References of "Allart, Dominique"
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See detailÉchanges d’informations sur les artistes flamands et hollandais. Giorgio Vasari, plagiaire occulte de Lodovico Guicciardini
Allart, Dominique ULiege; Moreno, Paola ULiege

in Adam, Renaud; Lastraioli, Chiara (Eds.) Itinéraires du livre italien à la Renaissance. Regards sur la Suisse romande, les anciens Pays-Bas et la Principauté de Liège (in press)

The ‘Descrittione di tutti i Paesi Bassi’ by Lodovico Guicciardini (Antwerp, 1567) includes a long digression on Flemish artists, which borrows significantly from the first edition of Giorgio Vasari’s ... [more ▼]

The ‘Descrittione di tutti i Paesi Bassi’ by Lodovico Guicciardini (Antwerp, 1567) includes a long digression on Flemish artists, which borrows significantly from the first edition of Giorgio Vasari’s ‘Vite’ (Florence, 1550), but adds a very large number of artists names. In turn, all these artists are included in the second edition of Vasari’s masterpiece (Florence, 1568), without mentioning the source. Examining the information exchange from one author to another and on the textual relationships between the ‘Descrittione’ and the ‘Vite’, this article unveils evidence of concealed plagiarism on the part of Vasari. [less ▲]

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See detailEchanges d’informations entre Vasari et Lodovico Guicciardini : les données relatives aux artistes septentrionaux dans les Vite (1550, 1568) et dans la Descrittione di tutti i Paesi Bassi (1567).
Allart, Dominique ULiege; Moreno, Paola ULiege

in Lastraioli, Chiara; Adam, Renaud (Eds.) Itinéraires du livre italien à la Renaissance. Regards sur la Suisse romande, les anciens Pays-Bas et la Principauté de Liège (in press)

Detailed reference viewed: 44 (13 ULiège)
See detailLes volets peints du retable de Saint-Denis
Allart, Dominique ULiege

Conference given outside the academic context (2019)

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See detailLe latin à l'Université, pourquoi? comment? Allocution introductive
Allart, Dominique ULiege

Speech/Talk (2019)

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See detailRedécouverte de Margot l'Enragée ("Dulle Griet"), chef-d'œuvre de Pierre Bruegel l'Ancien
Allart, Dominique ULiege

Conference given outside the academic context (2019)

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See detailBruegel et l'art du double sens
Allart, Dominique ULiege

Conference (2018, November 14)

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See detailCreative process in the Triumph of Death by Pieter Bruegel the Elder and creative solutions in two versions by his sons
Allart, Dominique ULiege; Currie, Christina ULiege

Conference (2018, September 14)

The Triumph of Death represents one of only two known cases where both of Pieter Bruegel’s sons’ made copies of a large-format composition by their father. But here, unlike the other case, i.e. their ... [more ▼]

The Triumph of Death represents one of only two known cases where both of Pieter Bruegel’s sons’ made copies of a large-format composition by their father. But here, unlike the other case, i.e. their replicas after the Sermon of Saint John the Baptist, close examination reveals that the copyists were not able to study the original painting de visu. Tracings, high resolution photography and infrared reflectography made by the Royal Institute for Cultural Heritage of Pieter Brueghel the Younger’s version in the Kunstmuseum, Basel, and of Jan Brueghel the Elder’s version in the Universalmuseum Joanneum, Graz, will help elucidate the modus operandi of the copyists. They will also be used to illustrate their respective styles and techniques, as well as their personal approach in the necessary invention of certain details of the composition. New scientific imagery of Pieter Bruegel the Elder’s original version, kindly provided by the Museo Nacional del Prado, Madrid, will provide the final piece of the puzzle and will shed light on the great master’s creative process. [less ▲]

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See detailThe Coloured Drawing of the Dulle Griet in the Kunstpalast, Düsseldorf : New Findings on its Status and Dating.
Allart, Dominique ULiege; Currie, Christina ULiege; Brink, Sonja et al

