Sacha Zdanov

Each year, the Foundation allocates an amount ranging from €50,000 to €70,000 to one or several projects involving the acquisition, conservation, restoration, or enhancement of a work of art intended for or belonging to a Belgian public or religious institution. The project must demonstrate the artistic or historical value of the work and clearly highlight the strategy for its enhancement once the work has been acquired and/or restored. In the case of restoration, the work must be carried out by a qualified conservator-restorer active in Belgium.

More information: APPLICATION

Previous projects supported include:

• A set of eight sketches painted in 1649 by Erasmus II Quellin (Musées royaux des Beaux-Arts de Belgique).
• The tapestry Solomon invites Bathsheba to share the throne (Musées de la Ville de Bruxelles – Maison du Roi).

Cultural Crossroads: Artistic Encounters between the Low Countries and Spain, 15^th-17^th Centuries. III. Echoes of Flemish Sculpture in Spain from Gothic to Baroque (Brussels, 28 November 2025)

Programme-3

Since 2020, the Moll Institute (Madrid) and the Fondation Périer-D’Ieteren (Brussels) have been conducting a research program aimed at identifying and studying the art that developed in the Low Countries between the 15^th and 17^th centuries and that is preserved in Spanish collections. As part of this collaboration, a series of study days has been organized since 2023 to stimulate and disseminate research conducted in this field. The first and second study days (2023 Brussels; 2024 Madrid) focused on, respectively, painting and tapestry. The third study day will be dedicated to sculpture and will be organized in Brussels, at the Fondation Périer-D’Ieteren.

Cultural context
The period of the 15^th-17^th centuries witnessed a significant increase in contacts and exchanges between the Southern Netherlands and Spain. These exchanges, facilitated by trade routes and strengthened by close dynastic ties as evidenced, e.g., by the marriage of Philip the Handsome to Joanna of Castile and the installation of the Habsburgs into Spain, had a profound impact on the artistic development of both regions.

The Spanish interest in Flemish art was stimulated particularly by the unique craftsmanship and identity of the Flemish artistic production, making it a symbol of high quality that seduced patrons in search of prestigious works. One of the consequences of this fascination for all things Flemish was the massive importation of sculptures from the southern Netherlands. Brabant altarpieces, for example, were particularly prized for private chapels and churches in Spain, as they demonstrate an exceptional mastery of detail. These monumental works integrated harmoniously into local architectural settings, while sometimes adapting their style to suit local tastes. Alongside these large-scale works, small polychrome statuettes produced among other places in Mechelen responded to a demand for more intimate devotional objects, highly prized by the Spanish elite. Flemish funerary monuments, such as those produced by Egas Cueman for the monastery of Guadalupe, display an innovative combination of Flemish techniques and iconography with local artistic trends.

Many Flemish sculptors settled in the Iberian Peninsula, attracted by prestigious commissions and unprecedented opportunities. Some of them, like Hannequin and Egas Cueman at the end of the 15th century, chose to develop their careers in Castile, forming in the process important Flemish artistic dynasties on Spanish territories and leaving a significant mark on Spanish sculptural production. Others, like Jean Mone in the 16th century, trained as a sculptor in Barcelona before pursuing a career elsewhere. Conversely, some sculptors only came to Spain for specific commissions. These one-off assignments were often in response to prestigious contracts. All these artists helped to forge a hybrid Hispano-Flemish sculptural style.

Finally, cities such as Burgos, Toledo, Seville, and Madrid played a key role in the dissemination and reception of Flemish sculpture. The cities in the region of Castile, in particular, established themselves as vibrant centers for Flemish art thanks to their contacts with the Southern Netherlands. The ports of the Iberian Peninsula facilitated the swift introduction of Flemish art works, while trade fairs such as those in Medina del Campo served as platforms for exchange and negotiation. These networks, reinforced by trade routes and diplomatic interactions, enabled the export of sculptural works, often offered as prestigious gifts.

