2 edition of artistic patronage of Philip the Good, Duke of Burgundy (1419-1467) found in the catalog.
artistic patronage of Philip the Good, Duke of Burgundy (1419-1467)
Jeffrey Chipps Smith
Written in English
|Statement||Jeffrey Chipps Smith.|
|The Physical Object|
|Pagination||2 v. (iii, vii, 614 leaves) :|
|Number of Pages||614|
Get this from a library! Philip the Bold: the formation of the Burgundian state. [Richard Vaughan] -- This book is a biography of Philip and a study of the emergence of the Burgundian state under his aegis in the years , paying particular attention to his crucial aquisition of Flanders. It has been suggested that he is Willem van Vleuten, a Bruges goldsmith who worked for Philip the Good, duke of Burgundy. In , the date of this painting, the duke commissioned from van Vlueten a gift for Mary of Guelders on the occasion of her marriage to James II, King of Scots.
The Book of Hours of Philip of Burgundy dates from c For a book of hours it is quite large; it was copied by Jean Miélot, the duke's secretary. A large part of the illuminations were made by Jean le Tavernier from Audenarde, an artist who specialized in grisaille, a . Philip the Good became Duke of Burgundy in when his father John the Fearless was assassinated on the bridge at Montereau during a diplomatic meeting. Philip, grandson of Philip the Bold, became engaged at the tender age of eight to Michelle of Valois, daughter of the king of France, Charles VI, and was married four years later.
Get this from a library! Illuminated Crusader histories for Philip the Good of Burgundy. [Elizabeth J Moodey; Österreichische Nationalbibliothek.] -- A study of the visual and literary projects that supported Philip's efforts to launch a crusade long after the days of the "classic" crusades. Art and music in the court of Philip the good, the duke of burgundy Start date th8 June End date th10 June are directed to the books listed as ‘Background History’ in the booklist. By means of slides and recordings, we shall study the patronage of Philip the Good and his court in the 15th century.
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The artistic patronage of Philip the Good, Duke of Burgundy (). by Jeffrey Chipps Smith Published by University Microfilms in Ann Arbor, Mich. The artistic patronage of Philip the Good, Duke of Burgundy () by Jeffrey Chipps Smith. Published Written in EnglishPages: Art from the Court of Burgundy commemorates the sixth centenary of the death of Philip the Bold () of the house of Valois, the first Duke of Burgundy and brother of the King of France/5.
Philip the Good was Duke of Burgundy from until his death. He was a member of a cadet line of the Valois dynasty, to which all the 15th-century kings of France belonged. During his reign, the Burgundian State reached the apex of its prosperity and prestige and became a leading center of the arts.
Philip is known in history for his administrative reforms, his patronage of Flemish artists such as Jan Born: 31 JulyDijon, Duchy of Burgundy. : Art from the Court of Burgundy: The Patronage of Philip the Bold and John the Fearless (): Barbara J. Bradley, et al., Cynthia Calder, et al.: Books5/5(4).
Jeffrey Chipps Smith, “The Artistic Patronage of Philip the Good, Duke of Burgundy ()”, PhD. dissertation (Columbia University, ), pp.Micheline Comblen-Sonkes, Le Musée des Beaux-Arts de Dijon. Philip III, byname Philip the Good or French Philippe Le Bon, (born JDijon, Burgundy [now in France]—died JBruges [now Brugge, Belgium]), the most important of the Valois dukes of Burgundy (reigned –67) and the true founder of the Burgundian state that rivaled France in the 15th century.
Philip was the son of John the Fearless and Margaret of Bavaria. Philip the Bold, Duke of Burgundy (), is said to have recited his prayers daily from this manuscript, his Grandes Heures (‘Great Hours’).
A witness to his spiritual life, the volume is also his crowning achievement as an art-loving bibliophile.
This major international exhibition marks the th anniversary of the death of the first Valois Duke of Burgundy, Philip the Bold (French, –). It brings together an impressive collection of works representing his and his son’s, John the Fearless (French, –), patronage to the arts from museums and churches throughout the United States and Europe.
