Relevant bibliographies by topics / Tapestry, Flemish

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Tapestry, Flemish'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Tapestry, Flemish"

1

Bertrand, Pascal-François, and Richard Wittman. "Flemish Tapestry. Guy Delmarcel." Studies in the Decorative Arts 10, no. 2 (2003): 136–39. http://dx.doi.org/10.1086/studdecoarts.10.2.40663047.

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Caruso, Maria Rita, Lorenzo Lisuzzo, Giuseppe Cavallaro, Giacomo Mirto, Stefana Milioto, and Giuseppe Lazzara. "Thermal and Mechanical Characterization of Yarn Samples from Flemish Tapestry of the Sixteenth Century." Molecules 27, no. 23 (2022): 8450. http://dx.doi.org/10.3390/molecules27238450.

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We propose a physico-chemical approach for theharacterization of the conservation condition of yarns from a Flemish tapestry of the sixteenth century. The aging effect on the yarns’ performance was evaluated by comparison with commercial materials. Water uptake experiments highlighted the aptitude of yarns toward water sorption and their increased hydrophilicity upon aging. Thermogravimetric analysis can be considered a fast approach for the fiber identification and assessment on the material life-time. The dynamic mechanical analysis provided direct evidence on the yarns, conservation state a
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Brosens, Koenraad, Jan Aerts, Klara Alen, Astrid Slegten, and Fred Truyen. "Visualizing and Analyzing Complex and Dynamic Networks of Flemish Tapestry Entrepreneurs (1640–1720)." Leonardo 50, no. 5 (2017): 503. http://dx.doi.org/10.1162/leon_a_01276.

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This paper discusses the possibilities of visualizing and analyzing complex and dynamic social networks to understand the interplay between ever-changing social structure and artistic developments within the Antwerp and Brussels tapestry industry (1640–1720).
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Turner, Hilary L. "Tapestries once at Chastleton House and Their Influence on the Image of the Tapestries Called Sheldon: A Reassessment." Antiquaries Journal 88 (September 2008): 313–46. http://dx.doi.org/10.1017/s0003581500001451.

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The intentions expressed in William Sheldon's will of 1570 suggest an attempt to introduce tapestry weaving at Barcheston, Warwickshire. Interpreted in the 1920s as resulting in a commercial venture – the only production centre in Elizabethan England – tapestries were attributed to it without documentary evidence, without stylistic comparison with continental work and without study of the records of émigré Flemish weavers settling in London from 1559 onwards. Their presence and more easily available comparative material, in both documentary and tapestry form, combine W question the previous pi
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Brosens, Koenraad, Klara Alen, Astrid Slegten, and Fred Truyen. "MapTap and Cornelia Slow Digital Art History and Formal Art Historical Social Network Research." Zeitschrift für Kunstgeschichte 79, no. 3 (2016): 315–30. http://dx.doi.org/10.1515/zkg-2016-0025.

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Abstract The essay introduces MapTap, a research project that zooms in on the ever-changing social networks underpinning Flemish tapestry (1620 – 1720). MapTap develops the young and still slightly amorphous field of Formal Art Historical Social Network Research (FAHSNR) and is fueled by Cornelia, a custom-made database. Cornelia’s unique data model allows researchers to organize attribution and relational data from a wide array of sources in such a way that the complex multiplex and multimode networks emerging from the data can be transformed into partial unimode networks that enable proper F
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James, Stuart. "Flemish Tapestry2000198Guy Delmarcel. Flemish Tapestry. London: Thames and Hudson 1999. 383 pp, ISBN: 0 500 01972 X £60.00." Reference Reviews 14, no. 4 (2000): 30–31. http://dx.doi.org/10.1108/rr.2000.14.4.30.198.

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Barbero, S. "Iconographic representation of a dioptra in a flemish tapestry of the XV century." Optica Pura y Aplicada 47, no. 1 (2014): 51–62. http://dx.doi.org/10.7149/opa.47.1.51.

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Chen, Victor J., Gregory D. Smith, Amanda Holden, and Sadie Arft. "Dye Analysis of a 17th-Century Mattens Workshop Tapestry Based on Raphael’s Drawing, The Miraculous Draught of Fishes." Heritage 7, no. 3 (2024): 1221–36. http://dx.doi.org/10.3390/heritage7030059.

