Flanders in the Fifteenth Century - Art and Civilization by Edgar Richard Foreward by Paul Coremans

By Edgar Richard Foreward by Paul Coremans

Masterpieces of Flemish artwork: Van Eyck to Bosch, Oct.-Dec., 1960. equipped by way of the Detroit Institute of Arts and town of Bruges.

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81-84). The cradles known as "Repos de 1' Enfant Jesus" were a type of furniture peculiar to the Netherlands, and scarcely any still exist. The example being shown in this exhibition (cat. no. 161 may be considered one of the best. Domestic furniture, including chairs, chests, and trunks, is less known. These was not as monumental as religious furniture but of equal quality and they were more rarely decorated in caned bas-relief. These furnishings and the interior decorations of private homes are mostly known indirectly through the faithful reproductions in early Flemish painting and sculpture.

The conflict between capital and labor does not date from the century These struggles were rather complex because in most cities the 1 9th social conflicts between aristocracy and the trades overflowed into the political field and often served national objectives. In general, their aim was to take the power away from the aristocrats. The results of these struggles, often long and violent depending on the city and region, were rather varied. The end of that period marked the high point of the cities which, as was the case in Flanders, the aristocrats !

By setting the quality of the materials, establishing the techniques to be used, and assuring the training of artists, these rules made a clear contribution to the good reputation of Flemish art. This organization of artistic work, well established in the Netherlands, survived, in part, until the end of the Old Regime. In other countries like Italy, it disappeared more quickly. Everywhere in Europe, until the 14th century, the role of the patrons of was restricted to the royal and princely courts, ecclesiastical circles, and the nobility.

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