The Influence of the Mother God of Tenderness and other Iconic Images on Early Netherlandish Painting

Although the influence of Byzantine models on early Netherlandish iconography is generally acknowledged (e. g. the Vera Icon or certain prototypes of the Virgin and Child) , few studies have attempted to investigate the precise circumstances in which these processes of assimilation, dissemination and the inherent transmission of values occurred. Well-known examples of Italo-Byzantine icons in the Low Countries are the Notre-Dame de Grâce (Cambrai Madonna), Notre-Dame de Saint Luc in the Cathedral of Saint Lambert, Liège or Our Lady of Miracles in the Sint-Rombouts Cathedral in Mechelen. Frequently, miraculous powers were attributed to these images since they were either regarded as an acheiropoiëton (“not made by hand”, either of heavenly origin or produced by mechanical impression during the lifetime of the model) , or believed to be made by Saint Luke himself. They were the subject of fervent devotion and their cult status was increased through the offering of indulgences. Moreover, the popularity of these icons was further enhanced by the spread of numerous copies; often commissioned by dignitaries and the top layer of society in the Burgundian and Habsburg Netherlands. Patrons who ordered such copies were not always driven by personal religious motives; in some cases underlying political, military or social agendas were at stake. It is clear that these powerful cult images were important vehicles for the transmission of religious, political, social and cultural ideas. This paper will focus on the Mother God of Tenderness or Eleousa, one of the most popular iconographic types relating to (Italo-)Byzantine prototypes in the Netherlands and characterized by the affectionate relationship between Mother and Son. More specific, I will elaborate on the context in which this process of assimilation, dissemination and the immanent transmission of values took place

Framing the picture : Bruegel’s use of presentational modes and pictorial narratives in context

During the last two decades, Pieter Bruegel the Elder’s deliberate and conscious use of pictorial narrative strategies has received increased attention. The artist employed specific structural techniques through which he organized relations between different parts in the picture, hence fundamentally influencing the way in which the contemporary observer viewed, experienced and interpreted the picture. Through the use of such pictorial strategies, Bruegel thus triggered their analytical capabilities and literally framed their visual experience. In this creative process, an essential part is performed by the architectural landscape in which the central scene(s) is (are) embedded. This specifically accounts for Bruegels so-called encyclopaedic works, such as The Battle between Shrovetide and Lent (1559), The Proverbs (1559) and The Children’s Games (1560). A meticulous analysis of the architectural framework demonstrates the artist’s use of representation strategies which were also commonly used in other media and contemporary cultural practices such as theatre plays and dramatic or religious processions. Although nowadays Bruegel’s relation with the rederijkers or rhetoricians is generally acknowledged, this lecture sheds new light on the narrative techniques used by Bruegel in close connection to local rhetorician practices