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This paper describes the identification of dyes on fifty yarn samples from a tapestry created by the well-known 17th-century Flemish workshop of the Mattens family. The design of the tapestry is based on the first of ten drawings known as the Acts of the Apostles by the famed 16th-century Italian painter Raphael. The drawings were commissioned by Pope Leo X and translated into tapestries by Pieter van Aelst; these original tapestries are still in the collection of the Vatican Museums. The present work was reproduced over a century later from the original drawing and is one in a possible set of
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Manokhina, M. A. "Reception of Antiquity through Flemish Tapestries of the 15th–16th Centuries (Based on the Collection of the State Hermitage Museum)." Uchenye Zapiski Kazanskogo Universiteta. Seriya Gumanitarnye Nauki 162, no. 6 (2020): 74–85. http://dx.doi.org/10.26907/2541-7738.2020.6.74-85.

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The problem of reception of the antiquity through tapestries in the Russian historiography was considered. Using as an example the Flemish tapestries of the 15th–16th centuries from the Collection of the State Hermitage Museum, the transformation and popularity of ancient motifs in this art form were demonstrated, as well as their special role in the propaganda of power, high social status, and wealth. The following main elements of tapestries were analyzed: subjects, characters, costumes, and Latin banderoles. The methodology of tapestry analysis is similar to the one used by structuralists:
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10

BROSENS, KOENRAAD. "The Maîtres et Marchands Tapissiers of the Rue de la Verrerie: Marketing Flemish and French Tapestry in Paris around 1725." Studies in the Decorative Arts 12, no. 2 (2005): 2–25. http://dx.doi.org/10.1086/studdecoarts.12.2.40663132.

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Dissertations / Theses on the topic "Tapestry, Flemish"

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Hughes, Theodore Brooks. "An Analysis of Wars of the Romani, a Flemish Tapestry From the Late Sixteenth Century." The University of Montana, 2007. http://etd.lib.umt.edu/theses/available/etd-05312007-134933/.

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Among the treasures of the Montana Museum of Art and Culture is a lovely and elaborate work of art entitled Wars of the Romani, a Flemish tapestry woven in the last third of the 16th century. It is a large weaving, 10 x 15, portraying two armies intertwined in merciless combat. The specific subject matter of Wars of the Romani is unknown, but a standard displaying the Roman eagle held aloft in the background indicates the presence of the Roman legions. The tapestry displays rushing horsemen mounted on vigorous horses, marching spearmen, and supine warriors, imagery common to Flemish battle tap
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Paredes, Cecilia. "Vertumne et Pomone: une fable et son décor dans quatre tentures tissées d'or." Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211030.

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Vertumne et Pomone. Une fable et son décor dans quatre tentures tissées d’or<p><p>Résumé de la thèse<p><p>L’étude porte sur quatre ensembles de tapisseries que se partagent actuellement le Kunsthistorisches Museum à Vienne, la Fondation Gulbenkian à Lisbonne et les collections du Patrimonio National à Madrid. Chaque série illustre la fable de Vertumne et Pomone issue des Métamorphoses d’Ovide dans un somptueux théâtre de pierre et de verdure. Tissées à Bruxelles vers 1545, les tapisseries racontent en neuf épisodes les transformations de Vertumne, le dieu des saisons, en vue d’approcher et de
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Garfinkle, Elisa Shari. "The Barberini and the new Christian Empire : a study of the history of Constantine tapestries by Pietro Da Cortona." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30168.

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This study traces the genesis and development of the History of Constantine tapestries designed by Pietro da Cortona and woven on the looms established by Francesco Barberini shortly after his return from France in December 1625. The circumstances surrounding the creation of the series provide a foundation and a framework for exploring its meaning and purpose. Though inspired by an earlier Constantine suite of tapestries designed by Rubens, the "Cortona" panels should be read as an independent entity, the significance of which can only be fully appreciated within the context of the gran salone
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CHALLEAT, CLAIRE. "Le relazioni artistiche tra la corte di Borgogna e la corte di Napoli all'epoca di Alfonso d'Aragona." Doctoral thesis, Scuola Normale Superiore, 2006. http://hdl.handle.net/11384/85746.