The 2025 study day will provide a forum to engage in scholarly discussion and exchanges on the topics outlined, some of which have yet to be fully explored, and as such will open new research perspectives in the field of Flemish sculpture and its Spanish reception.

Focus & Scope

Contributions may relate to the following areas:

• Mobility of artists and local settlement: trajectories of Flemish artists; establishment of artistic hubs in centres such as Seville and Burgos; social and professional integration of sculptors and their workshops; the importance of ports and trade fairs for cultural exchanges.
• Patrons and commissions: the role of the royal court; commissions from the nobility and the bourgeoisie; the impact of religious institutions.
• Typologies and specific features of the works: sculpted altarpieces integrated into local architecture; funerary monuments and their iconography; small devotional pieces adapted to the Spanish market etc.
• Technique and materials: introduction of new techniques; adaptation of local materials by Flemish sculptors.
• Conservation and restoration issues: exploring conservation challenges and restoration solutions for a distinctive Flemish art form in Spanish collections.

Submission
We welcome all paper proposals (English, French, Spanish) related to the topics outlined above. Duration per paper is maximum 20 minutes. Accepted papers will be considered for publication in a collective volume, to be published in the series Cahiers d’études of the Annales d’Histoire de l’Art et d’Archéologie (Brussels). In addition, the artworks discussed in these papers will be included in the Flemish Art in Spain database: https://www.flemishartinspain.com/en.

Paper proposals can be submitted until and including July 4, 2025, and should include a title and short abstract of approximately 300 words, along with a concise CV (to be submitted to congreso@institutomoll.es and fondation@perier-dieteren.org). Notification on the acceptance or rejection of papers will be done before August 31, 2025. Please note that transport and accommodation costs are not borne by the organizing institutions.

Organizing Committee
– Dr. Sacha Zdanov, Fondation Périer-D’Ieteren / Université Libre de Bruxelles
– Dr. Wendy Frère, Fondation Périer-D’Ieteren
– Dr. Ana Diéguez Rodríguez, Instituto Moll / Universidad de Burgos

Selected bibliography

M. Barrio Olano, I. Berasain Salvarredi & C. Périer-D’Ieteren, Le retable du couronnement de la Vierge. Église de l’Assomption d’Errenteria / Het retabel van de Kroning van Maria. Kerk van Maria-Tenhemelopneming te Errenteria, Brussels, 2013.

J. L. Cano de Gardoqui García, El escultor flamenco Adrián de Vries y su intervención en la obra del retablo principal del Monasterio de El Escorial, in: La escultura en el Monasterio del Escorial. Actas del simposium 1-4.9.1994, San Lorenzo de El Escorial, 1994, pp. 315-328.

L. Ceballos Enríquez, Aproximación a la técnica y atribución de la escultura bruselense del retablo de Belén en Laredo (Cantabria), a travès de su conservación y restauración, in: Informes y trabajos, 13, 2016, pp. 39-56.

D. Chao Castro, Egas Cueman en Castilla y el desarrollo de la tipología sepulcral con imagen orante, in: L. Campbell, J.J. Pérez Preciado (eds), Rogier van der Weyden y España. Actas del congreso internacional, Madrid, 2016, pp. 43-56.

E. de los Ríos Martínez, José de Arce, escultor flamenco (Flandes, 1607 – Sevilla, 1666), Seville, 2007.

R. Domínguez Casas, El entorno familiar y social del escultor Egas Cueman de Bruselas, in: Archivo Español de Arte, 68, n°272, 1995, pp. 341-352.

J. Eguiguren, From late gothic art to Italian mannerism in alabaster: Gil de Siloé and Bartolomé Ordóñez, s.l., 2017.

B. Fransen, One Altarpiece, one Way: From Brussels to Laredo, in: L. Campbell, J.J. Pérez Preciado (eds), Rogier van der Weyden y España. Actas del congreso internacional, Madrid, 2016, pp. 66-76.

