Dieric Bouts:il ruolo del «pictor ymaginum» nel Brabante del XV secolo / Dieric Bouts: the «pictor ymaginum» and his role in the 15th century Brabant

Tamara Dominici

Abstract


Lovanio iniziò a godere di grande fama grazie all’impulso artistico e culturale dato dall’Università, istituita nel 1425. È probabile che il maestro Dieric Bouts sia stato attratto proprio da questo clima, visto che la città brabantina si stava espandendo con la costruzione di edifici importanti, richiedendo di conseguenza l’intervento di artisti e artigiani. Bouts acquisì nel corso del tempo un considerevole status sociale, in particolare grazie ai dipinti eseguiti per il palazzo comunale di Lovanio. Inoltre, egli viene solitamente ricordato per il Trittico con l’Ultima Cena, il cui caso è certamente unico nel suo genere; si conoscono, infatti, le clausole contrattuali dell’opera. Questo contributo permette dunque di comprendere, attraverso la contestualizzazione di un caso particolare, quali fossero le condizioni sociali in cui un artista operava, individuandone il possibile motore economico.

 

Leuven attained fame through the artistic and cultural impulse given by the University, established in 1425. Probably, Dieric Bouts was attracted by such milieu, since the Brabantine city grew up with new buildings, which needed the work of artists and artisans. In this context, Bouts achieved an outstanding social status, especially thanks to the commissions for the Leuven city hall. Moreover, this painter is renowned for his Triptych of the Last Supper. This work is very important, since the contract of this painting is available. By contextualizing Bout’s case, this article aims at showing the social condition of the artist in 15th century Brabant, in order to identify the possible economic cause. 


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DOI: http://dx.doi.org/10.13138/2039-2362/1692

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