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Aesthetics --- Art --- History --- Congres / 2001 --- art history --- Rembrandt --- Sherman, Cindy --- kunstbeschouwing --- kunstkritiek --- kunsttheorie --- Esthétique --- Congresses. --- Congrès --- Histoire --- Congresses --- Aesthetics - Congresses --- Art - History - Congresses --- kunsttheorie.

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In 1940 the art historian J.J.M. Timmers introduced the name ‘Master of Elsloo’ to describe the anonymous creator of a late-Gothic wooden statue of St Anne with the Virgin and Child in St Augustine’s Church in Elsloo, a town in Limburg in the present-day Netherlands. In the following decades many other stylistically-related statues came to be associated with the St Anne. As a result, the Master of Elsloo’s oeuvre grew to include at least two-hundred works. Until recently, studies of these sculptures and their maker(s) have been almost exclusively stylistic in approach. Yet the works of the ‘Master of Elsloo’ evoke many questions that require thorough investigation. Questions about the identity of the woodcarver or, more likely, the woodcarvers grouped under the sobriquet of ‘Master of Elsloo’, their artistic roots, their period and place of activity, and the organisation of their work in the workshop or shops. The major interdisciplinary research project carried out in 2010-2011 by the Royal Institute for Cultural Heritage in Brussels together with partners from Belgium and other countries was intended to shed new light on this sizeable group of statues and their makers. This time stylistic study was augmented by extensive examination of the materials and techniques employed with particular emphasis on workbench marks and the remains of any original polychromy. Also extremely important was the dendrochronological analysis of a large number of sculptures, which led to surprising results regarding the origin of the wood and the relationship between the works. A number of complementary studies help to situate the ‘Master of Elsloo’ more accurately in ‘his’ historical and artistic context. The results of all these studies were presented as papers at the colloquium organised by the Royal Institute for Cultural Heritage on 20 and 21 October 2011. A Masterly Hand. Interdisciplinary Research on the Late-Medieval Sculptor(s) Master of Elsloo in an International Perspective brings together the project’s findings, to which are added an inventory of works associated with the ‘Master of Elsloo’ and the results of new archival research. The Scientia Artis series is published by the Royal Institute for Cultural Heritage (kik-irpa, Brussels). The works in this series – monographs, exhibition catalogues and conference proceedings – present the results of research projects and scientific events (co-)organised by the kik-irpa. Since 1948 this Federal Scientific Institution has been charged with the study, protection and promotion of Belgium’s cultural heritage. www.kikirpa.be

Conservation. Restoration --- Sculpture --- Meester van Elsloo --- anno 1500-1599 --- Wood sculpture, Late Gothic --- Master of Elsloo, --- beeldhouwkunst --- techniek --- restauratie --- 15de eeuw --- 16de eeuw --- Master of Elsloo (Sculpture Group) --- Wood sculpture, Dutch --- Wood sculpture --- Sculpture sur bois néerlandaise --- Sculpture sur bois --- Congresses --- Congrès --- Master of Elsloo --- Late Gothic wood sculpture --- Wood sculpture, Gothic --- Late Gothic --- Meester van Elsloo (Sculpture Group) --- Elsloo group --- Congresses. --- Sculpture, Medieval --- Wood sculpture, Late Gothic - Belgium - Netherlands - Limburg - Congresses --- Master of Elsloo, - active approximately 1500-1545 - Congresses --- Wood sculpture, Late Gothic - Congresses --- Master of Elsloo, - active approximately 1500-1545 --- FINE ARTS --- sculptuur. --- techniek. --- restauratie. --- Meester van Elsloo. --- 15de eeuw. --- 16de eeuw. --- sculptuur

