Examples of Renaissance Work Art? Architecture? Textiles? Glasswork? Of Genoa

Flemish Textiles of the Northern Renaissance

During the Burgundy period, Flanders became one of the richest parts of Europe, where magnificent tapestries where produced.

Learning Objectives

Examine the importance of tapestries in Flanders during the Burgundy menses

Key Takeaways

Fundamental Points

• By 1433, most of the Belgian and Luxembourgian territory, along with much of the residual of the Low Countries, became part of Burgundy under Philip the Good . When Mary of Burgundy, granddaughter of Philip the Skillful, married Maximilian I, the Low Countries became Habsburg territory.
• Flemish tapestries hung on the walls of castles throughout Europe. Some designs were influenced by the paintings of major Italian Renaissance artists such as Raphael, which were copied into textile grade by Flemish artists who trained on the Italian peninsula.
• Millefleurs was a particularly pop style during the late 15th and early 16th centuries. This style features backgrounds filled with pocket-size, nevertheless detailed, bouquets of flowers. The name literally translates from French as "a 1000 flowers."
• Among the virtually famous of Flemish tapestries is The Chase of the Unicorn , often referred to as the Unicorn Tapestries: a series of vii tapestries dating from 1495–1505.
• The two major interpretations of many Flemish tapestries from the Renaissance hinge on both pagan and Christian symbolism .

Central Terms

• cartoon: A preparatory 2-dimensional drawing of a finished artwork.
• slashing: A decorative technique that involved making pocket-sized cuts on the outer fabric of a garment in order to reveal the inner garment or lining.
• Flemish region: A subnational state in the northward of federal Belgium, the institutional merger of a territorial region and the Dutch linguistic communication "community" that besides has/shares some authority in the capital region Brussels.
• unicorn: A mythical fauna traditionally represented as having the legs of a buck, the body of a horse, the tail of a lion, and a single spiral horn on its caput; a symbol of virginity.
• tapestries: A form of textile art, traditionally woven on a vertical loom, however it can also be woven on a floor loom as well. It is equanimous of ii sets of interlaced threads, those running parallel to the length (called the warp) and those parallel to the width (called the weft); the warp threads are gear up under tension on a loom, and the weft thread is passed back and forth across part or all of the warps.

The Evolution of Art and Industry

By 1433 most of the Belgian and Luxembourgian territory, along with much of the rest of the Low Countries, became part of Burgundy nether Philip the Good. When Mary of Burgundy, granddaughter of Philip the Expert, married Maximilian I, the Low Countries became Hapsburg territory. Their son, Philip I of Castile (Philip the Handsome), was the father of the later on Charles V. The Holy Roman Empire was unified with Spain under the Hapsburg Dynasty after Charles 5 inherited several domains.

During the late Middle Ages—specially during the Burgundy flow (the 15th and 16th centuries)— Flemish region 's trading towns, particularly Ghent, Bruges, and Ypres, fabricated it i of the richest and most urbanized parts of Europe, weaving the wool of neighboring lands into cloth for both domestic employ and export. As a result, a very sophisticated civilization adult, with impressive achievements in the arts and architecture, rivaling those of Northern Italy. Trade in the port of Bruges and the fabric industry, mostly in Ghent, turned Flanders into the wealthiest part of Northern Europe at the finish of the 15th century.

The Influence of Raphael in Brussels

The great flow of Renaissance weaving in Brussels dates from the weaving entrusted past Pope Leo 10 (1475–1521) to a consortium of its studios of The Acts of the Apostles afterward cartoons by Raphael, between 1515 and 1519. The conventions of a awe-inspiring pictorial representation with the furnishings of perspective that would be expected of a fresco or other wall ornamentation were practical for the kickoff time in these tapestries.

The prominent painter and tapestry designer Bernard van Orley (who trained in Italy) transmuted the Raphaelesque monumental figures to forge a new tapestry style that combined the Italian figural manner and perspective rendition with the rich narrative and ornamental traditions of the Netherlands. Such elements tin exist establish in his nine-part series called The Honors, of which the tapestry Fortuna is a notable example.

Fortuna by Bernard van Orley. (c. 1520): From a ix-part set called The Honors, woven in the workshop of Pieter van Aelst, Brussels.

Millefleurs

Literally translating as "a m flowers," the Millefleurs way refers to a background way of many different small-scale flowers and plants, unremarkably shown on a green ground , as though growing in grass. This style was most popular in late 15th- and early 16th century French and Flemish tapestry, with the best known examples in the serial The Hunt of the Unicorn (meet below). These are from what has been called the "archetype" period, where each "bouquet" or plant is individually designed, improvised by the weavers as they worked, while later tapestries, probably more often than not fabricated in Brussels, usually have mirror images of plants on the right and left sides of the piece, suggesting a cartoon reused twice. Some other archetype example is The Triumph of Expiry (1510–20), in which the Fates represent expiry as they stand up in a higher place the body of a fallen maiden. The background consists of rich vegetation expected in the millefleurs tradition.

The Triumph of Decease (1510–20): The 3 Fates (Clotho, Lachesis, and Atropos), who spin, draw out, and cut the Thread of Life, represent Death, as they triumph over the fallen torso of Chastity. This is the third subject in Petrarch's verse form "The Triumphs." Commencement, Dearest triumphs, then Dear is overcome past Guiltlessness, Chastity by Death, Death by Fame, Fame past Fourth dimension, and Time by Eternity.

The Chase of the Unicorn

Flemish tapestries hung on the walls of castles throughout Europe. Among the most famous of Flemish tapestries is The Hunt of the Unicorn, often referred to as the Unicorn Tapestries. These found a series of seven tapestries dating from 1495–1505. The tapestries prove a group of noblemen and hunters in pursuit of a unicorn. The tapestries were woven in wool, metallic threads, and silk. The vibrant colors still evident today were produced with three dye plants: weld (yellow), madder (red), and woad (blue). One tapestry, The Mystic Capture of the Unicorn, survives only in two fragments.

The 2d of the Unicorn Tapestries: The second of the seven tapestries, often called The Unicorn is Found.

Interpretive Traditions: Pagan and Christian

Much of the history of the Unicorn Tapestries is disputed, and there are many theories about their original purpose and meaning, including suggestions that the seven tapestries were not originally hung together. However, it seems likely that they were commissioned by Anne of Brittany to celebrate her marriage to the King of France Louis XII.

The two major interpretations of the tapestries hinge on infidel and Christian symbolism respectively. The infidel interpretation focuses on the medieval lore of beguiled lovers, whereas Christian writings interpret the unicorn and its death as the Passion of Christ. The unicorn has long been identified every bit a symbol of Christ past Christian writers, assuasive the traditionally heathen symbolism of the unicorn to become acceptable inside religious doctrine. The original myths surrounding The Hunt of the Unicorn refer to a creature with one horn that can simply be tamed by a virgin. Subsequently, Christian scholars translated this into an apologue for Christ's relationship with the Virgin Mary.

Ancient Graeco-Roman paganism lies in the interpretation of The Triumph of Death, with the Fates hailing from pre-Christian times. However, the tapestry may as well marshal with the vanitas tradition, which began to emerge in the art of the Northern Renaissance and would become enormously pop with the aristocracy classes of holland during the Bizarre period. Vanitas images, whether every bit however-lifes or equally women doting their reflections, usually couple earthly (transient) concerns with a symbol or specter of death. No matter how concerned a woman might be with her beauty, death always lurks in the groundwork and tin can strike at any moment, causing the viewer to focus on the preparedness of his or her soul for the afterlife.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/textiles-of-the-northern-renaissance/