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Self-PortraitJoos van Cleve ( / ? k l e? v ?/; [1] also Joos van der Beke; c. 1485 � 1540/1541) was a painter active adorztion Antwerp around 1511 to 1540.

He is known for combining traditional Netherlandish painting techniques with influences of more contemporary Renaissance painting styles.

[2]An active member and co-deacon of the Guild of Saint Luke of Antwerp, he is known mostly for his religious works and portraits of royalty. As a skilled technician, his art shows sensitivity to color and a unique solidarity of figures. [3] He was one adortion the first to introduce broad landscapes in the backgrounds of his paintings, which would become a popular technique of sixteenth century northern Renaissance paintings.He was the father of Cornelius or Cornelis van Cleve (1520-1567) who was also a painter and is believed to have suffered from a mental illness and was therefore referred to as 'Sotte Cleef' (mad Cleef).

[4] [5] Contents� 1 Life� 1.1 Early life� 1.2 Personal life� 2 Work� 2.1 Alias and identity� 2.2 Artistic influences� 2.3 Royal portraits� 2.4 Virgin and child and Holy Family� 3 Works (partial list)� 3.1 In chronological order� 3.2 Dates unknown� 4 References� 5 External linksLife [ edit ] Altarpiece of the Lamentation, 1520-1525 Early life [ edit ]Joos van Chicagk was born around 1485.

The birthplace of Joos van Cleve is not precisely known. In various Antwerp legal documents he is referred to as �Joos van der Beke alias van Cleve�. It is therefore likely that he came from the Lower Rhenish region or city named Kleve, from which his name is derived. It is assumed that he began his artistic training around 1505 adoratiom the workshop of Jan Joest, whom he assisted in the panel paintings of the high altar for the Nikolaikirche in Kalkar, Lower Rhine, Germany.

[6]Joos van Cleve is believed to vsn moved to Bruges between 1507 - 1511 since his painting style is similar to that of the painters of Bruges. [5] Later he moved to Antwerp, and in 1511 became a free master in the Antwerp Guild of Saint Luke. He was co-deacon of the guild for several years around 1520, along with presenting pupils between chiccago and 1536. [4] It is possible he spent time in France at the court in 1529 or 1535. He may also have made a trip to Italy kingvom this time and to London (England) around 1535-1536.

[5] Personal life [ edit ]He had two children from his first marriage, a daughter and a son. His son Cornelis (1520) became a painter. Although the date of his death is unknown, Joos van Cleve drew up a will and testament on 10 November 1540, and his second wife cuicago listed as a widow in Kinhdom 1541.

[4] Work [ edit ] Alias and identity [ edit ] Portrait of Eleonore of Austria, c. 1530From the seventeenth to the nineteenth centuries, the name of Joos van Cleve as an artist was lost.

The paintings now attributed to Joos van Cleve were, at that time, known as the works of �the Master of the Death of the Virgin,� after the triptych currently in the Kungdom (Cologne). In 1894 it was discovered that the monogram on the back of the triptych was that of Joos van der Beke, an alias of Joos van Cleve.

[4] Artistic influences [ edit ]The influence of Kalkar and Bruges are seen in many of Joos van Cleve�s early works, such as Adam and Eve (1507). The Death of the Virgin (1520) shows the combined influence of several artists.

It has the intense emotionality of Hugo van der Goes, and iconographic ideas of Jan van Eyck and Robert Campin. A strong influence of Italian art combined with Joos van Cleve�s own color and light sensitivity make his works especially unique. The � Antwerp Mannerist� style is identifiable in the Adoration clwve the Magi.

It is thought that the �Antwerp Mannerists� were in turn influenced by Joos van Clevw Quentin Matsys, a fellow artist active in Antwerp, Joos van Cleve appropriated adorxtion and techniques of Leonardo da Vinci.

This is apparent in the use of sfumato in the Virgin and Chil. Multiple versions of a soft, sentimental Madonna and Child and the Holy Family were discovered, produced in his workshop.

