Les Très Riches Heures du Duc de Berry

Often referred to as the most beautiful Book of Hours in existence, Les Très Riches Heures du Duc de Berry is an exemplary illuminated manuscript. Depicted here are the activities on Jean, Duc de Berry’s 15th-century estate, month by month, representing an entire year. Thanks to my husband, who is a lifelong friend of the 20th-century Duc de Berry, I have discovered this fantastic collection of commissioned works.
©M-J de Mesterton 2011

January
 February
 March
 April
 May
 June
July
August
 September
 October
 November
 December
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Ramon Berenguer III, Count of Barcelona

Beaux-Arts
There are plenty of outrages masquerading as art these days, because people are jaded and devoid of ideas; art students don’t learn technique unless it involves cleverly scamming the public. This all goes on while most people are intimidated enough by the zeitgeist to keep mum lest they be perceived as “unsophisticated” by the perpetrators, who are just as intimidated….
The painting above is identified and described here: http://www.artehistoria.jcyl.es/genios/cuadros/7080.htm 

[M., M-Jeanne de]

M-Jeanne de M. – May 24, 2007 8:26 pm (#1 of 3)  Edit MessageDelete MessageReply Move

Edited by Jun 2, 2007 9:28 am

Here is the very loose translation into “English”, courtesy of Babelfish, of the material cited above in Spanish:
Ramon Berenguer III in the castle of Foix Autor:Mariano Fortuny Aircraft marshaller Fecha:1857 National Museo:Museu d’Arte of Catalunya Características:116´5 x 87´5 cm. Material:Oleo on Spanish Estilo:Eclecticismo linen cloth the samples Are little that Fortuny offers on thematic the historical one, the most important painting in the decimonónica Spain with which the most outstanding official successes were obtained. With this Mariano work it chose to one of the pensions granted by the Delegation of Barcelona to study in Rome during a period of two years. The thematic one demanded was the moment at which the count of Barcelona, Ramon Berenguer III the Great one, ends a revolt initiated in the castle of Foix – in the region of Provenza- whose inhabitants, those in favor of the French domination, had revolted against the Catalan authority. Year 1116 ran and the count ended the rebellion to his return from a trip to Italy. The subject connects with the thought of the Catalan nazarenos painters who constituted the jury like Claudius Lorenzale or Milà i Fontanals, interested in extracting the deepest roots of the Catalan medieval past in relation to the cultural movement denominated Reinaiçenxa. The picture of Fortuny obtained the first prize, consisting of the pension by two years at the rate of 8,000 real annual ones, starting off for the Eternal City the following year of the execution of the painting. In the composition the directives of the nazareno style are followed when occupying the figures most of the space, creating a sensation of oppression when suggesting as soon as they can develop. Thus we can contemplate to Ramon Berenguer encaramado in adarves of the strength, pisoteando the inert corps of a rebel and waving the flag of Barcelona, where we can observe the image of santa Eulalia, throwing with its left hand the French standard to the emptiness after breaking the mast. In the inferior zone we found the Catalan soldiers that they raise to help his gentleman while to the bottom the rebels contemplate the action of the count. Ramon Berenguer is the absolute protagonist of the episode reason why he appears in the center of the scene, sight from down – following a very habitual perspective in the Renaissance to increase the importance of the walls of the castle and its action. The other figures serve as comparsa the count, emphasizing its inexpresiveness although Fortuny are specially interested to describe with rigor its indumentarias within prevailing “the arqueologista” style between the painters of History of those moments like Married of the Alisal or Dióscoro of the Puebla. The colorful employee by Mariano follows the directives of his nazarenos teachers the being very reduced, emphasizing the terrosas tonalities, playing with a quite austere chromatic range. The drawing is exquisite, in syntony with the style that him will make famous. The work at the moment is exhibited in the Palau of the Generalitat of Barcelona like one of jewels of the Catalan historical painting although forgotten enough by the critic.