 于 2020-4-19 01:13 编辑
根特美术博物馆（Museum voor Schone Kunsten）位于圣巴夫大教堂以南，向南步行约 2 公里。
The artist has stripped this intriguing composition, in which the struggle between good and evil is the central theme, of any sense of space. Christ’s head is surrounded by a dynamic group of grotesque “tronies” or faces. While the composition may seem chaotic at first glance, its structure is actually very rigid and formal. Christ’s head is positioned precisely at the intersection of two diagonals. The beam of the cross forms one diagonal, with the figure of Simon of Cyrene at the top left, and with the “bad” murderer to the bottom right. The other diagonal connects the imprint of Christ’s face on Veronicas sudarium at the bottom left with the penitent thief, at the top right. He is attacked by an evil charlatan or a Pharisee and an evil monk, a clear allusion by Bosch to the religious fanaticism of his era. The grotesque heads remind us of the masks that are often used in passion plays as well as of Leonardo da Vinci’s caricatures. By way of contrast, the softly modelled face of Christ is serene. He is the Suffering Christ, who has been abandoned by everyone and who shall triumph over all evil in the world. This representation ties in perfectly with the ideas of the lay brotherhoods, of which Bosch was also a member. Although the attribution to Bosch is still disputed, this painting undoubtedly is one of the most hallucinatory scenes ever created in the history of Western art. (mskgent.be)
博斯描绘了这一场景，其中的空间已经与现实脱节。头部和躯干从黑暗中突出，在黑暗中消失。但无论博斯创造什么，他都从不琐碎或粗鲁。丑陋，无论是外在的还是内在的，它都转化为某种更高的审美范畴，即使在六个世纪之后，它也会继续激发思想和情感。(携带十字架 – Hieronymus Bosch from cn.painting-planet.com)
Christ Carrying the Cross is a painting attributed to a follower of Hieronymus Bosch. It was painted in the early 16th century, presumably between 1500 and 1535. The work is housed in the Museum of Fine Arts in Ghent, Belgium.
The work was bought by the Museum of Fine Arts, Ghent in 1902, and was restored in 1956–1957. As for all Bosch related works, the dating is uncertain, although most art historians assigned it to his late career. The catalog of the Bosch exhibition held in Rotterdam in 2001 assigned it 1510–1535, attributing the execution to an imitator. According to one of the authors, Bernard Vermet, that it is not as typical for Bosch is generally accepted and he finds it hard to believe that it was painted by the same painter as the Christ Crowned with Thorns (Bosch, London) in the National Gallery in London. Moreover the colours remind him of the manierists of the 1530' and he relates the work to the Triptych of the Passion in Valencia and the Christ before Pilate in Princeton, works that were definitely painted after the death of Bosch. Since then the rejection has been accepted by Stephan Fischer[3] and disputed by Fritz Koreny. In October 2015 the Bosch Research and Conservation Project, that is doing technical research on most of Bosch's paintings since 2007, confirmed they reject the attribution to Bosch as well and consider it to be made by a follower. The museum's director was quoted on the same occasion as stating that if it was not by Bosch, then by a genius even greater than Bosch.
The work depicts Jesus carrying the cross above a dark background, surrounded by numerous heads, most of which are characterized with grotesque faces. There are a total of eighteen portraits, plus one on Veronica's veil. Jesus has a woeful expression, his eyes are closed and the head is reclinating.
In the bottom right corner is the impenitent thief, who sneers against three men who are mocking him. The penitent thief is at top right: he is portrayed with very pale skin, while being confessed by a horribly ugly monk.
