La Madone de Bruges de Michel-Ange : de la création en Italie à la réception dans les anciens Pays-Bas méridionaux (Renaissance - Néoclassicisme)

Details

Supervisors

Dekoninck, Ralph ; Lefftz, Michel

Faculty

Faculté de philosophie, arts et lettres

Degree label

Master [120] en histoire de l'art et archéologie, orientation générale, à finalité spécialisée: iconologie et études des cultures visuelles

Abstract

enAt the beginning of the 16th century, around 1506, a marble Madonna and Child sculpted by Michelangelo left Italy by boat to reach Bruges, then a prestigious economic metropolis of the ancient Netherlands. The Madonna had been bought by Jan and Alexander Mouscron, wealthy merchants from Bruges, who donated it to the Church of Our Lady in Bruges in 1514. It has been there ever since. The so-called 'Madonna of Bruges' is unique in more ways than one : first work by Michelangelo to have left Italy during the artist's lifetime, kidnapped during the Second World War then found in a salt mine in Austria by American soldiers, and repatriated to resume its place in Bruges, etc. The aspect that will interest us most here is the question, very little studied, of its impact on the artists of the ancient Netherlands in the 16th-18th centuries. What influence did this Italian sculpture, which landed in the visual landscape of Bruges at the beginning of the Northern Renaissance, have on the artists of our regions? Through what types of productions was this artistic influence manifested? What were the motivations of the artists and sponsors to take up this model? Artistic, iconographic, socio-cultural, spiritual, memorial, even funerary motivations...?