Renaissance Gothic in the Netherlands: The Uses of Ornament

Kavaler, Ethan Matt

doi:10.2307/3051375

Cited by 9 publications

(3 citation statements)

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“…L'élision presque totale de tout ornement gothique est remarquable pour le milieu des années 1520, bien que, sans surprise, les structures traditionnelles subsistent fortement dans ce mobilier, notamment les stalles. On note à Montbenoît un amour profond du « gothique de la Renaissance », moment artistique où les deux « manières » se juxtaposent, s'insèrent, se répondent, dans des jeux complexes dont le seul but est la plus grande richesse et le plus grand foisonnement possibles 39 .…”

Section: La Commande Artistique De Ferry Carondelet à Montbenoîtunclassified

Gothique de la Renaissance et première Renaissance en Franche-Comté. La personnalité singulière de Ferry Carondelet (1473-1528)

Boffy¹

2018

Publications du Centre Européen d'Etudes Bourguignonnes

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PUBLICATION DU CENTRE EUROPÉEN D'ÉTUDES BOURGUIGNONNES (XIV e -XVI e s.) N o 56 --2016 RENCONTRES DE MARIEMONT-BRUXELLES (24-27 septembre 2015) « Pays bourguignons et Orient : diplomatie, conflits, pèlerinages, échanges (xiv e -xvi e siècles) » N o 58 -2018 RencontRes de Lons-Le-saunieR -aRLay (21-24 septembre 2017) « Autour des Chalon et de la noblesse en pays bourguignons (XIV e -XVI e siècles) » Actes publiés sous la direction d'Alain MARCHANDISSE et Gilles DOCQUIER 349

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Section: La Commande Artistique De Ferry Carondelet à Montbenoîtunclassified

Gothique de la Renaissance et première Renaissance en Franche-Comté. La personnalité singulière de Ferry Carondelet (1473-1528)

Boffy¹

2018

Publications du Centre Européen d'Etudes Bourguignonnes

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“…In fact, the creation of complicated patterns of sound became 'an ever more prevalent and deliberate stage' in the composition of refreins during their development. 18 Although these departures from the ballade may seem slight, for rederijkers they were clearly more significant than the similarities. The refrein and ballade came to be regarded as entirely separate forms.…”

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confidence: 94%

The Refrein and the Chambers of Rhetoric in the Early Modern Low Countries

Parsons¹,

Jongenelen²

2008

European Medieval Drama

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While the allegorical drama of the Dutch rederijkers has received increasing attention from English-speaking critics, much less attention has been paid to the refreinen that often accompanied the plays on festival occasions. This is despite the fact that the refreins were held in high esteem by the rederijkers themselves, and even regarded as the greatest culmination of their literary principles. To redress this oversight, we offer fresh translations of three of these texts, taken from one of the most noted of the rhetorijckfeesten. This is the first time that these poems have been translated into English.Over the past twenty years or so, English-language scholarship has gained a new appreciation of the vibrant theatrical culture of the rederijkerskamers. These 'chambers of rhetoric' -lay fraternities comprised chiefly of middle-class citizens who styled themselves rederijkers or 'rhetoricians' -proliferated across the cities of the Low Countries in the later Middle Ages. The dramas they produced for civic and religious occasions, and for the contests known as landjuwelen in Brabant and rhetorijckfeesten in Holland and Flanders, have become increasingly familiar to critics working in English. A number of studies have outlined the history and structure of these organisations, from the pioneering work of Georg Kernodle in the 1940s, to a more recent essay-collection edited by Elsa Strietman and Peter Happé.1 The chambers' relationship to wider movements, such as Protestantism, humanism and the devotio moderna, has also been closely documented.2 Perhaps most importantly, a number of good translations have enabled English readers to access the rederijker drama directly. 3Such efforts have succeeded in bringing about a new awareness of the rederijkers among English critics. This can be witnessed in the tendency among some commentators to see English urban drama in the context of its Dutch counterpart, conceiving the two as 'part of a shared culture'. 4 The same awareness is also evident in a recent edition of Everyman, which directly tackles the persistent view that the play is 'thoroughly English in spirit', emphasising its provenance in the Flemish chambers.5 In short, recent scholarship has done much to overturn the older view that 'Holland...had nothing significant' in terms of drama. 6 In the place of this attitude, a fuller understanding of the fertile milieu of the rederijkers has emerged among anglophone critics.However, while this activity is in every respect commendable, it has tended to concentrate fairly narrowly on one aspect of the rederijkers' output. It has focused almost exclusively on the spelen, or stage-plays, produced by the chambers. This has the inevitable but unfortunate effect of marginalising other types of performance associated with the groups. One form of that has been especially overshadowed in English scholarship is the refrein, a variety of rhyming declamation which attained special prominence during the sixteenth century.7 Only a handful of refreinen have

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“…As for the choice of architecture, in the period around 1500 this style was not only the preference of the majority of European elites but was also one where new forms and design strategies were employed. 55 The imaginative and novel use of ornament was as important for architects as the revision of spatial properties and structural challenges. The scholarly inattention suffered by such buildings stems in part from a long-standing dismissal of ornament and from prejudices against rich decoration as a symptom of decadence and decline.…”

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confidence: 99%

New Functions, New Typologies: Inventio in Valladolid’s College of San Gregorio

Martínez¹

2020

Gothic Architecture in Spain: Invention and Imitation

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Materialkonzepte zweier spanischer Grablegen im Spiegel von Claus Sluters Werken für die Kartause von Champmol', in B. Borngässer Klein, H. Karge & B. Klein (eds.), Grabkunst und Sepulkralkultur in Spanien und Portugal. Arte funerario y cultura sepulcral en España y Portugal (Frankfurt am Main; Madrid: Vervuert, Iberoamericana, 2006), p. 95n13. 67.The Castilian convention of decorating tomb chests with narrative imagery, saints, weepers, and heraldry is demonstrated, for example, in María Jesús Gómez Bárcena, Escultura gótica funeraria en Burgos (Burgos: Diputacíon Provincial de Burgos, 1988). 68.

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Renaissance Gothic in the Netherlands: The Uses of Ornament

Cited by 9 publications

References 0 publications

Gothique de la Renaissance et première Renaissance en Franche-Comté. La personnalité singulière de Ferry Carondelet (1473-1528)

Gothique de la Renaissance et première Renaissance en Franche-Comté. La personnalité singulière de Ferry Carondelet (1473-1528)

The Refrein and the Chambers of Rhetoric in the Early Modern Low Countries

New Functions, New Typologies: Inventio in Valladolid’s College of San Gregorio

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