The bottom left corner shows Veronica with the holy shroud, with her eyes half-open and the face looking back. Finally, at the top left is Simon of Cyrene, his face upside upturned. (en.wikipedia.org/Christ Carrying the Cross (Bosch, Ghent)作者: ngsunyu 时间: 2020-4-14 00:11 本帖最后由 ngsunyu 于 2020-4-14 00:14 编辑
查理五世出生于根特，但在根特，比利时或荷兰没有纪念他的广场，街道或雕像。查理五世广场（Plaza del Emperador Carlos V）是西班牙马德里的一个广场，得名于皇帝查理五世。这个广场俗称为阿托查广场（Plaza de Atocha），因为 阿托查车站位于此处。(zh.wikipedia.org/查理五世广场)
查理五世（德語：Karl V, 1519年－1556年在位）是 神圣罗马帝国皇帝称号。他的西班牙國王稱號是 卡洛斯一世（西班牙語：Carlos I, 1516年－1556年在位)。 在欧洲人心目中，他是“哈布斯堡王朝争霸时代”的主角，也是西班牙帝国時代的揭幕人。
法語：《L'abdication de Charles Quint》
荷兰语：《De troonsafstand van keizer Karel》
英語：《The abdication of Emperor Charles V in favor of his son Philip II》 . by Louis Gallait 1841。
The painting shows his sister, Queen Mary of Hungary, wearing white even though she never wore anything but black after her husband's death。
《唐·卡洛》（法語：Don Carlos、義大利語：Don Carlo）是一部5幕歌劇，由朱塞佩·威尔第(Giuseppe Verdi)作曲，法文劇本由Camille du Locle及Joseph Méry編寫，改編自席勒(德語：Johann Christoph Friedrich von Schiller)的戲劇《西班牙王子唐·卡洛斯》（Don Carlos, Infant von Spanien）。
法國公主伊丽莎白最初应该与腓力二世的儿子，阿斯图里亚斯亲王唐·卡洛结婚，但由于政治方面的考量而被改嫁给腓力二世。歌劇第5幕在修道院，伊丽莎白在先王查理五世的墓前祈禱（歌曲：Tu che le vanità）。唐·卡洛這時候出現，向伊丽莎白作最後道別, 准备前往佛蘭德斯去援助當地正在受苦的人民。國王腓力及異端裁判官到達，國王將會把他的兒子交給異端裁判所。這個時候，在先王查理五世的墓裡，走出了一個貌似先王的僧侶，帶領唐·卡洛王孫逃到安全的地方。(zh.wikipedia.org/唐·卡洛)作者: ngsunyu 时间: 2020-4-20 03:40 本帖最后由 ngsunyu 于 2020-4-20 03:44 编辑
不過如此的財富也造成了社會衝突，而在城市的許多地方掀起了嚴重的暴動。還好在1302年暴動的市民們加入了弗蘭德伯爵的行列對抗法國入侵，最後於7月11日在科特赖克（Kortrijk）的金馬刺之戰中取得勝利。今日在市集广场上仍然可見暴動領袖扬·布雷德尔（Jan Breydel）和彼得·德·科宁克（Pieter de Coninck）的雕像。
荷兰语：Drieluik van Johannes de Doper en Johannes de Evangelist, Het mystiek huwelijk van de Heilige Katharina, Johannesretabel, schilderij (15de eeuw)
英語：. Triptych of St John the Baptist and St John the Evangelist
Over five hundred years ago, the nuns and monks from the hospital gave Hans Memling the assignment of making this impressive triptych, an altar piece for the hospital church. They can be seen on the outer sections and in the middle. On the central panel, between the pillars, we see a wooden crane in Bruges which was used to hoist wine barrels from boats. Taxes on the import of wine were for the hospital. Memling also painted the patron saints and protectors of the hospital; St John the Baptist with a lamb and St John the Evangelist with the chalice. On the right, behind a pillar, there is a monk in a long black cloth. (museabrugge.be)作者: ngsunyu 时间: 2020-4-29 03:51 本帖最后由 ngsunyu 于 2020-4-29 04:02 编辑
漢斯·梅姆林博物馆藏品包括《圣母子与马尔滕·范·尼乌温霍夫》绘于約 1487 年。
荷兰语：Diptiek van Maarten van Nieuwenhove, schilderij (15de eeuw) 1487作者: ngsunyu 时间: 2020-4-29 03:53 本帖最后由 ngsunyu 于 2020-4-29 03:59 编辑
《圣母子与马尔滕·范·尼乌温霍夫》The Diptych of Maarten van Nieuwenhove is a 1487 painting by Hans Memling, showing on the left side the Virgin and Child, and on the right side Maarten van Nieuwenhove. It is now kept in the Old St. John's Hospital in Bruges. It is unsigned, but has invariably been attributed to Hans Memling since the middle of the 19th century.
Maarten van Nieuwenhove (11 November 1463 - 16 August 1500) came from a noble family of Bruges with connections at the court of Burgundy. In the 1490s, Van Nieuwenhove was successively a city councilor, the captain of the civic guard, and in 1498 mayor of Bruges.
The painting is an early example of an Early Netherlandish devotional diptych, which still preserves the original frame and hinges. A new invention was showing the scene in a continuous room, instead of against a monochrome background.