M.E. Kavaler, Jean Mone, Barcelona, and the origins of the Netherlandish Antique Manner, in: D. Van Heesch, R. Janssen, J. Van der Stock (eds), Netherlandish Art and Luxury Goods in Renaissance Spain, Turnhout, 2011, pp. 63-78.

T. Müller, Chapter 10: Sapin and Portugal in the second half of the fifteenth century, in: Sculpture in the Netherlands, Germany, France, and Spain 1400 to 1500, Middlesex, 1966, pp. 142-154.

J. Muñiz Petralanda, Reflejos de Flandes: La escultura mueble tardogótica en Bizkaia, Bilbao, 2011.

J. Muñiz Petralanda, M. Barrio Olano, I. Berasain Salvarredi, Flemish carved altarpieces in Spain: reflections on their patronages and the relationship between Flemish and Spanish artistic traditions, in: D. Van Heesch, R. Janssen, J. Van der Stock (eds), Netherlandish Art and Luxury Goods in Renaissance Spain, Turnhout, 2011, pp. 45-62.

G. Patigny, Une odyssée baroque – Les du Quesnoy et la sculpture à Bruxelles au XVII^e siècle (Scientia Artis, 20), Brussels, 2024.

F. Pereda, Antonio “De Malinas”, un escultor de Los Países Bajos en la España del Renacimiento, in : Archivo Español de Arte, 77, n°306, 2004, pp. 139-157.

F. Quiles, De Flandes a Sevilla. El viaje sin retorno del escultor José de Arce (c. 1607-1666), in: Laboratorio de Arte, 16, 2003, pp. 135-150.

D. Robert, L’art Hispano-Flamand. Réflexions critiques. Considérations concernant des sculptures espagnoles et brabançonnes, in: J. Yarza Luaces, A. C. Ibáñez Pérez (eds), Gil de Siloé y la escultura de su época, Actas del Congreso, Burgos, 2001, pp. 113-144.

D. Roggen, Jehan Mone, artiste de l’empereur, in: Gentse Bijdragen tot de kunstgeschiedenis, 14, 1953, pp. 207-246.

M. G. C. von Konradsheim, Hanequin Coeman de Bruxelles, introducteur de l’Art Flamand au XV s. dans la région Tolédane, in: Mélanges de la Casa de Velázquez, 12, 1976, pp. 127-140.

K. Woods, Cut in alabaster: a material of sculpture and its European traditions 1330-1530, London/Turnhout, 2015.

J. Yarza Luaces, A. C. Ibáñez Pérez (eds), Gil de Siloé y la escultura de su época, Actas del Congreso, Burgos, 2001.

Websites

Carved Flemish Altarpieces in Spain, https://retablos-flamencos.albayalde.org

Agorha, Transferts et circulations artistiques dans l’Europe de l’époque gothique (XII^e-XVI^e siècles), https://agorha.inha.fr/ark:/54721/31

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The latest volume of the Annales d’Histoire de l’Art et d’Archéologie has just been published, with six previously unpublished scientific articles on painting and printmaking between the 14th and 19th centuries.

6 contributions, 195 pages, 160 x 240 mm
Brussels, Éditechnart, 2025
ISSN 0771-2723
40.00 € incl. VAT excl. postage

The volume is on sale for €40 (delivery: €7.50 for Belgium, €14 for the rest of Europe, €17 for the United Kingdom, €28 for the rest of the world). You can also choose an annual subscription, including delivery, for €25 for Belgium, €39.50 for Europe and €49.50 for the rest of the world. For more information, please contact (editechnart@gmail.com).

