Online Encyclopedia

Search over 40,000 articles from the original, classic Encyclopedia Britannica, 11th Edition.

PHILIP VAN ARTEVELDE (c. 1340-1382)

Online Encyclopedia
Originally appearing in Volume V02, Page 673 of the 1911 Encyclopedia Britannica.
» Make a correction to this article.
» Add information or comments to this article.
Spread the word: del.icio.us del.icio.us it!

See also:

PHILIP See also:VAN See also:ARTEVELDE (c. 1340-1382)  , youngest son of the above, and godson of See also:Queen Philippa of See also:England, who held him in her arms at his See also:baptism, lived in retirement until 1381 . The Ghenters had in that See also:year risen in revolt against the oppression of the See also:count of See also:Flanders, and See also:Philip, now See also:forty years of See also:age, and without any military or See also:political experience, was offered the supreme command . His name awakened See also:general See also:enthusiasm . At first his efforts were attended by considerable success . He defeated See also:Louis de Male, count of Flanders, before See also:Bruges, entered that See also:city in See also:triumph, and was soon See also:master of all Flanders . But See also:France took up the cause of the Flemish count, and a splendid See also:French See also:army was led across the frontier by the See also:young See also:king See also:Charles VI. in See also:person . See also:Artevelde advanced to meet the enemy at the See also:head of a burgher army of some 50,000 Flemings . The armies met at Roosebeke near Courtrai, with the result that the Flemings were routed with terrible loss, Philip himself being among the slain . This happened on the 27th of See also:November 1382 . The brief but stirring career of this popular See also:leader is admirably treated in See also:Sir See also:Henry See also:Taylor's See also:drama, Philip See also:van Artevelde . See also:ART GALLERIES . An art See also:gallery (by which, as distinguished from more general MUSEUMS OF ART, q.v., is here meant one specially for pictures) epitomizes so many phases of human thought and See also:imagination that it connotes much more than a See also:mere collection of paintings .

In its technical and aesthetic aspect the gallery shows the treatment of See also:

colour, See also:form and See also:composition . In its See also:historical aspect we find the true portraits of See also:great men of the past; we can observe their habits of See also:life, their See also:manners, their See also:dress, the See also:architecture of their times, and the religious See also:worship of the See also:period in which they lived . Regarded collectively, the art of a See also:country epitomizes the whole development of the See also:people that produced it . Most important of all is the emotional aspect of See also:painting, which must enter less or more into every picture worthy of See also:notice . To take examples from the See also:British See also:National Gallery: pathos in its most intense degree will be found in See also:Francia's " Pieta "; dignity in . Velasquez' portrait of See also:Admiral See also:Pareja; homeliness in Van See also:Eyck's portrait of See also:Jan Arnolfini and his wife; the See also:interpretation of the varying moods of nature in According to this theory, though imperfectly realized owing to the paucity of examples, the philosophic See also:influence of art galleries is becoming more widely extended; and in its further development will be found an ever-growing source of See also:interest, instruction and scholarship to the community . The most suitable method of describing art galleries is to classify them by their types and contents rather than by the various countries to which they belong . Thus the great representative galleries of the See also:world which possess See also:works of every school are grouped together, followed by See also:state galleries which are not remarkable for more than one school of national art . Municipal galleries are divided into those which have general collections, and those which are notable for See also:special collections . Churches which have See also:good paintings, together with those which are now secularized, are treated separately; while the collectiovs in the Vatican and private houses are described together . The remaining galleries, such as the See also:Salon or the Royal See also:Academy, are periodical or commercial • • i i • i • • • • See also:North See also:Vestibule, See also:Early See also:Italian See also:Schools: I . Tuscan School (15th and 16th centuries) .

II . Sienese School, &c . See also:

IIl . Tuscan School . IV . Lombard School . V . Ferrarese and Bolognese Schools . VI . Umbrian School, &c . IX . Flemish School .

X . Early Dutch and Flemish Schools . XI . Dutch and Flemish Schools . XV . French School . XX . British School . the See also:

work of See also:Turner or See also:Hobbema; nothing can be more devotional than the canvases of See also:Bellini or his Umbrian contemporaries . So also the ruling sentiments of mankind—See also:mysticism, drama and imagination—are the keynotes of other great conceptions of the artist . All this may be at the command of those who visit the art gallery; but without See also:patience, care and study the higher meaning will be lost to the spectator . The picture which " tells its own See also:story " is often the least didactic, for it has no inner or deeper See also:lesson to reveal; it gives no stimulus or training to the See also:eye, See also:quick as that See also:organ may be—segnius irritant animus—to translate sight into thought .

