Pieter Coecke, Bernard Van Orley et les maniéristes anversois : transmission d’une figure raphaélesque entre Bruxelles et Anvers

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...

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1. Verfasser: Zdanov, Sacha
Format: Article ou chapitre numérique
Sprache:Français
Veröffentlicht: 2019
Online Zugang:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
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spelling cairn-RDA_205_0019RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2019-3-page-19?lang=fr https://doi.org/10.3917/rda.205.0019 Pieter Coecke, Bernard Van Orley et les maniéristes anversois : transmission d’une figure raphaélesque entre Bruxelles et Anvers Zdanov, Sacha2019 fre Revue de l'art | 205 | 3 | 2019-11-26 | p. 19-29 | 0035-1326 RDA_20580 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.Cairn free access
language Français
format Article ou chapitre numérique
building 0/Bibliothèque numérique/
1/Bibliothèque numérique/Cairn/
description 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.
author Zdanov, Sacha
spellingShingle Zdanov, Sacha
Pieter Coecke, Bernard Van Orley et les maniéristes anversois : transmission d’une figure raphaélesque entre Bruxelles et Anvers
author_facet Zdanov, Sacha
author_sort Zdanov, Sacha
title Pieter Coecke, Bernard Van Orley et les maniéristes anversois : transmission d’une figure raphaélesque entre Bruxelles et Anvers
title_short Pieter Coecke, Bernard Van Orley et les maniéristes anversois : transmission d’une figure raphaélesque entre Bruxelles et Anvers
title_full Pieter Coecke, Bernard Van Orley et les maniéristes anversois : transmission d’une figure raphaélesque entre Bruxelles et Anvers
title_fullStr Pieter Coecke, Bernard Van Orley et les maniéristes anversois : transmission d’une figure raphaélesque entre Bruxelles et Anvers
title_full_unstemmed Pieter Coecke, Bernard Van Orley et les maniéristes anversois : transmission d’une figure raphaélesque entre Bruxelles et Anvers
title_sort pieter coecke, bernard van orley et les maniéristes anversois : transmission d’une figure raphaélesque entre bruxelles et anvers
publishDate 2019
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url https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2019-3-page-19?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.205.0019
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