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TABLE OF CONTENTS

• ANNA DELLE FOGLIE, Michelino Da Besozzo : étude sur deux peintures emblématiques du gothique international en Italie du Nord.
• THOMAS UNGER, Un Christ de l’atelier d’Albrecht Bouts en Italie septentrionale.
• SACHA ZDANOV, Cornelis Bazelaere ou le Maître au Perroquet : approches méthodologiques et enjeux d’attribution.
• KEVIN DALIGAULT, Les commandes de peintures dans les couvents Minimes de la Place Royale, de Vincennes et de Passy (XVIe-XVIIIe siècles).
• GEORGES RAEPSAET, Bernard Picart (1673-1733) et l’art du portrait gravé au burin, de Louis XIV à la Régence. À propos des trois portraits de son père Étienne Picart dit le Romain.
• DIDIER MARTENS, La Vierge priant dans une église de Joseph Van der Veken et ses doubles.

The three calls for applications for spring 2025 have just opened!

1° Publication grants

Each year, the Foundation awards a grant either for the publication of a doctoral thesis or for a publication that represents a significant advance in the fields of European art history (14th-18th centuries), conservation-restoration or visual arts technology.

2° Aid for a study prior to conservation-restoration treatment

The Foundation will subsidise a study prior to conservation-restoration treatment of a work representative of the history of European art from the 14th to the 18th centuries. The work must be carried out by a qualified Belgian restorer and must take into account the authenticity value of the object as well as its historical and aesthetic dimensions.

3° Assistance to a public or religious institution for the acquisition, conservation, restoration or enhancement of a work of art

Each year, the Fondation Périer-D’Ieteren allocates an amount of between €50,000 and €70,000 to one or more projects for the acquisition, conservation, restoration or enhancement of a work (15th-18th centuries) intended for or belonging to a Belgian public or religious institution. The project must demonstrate the artistic or historical value of the work and must clearly highlight the enhancement policy that will be developed once the work has been acquired and/or restored. In the case of restoration, the work must be carried out by a qualified restorer working in Belgium.

Applications must be submitted by 30 June 2025. All the specific information about these grants can be found on our website.

The Foundation awards a doctoral fellowship for research in the field of European Art History of the 14th-18th centuries or in the field of Conservation-Restoration of European Art (14th-18th centuries) in a practical, critical or historical approach. This one-year scholarship will be renewable three times.

Application form
Application deadline: 1 March 2025
Announcement of results: 30 June 2025

The Fondation Perier-D’Ieteren and the Instituto Moll are pleased to invite you to the online launch of the Flemish Art in Spain Database. Discover this innovative platform dedicated to the study and cataloguing of Southern Netherlandish art from the 15th to the 17th centuries in Spanish collections. More info on the Instituto website and the Foundation website.

To receive the access link, please register at info@institutomoll.es.
We look forward to your participation!

Cultural Crossroads. Artistic Encounters between
the Low Countries and Spain, 15^th-17^th Centuries.
II- Woven Pictures
(Madrid, 8 November 2024)

Cultural-Crossroads2_poster

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PROGRAMME and INSCRIPTIONS
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Since 2020, the Moll Institute (Madrid) and the Périer-D’Ieteren Foundation (Brussels) have been conducting a research program aimed at identifying and studying the art that developed in the Low Countries from the 15^th to the 17^th centuries, which is still preserved in Spanish collections. As part of this collaboration, in 2023, a series of study sessions began to be held to share, deepen, and disseminate the work of specialists in the field. The 2023 study day took place in Brussels and focused on pictorial art. This time, the session will be dedicated to tapestries and will be held in Madrid.

Tapestries were top-tier luxury products that enjoyed tremendous success during the Early Modern period, both for their narrative and decorative possibilities. The quality of craftsmanship of these products by the workshops settled in the former Habsburg territories led to their popularity and demand growing to such an extent that leading artists were eventually enlisted to conceive the compositions that were transferred to the loom, further enhancing their interest and quality. The close relations that the Iberian Peninsula always had with the Low Countries facilitated the arrival of numerous series of tapestries to Spanish territory. Many of these works were commissioned by monarchs, important ecclesiastical figures, and nobles to the most prominent Flemish workshops. The different production centers, as well as the commissioning of series, the creation of cartoons, the various typologies of craftsmanship, their functions, and conservation, are topics we wish to address in this study session.