In brief, the painter asks that his i Oos may be shared as much as possible by the See also:

man who looks at the painting—the art above all others in which it is most needful to See also:share the master's spirit if his work is to be fully appreciated . So, too, the art gallery, recalling the gentler associations of the past amidst surroundings of harmonious beauty and its attendant sense of comfort, is essentially a See also:place of See also:rest for the mind and eye . In the more famous galleries where the See also:wealth of paintings allows a grouping of pictures according to their respective schools, one may choose the country, the See also:epoch, the See also:style or even the emotion best suited to one's See also:taste . in See also:character, and are important in the development of See also:modern art . The collections most worthy of See also:attention are the state galleries representative of See also:international schools . Among these the British National Gallery holds a high place . .The collection state was founded in 1824 by the acquisition of the Anger- galleries of See also:stein pictures . Its accessions are mainly governed later-by the See also:parliamentary See also:grant of £5000 to £10,000 a aat:: year, a sum which has occasionally been enlarged to schools. permit special purchases . Thus, in 1871, the See also:Peel collection of seventy-seven pictures was bought for £75,000, and in 1885 the Ansidei Madonna (See also:Raphael) and Van Dyck's portrait of Charles I. were bought, the one for £70,000 and the other for £17.500 . In 1890 the See also:government gave £25,000 to meet a See also:gift of £30,000 made by three gentlemen to acquire three portraits by See also:Moroni, See also:Velazquez and See also:Holbein . The most important private gifts were the See also:Vernon gift in 1847, the Turner See also:bequest in 1856 and the Wynne-See also:Ellis See also:legacy in 1876 . Since 1905 the Art Collections Fund, a society of private subscribers, has also been responsible for important additions to the gallery, notably the See also:Venus of Velazquez (1907) .

The gallery contains very few poor works and all schools are well represented, with the See also:

sole exception of the French school . This, however, can be amply studied at See also:Hertford See also:House (See also:Wallace Collection), which, besides Dutch, See also:Spanish and British pictures of the highest value, contains twenty examples of See also:Greuze, fifteen by See also:Pater, nineteen by See also:Boucher, eleven by See also:Watteau and fifteen by See also:Meissonier . The national gallery of pictures at See also:Berlin (Kaiser See also:Friedrich Museum), like the British National Gallery, is remark-able for its variety of schools and painters, and for the select type of pictures shown . During the last twenty-five years of the loth See also:century, the development of this collection was even more striking than that of the See also:English gallery . Italian and Dutch examples are specially numerous, though every school but the British (here It avoids the undue multiplication of canvases, and the over-crowding so noticeable in many Italian galleries where first-See also:rate pictures hang too high to be examined . Thus the Viennese gallery, besides the See also:intrinsic value of its pictures (See also:Albert Diirer's See also:chief work is there), is admirably adapted for study . The best gallery in See also:Russia (St See also:Petersburg, Hermitage) was made entirely by royal efforts, having been founded by See also:Peter the Great, and much enlarged by the empress See also:Catherine . It contains the collections of See also:Crozat, Briihl and See also:Walpole . There are about 1800 works, the schools of Flanders and See also:Italy being of See also:signal merit; and there are at least See also:thirty-five genuine examples by See also:Rembrandt . The French collection (Louvre See also:Palace, See also:Paris) is one I . i~t [.J [r.1 ~ ab . X "Ca .

IX r II ~ 'I' 1 1 1 1 . AWA'' . IdiIIIP19IRIRl'II . I~IUIIIIIIIWIIInllll ~91111iIIIluIIr~IIIII- Ipllll'IImIIIIIpIIIf~VI~ I Vil !10 IIIPIIII-IIl01II0!t1 t .E 11-/i~~~~~~~~~~il/111 11-1II ~;=~~=111111 _ r - II~IP_j =!11111 ua G 101II@III-Z111@11!011 lI-11i MI-1II' II Modern School Modern School V Modern School ID H . .XIV See also:

Netherlands XV Netherlands Nether lands XIII Netherlands XI Netherlands !'NI ® I~Nl;t 011I0111W.III- III0 x See also:German . German Italiart Italian See also:Cab.VIl as elsewhere) is really well seen . The See also:purchase grant is consider-able, and is well applied . Two other German capitals have collections of international importance—See also:Dresden and See also:Munich . The former is famous for the Sistine Madonna by Raphael, a work of such supreme excellence that there is a tendency to overlook other Italian pictures of celebrity by See also:Titian, See also:Giorgione and See also:Correggio . Munich (Old Pinakothek) has examples of all the best masters, the See also:South German school being particularly noticeable . The arrangement is good, and the methods of See also:exhibition make this one of the most pleasant galleries on the See also:continent . See also:Vienna has the Imperial Gallery, a collection which in point of number cannot be considered large, as there are not more than 1700 pictures .

