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997	0	0	_dData non definida (260) _e1
001			256330247
003			BESGAL
005			20230414234648.0
008			210630s2021||||be acehfrb 100 0 eng d
020			_a9782503580289 (rel., sous jaquette)
020			_a2503580289
024	3	0	_a9782503580289
035			_a(OCoLC)1242933128
035			_aon1242933128
040			_aABES _eAFNOR
050		4	_aND673.M5 _bA62 2021
080			_a1.12.2 KLA har
082	0		_a700-9492
100	1		_aKlaassen, Lizet _d(19..-....). _4pbd _972379
245	1	0	_aHarmony in bright colors : _bMemling's 'God the Father with singing and music-making angels' restored / _cedited by Lizet Klaassen and Dieter Lampens.
300			_a1 volume (287 pages dont 1 page dépliée) : _billustrations en noir et en couleurs, fac-similés, portraits, plans. ; _c25 x 31 cm. + _e1 CD.
490	1		_aMe fecit
500			_aContributions issues d'un symposium organisé en mars 2017 par le Musée royal des Beaux-Arts d'Anvers en coopération avec l'Université d'Anvers.
500			_aComprend le CD d'un concert enregistré à Anvers en décembre 2020 intitulé "Paradisi porte: Hans Memling' angelic concert" (Oltremontano Antwerpen & Tiburtina Ensemble)
504			_aBibliographie pages 276-286. Notes bibliographiques.
520			_aHans Memling's 'God the Father with Singing and Music-making Angels' formed the upper register of an enormous polyptych painted for the Benedictine monastery of Santa Maria la Real in Nájera, Spain. The three large panel paintings are undoubtedly among the most monumental works of early Netherlandish painting. Since 1895 they have belonged to the collection of the Royal Museum of Fine Arts Antwerp (KMSKA), where a team of conservators and scholars have devoted themselves in recent years to their complex conservation. To mark the completion of this project, the KMSKA organized a symposium in March 2017 in cooperation with the University of Antwerp. This latest volume in the 'Me Fecit' series publishes the contributions presented on that occasion. Their wide-ranging themes include the commissioning and iconography of the panels, their acquisition by the museum, the depicted vestments and what the work has to tell us about fifteenth-century musical practice. Close attention is paid to technical aspects such as the materials and the painting technique used for the panels, Memling's underdrawing, the frames, and the conservation treatment not least the oxalate-containing layer that posed the greatest challenge. There is a musical aspect to the project too: precise replicas have been made of the depicted instruments, which were then used to perform fifteenth-century compositions with playing techniques inferred from the paintings. The book features contributions by Maryan Ainsworth, Wim Becu, Till-Holger Borchert, Bart Fransen, Ingrid Goddeeris, Catherine Higgitt, Lizet Klaassen, Louise Longneaux, Karel Moens, Lisa Monnas, Keith Polk, Marie Postec, Marika Spring and Geert Van der Snickt--4e de couv.
600	1	7	_aMemling, Hans (1433?-1494). _tDieu le Père entouré d'anges chanteurs et musiciens _xConservation et restauration. _2ram _972380
600	1	7	_aMemling, Hans _d(1433?-1494). _2ram _972381
600	1	0	_aMemling, Hans _d(1430?-1494). _2lc _972382
650		7	_aArt de la Renaissance _zFlandre. _2ram _972383
650		0	_aPainting, Netherlandish. _2lc _972384
650		0	_aArt, Renaissance. _2lc _972385
655		7	_aActes de congrès. _2ram _972386
700	1		_aLampens, Dieter _d(19..-....). _4pbd _972387
760	0		_tMe fecit / Museum of fine arts, Boston _dTurnhout : Brepols, [1997]- _g[12] _w(ABES)048634336
852			_aPEU001
886	2		_2unimarc _a181 _ai# _bxxxe##
886	2		_2unimarc _a181 _ab# _bxb2e##
930			_aI7 382 MEM/KLA
930			_aFol MON 1147
930			_a033795