In Spain, highly significant collections of Flemish tapestries still exist, some of which are among the most prominent in the world, such as those housed by the National Heritage, which have been the subject of study by specialists in both specific catalogs and more general studies on the tapestries of the House of Austria. Likewise, exhibitions have played a prominent role in opening the door to new research. However, there are also numerous high-quality tapestries and series preserved in various dioceses of Spain, as well as in prominent noble families of the Iberian Peninsula, which are less known but open up a field of research of great interest.

The conference will be divided into various panels:

1. Tapestry production in the Burgundian and Habsburg Netherlands. From tapestry guilds in the 14th century to the great workshops.
2. Series and tapestries: Tapestry cartoons, artists, major commissions, and production for the art market.
3. Function and valuation of tapestries in the Early Modern period. Tapestries in inventories of artworks.
4. Restoration and conservation of tapestries. Challenges of a highly specific art form.

Papers may be delivered in English, French, or Spanish and will have an approximate duration of 15-20 minutes. The outcomes of the presentations will be subject to a publication in the Cahies d’étude series of Annales d’Histoire de l’Art et d’Archéologie, and the referenced works will be included in the database currently being created by the Moll Institute and the Périer-D’Ieteren Foundation.

Those wishing to participate in this study day should send, before June 7, 2024, a provisional title of their presentation and a short abstract of approximately 300 words, along with a brief CV, to the following addresses: congreso@institutomoll.es and fondation@perier-dieteren.org 

The organizers will respond before August 31, 2024.

Please note that the organisers of the study day will not be able to cover accommodation or transport costs.

Organizers:

– Dr Ana Diéguez Rodriguez, Instituto Moll / Universidad de Burgos

– Dr Sacha Zdanov, Fondation Périer-D’Ieteren / Université Libre de Bruxelles

PDF of the call.

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Selected bibliography:

K. Brosens, A Contextual Study of Brussels Tapestry, 1670-1770. The Dye Works and Tapestry Workshop of Urbanus Leyniers (1674-1747), Vlaamse Academie van België voor Wetenschappen en Kunsten, 13, Brussels, 2004.

T. P. Campbell (ed.), Art and Mafnificence: Tapestry in the Renaissance, New York-New Haven, London, 2002.

F. Checa Cremades and B.J. García (coords.), Los triunfos de Aracne. Tapices flamencos de los Austrias en el Renacimiento, Madrid, 2011.

S. Cortes Hernández, Tapices flamencos en Toledo: Catedral y Museo de Santa Cruz, Universidad Complutense de Madrid, 1992.

G. Demarcel and E. Duverger, Bruges et la Tapisserie, Bruges-Mouscron, 1987.

M. Díaz Padrón, Jacob Jordaens y España, vol. II, Barcelona, 2018, pp. 375-539.

M. Díaz Padrón, Jacob Jordaens and Spain, English edition, Instituto Moll, Madrid, 2019, pp. 371-535.

J.M. Ferrer González and V. Ramírez Ruiz, Tapices y textiles de Castilla-La Mancha, Guadalajara, 2007.

M. García Calvo, Tapices de Pastrana, doctoral thesis, UNED, Madrid, 1995.

A. García Sanz, “Rubens diseñador de tapices. Del lienzo al telar”, La grandeza de Rubens, Madrid, 2023, pp. 229-244.

Ghent 2008-2009: Tapices flamencos para los Duques de Borgoña, el Emperador Carlos V y el Rey Felipe II, Saint Peter’s Abbey, Ghent, 2008-2009.

E. Haverkamp-Begemann, The Achilles Series, Corpus Rubenianum Ludwig Burchard, vol X, London, 1975.

C. Herrero Carretero, Tapices de Isabel la Católica. Origen de la colección real española, Madrid, 2004.

P. Junquera and C. Herrero Carretero, Catálogo de tapices del Patrimonio Nacional, siglo XVI, vol. I, Madrid, 1986.

J. Matesanz del Barrio, R. J. Payo Hernanz, J. del Campo (coord.), Hilos de Flandes: la colección de tapices de la catedral de Burgos, Caja de Burgos, 2018.