Phoenix-squares

This, however, is in itself a safeguard, like the See also:

wise See also:provision in a See also:statute of 1856 for enabling the English authorities to dispose of pictures " unfit for the collection, or not required." of the most important of all . In 188o it was undoubtedly- the first gallery in See also:Europe, but its supremacy has since been menaced by other establishments where acquisitions are made more frequently and with greater care, and where the See also:system of See also:classification is such that the value of the pictures is enhanced rather than diminished by their display . In 1900 it was partly rearranged with great effect . The feature of the Louvre is the Salon See also:Cane, a See also:room in which the supposed finest canvases in the collection are kept together, pictures of world-wide fame, representing all schools . It is now generally accepted that this system of selection not only lowers the See also:standard of individual schools elsewhere by withdrawing their best pictures, but does not add to the aesthetic or educational value of the masterpieces them-selves . In See also:Florence the Tribuna room of the Uffizi gallery is a similar See also:case in point . Probably the two most widely known pictures in the Louvre are Watteau's second " Embarquement pour Cythere," and the " Monna Lisa," a portrait by Leonardo da See also:Vinci, but each school has many unique examples . The See also:original drawings should be noted, being of equal importance to the collection preserved at the British Museum . The last collection to be mentioned under this heading is that known as the Royal Galleries in Florence, housed in the Pitti and Uffizi palaces . In some ways this collection does not represent general painting sufficiently to justify its inclusion with the galleries of Berlin, Paris and See also:London . On the other See also:hand, the great number of Italian pictures of vital importance to the See also:history of international art makes this one of the finest existing collections . The two great palaces, dating from the 15th and 16th centuries, are joined together and contain the See also:Medici pictures .

They form the largest gallery in the world, and though many of the rooms are small and badly lighted, and although many paintings have suffered from thoughtless restoration, they have a See also:

charm and attraction which certainly make them the most popular galleries in Europe . The Pitti has ten Raphaels and excellent examples of See also:Andrea del Saito, Giorgione and See also:Perugino . The Uffizi is more representative of non-Italian schools, but is best known for its works by See also:Botticelli, Leonardo da Vinci, See also:Michelangelo and See also:Sodoma, the schools of See also:Tuscany and See also:Umbria forming the bulk of both collections . See also:Admission to the galleries is by See also:payment, and the small income derived from this source is devoted to maintaining and enlarging the collections . As to the ground plans of the National Gallery, London (fig . 1), and of the Imperial Gallery at Vienna (fig . 2), it will be observed that while the former has the See also:advantage of See also:uniform See also:top-See also:light, the galleries at Vienna possess the most ample facilities for See also:minute classification, small rooms or " cabinets " opening from each large room . Special rooms are also provided for drawings and See also:water-See also:colours, while special ranges of rooms are used by copyists and those responsible for the repair and preservation of the pictures . Though not so comprehensive as the great collections just described, the state galleries showing national schools of painting state and little else are of striking interest . In England galleries of the National Gallery of British Art (known as the national See also:Tate Gallery) contains British pictures . The correschools. sponding collection of modern French art is at Paris (Luxembourg Palace), Berlin, See also:Rome, Dresden, Vienna and See also:Madrid having analogous galleries . The See also:Victoria and Albert Museum has also numerous British pictures, especially in water-colour, and the National Portrait Gallery, founded in r856, and since 1896 housed in its permanent See also:home, is instructive in this connexion, though many of its pictures are the work of See also:foreign artists .

The national collections at See also:

Dublin and See also:Edinburgh may be mentioned here, though most schools are represented . See also:Brussels and See also:Antwerp are remarkable for See also:fine examples of Flemish art----See also:Matsys, See also:Memlinc and Van Eyck of the See also:primitive schools, See also:Rubens and Van Dyck of the later period . The collections at See also:Amsterdam (Ryks Museum) and the See also:Hague(Mauritshuis) are a See also:revelation to those who have only studied Rembrandt, See also:Franz See also:Hals, Van der Heist, and other Dutch portrait painters outside See also:Holland; and in the former gallery especially, the pictures are arranged in a manner showing them to the best advantage . The Museo del Prado is even more noteworthy, for the fifty examples of Velasquez (outrivalling the Italian pictures, important as they are) make a visit to Madrid imperative to those who wish to realize the achievements of Spanish art . See also:Christiania, See also:Stockholm and See also:Copenhagen have large collections of Scandinavian art, and the cities of See also:Budapest and See also:Basel have galleries of some importance . In Italy the state maintains twelve collections, mainly devoted to pictorial art . Of these the best are situated at See also:Bologna, See also:Lucca, See also:Parma, See also:Venice, See also:Modena, See also:Turin and See also:Milan . In each case the See also:local school of painting is fully represented . In Rome the See also:Corsini and See also:Borghese Galleries, the latter being the most See also:catholic in the city, contain superb examples, some of them accepted masterpieces of Italian art; there are also good foreign pictures, but their number is limited . The Accademia at Florence should also be noted as the mostimportant state gallery of early Italian art . The central Italian See also:Renaissance can be more adequately studied here than in the Pitti . The " Primavera " of Botticelli, and the " Last See also:Judgment " by Fra See also:Angelico are perhaps the best-known works .