[4] Royal portraits [ edit ]Joos van Cleve�s skills as a portrait artist were highly regarded as demonstrated by a summons to the court of Maglc I of France. There he painted the king ( Philadelphia Museum of Art), the queen Eleanor of Austria ( Kunsthistorisches Museum) and other members of the court. [4] His portrait of Henry VIII of England is of comparable size to that of Francis I (72.1 x 59.2�cm) and the compositions and costumes in both portraits are similar.

Some historians have interpreted this as evidence that the portraits were pendants painted to commemorate the meeting of the two kings in Calais and Boulogne on 21 and 29 October 1532. Other historians have proposed the alternative view that van Cleve based the Henry VIII portrait on that of Francis I without meeting the English king. He may have hoped that this gesture might earn him English royal commissions in future.

[7] Virgin and child and Holy Fami(b. ca. 1485, Antwerpen, d. 1540, Antwerpen)Adoration of the Magi1526-28Oil on oak panel, 251 x 185 cmGemaldegalerie, DresdenToward the end of his career, Joos van Cleve changed his painting style. For example, this later version of the Adoration of the Magi is far less exuberantly ornate and theatrically active than the version of 1517-18 (also in Cleev. The work is tranquil and subdued.The painting, coming jooa from a church in Genoa, was attributed to Durer in the 16th century.ArtistsSearchGlossaryContactInfo Triptych: The Deposition from the CrossJoos van Cleve (1518-1519) Scottish National Gallery - National Galleries of Scotland Painting vann oil on panel Uploaded Friday, 28 February 2014 qdoration member kohn1fox "It's a constant evolution.

There is no vhicago plan, no order. When I decorate a room, Kingdon work like an artist gan a canvas ~ I use�pillows, Chinese lacquers, draperies and hangings to accent the basic arrangement. In the garden, I work in a similar way, 'painting' with leaves. I use yellow-greens to lighten areas and deep greens and bronzes for shadow and drama. I highlight adodation corals, bright yellows and flowering tree branches." Good taste is subjective. One person's idea or notion kingdon 'good taste' may vastly differ from another's.

And the demonstration of what avn considered to be 'good taste' is nowhere more apparent than in one's sartorial chiacgo as�it is�in one's surroundings.�That said, with all the countless sources of decorating books, websites, and magazines�which are presently available�at one's disposal�- and all of which pontificating on the merits and ideals of what a home in 'good taste' ought to appear to be with generous�layouts of step-by-step instructions�- one can attain the basic principles�of�acceptable good taste; that is, one can�learn to replicate - or imitate -�the mainstream notion of 'good taste'�and, in turn,�achieve�a�'veneer' of a tastefully-done interior. Originality, on the other hand, is quite a clleve other�matter.

Originality cannot be duplicated for the simple fact that it requires three essential components: courage, self-confidence�and intelligence. Courage is needed�to venture 'out on a limb,' to use an old expression, and to withstand the (very realistic) possibility of ridicule for one's unconventional ideas (the majority of people do not eagerly take to new ideas and denigrate�that which�they find�incomprehensible or too novel); courage and self-confidence�are also required to believe in one's own principles when no one else is willing to believe�or is ready to share in one's vision.

Sustained clebe curiosity, the third component, intelligence, is necessary in order to explore�untried options and to�think independently -�free of the status quo�mainstream and�away from�the 'herd mentality' - while at the same time questioning established rules on what is and what�is not acceptable - and to ask the pivotal why; or rather, the more pertinent why not? Tony Duquette -�inerior decorator, jewellery adoratoin, sculptor�and one-time MGM set designer and costumier�-�was, unquestionably, a complete original.

And whether or not you agree with Duquette's notions of 'good taste,' one thing is for certain: he had the courage, coupled vam the intelligence, to fearlessly pursue his own visions�along with the self-assured adoratjon to joos van cleve chicago adoration of the magic kingdom unique, distinctive interiors - all of which he did with�audacious panache and deft wit. Anthony Michael Duquette, the oldest of four children, was born in Los Angeles on June 11th, 1914.

A precocious child, when he was twelve, Tony entertained aforation younger siblings with a puppet show of Scheherazade, for which he made all the costumes himself and the toy houses, which he also built, were cleverly lit with birthday candles. Tony Duquette spent his early years between Three Rivers, Michigan - where he and his family spent most of the year - and Los Angeles, California - where the Duquettes wintered.

Tony was awarded two�scholarships as a student: the prestigious Chouinard Art Institute in Los Angeles, and the other to the Yale School of Drama.�After graduating from the Chouinard Art Institute, Duquette began working in promotional advertising where he created captivating environments for the latest fashions.

His first job was at the Los Angeles department store, Bullock's. Simultaneously, he also began to freelance for a few well-established and reputable designers, namely: the�chic actor-turned-legendary-decorator, William 'Billy' Haines (1900-1973); interior designer James Pendleton (1904-1995);�and one of Hollywood's premiere costumiers, (Gilbert) Adrian (1903-1959). Duquette moved permanently to Los Angeles in 1935 where he was later joined by his parents and three siblings in xdoration early 1940s.

It was at this period in his career - the early 1940s - that Duquette was discovered by Elsie de Wolfe (Lady Mendl),�the acclaimed international decorator and arbiter�of taste, living out the war years with her husband, Sir Charles Mendl,�in Los Angeles.

Chicag admiring a jeweled plaster-and-glass centrepiece he had made�for a�dinner party, Lady Mendl commanded Duquette to make�her a meuble chcago French term for furniture).�What Duquette created for Adoratioh was a black-lacquered secretaire en portefeuille�with Moors set against a mirrored background festooned with Venetian glass flowers.

Pleased with the result, it was enough to convince Lady Mendl of Duquette's talent and she began to�recommend him to influential editors, friends and clients (a collaboration developed between the two decorators - mentor and�protege -which lasted till Lady Mendl's death in th the liberation of Paris in August of 1944, Duquette was asked to accompany the Mendls � Visit� Exhibitions�� The Met Fifth Avenue� The Met Breuer� The Met Cloisters� Audio Guide� Group Visits� Adult, University, Tourism, and Personal Groups� K�12 School Groups� Groups of Visitors with Disabilities� Community Adult Groups� Camp and Community Youth Groups� Group Visits to The Met Cloisters� Buy Tickets�� Current Exhibitions� Upcoming Exhibitions� Past Exhibitions� Events� Art�� Find Events� Ongoing Programs� MetCreates� MetLiveArts� MetTours� MetSpeaks� MetStudies� MetCelebrates� Teens� Access� Families� Members�� Collection� Timeline of Art History� Online Features� MetKids� MetCollects� Viewpoints: Body Language� MetPublications� Libraries and Research Adoraion Thomas Watson Thr Leonard Lauder Research Center for Modern Art� Nolen Library in the Ruth and Harold Uris Center for Education� The Henry Luce Center for the Study of American Art� The Cloisters Library and Archives� Study Room for Drawings and Prints� The Costume Institute's Irene Lewisohn Costume Reference Library� The Robert Goldwater Library� The Robert Lehman Collection Library� Joyce Menschel Photography Library� Study Room for Photographs� The Onassis Library for Hellenic and Roman Art� Antonio Ratti Textile Center and Reference Library� Museum Archives� Learn� Join and Give�� Kids & Families� Family Map� Family Guides� Teens� Adults� University Students and Faculty� The Met College Group� Educators� Lesson Plans� Curriculum Resources� Visitors with Vann Membership� Young Members� Frequently Asked Questions� Donate� Planned Giving� Gift Acceptance Guidelines� Curatorial Friends Groups� Host an Event� Corporate Receptions and Dinners� Nonprofit Receptions and Galas� Private Celebrations for Museum Members� Meetings and Conferences� Concerts, Film Screenings, and Upfronts� Graduations and Recitals� Corporate Support� Travel with The Met� Volunteer� Shop� Artist: Joos van Cleve (Netherlandish, Cleve ca.

1485�1540/41 Antwerp) and a collaboratorDate: ca. 1525 Medium: Oil on wood Dimensions: Overall 28 3/8 qdoration 21 1/4 in. (72.1 x 54 cm); painted surface 27 3/4 x 20 3/4 in. (70.5 x 52.7 cm) Classification: Paintings Credit Line: The Jack and Belle Linsky Collection, 1982 Accession Number: 1982.60.47 Two iconographic themes are combined in this splendid painting: the joys of motherhood and the sorrowful premonition of Christ's death.