K. Nelson, Jacob Jordaens, design for tapestry, Brepols, 1998.

Paris, 2010: Tesoros de la corona de España. Tapices flamencos del Siglo de Oro, Galerie de Gobelins, Paris, 2010.

Pastrana, 2010-2011: Las hazañas de un rey. Tapices flamencos del siglo XV en la Colegiata de Pastrana, 2010-2011.

N. de Poorter, The Eucharist Series, Corpus Rubenianum Ludwing Burchard, vol. II, Belgium, 1978.

V. Ramírez Ruiz, Las tapicerías en las colecciones de la nobleza española del siglo XVII, Universidad Complutense de Madrid, 2012.

G. Redín Michaus (dir.), Nobleza y coleccionismo de tapices entre la Edad Moderna y Contemporánea: las casas de Alba y Denia Lerma, Madrid, 2018.

VV.AA., Grand Design. Pieter Coecke van Aelst and Renaissance Tapestry, Metropolitan Museum of Art, 2014.

S. Zdanov, X. Wasilewski & W. Frère (eds), Penser l’œuvre d’art de la création à la restauration. Mélanges offerts à Catheline Périer-D’Ieteren à l’occasion de son quatre-vingtième anniversaire, Cahiers d’études des Annales d’Histoire de l’Art et d’Archéologie 12, Bruxelles, Éditechnart, 2024, 471 pages, 50,00€. ISBN 978-2-9603538-0

This volume pays tribute to Catheline Périer-D’Ieteren, member of the Académie royale de Belgique and Professor Emeritus at the Université Libre de Bruxelles, whose impact on the history of art in the former Southern Netherlands and on conservation-restoration has been considerable. On the occasion of her eightieth birthday, it brings together 32 contributions reflecting Catheline Périer-D’Ieteren’s interest in all the stages in the material life of a work of art, from its development and the first technical processes involved, to the various conservation-restoration interventions.

The contributions reflect her commitment to a holistic approach to the work, embracing a variety of considerations ranging from the constituent materials to production techniques, stylistic influences to collaborations between artists, as well as the relationships between different art forms, primarily in painting, but also in sculpture, tapestry and stained glass.

Orders

You can send your order to fondation@perier-dieteren.org.

Surname, First name (if applicable), number of volumes ordered, invoicing address, delivery address (if different from invoicing address).

Price: €50.00 + postage (€7.50 for Belgium; €17 for the rest of the European Union; contact us for countries outside the EU).

Payment: Annales d’Histoire de l’Art account

Account no: BE09 0680 7168 6057

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The latest volume of Annales d’Histoire de l’Art et d’Archéologie has just been published, featuring seven previously unpublished scientific articles on a variety of subjects from the 15th to the 19th centuries.

The volume is on sale for €20 (excluding postage). You can also take out an annual subscription for €17.50. For more information, please contact us (fondation@perier-dieteren.org).

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TABLE OF CONTENTS

– Bianca MALAFARINA, Des bichons havanais dans les anciens Pays-Bas méridionaux au XVe siècle ?

– Didier MARTENS, De saint Luc au Maître de saint Barthélémy : le tüchlein flamand de Ligny et ses attributions mirifiques.

– Lara YEAGER-CRASSELT, Sculpting ivory, stone and wood: the beginnings of François Duquesnoy in Brussels.

– Wendy FRERE, La statue de saint Hyacinthe à l’église Saint-Paul d’Anvers : analyses historique et stylistique.

– Kévin DALIGAULT, L’atelier de Simon Vouet et ses formes d’association artistique au couvent des Minimes de la place royale.

– Sacha ZDANOV, A preparatory drawing by Francesco Fontebasso for the lost altarpiece of Saints Catherine and Thérèse.

– Manon CHAIDRON, Quelques cas particuliers de l’iconographie de saint Guidon d’Anderlecht.