CMA: Medieval Art

Seine break-up near Bennecourt - 1893
https://botfrens.com/collections/41/contents/3110247

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

The Gotha Missal: Fol. 101r, Text https://clevelandart.org/art/1962.287.101.a

Printed Book of Hours (Use of Rome): fol, 78r, Job

Printed Book of Hours (Use of Rome): fol, 78r, Job https://clevelandart.org/art/2009.276.78.a

Mounted Dragoon Officer

Mounted Dragoon Officer https://clevelandart.org/art/2010.24

Histamenon of Romanus III

Histamenon of Romanus III https://clevelandart.org/art/2011.213.a

Leaf from a Choral Book: Annunciation to Zaccharias

Leaf from a Choral Book: Annunciation to Zaccharias https://clevelandart.org/art/1985.83

Book of Hours (Use of Rouen): fol. 51r

Book of Hours (Use of Rouen): fol. 51r https://clevelandart.org/art/1952.227.6.a

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

The Gotha Missal: Fol. 157v, Text https://clevelandart.org/art/1962.287.157.b

Family Excursions

Family Excursions https://www.wikiart.org/en/max-ernst/family-excursions

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 231r https://clevelandart.org/art/1963.256.231.a

Octodrachm

Octodrachm https://clevelandart.org/art/1965.552

This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 6r, June https://clevelandart.org/art/1964.40.6.a

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 108v https://clevelandart.org/art/1963.256.108.b

During 1860-61, Nadar tried his hand at equestrian photography, probably while waiting for the completion of his new, elaborate studio on the Boulevard des Capuchins. In this rare example of the theme, Nadar carefully positioned and lit his subject-an unidentified, elegantly dressed gentleman on horseback-in front of a painted backdrop decorated with a walled garden scene. The two remained motionless just long enough for the wet collodion negative to render a sharply defined image.

Man on a Horse https://clevelandart.org/art/1996.336

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 82v https://clevelandart.org/art/1963.256.82.b

This capital belongs to a surviving group including other architectural fragments that once decorated the cloister of the Abbey of Larreule. A cloister was a covered walkway or arcade, usually around all four sides of a square area of grass (the "cloister garth"). The seclusion of the cloister was the monks’ exclusive domain, off limits to others. Here, the monks were supposed to pray, study, meditate, and exercise in privacy and solitude. Such cloister capitals served both to instruct the monks and as a focus for their devotions. Other capitals in this series are installed in the Jardin Massey at Tarbes, near the original abbey. An arch from Larreule has been assembled with other associated French capitals at The Cloisters in New York.

Engaged Capital https://clevelandart.org/art/1916.2052.2

Book of Hours (Use of Rouen): fol. 120r

Book of Hours (Use of Rouen): fol. 120r https://clevelandart.org/art/1952.227.120.a

Chest

Chest https://clevelandart.org/art/1971.281

Book of Hours (Use of Rouen): fol. 32r

Book of Hours (Use of Rouen): fol. 32r https://clevelandart.org/art/1952.227.32.a

My mom drunk falls into the chair

My mom drunk falls into the chair https://www.wikiart.org/en/paul-klee/mumon-drunk-falls-into-the-chair-1940

Catti Stater of the Dobunni (obverse)

Catti Stater of the Dobunni (obverse) https://clevelandart.org/art/1969.154.a

Schiavona Broadsword

Schiavona Broadsword https://clevelandart.org/art/1916.705

This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05. A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.

Hours of Charles the Noble, King of Navarre (1361-1425), fol. 321v, Bust of Death https://clevelandart.org/art/1964.40.321.b

Missale: Fol. 8r: November Calendar Page

Missale: Fol. 8r: November Calendar Page https://clevelandart.org/art/2006.154.8.a

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 236v https://clevelandart.org/art/1963.256.236.b

Historic ground

Historic ground https://www.wikiart.org/en/paul-klee/historic-ground-1939

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 221v https://clevelandart.org/art/1963.256.221.b

Battle Axe

Battle Axe https://clevelandart.org/art/1916.1601

John B. Turner Fund

Untitled, From Leonardo, 1983
https://botfrens.com/collections/27/contents/1170585

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 176v https://clevelandart.org/art/1963.256.176.b