<p>During the 1550s, a warehouse was constructed in Antwerp with funds from both the city government and a private investor. This building, the Tapissierspand, became the global center for selling and distributing tapestries of extraordinary beauty, exquisite craftsmanship, and exorbitant cost. The construction of the building indicates that the very nature of how tapestries were made and purchased was changing in the 1550s. Although Antwerp's fairs had long been convenient locations for agents to find luxury items that might please their wealthy clients, like with many luxury trades, tapestry sales were shifting from strictly commissioned sales to include on spec sales. The Tapissierspand was the ideal place for a dealer to purchase multiple already-made tapestries and load them onto the waiting ships in Antwerp's busy harbor for export and resale abroad. The city's export registers document that thousands of yards of tapestry were shipped this way. </p><p>The regulatory environment in Antwerp was much less strict than in other cities and this permitted freer interactions within guilds and across industries. The city was for this reason a desirable location for craftsmen to work and sell. But because the strict royal ordinances delivered throughout the 1530s and 1540s were frequently uninforced, workers in the industry were forced to find other ways to manage the large risk inherent in the tapestry trade. The development of the Tapissierspand in Antwerp was an effort on the part of merchants and the city to abate risk. The city could continue to entice merchants if it could provide the right opportunities and environment. However, by the sixteenth century, the constant hyper-vigilance the city had experienced throughout the fifteenth century during frequent times of war and financial difficulty shaped the way the city and its occupants viewed business. In a large sense, everything came down to risk, and how to manage it and minimize it. </p><p>At a time of upheaval and mismanagement, survival and financial success through the reduction of risk became of primary importance. Tapestry weaving carried inherent--and large--risks. Raw materials were expensive, and workshops often did not have the capital needed for on spec weaving. The purchase of on spec tapestries without any guarantees of quality or origin was risky for buyers. Thus the Tapissierspand's story is one of people seeking to maximize economic advantage and minimize risk. The Tapissierspand allowed buyers and sellers to minimize risk by facilitating exchange of knowledge, assessment of quality, negotiation of prices and commissions, and extension of credit. </p><p>This dissertation will examine the historical precedents in Antwerp that allowed the Tapissierspand to develop, and the ways in which the Pand functioned to expand trade while reducing risk for both buyers and sellers by reducing the risks inherent in the industry.</p> / Dissertation

En 1594, l’Ordre des Prêcheurs engage en France une réforme. À la fin du XVIIe siècle, le Maître général Antonin Cloche tente de nouveau d’aviver l’esprit d’observance. Parallèlement, l’Ordre devient pour les pouvoirs politiques, en France et aux Pays-Basméridionaux, un instrument de lutte contre les Réformés. Les dominicains s’engagent également dans tous les débats théologiques internes à l’Église catholique et se mobilisent pour les missions jusqu’aux extrémités de l’Asie. Ces évènements et la glorification des saints suscitent la création d’images gravées sur cuivre, commandées par l’Ordre ou indépendamment de celui-ci. Retrouver ces estampes, françaises et flamandes, comprendre leur processus d’émergence et le but qui leur fut assigné est l’objet du présent travail. L’enquête croise ainsi des données historiques internes à l’Ordre et supranationales. Sur le plan artistique, l’étude accorde une attention particulière, d’une part, à la circulation des graveurs et des modèles et, d’autre part, à l’émergence de styles propres. Ainsi se trouve valorisée l’articulation entre l’épanouissement de la taille-douce au XVIIe siècle, le discours d’un Ordre, et le regard porté sur lui. / This thesis focuses on the representation of the members of the Dominican Order as found in seventeenth century engravings. It seeks to examine the role of the French and Flemish engravers commissioned by the Order of Preachers in order to stress its social and moral importance. The engravings are an integral part of an artistic heritage with his own language, challenging our perception of the Dominican story, and more generally of the history itself. This has enabled us to question the contribution and the capacity of images either to reflect or to distort, like a mirror, the spiritual life and the theological debates in both the Church and in society during the seventeenth century.