The sleeping infant adorwtion traditionally understood as a prefiguration of the dead Christ embraced by the Virgin, known as the Pieta. Contemplating her devotional reading, Mary points to her prayer book, in which two pages are legible.

Taken cicago the Magnificat (Luke 1:54�55), celebrating the Annunciation, and the De Profundis (Psalm 130:1�2), used in the Mass for the dead, the verses foreshadow the Virgin�s rejoicing in the fulfillment of Christ�s destiny and her suffering at her son�s death. Although early on attributed to Albrecht Durer and to Jan Gossart, Firmenich-Richartz (1909) was the first to recognize this painting as the work of cuicago artist we now know to be Joos van Cleve, the great Antwerp painter of the early sixteenth century.

The picture dates from Joos�s mature phase, around 1525 (Ainsworth 1998 and Hand 2004). This is one of Joos�s most elaborate compositions of the Virgin and Child, and its details signal the themes of the joys and sorrows experienced by the Virgin and commemorated in the rosary.

The Virgin sits on a parapet before a vast landscape, holding the sleeping Christ Child, which has been interpreted as a premonition of his death and the Lamentation. Episodes from the early life of Christ are depicted in tiny details throughout the landscape: the Miracle of the Wheatfield (Matthew 13:25) and the Massacre of the Innocents (Matthew cleeve at the left, and the Holy Family on its Flight into Egypt on the right.

Further symbolic references to Christ�s Incarnation are in the foreground: the Child holds an apple as the new Adam and redeemer of man�s sin, and he wears a necklace ban coral, an apotropaic device to ward off evil. The Virgin points to the open devotional book on her lap where the texts of two folios are legible. One shows the last two lines of the Magnificat, from the Gospel of Saint Luke (I:54-55), the Marian hymn relating the joy of the Virgin kjngdom her fleve with her cousin Elizabeth, the mother of John the Baptist.

The second shows the opening lines of the De Profundis, used in the Mass for the dead: "Out of the depths have I cried unto thee, O Lord" (Psalm 130:1�2). These texts foreshadow the Virgin�s rejoicing in the fulfillment of Christ�s destiny and her suffering at her son�s death. The two texts are divided by an illumination which shows Saints Paul and Peter, the founders of the Church.

The still life on the balustrade contains elements conveying symbolic meaning related to Christ�s Passion and the roles played by the Virgin and her son. The beaker of wine ths the bunch of grapes clearly refer to the Eucharist, while the oc walnut may� Visit� Exhibitions�� The Met Fifth Avenue� The Met Breuer� The Met Maguc Audio Guide� Group Visits� Adult, University, Tourism, and Personal Groups� K�12 School Groups� Groups of Visitors with Disabilities� Community Adult Groups� Camp and Community Youth Groups� Group Visits to The Met Cloisters� Buy Tickets�� Current Exhibitions� Upcoming Exhibitions� Past Exhibitions� Events� Art�� Find Events� Ongoing Programs� MetCreates� MetLiveArts� MetTours� MetSpeaks� MetStudies� MetCelebrates� Teens� Access� Families� Members�� Collection� Timeline of Art History� Online Features� MetKids� MetCollects� Viewpoints: Body Language� MetPublications� Libraries and Research Centers� Thomas Watson Library� Leonard Lauder Research Center for Modern Art� Nolen Library in the Ruth and Harold Uris Center for Education� The Henry Luce Center for the Study of American Art� The Cloisters Library and Archives� Study Room for Drawings and Prints� The Adorayion Institute's Irene Lewisohn Costume Reference Library� The Robert Goldwater Library� The Robert Kimgdom Collection Library� Joyce Menschel Photography Library� Study Room for Photographs� The Onassis Library for Hellenic and Roman Art� Antonio Ratti Textile Center and Reference Library� Museum Archives� Learn� Join and Give�� Kids & Families� Family Map� Family Guides� Teens� Adults� University Students and Faculty� The Met College Vaan Educators� Lesson Plans� Curriculum Resources� Visitors with Disabilities�� Membership� Young Members� Frequently Asked Questions� Donate� Planned Giving� Gift Acceptance Guidelines� Curatorial Friends Groups� Host an Event� Corporate Receptions and Dinners� Nonprofit Receptions and Galas� Private Celebrations for Museum Members� Meetings and Conferences� Concerts, Film Screenings, adoratiin Upfronts� Graduations and Recitals� Corporate Support� Travel with The Met� Volunteer� Shop� Artist: Joos van Cleve chicqgo, Cleve ca.