The large statue of See also:

David by Michelangelo is also in this gallery, which, on the whole, is one of the most remarkable in Italy . Speaking broadly, these national galleries scattered throughout the country are not well arranged or classified; and though some are kept in fine old buildings, beautiful in themselves, the See also:lighting is often indifferent, and it is with difficulty that the pictures can be seen . In nearly every case admission fees are charged every See also:day, festivals and Sundays excepted; few pictures are bought, acquisitions being chiefly made by removing pictures from churches . Many towns own collections of well-merited repute . In Italy such galleries are See also:common, and among them may be noted See also:Siena, with Sodoma and his school; Venice with Municipal See also:Tintoretto (See also:Doge's Palace); See also:Genoa, with the great galleries palaces See also:Balbi and Rosso; See also:Vicenza (Montagna and of special school), See also:Ferrara (Dosso and school), See also:Bergamo and schools . Milan (north Italian schools) . Other civic collections of Italian art are maintained at See also:Verona, See also:Pisa, Rome, See also:Perugia and See also:Padua . In Holland, See also:Haarlem, See also:Leiden, See also:Rotterdam and the Hague have galleries supplemental to those of the state, and are remarkable in showing the brilliance of artists like Grebber, de See also:Bray and Ravesteyn, who are usually ignored . See also:Birmingham and See also:Manchester have good examples of modern British art . See also:Moscow (Tretiakoff collection) has modern See also:Russian pictures, and See also:con-temporary German and French work will be found in all the galleries of these two countries included in the municipal See also:group . Collections of French work are found at See also:Amiens, See also:Rouen, See also:Nancy, See also:Tours, Le Mans and See also:Angers, but large as these civic collections are, sometimes containing six and eight See also:hundred canvases, few of their pictures are really good, many being the enormous patriotic canvases marked " See also:Don de 1'ttat," which do not confer distinction on the galleries . See also:Cologne has the central collection of the early Rhenish school; See also:Nuremberg is remarkable for early German work (Wohigemut, &c.) .

See also:

Stuttgart, See also:Cassel (Dutch) and See also:Hamburg (with a considerable number of British pictures) are also noteworthy, together with See also:Brunswick, See also:Hanover, See also:Augsburg, See also:Darmstadt and See also:Dusseldorf, where German and Dutch art preponderate . See also:Seville is famous for twenty-five examples of See also:Murillo, and there are old Spanish paintings at See also:Valencia, See also:Cordova and See also:Cadiz . In Great See also:Britain the best of the municipal galleries of general schools are at See also:Liverpool (early Flemish and British), and at See also:Glasgow (Scottish painters, Rembrandt, Van der municipal Goes and Venetian schools) . In France there are galleries very large galleries at Tours, See also:Montpellier, See also:Lyons cnootsal (Perugino, Rubens), See also:Dijon and See also:Grenoble (Italian), See also:Valenciennes (Watteau and school), while See also:Rennes, See also:Lille and See also:Marseilles have first-rate collections . See also:Nantes, See also:Orleans, See also:Besancon, See also:Cherbourg and See also:Caen have also many paintings, French for the most See also:part, but with occasional foreign pictures of real importance, presented by the state during the See also:Napoleonic con-quests, and not returned on the See also:declaration of See also:peace as were the works of art amassed in Paris . Some of the See also:American collections have in See also:recent years made a great advance in their acquisition of good pictures . At See also:Boston (Museum of Fine Arts) all schools are represented, so too at the See also:Metropolitan Museum of Art in New See also:York, which is strong in Italian and Dutch works . Modern French and Flemish art is a feature of the Academy at See also:Philadelphia, at the See also:Lenox Library (New York), and at See also:Chicago, where there are good examples of See also:Millet, Con-See also:stable and Rembrandt . The Corcoran bequest at See also:Washington is of See also:minor importance . The best civic collection in See also:Germany of this class is the Stadel See also:Institute at See also:Frankfort (Van Eyck, Christus, early Flemish and Italian) . As the great bulk of religious painting was executed for See also:church decoration, there are still numberless churches which may be considered picture galleries . Thus at Antwerp churches. See also:cathedral the Rubens paintings are remarkable; at See also:Ghent, Van Eyck; at Bruges (See also:hospital of St See also: