References of "Laruelle, Anne-Sophie"
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See detailCollecting Netherlandish Tapestry in Germany during the 16th Century. New Perspectives
Laruelle, Anne-Sophie ULiege

in Van Leeuwen, Rieke (Ed.) Collecting Dutch and Flemish Art in Germany (in press)

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See detailWeavings Myths: Ovid’s Metamorphoses and the Labours of Hercules Tapestries in the Renaissance
Laruelle, Anne-Sophie ULiege

in Enenkel, Karl; De Jong, Jan L. (Eds.) Re-inventing Ovid’s Metamorphoses, 1300-1700 (in press)

Detailed reference viewed: 20 (1 ULiège)
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See detailHercules in the Art of Flemish Tapestry (1450-1565)
Laruelle, Anne-Sophie ULiege

in Mainz, Valerie; Stafford, Emma (Eds.) The Exemplary Hercules: from the Renaissance to the Enlightenment and Beyond (in press)

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See detailA New Perspective on Mary of Hungary’s Labours of Hercules Tapestries (Patrimonio Nacional, series 23)
Laruelle, Anne-Sophie ULiege

in Garcia Perez, Noelia (Ed.) Art, Power and Gender. Mary of Hungary and Female Patronage in the Renaissance (in press)

This article aims to shed new light on the twelve-piece set purchased in 1535 by the Governor of the former Netherlands, Mary of Hungary, from the Dermoyen workshop in Brussels. We shall see how this ... [more ▼]

This article aims to shed new light on the twelve-piece set purchased in 1535 by the Governor of the former Netherlands, Mary of Hungary, from the Dermoyen workshop in Brussels. We shall see how this series’ success led the Flemish workshops to carry out numerous re-editions until the end of the century. The paper focuses on four main themes: the existing pieces and their iconography, the manufacture that woven them, the artists who provided the models to the weavers and finally the patron who chose the subject and gave these tapestries a precise function in her interior. [less ▲]

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See detailDisplaying the Figure of Hercules in Princely Ceremonies during the Late Middle Ages and the Early Modern Period. The Tapestries of the King Charles VIII of France
Laruelle, Anne-Sophie ULiege

Conference (2019, May 10)

Since antiquity, Hercules’ exploits have generated many interpretations. They constituted one of the most popular literary and artistic themes of the Late Middle Ages and the Renaissance. More than any ... [more ▼]

Since antiquity, Hercules’ exploits have generated many interpretations. They constituted one of the most popular literary and artistic themes of the Late Middle Ages and the Renaissance. More than any other ancient figure, Hercules served as a model to sovereigns because he was heralded as the ideal model of Virtue. His Labours were a particularly prolific motif for tapestries. This paper aims to shed new light on the seven-piece tapestry set purchased by the king of France Charles VIII in 1491 (lost today). I will focus on some under-exploited documents (e.g. inventories, contemporary testimonials) and fragments of other series still preserved. The analysis of these exceptional records will allow us to review more broadly the significance of Hercules for Charles VIII. We’ll see that for many special occasions, Hercules embodied the model of the ideal ruler. In addition to being the perfect knight, the king-hero demonstrated a moral force, since he succeeded in overcoming his enemies (associated with monsters and tyrants) by his exceptional qualities. [less ▲]

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See detailLes collections du prince-électeur Frédéric III de Saxe
Laruelle, Anne-Sophie ULiege

Conference given outside the academic context (2019)

Cette communication se propose de réexaminer les collections (peintures, sculptures, livres enluminés, tapisseries) du prince-électeur Frédéric III le Sage (1463-1525), propriétaire de la Tapisserie du ... [more ▼]

Cette communication se propose de réexaminer les collections (peintures, sculptures, livres enluminés, tapisseries) du prince-électeur Frédéric III le Sage (1463-1525), propriétaire de la Tapisserie du Tournoi. [less ▲]

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See detailReassessing the Pope’s Tapestries. The Significance of Hercules for Leo X
Laruelle, Anne-Sophie ULiege

Conference (2019, March 18)

The Labors of Hercules, one of the most popular literary and artistic themes of the Renaissance, was a particularly prolific motif for tapestries. This paper will examine the significance of the figure of ... [more ▼]