Appointed official court painter by Philip the Good, Van Eyck (active bydied ) undertook artistic commissions and even traveled extensively on the duke’s behalf, on one occasion to Portugal to paint the betrothal portrait of Philip’s future wife Isabella.
Rogier van der Weyden (ca. –) settled in Brussels and, though not officially tenured, he too applied his prodigious talents to the. philip the good, duke of burgundy, as patron of letters From a reproduction of part of a miniature in a beautiful MS. copy in Brussels Library of Jacques de Guise's Annales.
The author is depicted presenting his book to the duke, who is attended by his son and his courtiers. Philip the Good, Duke of Burgundy has appeared in the following books: Henry VI, Part 1, Cursed Kings: The Hundred Years War, Volume 4, Philip the Good.
Jeffrey Chipps Smith Publications A. Books and Catalogues "The Artistic Patronage of Philip the Good, Duke of Burgundy ()," Ph.D. dissertation, Columbia University, ; Ann Arbor: University Microfilms International) Nuremberg, A Renaissance City,exhibition catalogue, Archer M.
Huntington. Philip the Good, duke of Burgundy from todistinguished himself as a patron of illuminated histories and historical romances, and as host of the most lavish entertainment of the middle ages.
The Banquet of the Pheasant was a response to the Fall of Constantinople, and it was staged to enlist support for the coming crusade. Philip the Good (French: Philippe le Bon, Dutch: Filips de Goede; 31 July – 15 June ) was Duke of Burgundy as Philip III from until his death.
He was a member of a cadet line of the Valois dynasty, to which all the 15th-century kings of France belonged. During his reign, Burgundy reached the apex of its prosperity and prestige and became a leading center of the arts. Philip is.
Philip the Good () was Duke of Burgundy from to His brilliant and sumptuous court was the most celebrated in Europe, and Burgundian power and cultural life flowered under his patronage. Born at Dijon on JPhilip the Good was the son of. On Novemin Moulins-Engilbert, Bonne married the nephew of her late husband, Philip the Good, Duke of Burgundy.
But the marriage was short-lived as Bonne died in Dijon on Septem She was buried in the monastery of Champmol in Dijon, the acropolis of the Dukes of the House of Valois and their families.
Isabel of Portugal. The dukes of Burgundy were great art patrons and understood that artwork could support their dynastic and political goals as well as adorn their walls. Philip the Bold's (r.
- ) greatest artistic enterprise was the building of the Chartreuse (charter house in English) of Champmol, near Dijon - a. The complex diplomatic history of Philip the Good's long ducal reign () occupies much of the book, in particular Burgundy's relations with England and France.
The central theme is Philip the Good's policy of territorial and personal aggrandisement, which culminated in his negotiations with the Holy Roman Emperor for a by: Philip the Good KG (French: Philippe le Bon), also Philip III, Duke of Burgundy was Duke of Burgundy from until his death.
He was a member of a cadet line of the Valois dynasty (the then Royal family of France). During his reign Burgundy reached the height of its prosperity and prestige and became a leading center of the arts.
Philip II, byname Philip the Bold, French Philippe le Hardi, (born Jan. 17,Pontoise, France—died ApHalle, Brabant), duke of Burgundy (–) and the youngest son of the French king John II the Good. One of the most powerful men of his day in France, he was for a time regent for his nephew Charles VI; and when Charles went insane, he became virtual ruler of France.Under Philip the Burgundian, court became the showpiece of Europe renowned for its patronage of illuminated manuscripts, tapestries, painting, music and pageantry, which were employed as a tool for the social and political expression of the Duke and his courtiers.His artistic patronage supported his political ambitions: work on Philip the Bold’s tomb was carried out by Claus Sluter until his death inwhen his nephew Claus de Werve took over as ducal sculptor.
One of Claus de Werve’s masterpieces is the seated Virgin and Child from Poligny, probably a ducal commission ().