Dieric Bouts:il ruolo del «pictor ymaginum» nel Brabante del XV secolo / Dieric Bouts: the «pictor ymaginum» and his role in the 15th century Brabant
Abstract
Lovanio iniziò a godere di grande fama grazie all’impulso artistico e culturale dato dall’Università, istituita nel 1425. È probabile che il maestro Dieric Bouts sia stato attratto proprio da questo clima, visto che la città brabantina si stava espandendo con la costruzione di edifici importanti, richiedendo di conseguenza l’intervento di artisti e artigiani. Bouts acquisì nel corso del tempo un considerevole status sociale, in particolare grazie ai dipinti eseguiti per il palazzo comunale di Lovanio. Inoltre, egli viene solitamente ricordato per il Trittico con l’Ultima Cena, il cui caso è certamente unico nel suo genere; si conoscono, infatti, le clausole contrattuali dell’opera. Questo contributo permette dunque di comprendere, attraverso la contestualizzazione di un caso particolare, quali fossero le condizioni sociali in cui un artista operava, individuandone il possibile motore economico.
Leuven attained fame through the artistic and cultural impulse given by the University, established in 1425. Probably, Dieric Bouts was attracted by such milieu, since the Brabantine city grew up with new buildings, which needed the work of artists and artisans. In this context, Bouts achieved an outstanding social status, especially thanks to the commissions for the Leuven city hall. Moreover, this painter is renowned for his Triptych of the Last Supper. This work is very important, since the contract of this painting is available. By contextualizing Bout’s case, this article aims at showing the social condition of the artist in 15th century Brabant, in order to identify the possible economic cause.
Full Text
PDFRiferimenti bibliografici
Aronberg Lavin M. (1967), The Altar of Corpus Domini in Urbino: Paolo Uccello, Joos van Ghent, Piero della Francesca, «The Art Bulletin», 49, n. 1, pp. 1-23.
Aubert R., ed. (1976), De Universiteit te Leuven (1425-1975), Leuven: University Press Leuven.
Blockmans W. P., Prevenier W., Peters E., eds. (1999), The promised lands. The Low Countries under Burgundian rule, 1369-1530, Philadelphia: University of Pennsylvania Press.
Blockmans W., Donckers E. (1999), Self-representation of court and city in Flanders and Brabant in the fifteenth and early sixteenth centuries, in Showing status: representation of social positions in the late Middle Ages, edited by W. P. Blockmans, A. Janse, Turnhout: Brepols, pp. 81-111.
Boon K. G. (1958), Bouts, Justus of Ghent and Berruguete, «The Burlington Magazine», 100, n. 658, pp. 8-15.
Campbell L. (1976), The art market in the Southern Netherlands in the fifteenth century, «The Burlington Magazine», 118, n. 877, pp. 188-198.
Comblen-Sonkes M. (1996), The Collegiate Church of Saint Peter Louvain, Bruxelles: Centre international d’étude de la peinture médiévale des bassins de l’Escaut et de la Meuse.
De Simone G. (2011), «Exurgit alius sacerdos». Note sull’iconografia del Cristo eucaristico, in Alla mensa del signore a cura di G. Morelli, Torino: Allemandi & C., pp. 52-59.
De Witte A. (1986), Histoire monétaire des comtes de Louvain, ducs de Brabant ducs et marquis du Saint Empire Romain, Antwerpen: De Backer, vol. 2.
Dehaisnes C. (1882), Document inédits concernant Jean le Tavernier et Louis Liédet, miniaturistes des ducs de Bourgogne, Bruxelles: Baertsoen.
Dekeyzer B. (1998), ‘Waar Abraham de mosterd haalde’. Over kunstenaars en hun adviseurs in Leuven tiijdens de 15de eeuw, in Dirk Bouts (ca. 1410-1475) een Vlaams primitief te Leuven, catalogo della mostra (Leuven, Sint-Pieterskerk e Predikherenkerk, 19 settembre – 6 dicembre 1998), edited by M. Smeyers, Leuven: Peeters, pp. 201-208.
Dionysius Cartusianus (1897), Enarratio in quatuor libros Regum, in Opera omnia, cura et labore Monachorum Sacri Ordinis Cartusiensis, Monstrolii: Typis Cartusiae Sanctae Mariae de Pratis, vol. 3, pp. 243-732.