The inscription at the bottom of the two panels reads "HOC OPUS FIERI FECIT MARTINUS DE NEWENHOVEN ANNO DM 1487 - ANO VERO ETATIS SUE 23" meaning "Maarten van Nieuwenhove had this work made in 1487" (left panel) and "At the age of 23" (right panel).
The glass panels in the windows depict Saint Christopher and Saint George (above the Virgin and Child) and Saint Martin of Tours(as his namesake saint) above Maarten van Nieuwenhove. Through the open window, one can see the Minnewater, also (mistakenly) known as the "Lake of Love" ('minne' being the Medieval term for 'love' in Dutch), a romantic corner of Bruges. (en.wikipedia.org/Diptych of Maarten van Nieuwenhove)
Voorstelling van de Maagd Maria met het Kind Jezus, en Maarten van Nieuwenhove in een Vlaams interieur met zicht op het Minnewater in Brugge. Een bolle spiegel achter de Maagd maakt duidelijk dat beiden zich samen in dezelfde kamer bevinden. Maria is frontaal voorgesteld en toont een appel aan het Kind dat er met zijn rechterhandje naar grijpt. In het raam achter de Maagd bevindt zich het wapenschild van de opdrachtgever. Hijzelf zit met gevouwen handen voor een raam met de voorstelling van zijn patroonheilige. Voor hem ligt een getijdenboek opengeslagen; op het slot staat zijn blazoen afgebeeld. Onderaan op de lijst bevindt zich over de volledige breedte van beide luiken volgend opschrift : HOC OPVS FIERI FECIT MARTINVS DE NEWENHOVEN ANNO DM 1487 / AN° VERO ETATIS SVE 23. (museabrugge.be)作者: ngsunyu 时间: 2020-4-30 00:45 本帖最后由 ngsunyu 于 2020-5-1 00:10 编辑
圣若望医院 步行到 葡萄园皇家贝居安会院 距离约 500米。
建于13世纪的葡萄园皇家贝居安会院（法语：Béguinage Princier de la Vigne，荷兰语：Prinselijk Begijnhof Ten Wijngaerde）是布鲁日的唯一一座现存的贝居安会院。虽然此处已不再有贝居安会，但1927年起这里住着本笃会的隐修士团体。该年，西边的住宅变成了Monasterium De Wijngaard，一个本笃会的修女团体的修道院。(zh.wikipedia.org/葡萄园皇家贝居安会院)作者: ngsunyu 时间: 2020-4-30 00:46 本帖最后由 ngsunyu 于 2020-5-1 00:08 编辑
The 'Princely Beguinage Ten Wijngaarde' with its white-coloured house fronts and tranquil convent garden was founded in 1245. This little piece of world heritage was once the home of the beguines, emancipated lay-women who nevertheless led a pious and celibate life. Today the beguinage is inhabited by nuns of the Order of St. Benedict and several Bruges women who have decided to remain unmarried. In the Beguine's house, you can still get a good idea of what day-to-day life was like in the 17th century. (visitbruges.be/highlights/beguinage)作者: ngsunyu 时间: 2020-4-30 23:55 本帖最后由 ngsunyu 于 2020-4-30 23:56 编辑
Sedert 1545 is de Abdij van Tongerlo abdij in het bezit van een kostbaar doek: de meest getrouwe en mooiste replica van het Laatste Avondmaal, dat Leonardo da Vinci schilderde in de eetzaal van het klooster Santa Maria delle Grazie te Milaan. Omdat het originele fresco in de loop der tijden zó geleden heeft, dat er van de oorspronkelijke schoonheid niet veel meer overblijft, is ons 'Laatste Avondmaal' des te waardevoller geworden Wil U van de schoonheid van Leonardo's Laatste Avondmaal ten volle genieten, dan is een bezoek aan ons museum een aanrader. Vooral nu wij beschikken over een klank- en luisterspel als uitleg bij dit unieke meesterwerk。
da Vinci-museum Norbertijnenabdij Tongerlo Abdijstraat 40B - 2260 Tongerlo (Antw.) Conservator: fr. Ivo Cleiren。 (www.tongerlo.org/tongerlo/nederlands/).
etrus Paullus Rubens / se ipsum expressit / A.D MDCXXIII / Aetatis Suae XXXXV (rct.uk/collection/400156/a-self-portrait)