Professor Dr Guy Delmarcel was Curator of Textiles at the Brussels Koninklijke Musea voor Kunst en Geschiedenis (1975-1990) and Professor of History of Art at the Catholic University of Leuven (1981-2002). He passionately devoted his career to the study of Flemish tapestry. His intensive research on the 'Mobile Frescoes of the North' resulted in numerous articles, books, lectures, and exhibitions, thereby unlocking tapestry to both scholars and the general public. Guy Delmarcel has now been given emeritus status. The Department of Archaeology, History of Art and Musicology decided to honour its former chairman by offering him a Festschrift entirely dedicated to his beloved field of research. Fourteen renowned tapestry scholars from all over the world willingly accepted the invitation to celebrate their esteemed colleague. Throughout the centuries Flemish tapestry has eagerly been collected. In the Middle Ages and Early Modern Times the European elite spent fortunes on these lavish works of art. A number of essays compiled in the present volume focus on the patronage and collections of European kings and noblemen. In the nineteenth and twentieth centuries European and American museums became important collectors of Flemish tapestry, as is demonstrated by some museological studies presented in Studies in Honour of Guy Delmarcel. This penetration by Flemish tapestry of the public realm has obviously necessitated iconographic and stylistic studies. A number of new analyses are gathered in the Festschrift.

Tapestry Conservation: Principles and Practice explores current practice and recent research in tapestry conservation, promoting awareness of recent developments among conservators and custodians of tapestries. The book facilitates more informed conservation practice and decision-making, and helps custodians to select the most appropriate method of intervention.

This illustrated volume is a comprehensive survey of 17th century European tapestry. It features some of the finest surviving examples from many international collections, as well as a number of related designs and oil sketches.

Renaissance art history is traditionally identified with Italian centers of production, and Florence in particular. Instead, this book explores the dynamic interchange between European artistic centers and artists and the trade in works of art. It also considers the impact of differing locations on art and artists and some of the economic, political, and cultural factors crucial to the emergence of an artistic center. During c.1420-1520, no city or court could succeed in isolation and so artists operated within a network of interests and local and international identities. The case studies presented in this book portray the Renaissance as an exciting international phenomenon, with cities and courts inextricably bound together in a web of economic and political interests.

"Campbell sheds light on Tudor political and artistic culture and the court's response to Renaissance aesthetic ideals. He challenges the predominantly text-driven histories of the period and offers a fresh perspective on the life of Henry VIII"--OCLC

Pieter Coecke van Aelst (1502 – 1550) was renowned throughout Renaissance Europe as a draftsman, painter, and publisher of architectural treatises. The magnificent tapestries he designed were acquired by the wealthiest clients of the day, up to and including rulers such as Emperor Charles V, King Francis I of France, King Henry VIII of England, and Grand Duke Cosimo I de’ Medici of Tuscany. At the same time, Coecke was remarkable not only for the complexity and unparalleled quality of his tapestries, but also for his fluency in various media: this lavishly illustrated volume examines the full range of his work, from tapestry and stained-glass window designs to panel paintings, prints, drawings, and architectural treatises. Though only forty-eight when he died, Coecke was one of the greatest Netherlandish artists of the sixteenth century. His paintings and drawings, initially wrought in the style of the Antwerp Mannerists, evolved through his enthusiastic response to Italian Renaissance design, and influenced generations of artists in his wake. This comprehensive study explores Coecke’s stylistic development, as well as his substantial contribution to the body of great Renaissance art in Flanders. Featuring twenty monumental tapestries, along with many of their cartoons and preparatory sketches, plus seven paintings, additional drawings, and printed matter—many of them newly photographed for this volume—Grand Design provides a thorough reappraisal of Coecke’s work, amply justifying the high regard in which Coecke’s work was held and its wide dissemination long after his death.

In seventeenth-century Brussels, the careers of painters were shaped not only by their artistic talents but also by the communities to which they belonged. This book explores the intricate relationship between the social structures and artistic production of the 353 painters who became masters in the Brussels Guild of Painters, Goldbeaters, and Stained-Glass Makers between 1599 and 1706. This innovative study combines quantitative digital analysis with detailed qualitative case studies, offering a novel approach to the social history of art. By examining the various communities in which these artists operated, this book provides new insights into how early modern painters — both in Brussels and beyond — created their art, earned a living, and navigated the complexities of urban life. Painters and Communities in Seventeenth-Century Brussels also presents the first overview of the Brussels Baroque, with extensive biographical lists of the city’s master painters.

Taking various professional groups in the early modern period (diplomats, merchants, artists) as a starting point, this book offers exciting new perspectives on early modern brokerage as a widespread practice of transmission and dissemination of political, intellectual and cultural ideas.