Dominici T. (2015), Sul ritorno “a casa” degli Uomini Illustri: analisi e considerazioni su Giusto di Gand e la sua attività urbinate, «Arte marchigiana», 2, pp. 9-30.
Dominici T. (2017), Giovanni Santi e Dieric Bouts: vite parallele, «Studi Pesaresi», 5, pp. 39-52.
Lafortune-Martel A. (1984), Fête noble en Bourgogne au XVe siècle: le banquet du Faisan (1454): aspects politiques, sociaux et culturels, Montreal: Bellarmin.
Limentani Virdis C. (1978), Introduzione alla pittura neerlandese (1400-1675), Padova: Liviana Editrice.
Martens M. P. J. (1999), The position of the artist in the fifteenth century: salaries and social mobility, in Showing status: representation of social positions in the late Middle Ages, edited by W. P. Blockmans, A. Janse, Turnhout: Brepols, pp. 387-414.
Martens M. P. J. (2005), Patronage, in Early Netherlandish paintings: rediscovery, reception and research, edited by B. Ridderbos, A. van Buren, H. van Veen, Amsterdam: University Press, pp. 345-377.
Meulemans A. (1979), De Leuvense broederschap van Sint-Lucas, «Jaarboek van de Geschieden oudheidkundige Kring voor Leuven en omgeving», XIX, pp. 3-63.
Molanus J. (1861), Historia Lovaniensium libri XIV, cura P. F. X. de Ram, Bruxelles: M. Hayez.
Montella M., Toscano B. (2010), Arte, comunicazione, valore: una conversazione, «Il capitale culturale», 1, pp. 149-161.
Pächt O. (2010), Altniederländische Malerei: von Rogier van der Weyden bis Gerard David, München, Prestel, 1994; trad. ing. Early Netherlandish painting. From Rogier van der Weyden to Gerard David, London: Harvey Miller, 2010.
Paul N. (1975), De munt in Brabant van Filips de Goede tot Marie van Bourgondië (1430-1482), in Dirk Bouts en zijn tijd, catalogo della mostra (Leuven, Sint-Pieterskerk, 12 settembre – 3 novembre 1975), Leuven: s.n., pp. 51-57.
Périer-D’Ieteren C. (2005), Thierry Bouts: l’œuvre complet, Bruxelles: Fonds Mercator.
Pinchart A. (1865), Miniaturistes, enlumineurs et calligraphes employés par Philippe le Bon et Charles les Téméraire et leurs œuvres, Bruxelles, Impr. Bols-Wittouck.
Pirenne H. (1909), The formation and constitution of the Burgundian State (fifteenth and sixteenth centuries), «American Historical Review», XIV, n. 3, pp. 477-502.
Pirenne H. (1909-1932), Histoire de Belgique, Bruxelles: Lamertin.
Pirenne H. (1937), Economic and social history of medieval Europe, New York: Harcourt, Brace & World.
Prevenier W. ed. (1989), Marriage and social mobility in the late Middle Ages, Atti del convegno (Gent, 18 aprile 1988), Gent: RUG. Seminaries voor geschiedenis.
Prevenier W., Blockmans W. P. (1986), The Burgundian Netherlands, Cambridge: Cambridge University Press.
Ridderbos B. (2005), Objects and questions, in Early Netherlandish paintings: rediscovery, reception and research, edited by B. Ridderbos, A. van Buren, H. van Veen, Amsterdam: University Press, pp. 4-172.
Schöne W. (1938), Dieric Bouts und seine Schule, Berlin: Verl. für Kunstwissenschaft.
Smeyers M. (1998a), Dirk Bouts: peintre du silence, Tournai: Renaissance du Livre.
Smeyers M. (1998b), The living bread. Dirk Bouts and the Last Supper, in Dirk Bouts (ca. 1410-1475) een Vlaams primitief te Leuven, catalogo della mostra (Leuven, Sint-Pieterskerk e Predikherenkerk, 19 settembre – 6 dicembre 1998), edited by M. Smeyers, Leuven: Peeters, pp. 35-58.
Spufford P. (1970), Monetary problems and policies in the Burgundian Netherlands, 1433-1496, Leiden: Brill.
Twycross M. (1980), The Flemish ommegang and its pageant cars, «Medieval English Theatre», 2, pp. 15-41.
