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Tapestry of Brussels; Belgium, 16th century."The Captivity of Nineveh".Wool and silk.It is in
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Description
Tapestry of Brussels; Belgium, 16th century.
"The Captivity of Nineveh".
Wool and silk.
It is in perfect condition.
Measures: 360 x 515 cm.
Antwerp tapestry made of wool and silk in which a figurative scene takes place. Framed within a frame made up of elements of a vegetal nature on which fruits and leaves are offered, as well as a letter in the upper area where the subject is introduced, and the figure of two gods, Mercury and Pallas Athena. Characters that can be identified both by their iconographic attributes and by the presence of the name of each one of them. Although the characters belong to classical mythology, the scene introduced by the cartouche is biblical in nature. In the center of the composition, the scene takes place in an arid landscape where a character stands out in the center on horseback, who stands on several fallen men. The scene portrays the Assyrian captivity (or Assyrian exile) a period in the history of ancient Israel and Judah during which several miles of Israelites from ancient Samaria were resettled as captives by Assyria. This is one of the many cases of forced relocations implemented by the Neo-Assyrian Empire. The Northern Kingdom of Israel that was conquered by the Neo-Assyrian monarchs, Tiglath-Pileser III (Pul) and Shalmanasar V. The last Assyrian rulers Sargon II and his son and successor, Sennacherib, were responsible for culminating Israel's twenty-year disappearance known as the Northern Kingdom, ruled by ten tribes, although they did not reach the Southern Kingdom. Jerusalem was besieged, but not taken. The tribes forcibly resettled by Assyria later became known as the Lost Ten Tribes.
The tapestries of northern Europe stood out in their production since the end of the Middle Ages, being defined as the highest quality in Europe, with bright colors, great density and a careful drawing of the cartons, which translated into figurative scenes of great richness and narrative sense. The hunting themes were frequent in the Renaissance and the Baroque, in addition to the landscape genre and the costumbrista or courtly theme.
"The Captivity of Nineveh".
Wool and silk.
It is in perfect condition.
Measures: 360 x 515 cm.
Antwerp tapestry made of wool and silk in which a figurative scene takes place. Framed within a frame made up of elements of a vegetal nature on which fruits and leaves are offered, as well as a letter in the upper area where the subject is introduced, and the figure of two gods, Mercury and Pallas Athena. Characters that can be identified both by their iconographic attributes and by the presence of the name of each one of them. Although the characters belong to classical mythology, the scene introduced by the cartouche is biblical in nature. In the center of the composition, the scene takes place in an arid landscape where a character stands out in the center on horseback, who stands on several fallen men. The scene portrays the Assyrian captivity (or Assyrian exile) a period in the history of ancient Israel and Judah during which several miles of Israelites from ancient Samaria were resettled as captives by Assyria. This is one of the many cases of forced relocations implemented by the Neo-Assyrian Empire. The Northern Kingdom of Israel that was conquered by the Neo-Assyrian monarchs, Tiglath-Pileser III (Pul) and Shalmanasar V. The last Assyrian rulers Sargon II and his son and successor, Sennacherib, were responsible for culminating Israel's twenty-year disappearance known as the Northern Kingdom, ruled by ten tribes, although they did not reach the Southern Kingdom. Jerusalem was besieged, but not taken. The tribes forcibly resettled by Assyria later became known as the Lost Ten Tribes.
The tapestries of northern Europe stood out in their production since the end of the Middle Ages, being defined as the highest quality in Europe, with bright colors, great density and a careful drawing of the cartons, which translated into figurative scenes of great richness and narrative sense. The hunting themes were frequent in the Renaissance and the Baroque, in addition to the landscape genre and the costumbrista or courtly theme.
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Tapestry of Brussels; Belgium, 16th century.
"The Captivity of Nineveh".
Wool and silk.
It is in perfect condition.
Measures: 360 x 515 cm.
Antwerp tapestry made of wool and silk in which a figurative scene takes place. Framed within a frame made up of elements of a vegetal nature on which fruits and leaves are offered, as well as a letter in the upper area where the subject is introduced, and the figure of two gods, Mercury and Pallas Athena. Characters that can be identified both by their iconographic attributes and by the presence of the name of each one of them. Although the characters belong to classical mythology, the scene introduced by the cartouche is biblical in nature. In the center of the composition, the scene takes place in an arid landscape where a character stands out in the center on horseback, who stands on several fallen men. The scene portrays the Assyrian captivity (or Assyrian exile) a period in the history of ancient Israel and Judah during which several miles of Israelites from ancient Samaria were resettled as captives by Assyria. This is one of the many cases of forced relocations implemented by the Neo-Assyrian Empire. The Northern Kingdom of Israel that was conquered by the Neo-Assyrian monarchs, Tiglath-Pileser III (Pul) and Shalmanasar V. The last Assyrian rulers Sargon II and his son and successor, Sennacherib, were responsible for culminating Israel's twenty-year disappearance known as the Northern Kingdom, ruled by ten tribes, although they did not reach the Southern Kingdom. Jerusalem was besieged, but not taken. The tribes forcibly resettled by Assyria later became known as the Lost Ten Tribes.
The tapestries of northern Europe stood out in their production since the end of the Middle Ages, being defined as the highest quality in Europe, with bright colors, great density and a careful drawing of the cartons, which translated into figurative scenes of great richness and narrative sense. The hunting themes were frequent in the Renaissance and the Baroque, in addition to the landscape genre and the costumbrista or courtly theme.
"The Captivity of Nineveh".
Wool and silk.
It is in perfect condition.
Measures: 360 x 515 cm.
Antwerp tapestry made of wool and silk in which a figurative scene takes place. Framed within a frame made up of elements of a vegetal nature on which fruits and leaves are offered, as well as a letter in the upper area where the subject is introduced, and the figure of two gods, Mercury and Pallas Athena. Characters that can be identified both by their iconographic attributes and by the presence of the name of each one of them. Although the characters belong to classical mythology, the scene introduced by the cartouche is biblical in nature. In the center of the composition, the scene takes place in an arid landscape where a character stands out in the center on horseback, who stands on several fallen men. The scene portrays the Assyrian captivity (or Assyrian exile) a period in the history of ancient Israel and Judah during which several miles of Israelites from ancient Samaria were resettled as captives by Assyria. This is one of the many cases of forced relocations implemented by the Neo-Assyrian Empire. The Northern Kingdom of Israel that was conquered by the Neo-Assyrian monarchs, Tiglath-Pileser III (Pul) and Shalmanasar V. The last Assyrian rulers Sargon II and his son and successor, Sennacherib, were responsible for culminating Israel's twenty-year disappearance known as the Northern Kingdom, ruled by ten tribes, although they did not reach the Southern Kingdom. Jerusalem was besieged, but not taken. The tribes forcibly resettled by Assyria later became known as the Lost Ten Tribes.
The tapestries of northern Europe stood out in their production since the end of the Middle Ages, being defined as the highest quality in Europe, with bright colors, great density and a careful drawing of the cartons, which translated into figurative scenes of great richness and narrative sense. The hunting themes were frequent in the Renaissance and the Baroque, in addition to the landscape genre and the costumbrista or courtly theme.
26th October - Old Masters
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