Au début du XVIIIe siècle, la Hongrie et les Pays-Bas méridionaux sont l’objet de la convoitise de la diplomatie française. Ces provinces périphériques de l’Empire habsbourgeois s’opposent aux politiques de centralisation menées par Madrid et Vienne. Afin de réaliser ses ambitions dynastiques, Louis XIV utilise ce contexte pour déstabiliser ces territoires dans le cadre d’une guerre de Succession d’Espagne engendrée par le décès de Charles II d’Espagne, le premier novembre 1700. Le Roi-Soleil mobilise ses armées et ses diplomates, dans la continuité des alliances de revers forgées lors des siècles précédents. Le marquis des Alleurs et le président Pierre Rouillé de Marbeuf, agents de Louis XIV, mi-espions, mi-ambassadeurs, sont respectivement envoyés en Hongrie auprès du prince hongrois rebelle François Rakóczi et aux Pays-Bas méridionaux aux côtés du gouverneur général de la province et maître de l’Électorat de Bavière, Maximilien-Emmanuel de Wittelsbach. Loin du fracas des champs de bataille de la guerre de Succession d’Espagne, une guerre de l’ombre se fait plus dure. La quête du renseignement devient la préoccupation croissante des cours européennes. La confidentialité des correspondances épistolaires est l’objet de toutes les attentions. Cette étude a l’ambition de retracer le cadre des ambitions françaises en Hongrie et aux Pays-Bas méridionaux au début du XVIIIe siècle. Les alliances de revers et les manœuvres militaires de la guerre de Succession d’Espagne replacent ces deux pays d’Europe au cœur des luttes dynastiques, diplomatiques, et militaires opposant les Bourbons et les Habsbourg pour la domination de l’Europe. / At the beginning of the 18th century, Hungary and the Southern Netherlands are coveted by the French diplomacy. Those peripheral provinces of The Habsburg Empire oppose the centralization policy lead by Madrid and Vienna. In order to realize his dynastic ambitions, Louis XIV uses this context to destabilize these territories during the War of the Spanish Succession triggered by the death of the last Habsburg King of Spain, Charles II, the first November 1700. Louis XIV mobilizes his army and his ambassadors in the continuity of the foreign alliances « Alliance de revers » that have been conducted during centuries. The marquis des Alleurs and the president Pierre Rouillé de Marbeuf, agents of Louis XIV, half spy, half ambassadors, are respectively send in Hungary nearby the rebel prince François Rakoczi and in the Southern Netherlands nearby the general governor of the province and Elector of Bavaria, Maximilien-Emmanuel de Wittelsbach. Far from the din of the battlefield of the Spanish Succession, another war hardens. The battle for information’s became the first preoccupation of European courts. The confidentiality of the epistolary correspondences is a crucial object of attention. The purpose of this study is to define the framework of the French ambitions in Hungary and the Southern Netherlands at the beginning of the 18th century. The « alliance de revers » and military moves during the War of the Spanish Succession replace those two European countries at the heart of dynastic, diplomatic and military conflicts opposing the Bourbon’s and the Habsburg’s for European hegemony.

Après la fondation de la première chartreuse en 1084 par Bruno de Cologne dans les Alpes, ces monastères, installés au départ dans des sites isolés, furent réputés pour leur austérité. Les moines, qui faisaient vœu de silence, vivaient reclus dans leur cellules la plupart du temps, ne se retrouvant que deux fois par jour pour célébrer la messe. Dans ce cadre, qui a donné lieu à une architecture spécifique, les premières mentions d’œuvres d’art, dans la législation, apparaissent dans la deuxième moitié du XIIIe siècle. Cette période correspondait à la fois à une modification de la structure de l’ordre, prenant en compte l’accroissement du nombre des maisons, et aux premières fondations à proximité des villes. Le rapprochement des centres urbains allait déterminer une relation nouvelle entre les chartreux et leurs bienfaiteurs, exprimée dans les donations d’œuvres d’art en vue de la commémoration. Si de la chartreuse de Vauvert, établie près de Paris en 1259, subsistent surtout des relevés de plaques de fondation et de tombeaux, les commandes d’œuvres d’art pour les chartreuses princières et royales de Champmol et de Miraflores, destinées à recevoir les tombeaux de leurs fondateurs, étaient plus variées. L’implication des chartreux dans l’aménagement du décor de leurs maisons est attestée par les sources. Elle peut être observée lorsqu’ils recevaient les dons d’œuvres d’art de la part de plusieurs bienfaiteurs et elle prend un sens particulier quand les frères commandaient eux-mêmes des tableaux. Dans la spiritualité des chartreux, les œuvres d’art avaient un rôle au sujet duquel les moines, en participant à leur création, pouvaient nous renseigner. / Following the foundation of the first charterhouse by Bruno of Cologne, in 1084, in the Alps, these monasteries, established at first in solitary places, were well-known for their austere conditions. The monks, which had taken a vow of silence, lived isolated in their cells most of the time, meeting each other only twice a day, to celebrate mass. In these monasteries, characterized by their own architecture, the first mentions of artworks, in the legislation, date from the second half of the 13th century. At that time, the structure of the order was being revised by taking into account the multiplication of the charterhouses. Furthermore, the first foundations near cities were then established. This proximity to urban centres would determine a new relationship between Carthusians and their benefactors, visible through the donations of works of art for commemoration. From the charterhouse of Vauvert, established near Paris in 1259, have been preserved mostly drawings of memorial tablets or tombs. Nonetheless, for the princely and royal charterhouses of Champmol and Miraflores, that were to house the tombs of their founders, the commissions of works of art were more varied. The Carthusians’ participation in building the appearance of their monasteries is attested by the sources. This fact may also be observed when the Carthusians received donations of works of art from several benefactors and a special significance is attached to it when the brothers themselves commissioned paintings. In Carthusian spirituality, works of art had a role about which the monks, by involving themselves in their creation, could inform us.

No description available.