Conference (2018, September 12)

During its examination at the KIK-IRPA, carried out in collaboration with the Kunstpalast, Düsseldorf, the Dulle Griet coloured drawing underwent infrared reflectography, infrared photography, transmitted ... [more ▼]

During its examination at the KIK-IRPA, carried out in collaboration with the Kunstpalast, Düsseldorf, the Dulle Griet coloured drawing underwent infrared reflectography, infrared photography, transmitted light photography, macro-XRF and micro-Raman spectroscopy. The authenticity, dating and materials of this drawing, as well as its attribution and function were investigated at the same time as Bruegel the Elder’s Dulle Griet painting was being conserved. This study brought to light a hitherto unseen watermark, whose identification proved critical to the dating of the paper. The identification of the coloured pigments was also key for an assessment of their status as original materials or later additions. The drawing turned out to be an extremely useful document for the cleaning and retouching of Bruegel’s Dulle Griet painting as many of the colours in the drawing are better-preserved than they are in the painting. Furthermore, motifs that are hard to interpret in the painting due to ageing are often crystal clear in the drawing. [less ▲]

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See detailBruegel’s Creative Process Reappraised through the Dulle Griet.
Allart, Dominique ULiege; Currie, Christina ULiege

Conference (2018, September 12)

The appearance of Bruegel the Elder’s underdrawing in the Dulle Griet raises questions as to its place in Bruegel’s creative process. The spare, functional, dry medium, black drawing lines that are ... [more ▼]

The appearance of Bruegel the Elder’s underdrawing in the Dulle Griet raises questions as to its place in Bruegel’s creative process. The spare, functional, dry medium, black drawing lines that are detected underneath the paint layer clearly do not represent the beginning of Bruegel’s creative process for this complex composition. Indeed, they presuppose the former existence of sketches, a compositional drawing and/or a full-scale cartoon, i.e. the same kind of material that was produced by Flemish cartoon-makers for tapestries and stained glass windows, notably Bruegel’s presumed master, Pieter Coecke van Aelst. [less ▲]

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See detailPrecious Metal Effigies and Reliquaries in the Principality of Liège in the 16th Century. Revisiting Erard’s Commissions
Allart, Dominique ULiege

Conference (2018, March 17)

Prince-Bishop Erard de la Marck was aware of the strong effect produced by the exhibition of gold, silver and gilded metal. He exploited the fascination exerted by these materials not only in his palaces ... [more ▼]

Prince-Bishop Erard de la Marck was aware of the strong effect produced by the exhibition of gold, silver and gilded metal. He exploited the fascination exerted by these materials not only in his palaces, but also in his cathedral and even in the public space, where reliquaries were paraded at the occasion of religious ceremonies and processions. Besides the colossal bust reliquary of St Lambert, which Erard commissioned from Hans von Reutlingen, he had his own life-size effigy made of gilded bronze, kneeling near his sarcophagus and a golden skeleton, in the very centre of the choir of St Lambert cathedral. Several examples of similar use of precious metals in order to inspire sacred terror and reinforce worship will be examined here. [less ▲]

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See detailInformation Exchange on Flemish and Dutch Artists. Giorgio Vasari, Hidden Plagiarist of Lodovico Guicciardini
Allart, Dominique ULiege; Moreno, Paola ULiege

in Horti Hesperidum (2018), VIII(1), 217-239

The Descrittione di tutti i Paesi Bassi by Lodovico Guicciardini (Antwerp, 1567) includes a digression on Flemish artists, where the author refers with great respect to Giorgio Vasari’s Vite (Florence ... [more ▼]

