In order to understand early modern undergarments, it’s also vital to understand the outergarments that were worn. In order to better educate myself I’ve recently been going through som…
With the stays all done and dusted, it is time to plan ahead. A matching under-petticoat will be next. Since I am not very eager on making a farthingale of any kind, I have chosen to go with a 1630…
The history of music composers, like basically every other artistic pursuit ever, is overflowing with men. Talented, exceedingly brilliant men, definitely; but there's a pretty explicit deficit of women in the "famous composers" canon. And that's a…
#FridayNightFrills 18th Century women's Caraco jacket with winged cuffs and peplum of a stunning blue brocaded silk, c.1740-1750's via Augusta Auctions
Bestel Jan van Bijlert, Herder snijdt een fluit - 1630s als print. Kies zelf de maat en het materiaal. Snel geleverd, hoge kwaliteit.
Il y a les mystiques sans Dieu. Mais il y a aussi ceux qui veulent avoir Dieu sans mystique, sans mystère, sans être ravis et réduis à l'état de mutisme par cette muette musique. Ils s'attachent à une religion toute extérieure, toute en images et sans contemplation silencieuse. Selon eux, Dieu est inconnaissable, et cette inconnaissance doit nous laisser sans contact direct avec Dieu. Il faudrait alors se contenter des œuvres, comme d'une morale sans conscience, comme d'un corps sans âme. L'aveugle de Marseille leur répond : "Chose étrange, on veut me faire croire que je ne vois pas le soleil parce qu'il y en a qui ne le voient point. On me dit que ma contemplation est une chimère parce qu'on ne peut la concevoir sans images. Et, ce qui est plus admirable, c'est que jouissant d'une grande paix et d'une profonde tranquillité, comme je les assure, on entreprend de me persuader qu'il n'est point vrai que je sois dans ce repos, et que, si je veux l'acquérir, il me faut toujours méditer, toujours penser et toujours agir." François Malaval, La Belle ténèbre, p. 176 Ici, "méditer" veut dire se représenter des images, par exemple des scènes de la vie de Jésus ou bien évoquer des attributs de Dieu comme sa bonté ou sa simplicité. La contemplation, elle, consiste à se mettre en présence de Dieu, sans images ni discours, sauf éventuellement quelques paroles pour se lancer.
Marie-Louise de Tassis by Van Dyck This started when someone posted a detail of a SebastianVrancx painting onto the English Civil War (ECW) and Mid-17th Century Living History Group page on Facebook, the detail is in the bottom right of the painting. While others were discussing the fact that she’s wear a partlet under her gown I was looking at two other features. First since she is taking off the gown, the painting is entitled travellers attacked by robbers, you can see that it is a bodice with a skirt attached, an over gown. Second that she has “virago sleeves,” and as the museum date the painting to 1617-19 these are early. The over gown. 1620s and 1630s outfits from Kelly and Schwabe Over gowns with separate skirts attached to them rarely survive from this period, the only adult one I can think of is the 1639 gown worn by Pfalzgrafin Dorothea Maria von Sulzbach. (Arnold, 1985) The loose gowns examined by Janet Arnold cover the period 1570 to 1620, but they are one piece from shoulder to ground, and the next examples are the manutas from the late 1690s, early 1700s, again one piece from shoulder to ground. (Arnold, 1977) There was a surviving over gown of the 1620s in France before the Second World War which appeared in Kelly & Schwabe’s (1929) book Historic Costume 1490-1790, shown left. I have no idea where this garment is now, it was originally in the collection of the Société de l’Histoire du Costume, Paris. This is the sort of over gown which appears in the Vrancx painting and here in the Van Dyck portrait of Portrait of Marie-Louise de Tassis. In the Van Dyck portrait, like the example in Kelly & Schwabe, the virago sleeves are on the under bodice, and the over gown has a simple sleeve open at the front and caught together only at the cuff. Whereas in the Vrancx painting the virago sleeves appear to be on the gown. The pattern in Kelly and Schwabe is described as after Leloir, Leloir’s Histoire du costume, tome VIII, Louis XII (1610-1643) was not published until 1933, but the authors acknowledge his help in their introduction. The pattern gives only the under bodice and the bodice of the over gown with no pattern for the skirt, nor any information as to how it was attached, and is shown below. Pattens from Kelly and Schwabe Emily Gordenker (2001) has commented that Van Dyck, in his later years, removed the over gown from the ladies he painted in order to simplify the garments worn, so that he could paint the costume more rapidly. However the gown does appear to be going out of fashion by the middle of the century, though at least one of Hollar’s Ornatus prints seems to show this style. The sleeves. According to several sources Randle Holme in his Academie of Armory, 1688, described virago sleeves as ‘The heavily puffed and slashed sleeve of a woman’s gown, then fashionable.’ I haven’t actually been able to find this quote. Comments I can find in Holme are that sleeves have “As much variety of fashion as days in the year,” and “The slasht-sleeve, is when the sleeve from shoulder to the sleeve hands are cut in long slices or fillets; and are tied together at the elbow with ribbons, or such like.” When looking at a series of dated women’s portraits the earliest I have previously found was 1620 and the latest 1632, giving a fashionable period of some ten years. There is some slashing at the top of Queen Anne’s 1617 sleeve in the painting by Somers, but it is not a virago sleeve. In most of the portraits the virago sleeve is on the garment worn under the gown and not, as in the Vrancx painting, on the gown itself. Hollar. Plate from Ornatus Bibliography Arnold, J., 1977. Patterns of Fashion 1: 1660-1860. London: Macmillan. Arnold, J., 1985. Patterns of Fashion: the cut and construction of clothes for men and women c. 1560-1620.. London: Macmillan. Gordenker, E., 2001. Anthony Van Dyck and the representation of dress in seventeenth century portraiture. Turnhout: Brepols. Kelly, F. M. and Schwabe. R., 1929. Historic costume. 2nd ed. London: Batsford. Some paintings with virago sleeves. Princess Magdalena Sybilla, unknown artist c.1630 Queen Henrietta Maria by Mytens 1630 Queen Henrietta Maria by Anthony Van Dyck Grace Bradbourne (d.1627), Wife of Sir Thomas Holte attributed to Cornelis Janssens van Ceulen Charlotte Butkens, Lady von Anoy, with her son. Anthony Van Dyke C. 1631 Abigail Sacheverell, Mrs Humphrey Pakington by Cornelis Janssens van Ceulen 1630 Katheryn Spiller, Lady Reynell attributed to Cornelis Janssens van Ceulen 1631 Elizabeth Wriothesley, née Vernon, Countess of Southampton, unknown artist, c.1620
My research aims to reconstruct historic Dress at a specific time-location-point, to create an artefact that no longer exists (the recreated artefact/object). To summarise the approach I am taking:…
Peter Korver | Amsterdam - The Art of Natural History | Murals, Painted ceilings, Wall-painting - Muurschildering, Plafondschildering, Trompe-l'oeil
Portrait d’officier de mousquetaire de la 2e compagnie. Paris, musée de l’Armée PARIS - Mousquetaires ! Le mot sonne comme une promesse de panache, de beaux coups d’épées et d’aventure. La nouvelle exposition du musée de l’Armée offre au grand public...
Anthony van Dyck Portrait drawing of Orazio Gentileschi ca. 1627 British Museum The Flemish painter Anthony van Dyck met (and drew) the Italian painter Orazio Gentileschi in London in the late 1620s. Both were there, far from home, to participate in the rich painting culture established under Charles I. Later in the century William Aglionby looked back to this era as a sort of lost golden age: "King Charles the First was not only the greatest Favourer, but the truest Knower of all those Arts; and by his Countenance, the whole court gave themselves up to those Refined Pleasures; there being hardly a Man of Great Quality, that had not a Collection, either of Pictures or Antiques: Artists flowed in upon us from all parts: And had not the Bloody-Principled Zealots, who are Enemies to all the Innocent Pleasures of Life, under the pretext of a Reformed Sanctity, destroyed both the Best of Kings, and the Noblest of Courts, we might to this day have seen these Arts flourish amongst us; and particularly, this of Painting, which was the Darling of that Vertuous Monarch." The lace ruffs and gold chains of the 1620s, the stiff brocades and stiff poses, enforced an elaborate artificiality, but the artifice never extended to faces. From behind the heaped-up conventions of fashion and privilege, idiosyncratic personalities with unidealized faces became objects of scrutiny. Paulus Moreelse Portrait of Johanna Martens 1625 Prado workshop of Jan van Ravesteyn Portrait of Johann Conrad von Salm ca. 1622-25 Rijksmuseum Michael Janz van Mierevelt Portrait of Dudley Carleton ca. 1620 National Portrait Gallery (U.K.) Spanish painter Portrait of Isabel de Borbón, Queen of Spain ca. 1620 Prado Unknown painter Portrait of James Hay, 1st Earl of Carlisle 1628 National Portrait Gallery (U.K.) Michael Janz van Mierevelt Portrait of an unknown woman ca. 1628 Wallace Collection, London Unknown painter Portrait of Sir Heneage Finch 1620s National Portrait Gallery (U.K.) Marcus Gheeraerts Portrait of Margaret Layton ca. 1620 Victoria & Albert Museum Thomas de Keyser Portrait of three children and a man 1622 Rijksmuseum studio of Michael Janz van Mierevelt Portrait of Anne, Lady Carleton ca. 1625 National Portrait Gallery (U.K.) Willem Cornelisz Duyster Portrait of a man 1627 oil on copper Rijksmusuem Ottavio Leoni A Cardinal's Procession, Rome 1621 Metropolitan Museum of Art Juan van der Hamen Offering to Flora ca. 1627 Prado
Victoria and Albert Museum - British Galleries
The ruff is probably the item of clothing that is associated most with Elizabethan England. It is the white collar that was fashionable with men, women and children in all but the lowest social cl…
Découvrez La duchesse de Longueville par Jean HUBAC au travers d'œuvres et d'images d'archive.
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