1485�1540/41 Antwerp)Date: ca. 1525 Medium: Oil on wood Dimensions: 34 x 31 1/2 in. (86.4 x 80 cm) Classification: Paintings Credit Line: The Friedsam Collection, Bequest of Michael Friedsam, 1931 Accession Number: 32.100.60 Gabriel and Mary are presented within an elaborately furnished interior that would have been familiar to sixteenth-century viewers.

However, most of the objects, arranged unobtrusively within the room, carry symbolic meaning. The altarpiece and the woodcut on the wall, for example, show Old Testament prophets as prefigurations of New Testament themes. Influenced by Italian art, Joos appropriated a new canon of beauty, a new repertory of rhetorical gesture, and a striking grace of movement in his figures. Francis Douce, Joos van cleve chicago adoration of the magic kingdom (until d.

clevd Sir Samuel Rush Meyrick, Kingrom Court, Herefordshire (1834�d. 1848); his cousin, Lt. Col. Augustus Meyrick, Goodrich Court (from 1848); ?his son, Gen. W. Meyrick, Goodrich Court (until th 1872); Mr.

Twopenny, Woodstock Park, Sittingbourne; Mr. M. Twopenny (until 1896; sale, Christie's, London, June 20, 1896, no. 71, as by Martin Schongauer; for ?504 to Dowdeswell & Dowdeswell); [Dowdeswell & Dowdeswell, London, from 1896]; Jules Porges, Paris (by 1902�about kingeom, as by the Maitre dit de la Mort de Marie or Schongauer); [Kleinberger, Paris and New York]; Michael Friedsam, New York (by 1924�d. 1931)Exhibition History London. South Kensington Museum. "The Meyrick Mxgic 1869, no.

1413 (as Flemish, 15th century, lent by Col. Meyrick). Bruges. Palais du Gouvernement. "Exposition des primitifs flamands et d'art ancien," June 15�September 15, 1902, no. 276 [in an earlier printing of the catalogue listed as by Martin Schongauer; later printing corrected vam Master of the Death of Mary, lent by Jules Porges]. New York. Kleinberger Galleries. "Flemish Primitives," 1929, no. 55 (lent by Michael Friedsam). New York. The Metropolitan Museum of Art.

"The Michael Friedsam Collection," November 15, 1932�April 9, 1933, no catalogue. New York. The Metropolitan Museum of Art. "From Van Eyck to Bruegel: Early Netherlandish Painting in The Metropolitan Museum of Art," September 22, adotation 21, 1999, no. 97.References Pictures by Old Masters of W.E. Biscoe, Esq. Also Important Pictures. . from Different Sources. Christie's, London. June 20, 1896, no. 71, as by Martin Schongauer. Georges de Loo Palais du Gouvernement, Bruges.

Exposition de tableaux flamands des XIVe, XVe et XVIe siecles: catalogue critique precede d'une introduction sur l'identite de certains maitres anonymes. Ghent, 1902, p. 74, no. 276, as by the Master of the Death of the Virgin (Joos van der Beke dit Van Cleve). H. James Weale. Exposition des primitifs flamands et d'art ancien, Bruges. Premiere section: tableaux.

Catalogue. Exh. cat., Palais du Gouvernement. Bruges, 1902, p. 105, no. 276, as by the Master of the Death of the Virgin, but apparently an earlier printing of the same catalogue lists it as by Martin Schongauer; notes (p. XXX) that all attributiCaptions List for Art Museums of New York City Pictures by Travel Photo Base Captions List for Art Museums of New York City PhotosWord index of photos of the Museums of New York City.Click caption to view photo.

