The Belles Heures of Jean de France, duc de Berry, Folio 80r, Descent from the Cross, The Limbourg Brothers, 1405-08/09
From the Met Museum
seen from United Kingdom
seen from Canada
seen from United States

seen from United States

seen from Canada
seen from United States
seen from Malaysia

seen from United States

seen from United States
seen from Yemen

seen from Malaysia
seen from Malaysia

seen from United States

seen from United States

seen from United States

seen from Mexico

seen from Canada
seen from Netherlands

seen from Canada

seen from Brazil
The Belles Heures of Jean de France, duc de Berry, Folio 80r, Descent from the Cross, The Limbourg Brothers, 1405-08/09
From the Met Museum
The Belles Heures of Jean de France, duc de Berry, Folio 191r, Saint Paul the Hermit Sees a Christian Tempted, The Limbourg Brothers, 1405-08/09
From the Met Museum
The Annunciation, from the The Belles Heures of Jean de France, Duc de Berry, 1405–1408/9. Herman, Paul, and Jean de Limbourg. Tempera, gold leaf, and ink on vellum.
The Belles Heures of Jean de France, Duc de Berry
Herman, Paul, and Jean de Limbourg (Franco-Netherlandish, active in France, by 1399-1416) - Tempera, gold leaf, and ink on vellum
Completed by 1408 or 1409, probably in Paris, "The Belles Heures," a private devotional book, was the first of several sumptuous manuscripts commissioned by the duke of Berry from the Limbourg brothers, Pol, Jean, and Herman. It is perhaps the only virtually complete and stylistically consistent prayer book to survive from the duke's extraordinary library. The richly illustrated text is amplified by unusual cycles reflecting the duke's personal interests. Using a luminous palette, the artists blended an intimate Northern vision of nature with Italianate modes of figural articulation. The keen interest in the natural world and the naturalistic means of representing it, so striking in ninety-four full-page and fifty-four column illuminations, foreshadow the work of Jan van Eyck and the ensuing generations of outstanding fifteenth-century painters in the South Netherlands. - The Metropolitan Museum
SO BEAUTIFUL
Flagellation ≠ Flatulation
Limbourg Brothers, The Procession of Flagellants (detail), The Belles Heures of Jean de France, Duke de Berry (fol. 74v), early 1400s, tempera colors and gold on parchment. The Metropolitan Museum of Art, The Cloisters Collection
A presentation of Belles Heures de Jean, duc de Berry by Christopher de Hamel of the University of Cambridge when it was housed at the Met two years ago.
From 1470 until recently, this incredible Marian-focused work of art wasn't accessible to anyone. Now we can all learn about it (thanks, YouTube!).
Ashton Kutcher & a Punk’d Medieval Saint
The recent announcement that Ashton Kutcher will replace Charlie Sheen on CBS Primetime’s Two and A Half Men makes me actually motivated to watch the show (no offense Charlie and don’t worry, you’re still winning).
Ashton has always reminded me of Gian Lorenzo Bernini, not only because I think both are geniuses in their respective fields (you know they are), but because I find their portraits to be strinkingly similar. Take a look.
Gian Lorenzo Bernini, Self-Portrait, c. 1623, oil on canvas. Galleria Borghese, Rome
Gian Lorenzo Bernini, David, 1623-1624, marble. Galleria Borghese, Rome [The David may be a self-portrait or it may not, still they look similar]
Ok, maybe it's a stretch but I enjoy the comparison. In all seriousness, the news of Ashton's new role did in fact reminded me of a true WTF moment worthy of his former show Punk’d on MTV. Take a minute to really absorb the picture below before reading further...
The Limbourg Brothers, Saint Jerome in a Woman’s Dress, The Belles Heures of Jean de France, Duke de Berry, early 1400s, tempera colors and gold on parchment. The Metropolitan Museum of Art, The Cloisters Collection
The Golden Legend recounts a scandalous story about the polyglot and staunch rule-follower, Saint Jerome, who wore women’s clothes as a result of a practical joke. Likely due to Jerome’s overly serious personality, his fellow monks decided to loosen him up by replacing his daily habit (a monk’s official garment) with a woman’s dress. The next morning, Jerome unknowingly entered the church for mass dressed in drag! Sadly, the derision by his fellow monks forced him to leave Rome forever. If only Ashton could have appeared and told Jerome he just got Punk’d! Or if only Jerome hadn’t dressed in the dark! He probably loved wearing that blue dress!
And P.S., don't you love that lion-faced dragon? Yeah, awesome.
French Kiss? No Tongue Please...
Women: historically they've been classified as goddesses and seductresses, first-sinners and saints, those who conquer the hearts and minds of men and those envious of penises. Let's get a little medieval and look at a woman whose seduction leads to a gruesome lingual mutilation.
Limbourg Brothers, Saint Paul the Hermit Witnessing a Christian Tempted (detail), The Belles Heures of Jean de France, Duke de Berry, early 1400s, tempera colors and gold on parchment. The Metropolitan Museum of Art, The Cloisters Collection
According to The Golden Legend, an "impure woman" tempted a Christian youth by caressing his body. As a gesture of piety, the Christian bit off his tongue and spat it in her face! That's right, he spat his bitten-off tongue in her face! WTF?!? Take a close look and you'll see his tongue flying through the air! Would you expect anything less from the French? Look also at his hand -- it seems to be crossed behind his back, as if he is totally trying to resist her advances. And take a good look at where her hand actually is... Yup, she's going in for a grope session and yup, medieval art is pretty awesome! This image presents a classic WTF moment. In the full scene (below), you'll notice the peeping-Tom Saint Paul the Hermit witnessing the event. Other images from this book of hours will feature in WTF Art History in the weeks to come... Enjoy!
Limbourg Brothers, Saint Paul the Hermit Witnessing a Christian Tempted, The Belles Heures of Jean de France, Duke de Berry, early 1400s, tempera colors and gold on parchment. The Metropolitan Museum of Art, The Cloisters Collection