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Chaque année, depuis l’an 2000, un colloque pluridisciplinaire organisé par Rencontres Médiévales européennes permet l’approfondissement des études sur l’art et la liturgie au Moyen-Âge, principalement aux xiie et xiiie siècles. Ce sont les différentes composantes de la pensée religieuse qui sont ainsi cernées et qui se révèlent être une part importante de l’originalité de la civilisation européenne. Ce n’est pas une culture morte qui est exhumée mais bel et bien les points de repère qui font cruellement défaut à la société actuelle.L’image pour l’image est un produit du xxie siècle. Le tourbillon de représentations visuelles qui matraquent certains individus à toute heure, en tous lieux, avec des conséquences dramatiques parfois, est l’apanage malheureux de notre époque. Nos ancêtres, eux, se donnaient le temps de réfléchir à ce que signifiait ce à quoi ils allaient donner forme. C’est pourquoi l’image religieuse médiévale nous frappe autant, non seulement par son côté esthétique, mais parce qu’elle est lourde de spiritualité et de sens. Les hommes avaient ainsi conscience d’appartenir à une même société car ils savaient que, derrière chaque image, l’histoire racontée était la leur.

Christian church history --- Iconography --- anno 1200-1299 --- anno 1100-1199 --- Art, Medieval --- Christian art and symbolism --- middeleeuwen --- religies --- filosofie --- muziek --- iconografie --- Durand, Guillaume --- 12de eeuw --- 13de eeuw --- 14de eeuw --- Image (Philosophy) --- Image (Philosophie) --- Art médiéval --- Congresses --- Congrès --- Art --- History --- Middle Ages --- Religious thought --- Middle Ages, 600-1500 --- Middle Ages, 500-1500 --- middeleeuwen, middeleeuwse geschiedenis (historisch tijdvak) --- Art, Medieval - Congresses. --- Christian art and symbolism - Congresses. --- middeleeuwen, middeleeuwse geschiedenis (historisch tijdvak). --- religies. --- filosofie. --- muziek. --- iconografie. --- Durand, Guillaume. --- 12de eeuw. --- 13de eeuw. --- 14de eeuw. --- Art medieval --- Art chretien --- Congres --- Moyen age

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Icons, Byzantine --- Icônes byzantines --- Congresses --- Congrès --- Art, Byzantine --- Iconoclasm --- Idols and images --- Icons --- Cult --- -Icons --- -Icons, Byzantine --- -Art, Byzantine --- -Iconography --- Images and idols --- Religious images --- Statuettes --- Fetishism --- Gods in art --- Byzantine icons --- Byzantine art --- Byzantijnse kunst --- Iconography --- Animism --- Art, Primitive --- Art and religion --- Magic --- Religion --- Sculpture, Primitive --- Symbolism --- Eikons --- Ikons --- Christian art and symbolism --- Christian saints in art --- Art, Medieval --- History --- Worship --- oudheid --- Image (Theology) --- Orthodox Eastern Church --- Byzantine Empire --- Iconography, Religious --- Religious iconography --- Religious statuettes --- Statuettes, Religious --- Religious art --- Art, Byzantine - Congresses --- Icons, Byzantine - Congresses --- Iconoclasm - Byzantine Empire - Congresses --- Idols and images - Byzantine Empire - Congresses --- Icons - Cult - Byzantine Empire - Congresses --- Art byzantin

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Iconography --- anno 1500-1799 --- anno 1400-1499 --- Kings and rulers in art --- Art --- Art, European --- Portraits, European --- Portraits --- Rois et souverains dans l'art --- Art européen --- Portraits européens --- Congresses --- Themes, motives --- Political aspects --- Congresses. --- Congrès --- Thèmes, motifs --- Aspect politique --- Europe --- Kings and rulers --- vorsten --- geschiedenis --- iconografie --- Caron, Antoine --- Titiaan --- Karel V (Keizer van het Heilig Roomse Rijk) --- Clouet, François --- Clouet, Jean --- Dyck, Anthony van --- 15de eeuw --- 16de eeuw --- 17de eeuw --- Art européen --- Portraits européens --- Congrès --- Thèmes, motifs --- Van Dyck, Anthony --- van Dyck, Anthony --- vorsten. --- geschiedenis. --- iconografie. --- Caron, Antoine. --- Titiaan. --- Karel V (Keizer van het Heilig Roomse Rijk). --- Clouet, François. --- Clouet, Jean. --- van Dyck, Anthony. --- 15de eeuw. --- 16de eeuw. --- 17de eeuw.