Van Buyten L. (1975), De sociale situatie van de Leuvense familie Bouts (ca. 1450-ca. 1550), in Dirk Bouts en zijn tijd, catalogo della mostra (Leuven, Sint-Pieterskerk, 12 settembre – 3 novembre 1975), Leuven: s.n., pp. 129-176.
Van der Ploeg K. (2005), Iconographical aspects of the Last Supper in the Middle Ages, in The seventh window: The King’s Window donated by Philip II and Mary Tudor to Sint Janskerk in Gouda (1557), edited by Wim de Groot, Hilversum: Verloren Publ., pp. 198-214.
Van Even E. (1860), Louvain monumental ou Description historique et artistique de tous les édifices civils et religieux de la dite ville, Leuven: Fonteyn.
Van Even E. (1863), L’Omgang de Louvain. Dissertation historique et archéologique sur ce célèbre cortège communal, Leuven: Fonteyn.
Van Even E. (1870), L’ancienne école de peinture de Louvain, Bruxelles: Muquardt.
Van Even E. (1895), Louvain dans le passé et dans le présent formation de la ville, événements mémorables, territoire, topographie, institutions, monuments, œuvres d’art, Leuven: Fonteyn.
Van Even E. (1898), Le contrat pour l’exécution du triptyque de Thierry Bouts de la collégiale Saint-Pierre, à Louvain (1464), «Bulletins de l’Académie Royale des Sciences, des Lettres et des Beaux-Arts de Belgique», 68, pp. 469-479.
Van Uytven R. (1961), Stadsfinanciën en stadsekonomie te Leuven van de XIIe tot het einde der XVIe eeuw, Bruxelles: Koninklijke academie voor wetenschappen, letteren en schone kunsten van België.
Van Uytven R., ed. (1980), Leuven de beste stad van Brabant, 1. De geschiedenis van het stadsgewest Leuven tot omstreeks 1600, Leuven: Vrienden stedelijk musea.
Van Uytven R. (1975), Het leven te Leuven ten tijde van Bouts, in Dirk Bouts en zijn tijd (1975), catologo della mostra (Leuven, Sint-Pieterskerk, 12 settembre – 3 novembre 1975), Leuven: s.n., pp. 17-36.
Van Uytven R. (1998a), De prijs van de schilderijen van Dirk Bouts, in Dirk Bouts (ca. 1410-1475) een Vlaams primitief te Leuven, catalogo della mostra (Leuven, Sint-Pieterskerk e Predikherenkerk, 19 settembre – 6 dicembre 1998), edited by M. Smeyers, Leuven: Peeters, pp. 181-187.
Van Uytven R.. (1998b), Leven te Leuven ten tijde van Dirk Bouts, in Leuven in de late middeleeuwen. Dirk Bouts: Het laatste avondmaal, edited by A. Bergmans, Tielt: Lannoo, pp. 9-22.
Van Uytven R. (1992), Splendour or wealth: art and economy in the Burgundian Netherlands, «Transactions of the Cambridge Bibliographical Society», 10, n. 2, pp. 101-124.
Vaughan R. (1970), Philip the Good: the apogee of Burgundy, London: Longmans.
Veronee-Verhaegen N. (1958), La justice d’Othon de Thierry Bouts: iconographie, «Bulletin de l’Institut royal du patrimoine artistique», 1, pp. 22-30.
Willem P. B. (2009), The formation of a political union, 1300-1588, in History of the Low Countries, edited by J. C. H. Blom, E. Lamberts, New York: Berghahn, pp. 55-142.
Wisse J. (1998), Distinguishing between Bouts and Stuerbout as official city painters, in Dirk Bouts (ca. 1410-1475) een Vlaams primitief te Leuven, catalogo della mostra (Leuven, Sint-Pieterskerk e Predikherenkerk, 19 settembre – 6 dicembre 1998), edited by M. Smeyers, Leuven: Peeters pp. 19-34.
DOI: http://dx.doi.org/10.13138/2039-2362/1692
Copyright (c) 2018 IL CAPITALE CULTURALE. Studies on the Value of Cultural Heritage
edita dall'eum e gestita dall'Università di Macerata, Dipartimento di Scienze della formazione, dei beni culturali e del turismo, Sezione di Beni Culturali, piazzale Bertelli 1, 62100 Macerata, Italia.
Adotta specifiche politiche per la gestione e protezione dei dati.