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Sara Pallemaerts

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Job offer

The Périer-DIeteren Foundation is looking for a scientific collaborator to join its team from August 2022 to December 2023! read more

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Adoration of the Magi altarpiece

The Adoration of the Magi altarpiece from the San Nazaro Maggiore Basilica in Milan has arrived at the Royal Institute for Cultural Heritage on 15 March 2022 for study and restoration. Coordinated by the Périer-D’Ieteren Foundation since 2017, this project finally got off the ground thanks to the support of the King Baudouin Foundation (René & Karin Jonckheere Fund and Jean-Jacques Comhaire Fund) and the Soprintendenza of Milan.

The altarpiece is currently undergoing a series of tests prior to restoration. The conservation treatment is set to start after the first meeting of the Italian-Belgian scientific committee in late April. While the altarpiece is being restored at the Royal Institute, an in-depth art historical study of this Brussels work, attributed to the Borman dynasty of sculptors, will be carried out. A detailed monograph on the art historical context, execution techniques and restoration will be published at the close of the project.

More information here

Virgin and Child © Périer-D’Ieteren Foundation
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2022 Seminar / Opening lecture / Colette Di Matteo

Colette Di Matteo: Historical decors and their conservation. To understand and intervene

The lectures of the Périer-D’Ieteren Foundation, organised as part of the painting and heritage conservation seminar (HAAR-B5270) of the ULB’s art history and archaeology master’s degree, will be held from 20 to 22 April 2022 on the Foundation’s premises (Rue de Livourne 41, 1050 Brussels). The opening lecture of 19 April 2022 will take place in the Dupréel hall of the ULB (Solbosch campus, building S, floor 1, access Avenue Jeanne 44, 1050 Brussels).

To register for the opening lecture, please send an email to sacha.zdanov@perier-dieteren.org no later than 11 April 2022.

More information on the seminar: link.

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Lecture \ L’image dévoilée: révélations et questionnements

Lecture by Catheline Périer-D’Ieteren as part of the courses of the Collège Belgique, in partnership with the Academia Belgica and under the aegis of the Royal Academy of Sciences, Letters and Fine Arts of Belgium.

17 March 2022, 6 p.m., Academia Belgica (Rome) or via Zoom.

More details on the website of the Academia Belgica (FR/NL/IT).


Due to coronavirus restrictions, registration is required to attend this event in person. Please contact info@academiabelgica.it.

Alternatively, connect to the Zoom livestream using the link below:
https://us06web.zoom.us/j/84782993627?pwd=SW5HRGN5cHRzRk11bzRxOThsdzhlZz09
Meeting ID: 847 8299 3627 / Passcode: 297839

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Publication \ Annales d’histoire de l’art et d’archéologie 43 (2021)

The 43rd issue of the Annales d’histoire de l’art et d’archéologie of the Université libre de Bruxelles (ULB) has been published.

For further information, please reach out to Christine Boulanger (christine.boulanger@perier-dieteren.org).

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TABLE OF CONTENTS

Sébastien Peel, Le cycle marial de la chapelle d’Eton : analyse des transferts artistiques entre les anciens Pays-Bas et l’Angleterre.

Sacha Zdanov, Le portrait d’Édouard IV d’Angleterre, reflet d’une œuvre perdue du Maître des Portraits Baroncelli.

Didier Martens & Alexandre Dimov, Le Maître de Briviesca, une figure oubliée de l’histoire de la peinture brugeoise du XVIe siècle.

Anne-Sophie V. Radermecker, À propos d’une coupe all’antica de Pietro Maria Serbaldi : un prototype du faux archéologique à la fin du Quattrocento ? 

Marie-Anne Dragon, De la plume au pinceau. L’introduction du dindon dans l’iconographie des anciens Pays-Bas au XVIe siècle.

Pierre Anagnostopoulos & Arnaud Schenkel, Lecture d’un relief à l’aide de l’imagerie 3D. Méthode de relevé, analyse et présentation du décor à grotesques d’une colonne du jubé de la collégiale Sainte-Waudru à Mons.

Anne-Sophie Laruelle, Les collections des princes-évêques de Liège (XVIe-XVIIIe siècles) : état de l’art et perspectives.

Erika Basso & Philippe D’Arschot, Une cicogne au bébé. Une rare coupe animalière du XVIIe siècle.

Wendy Frère, Le captif enchaîné : héritage et circulation d’un motif iconographique dans la production des sculpteurs Quellinus.

Georges Rapsaet, Le frontispice gravé par Bernard Picart pour lédition des Scriptores rei rusticae de Johan Matthias Gesner en 1735. La première représentation de la moissonneuse gallo-romaine et la symbolique de lHumanisme radical.

Delphine Steyaert, Retables néogothiques conçus par Bethune, l’exemple de l’église Saint-Jacques de Tournai.


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Attribution of the Three Graces to Della Porta

As part of the preliminary study to the restoration of the 16th-century Fountain of the Three Graces from the collections of the Brussels City Museum, the findings of KIK-IRPA’s interdisciplinary team made it possible to attribute the artwork to one of the major sculptors of the Italian Renaissance: Guglielmo Della Porta (1515-1577).

The white marble used by the artist, the iconographic theme of the fountain and the mythological scenes on its pedestal all seem to point to the Italian sculptor. Comparisons with the fountain at Boussu Castle, a well-known work from the sculptor’s workshop, bring the Three Graces even closer to Della Porta. The upcoming restoration of the fountain should enable the restorers to support this attribution.

The Three Graces, Brussels City Museum
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Restoration of the panels bearing the coats of arms of Philip the Fair and Philip of Burgundy

Supported by the Périer-D’Ieteren Foundation, the restoration of the panels bearing the coats of arms of Philip the Fair and Philip of Burgundy has just been completed. The two heraldic paintings will be shown at the Museum Hof van Busleyden in Mechelen as part of the Renaissance Children exhibition, which will open on 26 March (link).

On 22 May 1491, Philip the Fair (1478-1506), then 12 years old, convened the knights of the Golden Fleece in Mechelen. At this 15th chapter of the Order, thirty paintings representing the knights’ coats of arms and names were produced. These artworks have been attributed to court artists, such as Pierre Coustain and Jacob van Laethem. As usual, these panels were hung in the choir of the Saint Rumbold cathedral, where they can still be seen today.


Jacob Van Laethem & Pierre Coustain (attr.), Coat of Arms of Philip the Fair for the Chapter of the Order of the Golden Fleece in Mechelen, 1491, Mechelen, Saint Rumbold cathedral | Museum Hof van Busleyden (photo: Joris Luyten)
Jacob Van Laethem & Pierre Coustain (attr.), Coat of Arms of Philip of Burgundy for the Chapter of the Order of the Golden Fleece in Mechelen, 1491, Mechelen, Saint Rumbold cathedral | Museum Hof van Busleyden (photo: Joris Luyten)
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Publication \ Imiter le textile en polychromie à la fin du Moyen Âge. Le brocart appliqué

The proceedings of the colloquium on applied brocade organised by the Université Grenoble-Alpes (UGA-CRHIPA) and ARC-Nucléart on 10 and 11 December 2015 have been published, in open access, thanks to the support of the Périer-D’Ieteren Foundation. Edited under the direction of Laurence Rivière Ciavaldini, the colloquium proceedings are available for consultation via the webjournal CeROArt. LINK: https://doi.org/10.4000/ceroart.6943.

Detail of applied brocade on the dress of Mary Magdalene in the Pietà of Saint-Offenge, Musée savoisien de Chambéry.
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Publication \ Annales d’histoire de l’art et d’archéologie 42 (2020)

The 42nd issue of the Annales d’histoire de l’art et d’archéologie of the Université libre de Bruxelles (ULB) has been published.

For further information, please reach out to Christine Boulanger (christine.boulanger@perier-dieteren.org).

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TABLE OF CONTENTS

Olga SPAEY / Analyse stylistique et formelle de la grotte de Rouffignac (Dordogne)

Caroline EUDE-DEVAUX / La tenture de la Vie du Christ et de la Vierge d’Aix-en-Provence et ses liens avec l’atelier du peintre Colyn de Coter : nouvelles pistes de réflexion

Valentine HENDERIKS / L’attribution inédite du Portrait d’un membre de l’Ordre de Saint-Jean de Jérusalem à Albrecht Bouts serait-elle la clé d’une énigme ?

Louise LONGNEAUX / À propos du carton de la Dérision des prisonniers, modèle pour une tapisserie des Gestes et des Triomphes de Scipion

Elsa ESPIN / Redécouverte d’un chef-d’œuvre : l’Adoration de l’Enfant du Petit Palais d’Avignon

Matthias HERCOT, Marie VANHUYSSE and Perrine FRANCO / Redécouverte d’un haut-relief de l’abbaye norbertine d’Averbode

Morgane POPELIN / Maurice Quentin de La Tour : Portrait d’un homme qui rit

Thomas UNGER / La fascination pour Caravage, figure d’exception des “Old Masters”


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Publication \ Flesh, Gold and Wood. The Saint-Denis altarpiece in Liège and the question of partial paint practices in the 16th century

Publication of the proceedings of the conference on the Saint-Denis altarpiece, held at the Royal Institute for Cultural Heritage in Brussels from 22 to 24 October 2015.

The volume includes a contribution by Catheline Périer-D’Ieteren: La huche du retable de Saint-Denis. Un produit de l’atelier des Borman.

More details on the publisher’s website: Brepols.

Summary:

The impressive altarpiece in the church of Saint-Denis in Liège is one of the most prestigious but also one of the most enigmatic witnesses to the rich Brabantine altarpiece production at the end of the Middle Ages. The interdisciplinary study carried out during its restoration at the Royal Institute for Cultural Heritage (KIK-IRPA) in Brussels between 2012 and 2014 allowed to resolve some of the questions involved and to propose new refreshing hypotheses. The attribution to the Borman, the most prestigious Brussels sculptor family, was refined, as was its dating in the early 1530s, when the vocabulary of Italian Renaissance began to invade the art of the Meuse banks simultaneously with the still well-anchored Gothic style.

This volume provides a broad platform for the exceptional character of the partial polychromy of the altarpiece, highlighted by the investigation conducted at the KIK-IRPA. This research was nourished by many comparative reflections. The abundant and varied studies presented here, mainly originate from an international conference held in October 2015. In addition, the restoration at KIK-IRPA, between 2016 and 2019, of some of the painted panels that initially adorned the shutters of the altarpiece, also allowed a beneficial reconsideration of the participation of the great Liège painter Lambert Lombard and some local workshop. Starting from an amazing work, they represent an important part of the artistic activity in Liège revived by Prince-Bishop Érard de La Marck.