Cool Renaissance Wear images

Some cool renaissance wear images:

NYC – Metropolitan Museum of Art – Triumph of Fame
renaissance wear
Image by wallyg
The Triumph of Fame; (verso) Impresa of the Medici Family and Arms of the Medici and Tornabuoni Families
birth tray, ca. 1449
Giovanni di Ser Giovanni (called Scheggia) (Italian, Florentine, 1406–1486)
Tempera, silver, and gold on wood; Overall, with engaged frame, diameter 36 1/2 in. (92.7 cm); recto, painted surface, diameter 24 5/8 in. (62.5 cm); verso, painted surface, diameter 29 5/8 in. (75.2 cm)

This imposing object, a commemorative birth tray (desco da parto), was commissioned to celebrate the birth of Lorenzo de’ Medici, known to posterity as Lorenzo the Magnificent (1449–1492). Lorenzo was the most celebrated ruler of his day as well as an important poet and a major patron of the arts; his name is synonymous with the Renaissance.

The imagery is taken from Boccaccio’s "L’Amorosa visione" as well as Petrarch’s "Trionfi". Knights extend their hands in allegiance to an allegorical figure of Fame, who holds a sword and winged cupid (symbolic of celebrity through arms and love). Winged trumpets sound Fame’s triumph. Captives are bound to the elaborate support. The three-colored ostrich feathers around the rim are a heraldic device of Lorenzo’s father, Piero de’ Medici.

Painted by the younger brother of Masaccio, this is an object of unique historical importance. It was kept by Lorenzo in his private quarters in the Medici palace in Florence and was acquired in the early years of the nineteenth century by Alexis-François Artaud de Montor, one of the earliest collectors of early Italian painting. Later it belonged to Thomas Jefferson Bryan, the first New Yorker to collect early Italian art.

The reverse of most surviving birth trays shows an image of a child. This one is decorated with the armorial device of Lorenzo the Magnificent’s father, Piero de’ Medici: a diamond ring with three ostrich feathers and a banderole with the motto SEMPER (forever). The device, now much worn and oxidized, may signify eternal faithfulness and strength. The Medici arms are in the upper left, those of the Tornabuoni are in the upper right. Piero de’ Medici married Lucrezia Tornabuoni in 1444 and their first son, Lorenzo, was born in 1449.

The tradition of commissioning circular trays or salvers to commemorate a birth derived from the custom of presenting sweetmeats to the new mother. Painted for the most famous figure of the Italian Renaissance, this is the largest and most opulent birth tray known, and one of the few to survive with its original engaged molding.

Purchase in memory of Sir John Pope-Hennessy: Rogers Fund, The Annenberg Foundation, Drue Heinz Foundation, Annette de la Renta, Mr. and Mrs. Frank E. Richardson, and The Vincent Astor Foundation Gifts, Wrightsman and Gwynne Andrews Funds, special funds, and Gift of the children of Mrs. Harry Payne Whitney, Gift of Mr. and Mrs. Joshua Logan, and other gifts and bequests, by exchange, 1995 (1995.7)

The Metropolitan Museum of Art‘s permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met’s holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met’s purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.

In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America’s Favorite Architecture list.

The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.

National Historic Register #86003556

Portrait of King Henry VIII 1491-1547 c.1590 1590c.
renaissance wear
Image by lisby1
This portrait is one of a number of similar ”corridor” works taken from Hans Holbein”s momentous picture of Henry VIII executed in 1537. The image of the King, initially devised for a wall painting in the Privy Chamber at Whitehall featured the monarch in a renaissance pose that derived from Donatello”s depiction of St. George. It is believed that at the time of its inception this representation of the King was intended for duplication and utilisation as an official image. Certainly it has endured as one of the most distinguished portraits of any royal sitter.

Our bust-length version of Henry VIII features the commanding, head-on visage of the monarch wearing a jewel-studded black and blue doublet and plumed cap. Between his squared shoulders falls a decorative chain as well as one which features the letter ”H”. As this image was one which was reproduced frequently, stylistic variations as well as alterations in the King’s dress and jewellery feature commonly and serve to accent the individuality of each likeness. A further enhancing feature of this particular edition is in the visibility of the artist’s technique, notably the sketch lines around the eyes and mouth.

Corridor portraits of this size and style were designed for display in the Long Galleries of England”s manor houses. Pictures similar to our image of Henry VIII were commissioned for corridor sets at Boughton, Longleat, Helmingham Hall and Ingatestone.

Day 3: Shivali Sahay
renaissance wear
Image by chicagopublicmedia
A model poses in a dress designed by Shivali Sahay for her collection "Curtains of Renaissance" on Day 3 of the Blender’s Pride: Bangalore Fashion Week: Winter Festive 2012, on July 28. Sahay says hers designs are "practical dresses, jumpsuits and work wear for the women of Modern Era which retain the nostalgic intricacies of our dear old Renaissance."

(Photo courtesy of Pepper India PR)

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