The Descrittione di tutti i Paesi Bassi by Lodovico Guicciardini (Antwerp, 1567) includes a digression on Flemish artists, where the author refers with great respect to Giorgio Vasari’s Vite (Florence, 1550), while adding a considerable amount of new data based on first-hand observations. Indeed, besides the small list of Netherlandish artists mentioned by Vasari, Guicciardini cites eighty more, which reflects an extensive survey of the subject. In the second edition of his Vite (Florence, 1568), Vasari includes in turn the artists listed by Guicciardini in an appendix entitled Diversi artifice fiamminghi. However, he patently omits to acknowledge Guicciardini as his main source. A close examination of his borrowings reveals changes in the order of the data, paraphrases, and misleading references, i.e. practices commonly used by unscrupulous copyists. If this plagiarism has not yet been identified as such, it is because Vasari made sure to cover his tracks. Moreover, it raises questions as to Lodovico Guicciardini’s reception among his Florentine compatriots at that time. [less ▲]

Detailed reference viewed: 26 (2 ULiège)
See detailEpistolART : base de données
Miesse, Hélène ULiege; Geremicca, Antonio ULiege; Aquino, Lucia ULiege et al

Textual, factual or bibliographical database (2018)

Detailed reference viewed: 61 (28 ULiège)
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See detailA Case of Mistaken Identity. A Version of the Good Shepherd by Pieter Brueghel the Younger
Allart, Dominique ULiege; Currie, Christina ULiege; Fraiture, Pascale ULiege et al

in Dubois, Anne; Couvert, Jacqueline; Borchert, Till-Holgert (Eds.) Technical Studies of Paintings: Problems of Attribution (15th-17th Centuries) (2018)

An unsigned version of the Good Shepherd in the Kronacker Collection has been variously attributed to members of the Bruegel dynasty over the years, and was offered for sale in 2012 at auction as a ... [more ▼]

An unsigned version of the Good Shepherd in the Kronacker Collection has been variously attributed to members of the Bruegel dynasty over the years, and was offered for sale in 2012 at auction as a painting by Jan Brueghel the Younger (1601-1678). Its attribution was reconsidered after examination at the Royal Institute for Cultural Heritage (KIK-IRPA). Following usual protocol, the painting was subjected to a detailed scientific investigation,including infrared reflectography, X-radiography, tracing and dendrochronology. In addition, Raman spectroscopy was carried out on the underdrawing, without sampling. The results of these examinations were compared with those from a signed and dated version of the same composition by Pieter Brueghel the Younger in the Royal Museums of Fine Arts of Belgium (KMSKB/MRBAB) and from another signed version from the former Pollack Collection. The conclusion drawn as regards the attribution of the Kronacker version was unambiguous, and firmly reassigns the painting to the hand of Pieter Brueghel the Younger. [less ▲]

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See detailLa lettera di Domenico Lampsonio a Tiziano Vecellio. Studio e nuova edizione
Allart, Dominique ULiege; Moreno, Paola ULiege

in Studi di Memofonte (2018), 20

This paper focuses on the famous letter that the humanist Dominique Lampson sent from Liege to Titian on March 13, 1567. It provides a new edition of the letter in strict compliance with the original ... [more ▼]

This paper focuses on the famous letter that the humanist Dominique Lampson sent from Liege to Titian on March 13, 1567. It provides a new edition of the letter in strict compliance with the original document as well as an extensive art history comment and a paleographical analysis. In doing so, it aims at fostering a fresh reading of this key testimony to the artistic exchanges between Northern Europe and Italy in the 16th century, through epistolary relationships and printmaking. [less ▲]

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See detailEnquêtes autour du retable de Saint-Denis de Liège. Première approche des volets peints
Allart, Dominique ULiege

Conference given outside the academic context (2017)

Detailed reference viewed: 42 (14 ULiège)
See detailMore Than Meets the Eye: A Close-Up Look at Paintings From the Bruegel Dynasty
Allart, Dominique ULiege; Currie, Christina

Conference (2017, March 31)

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See detailThe Quintessential Replica: Jan Brueghel’s Large Format Version of His Father’s Sermon of St John the Baptist
Allart, Dominique ULiege; Currie, Christina

Scientific conference (2017)

Detailed reference viewed: 25 (3 ULiège)