The Labors of Hercules, one of the most popular literary and artistic themes of the Renaissance, was a particularly prolific motif for tapestries. This paper will examine the significance of the figure of Hercules for the pope Leo X (pont. 1513-1521), through his Flemish tapestries. Hercules appears especially in the borders of the famous "Acts of the Apostles", and in the "Grotesques" series (or "Triumphs of the Gods"). These series were intended to function as an exemplum virtutis, a sophisticated celebration of Leo’s Christian virtues in terms of classical models. We’ll see that Hercules was included because of parallels drawn by contemporary commentators between the mythic hero and Leo X (indeed he was taken as a prototype for the pope in the commentaries and panegyric texts published during his pontificate), and also because the Labors of Hercules were variously interpreted in the Renaissance as symbolizing devotion to religion. [less ▲]

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See detailLa figure d’Hercule dans l’art de la tapisserie à la Renaissance (c. 1450-1565). Fortune iconographique et usages politiques
Laruelle, Anne-Sophie ULiege

Doctoral thesis (2019)

Les exploits d’Hercule, l’un des thèmes littéraires et artistiques les plus appréciés à la Renaissance, connut une faveur toute particulière dans le domaine de la tapisserie, genre artistique majeur à ... [more ▼]

Les exploits d’Hercule, l’un des thèmes littéraires et artistiques les plus appréciés à la Renaissance, connut une faveur toute particulière dans le domaine de la tapisserie, genre artistique majeur à l’époque. Des tapisseries de grande qualité ont été réalisées sur ce thème dans les meilleurs ateliers de tissage des anciens Pays-Bas (Bruxelles, Audenarde, Enghien, Anvers, Bruges, Tournai), en France, et dans la péninsule Italienne. Cette fortune du thème en tapisserie invite à s’interroger sur le sens particulier que lui donnaient les princes, destinataires privilégiés de ces tentures. Il ne fait pas de doute que, plus que tout autre héros, Hercule leur servait de modèle en ce qu’il incarnait la Virtus heroica, à savoir la « vertu active » constituée de courage, d’actes intrépides et d’érudition. Nous avons approfondi la question dans notre recherche doctorale en nous focalisant sur la période comprise entre le milieu du XVe siècle et les années 1560. Outre la quantité exceptionnelle des pièces conservées (une centaine), la multitude des mentions dans les inventaires et descriptions anciennes confirment l’importance de la thématique herculéenne à l’époque et laissent entrevoir la complexité de son iconographie. [less ▲]

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See detailDes contenus compromettants dans la tapisserie du XVIe siècle ?
Laruelle, Anne-Sophie ULiege

Scientific conference (2018, November 14)

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See detailCollecting Netherlandish Tapestry in Germany during the 16th century
Laruelle, Anne-Sophie ULiege

Conference (2018, October 18)

The luxury industry of tapestry weaving has long been associated with the rich and powerful rulers of the European countries. The huge collection of Flemish tapestries amassed by the Habsburg is now well ... [more ▼]

The luxury industry of tapestry weaving has long been associated with the rich and powerful rulers of the European countries. The huge collection of Flemish tapestries amassed by the Habsburg is now well documented. Stimulated by the example of the monarchs, the leading nobility were also important patrons of the workshops in the Low Countries. Some collections are now a little better known but not fully investigated, such as those of Frederick the Wise, Elector of Saxony (r. 1486-1525); Günther XLI, Count of Schwarzburg-Arnstadt (r. 1552-1583); or Albrecht V, Duke of Bavaria (r. 1550-1579). Another keen clients of the Netherlandish workshops were the Counts Palatine and Electors of the Rhine (especially Otto-Henry and Frederick III), whose made substantial purchases of Netherlandish tapestries to decorate their residences at Neuburg and Heidelberg. In this paper, I will determine what survives and is acceptable as secure evidence for the presence of Flemish tapestry in Germany. I will exploit that evidence to give an overview of the different types of owners and their collections, the character of the works they commissioned or bought, their means of collecting, their agents (both German and Flemish), their likely reasons or intentions in collecting, and the use to which they put Flemish tapestry. Our approach will provide new perspectives for further research. [less ▲]

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See detailReconsidering Tapestry Patronage and Trade in the Renaissance
Laruelle, Anne-Sophie ULiege

