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From 7 to 10 March 2023, the Foundation welcomed two experts in stained glass, Isabelle Lecocq (IRPA) and Yvette van den Bemden (UNamur), who discussed diverse aspects related to the production and conservation of stained glass (historical evolution, commissions, techniques etc.). New avenues of research were presented, in particular with regard to the connections between stained glass and the paintings of Hugo van der Goes and Pieter Coecke van Aelst, the study of preparatory drawings (small-scale drawings, cartoons, etc.), and the iconographic study of small medallion panels and rondels. A particularly difficult question addressed during the seminar concerned the authenticity of the attribution of stained glass, which is complicated, since no stained glass window has been transmitted without alteration.

The Périer-D’Ieteren Foundation recently acquired the digital documentation of Louise Longneaux’ PhD dissertation on Tapestry cartoons in 16th-century Brussels (unfinished due to private reasons). All research material and photographs collected are now available to scholars who envision new research on this topic.

In this way, the Foundation, which also holds the extensive archive of Sophie Schneebalg-Perelman (available upon request), hopes to stimulate new interest in the field of tapestry.

Applications for the Preliminary Study Grants (conservation-restoration) are now open. Applications must be received by 30 September 2022.

Applications for the Publication Grant are now open. Applications must be received by 30 September 2022.

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

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.

The Périer-D’Ieteren Foundation felt it was of the greatest importance to come to the people of Ukraine’s aid amidst the unspeakable suffering inflicted on them by the war. After careful consideration, the Foundation has decided on a targeted support and granted a substantial donation of € 100.000,- to SOS Children’s Villages.

Immediately after the start of the invasion, SOS Children’s Villages launched an emergency aid plan for several thousand children and families who are already receiving assistance from a SOS programme in Ukraine: children living in foster families, with distant relatives, in boarding schools or institutions. The aim is to prevent family separation, ensure that children who end up alone receive proper care and protection, and try to reunite families. The emergency aid plan is also about providing immediate assistance, distributing food and basic goods, offering psychosocial support and relocating children who are exposed to danger. The goal of SOS Children’s Villages emergency aid is also to help exiled children and families from Ukraine through the support of SOS organisations in neighbouring countries, such as Poland and Romania. Finally, in the longer run, families will need help to recover and start rebuilding their lives.

We have supported SOS Children’s Villages’ work for a long time and know that the financial aid will be distributed and monitored efficiently and judiciously.

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

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 XVI^e 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 XVI^e 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 (XVI^e-XVIII^e siècles) : état de l’art et perspectives.

Erika Basso & Philippe D’Arschot, Une cicogne au bébé. Une rare coupe animalière du XVII^e 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 l’édition des Scriptores rei rusticae de Johan Matthias Gesner en 1735. La première représentation de la moissonneuse gallo-romaine et la symbolique de l’Humanisme radical.

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

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.