Pieter Coecke, Bernard Van Orley et les maniéristes anversois : transmission d’une figure raphaélesque entre Bruxelles et Anvers
The present article studies the many Flemish filiations of a figurative motif present in Raphael’s Christ Carrying the Cross in the collection of the Prado. This motif arrived in Brussels in the first decades of the 16th century when the composition was translated into two tapestries. Their cartoon...
Enregistré dans:
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| Format: | Article ou chapitre numérique |
| Sprog: | Français |
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2019
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| Online adgang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Summary: | The present article studies the many Flemish filiations of a figurative motif present in Raphael’s Christ Carrying the Cross in the collection of the Prado. This motif arrived in Brussels in the first decades of the 16th century when the composition was translated into two tapestries. Their cartoons would seem to have remained in the workshop of the tapestry maker since the figure of one of the executioners represented was taken up by Pieter Coecke van Aelst in a wall hanging of the Triumph of Lust woven around 1542-1544, as well as in several works of followers in Antwerp. The motif was equally borrowed by Bernard van Orley and the members of his workshop, notably in the triptych of the Crucifixion installed in 1558 in the church of Notre Dame in Bruges. One of his assistants, the Master of Güstrow, served as the link for the transmission of the Raphaelesque model within the circle of the Antwerp Mannerists. Thus the article reveals in part the family and professional ties having ensured the rapid diffusion of these innovative Italian models within the Brabant artistic circles in the beginning of the 16th century. |
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