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"Woven theaters of nature: Flemish tapestry and natural history, 1550--1600." NORTHWESTERN UNIVERSITY, 2008. http://pqdtopen.proquest.com/#viewpdf?dispub=3284161.

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Books on the topic "Tapestry, Flemish"

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Vanwelden, Martine. Productie van wandtapijten in de regio Oudenaarde: Een symbiose tussen stad en platteland (15de tot 17de eeuw). Universitaire Pers Leuven, 2006.

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Ommeslaeghe, Florent van. De Oudenaardse wandtapijten en hun wevers in hun historisch kader. Davidsfonds, 1996.

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Marty, Aurélien. Les tapisseries de Montdidier: Moïse et la sortie d'Egypte. Société d'études & de recherches historiques et archéologiques de Montdidier et sa région, 2004.

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Marty, Aurélien. Les tapisseries de Montdidier: Moïse et la sortie d'Egypte. Sté d'études & de recherches historiques et archéologiques, 2004.

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5

Delmarcel, Guy. Brugge en de tapijtkunst. Stad Brugge, 1987.

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6

Koenraad, Brosens, and Delmarcel Guy, eds. Flemish tapestry in European and American collections: Studies in honour of Guy Delmarcel. Brepols, 2003.

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author, Alen Klara 1988, and Slegten Astrid author, eds. In de praktijk: Vlaamse wandtapijten in 50 verhalen. Davidsfonds Uitgeverij, 2016.

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8

Berlabé, Carmen, and Joaquim Garriga i. Riera. La col·lecció de tapisos de la Seu Vella de Lleida. Fundación "La Caixa", 2010.

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9

d'Arras, Musée des beaux-arts. Audenarde, tapisseries flamandes du XVIème au XVIIIème siècle: Musée des beaux-arts, Arras, 17 décembre 1994-20 février 1995. Le Musée, 1994.

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Aurigemma, Maria Giulia, and Maria Azzarello. La cultura degli arazzi fiamminghi di Marsala tra Fiandre, Spagna e Italia: Atti del convegno internazionale, Marsala, Auditorium di S. Cecilia, 7-9 luglio 1986. Soprintendenza per i beni culturali ed ambientali di Palermo, Sezione storico artistica, 1988.

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Book chapters on the topic "Tapestry, Flemish"

1

Delmarcel, Guy. "Justitia, Examples and Allegories of Justice, and Courts in Flemish Tapestry, 1450–1550." In Ius Gentium: Comparative Perspectives on Law and Justice. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90787-1_6.

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"Chapter IX. The Flemish Renaissance." In Tapestry. Gorgias Press, 2011. http://dx.doi.org/10.31826/9781463228934-011.

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"Hercules in the Art of Flemish Tapestry (1450–1565)." In The Exemplary Hercules from the Renaissance to the Enlightenment and Beyond. BRILL, 2020. http://dx.doi.org/10.1163/9789004435414_005.

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"Investing in collaboration: Richard Hyckes and the Sheldon tapestry weavers, 1560-1611." In Flemish and Dutch Artists in Early Modern England. Routledge, 2017. http://dx.doi.org/10.4324/9781315094069-4.

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Wiggers, Raymond. "Milwaukee: Walker’s Point, Burnham Park, Lincoln Village, Forest Home Hills, and Lyons Park." In Milwaukee in Stone and Clay. Cornell University Press, 2024. http://dx.doi.org/10.7591/cornell/9781501774645.003.0008.

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This chapter scruitinizes Milwaukee's architectural tapestry through iconic landmarks, such as the Our Lady of Guadalupe Catholic Church that stands as a testament to early German–American craftsmanship with its Cream City Brick façade. The John Burnham Block at 907–911 W. National Avenue echoes the city's industrial past with its enduring Cream City Brick and cast iron detailing. It covers St. Joseph's Convent Chapel at 1501 S. Layton Boulevard, designed by Brust &amp; Philipp in 1917, that blends Salem Limestone and Flemish Bond Brick. The chapter highlights the St. Josaphat Basilica at 2333
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