Conference (2018, September 26)

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See detailDu client au maître-licier, les acteurs du commerce de la tapisserie dans les anciens Pays-Bas au XVIe siècle
Laruelle, Anne-Sophie ULiege

Conference (2018, July 10)

Au XVIe siècle, dans les anciens Pays-Bas, l’art de la tapisserie devient une véritable industrie. Un des enjeux de la recherche actuelle est de découvrir quels étaient les canaux de commercialisation. En ... [more ▼]

Au XVIe siècle, dans les anciens Pays-Bas, l’art de la tapisserie devient une véritable industrie. Un des enjeux de la recherche actuelle est de découvrir quels étaient les canaux de commercialisation. En raison de la durée des travaux et des investissements en matériaux coûteux, rares sont les transactions qui mettaient en contact direct le maître-licier et son client. Elles s’opéraient par l’entremise de « facteurs » servant d’intermédiaires. Cette communication se proposera de réexaminer le rôle de chacun des intervenants à la lumière d’une série de documents inédits. Ils ont trait au mariage du roi de France Louis XII avec Marie Tudor, la soeur du roi d’Angleterre (1514). La dot de Marie nous est connue par un inventaire non exploité jusqu’à présent. Cet inventaire contient la liste des tentures mises à la disposition de la future reine. Nous avons retrouvé des quittances qui viennent compléter ces informations. L’analyse de ces documents exceptionnels nous permettra de montrer la complexité du processus d’achat des tapisseries flamandes, mais également, plus largement, de mettre en lumière les différents réseaux, familiaux et professionnels, impliquant aussi bien les artistes que les marchands, qui ont pu favoriser la diffusion de ce genre artistique. [less ▲]

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See detailA New Light on the Story of the Trojan War’s Tapestries
Laruelle, Anne-Sophie ULiege

Conference (2018, July 04)

Ancient history and myth were intertwined with medieval romances and Christian ideals as subjects for art and literature in the mid-fifteenth century. Thus, as Asselberghs (1970) and more recently ... [more ▼]

Ancient history and myth were intertwined with medieval romances and Christian ideals as subjects for art and literature in the mid-fifteenth century. Thus, as Asselberghs (1970) and more recently McKendrick (1991) have demonstrated, the complex narrative of the Trojan War tapestries was based not on Homer’s Iliad, but on more recent retellings, such as Benoît de Sainte-Maure’s Roman de Troie and Guido delle Colonne’s Historia destructionis Troiae, which highlighted the chivalric deeds of heroes such as Hector and Achilles. In the mid-1460s, Pasquier Grenier, the foremost tapestry merchant of Tournai, began production of an eleven-piece set of tapestries illustrating the Story of Troy that would enjoy a great success with princely patrons in succeeding decades, including Charles the Bold, Charles VIII, King of France, Henry VII, King of England, or Matthias Corvinus, King of Hungary. The series enjoyed similar popularity in Italy, where sets were acquired by the dukes Federico Montefeltro and Ludovico Sforza. With the survival of whole or partial preparatory drawings for nine of the eleven tapestries, as well as seventeen extant tapestries or fragments from various sets, it is possible to reconstruct the order of the series. We’ll see that the series is unique and well documented. This paper aims to re-examine the Story of the Trojan War in the light of current research. Furthermore, our investigation on the Story of Hercules series will bring us to reconsider some tapestries neglected until today. Thus I would like to focus particularly on three fragments now extant at Tournai (TAMAT) and Omaha (Joslyn Art Museum). These pieces could provide evidence of tapestries that depict an earlier part of the story of Troy. [less ▲]

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See detailLe thème d'Hercule dans l'art de la tapisserie (du XVe au XVIIe siècle)
Laruelle, Anne-Sophie ULiege

Conference given outside the academic context (2017)

Detailed reference viewed: 24 (1 ULiège)
See detailThe Artistic Patronage of Cardinal Charles II de Bourbon (1433-1488)
Laruelle, Anne-Sophie ULiege

Conference (2017, September 14)

As one of the most important political and religious figures of the mid-fifteenth century, Charles II de Bourbon (1433-1488) has not received the attention he deserves. Charles, archbishop of Lyon (1446 ... [more ▼]