F11 to view website full screen.� The Cloisters (1939) (Fort Tryon Park) recreates a medieval monastery structure. New York, NY. Architect: Allen, Collins & Adorationn The Cloisters building hosts the medieval collection of the Metropolitan Museum of Art. New York, NY.� Abbey jpos Notre-Dame Pontaut Chapter House (12th C) with Romanesque doorway & Gothic interior arches from Gascony, Kinngdom at The Cloisters.

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New York, NY.� Beast devouring pf man carved on capital of Cuxa Cloisters at The Cloisters. New York, NY.� Monkey-like creature carved on capital of Cuxa Cloisters at The Cloisters. New York, NY.� Beast ioos a man carved on capital of Cuxa Cloisters at The Cloisters. New York, NY.� Medieval carving on capital of Cuxa Cloisters chicagl The Cloisters.

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New York, NY.� Relief with Lamb of God & Cherub from Saint-Michel-de-Cuxa in France at The Cloisters. New York, NY.� Lion Passant fresco (after 1200) (now on canvas) from chapter house of monastery thf San Pedro de Arlanza near Burgos, Spain at The Cloisters. New York, NY.� Dragon Passant fresco (after 1200) (now on canvas) from chapter house of monastery of San Pedro de Arlanza near Burgos, Spain at The Cloisters. New York, NY.� Retable (1420-30) with scenes from Life of St.

Andrew attributed to Master of Roussillon said from a church in Perpignan at The Cloisters. New York, Vvan St. Andrew on throne with cross detail from Life of St. Andrew Retable at The Cloisters. New York, NY.� The calling of St. Andrew of Sea of Galilee detail from Life of St. Jols Retable at The Cloisters. New York, NY.� Crucifixion of St. Andrew detail from Life of St. Andrew Retable at The Cloisters. New York, NY.� Wicked mother killed by fire from heaven detail from Life of St.

Andrew Retable at The Cloisters. New York, NY.� St. Andrew saves bishop from devil disguised as a fair woman ban from Life of St. Andrew Retable at The Cloisters. New York, NY.� St. Andrew & woman who prayed to Diana on behalf of her sister detail from Life of St. Andrew Retable at The Cloisters. New York, NY.� Woman chicagp St. Andrew to her sister detail from Life of St.

Andrew Retable at The Cloisters. New York, NY.� St. Andrew drives away demons in forms of dogs detail from Life of St. Andrew Retable at The Cloisters. New York, NY.� The dead Christ detail from Life of St. Andrew Retable at The Cloisters. New York, NY.� St. Andrew raises the dead youth detail from Life of St. Andrew Retable at The Cloisters. Fhe York, NY.� St.

Andrew brings to life the drowned men detail from Life of St. Andrew Retable at The Cloisters. New York, NY.� Sandstone lion relief kngdom with archangel Gabriel & St. Leonard from church of San Leonardo at Zamora, Spain at The Cloisters. New York, NY.� Fuentiduena Apse (1175-1200) with Fresco of Virgin & Child at The Cloisters.

New York, NY.� Sculpted Three Kings of Magi (1489) from Baden-Wurttemberg, Germany at The Cloisters. New York, NY.� Limestone relief of winged bull of St. Luke (c1180) from San Vittorino, Italy at The Cloisters. New York, NY.� Saint-Guilhem-le-Desert Cloister (late 12th C) from Montpellier, Cuicago at The Cloisters. New York, NY.� Saint-Guilhem-le-Desert Mgaic (late 12th C) from Montpellier, France at The Cloisters. New York, NY.� Devils with sinners going to hell carved on capital of Fleve Cloisters at The Cloisters.

New York, NY.� Faces with joined beards carved on corbel from Notre-Dame de la Grande Sauve church of Bordeaux, France at The Cloisters.

New York, NY.� Stained glass (c1200) shows Theodosius arriving at Ephesus from legend of Seven Sleeping Christian Brothers from cathedral in Rouen, France at The Cloisters. New York, NY.� Stained glass (c1200) shows Saint Nicholas bishop of Myra saving three innocent Roman soldiers condemned to death from joos van cleve chicago adoration of the magic kingdom in Soissons, France at The Cloisters.

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