As one of the most important political and religious figures of the mid-fifteenth century, Charles II de Bourbon (1433-1488) has not received the attention he deserves. Charles, archbishop of Lyon (1446), was made cardinal by the pope Sixtus IV in 1476. He was also an important courtier, and a confidant of King Louis XI of France, to whom he was related by marriage. Charles was present at the interview of Kings Louis XI and Edward IV of England in 1475 and in the signature of the peace treaty concluded between them, which formally ended the Hundred Years’ War. Among other posts, Charles held the governorship of Paris and was the head of the King’s Council. Grandson of John the Fearless and cousin to Charles the Bold, he also bore numerous connections with the Burgundian Court and the Southern Netherlands. This paper aims at re-appreciating the artistic patronage of the wealthy cardinal, in spite of the difficulties raised by the paucity of surviving artworks he commissioned. Charles was indeed an important patron, who founded a splendid funerary chapel in Lyon Cathedral, and had the archiepiscopal palace of Lyon built. The cardinal owned a lot of exceptional manuscripts, sculptures and tapestries. Due to his position, Charles may have influenced tastes of Louis XI for the arts, but also the future king Charles VIII’s (Charles de Bourbon was, along with Joan of Valois, Duchess of Bourbon and Edward of Westminster, godparent of the dauphin in 1470).Particular attention will be paid to his collection of tapestries, which have never received detailed analysis. Charles II de Bourbon’s arms (motto, initials, and his device of a flaming sword) appear on only three pieces today: “The Adoration of the Magi”, “The Three Coronations” (both preserved in Sens cathedral), and a scene from the “Story of Hercules” (Mobilier National, Paris). Woven with extremely high quality, probably in the Southern Netherlands, the cardinal’s tapestries are undoubtedly among the finest and most expensive pieces of the 15th century. [less ▲]

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See detailHercules in the Art of Renaissance Flemish Tapestry
Laruelle, Anne-Sophie ULiege

Conference (2017, July 08)

The exploits of Hercules, one of the most popular literary and artistic themes of the Renaissance, flourished particularly in tapestries, a major artistic genre of this period. Fine tapestries presenting ... [more ▼]

The exploits of Hercules, one of the most popular literary and artistic themes of the Renaissance, flourished particularly in tapestries, a major artistic genre of this period. Fine tapestries presenting this theme were produced by the best weaving workshops of the former Netherlands. The success of the theme in tapestry invites us to ponder on the special meaning given to it by the princes, the privileged recipients of these tapestries. There is no doubt that, more than any other hero, Hercules served as their model as he embodied the virtus heroica. We will delve deeper in the matter by focusing on the period between the middle of the fifteenth century (when the theme first appears in tapestries) and the 1560s. In addition to the exceptional quantity of preserved tapestries (over a 100!), the numerous references to the Herculean theme in ancient inventories and descriptions confirms its importance at the time and reveals the complexity of its iconography. [less ▲]

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See detailA New Perspective on Mary of Hungary’s Labours of Hercules Tapestries (Patrimonio Nacional, series 23)
Laruelle, Anne-Sophie ULiege

Conference (2017, May 13)

This lecture aims to shed new light on the twelve-piece set purchased in 1535 by the governess of the Netherlands, Mary of Hungary, from the Dermoyen workshop in Brussels. It focuses on four main themes ... [more ▼]

This lecture aims to shed new light on the twelve-piece set purchased in 1535 by the governess of the Netherlands, Mary of Hungary, from the Dermoyen workshop in Brussels. It focuses on four main themes: the existing pieces and their iconography, the manufacture that woven them, the artists who provided the models to the weavers and finally the patron who chose the subject and gave these tapestries a precise function in her interior. [less ▲]

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See detailDes modèles héroïques et bibliques pour François Ier. Le cas d’Hercule
Laruelle, Anne-Sophie ULiege

in Fagnart, Laure; Lecocq, Isabelle (Eds.) Arts et artistes du Nord à la cour de François Ier (2017)

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See detailLe thème d'Hercule dans l'art de la tapisserie
Laruelle, Anne-Sophie ULiege

in Collectif (Ed.) L'Art de la Tapisserie. Tournai - Enghien - Audenarde (2017)

Detailed reference viewed: 54 (11 ULiège)