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Illuminating Fashion Dress in the Art of Medieval France and the Netherlands 13251525

Art Review

Tin you guess a hunter by his houpeland, or a prince by his pouleines? Yous certainly can in "Illuminating Fashion: Dress in the Fine art of Medieval France and holland" at the Morgan Library & Museum. This lively show will teach you to scrutinize centuries-old manuscripts every bit yous would a style mag. (For the uninitiated: a houpeland is a loftier-waisted, drapey gown; pouleines are shoes with long, pointy toes.)

Medieval illuminations are and so rich in narrative, embellishment and religious expression that information technology might seem frivolous to recollect nigh who wore what, when. But knowing something about sartorial trends can help experts date manuscripts and discern the subtleties of a figure'due south status or character.

Consider the Whore of Babylon, as depicted around 1470 in the Epistolary and Apocalypse of Charles the Bold. Her apparel is à la manner, but her emphatically vertical headgear is 20 years out of date, "seen every bit non just erstwhile-fashioned, but too decadent," as the object characterization notes.

And in a version of "Romance of the Rose" endemic past Francois I, the rex and his courtiers are dressed in the latest Italianate fashions: dogie-length gowns with wide collars and poufy artillery. They're attended past a humble scribe wearing last year's manner: a distressing, slit-sleeved number.

Prototype <strong>Illuminating Way</strong>, featuring works like &#8220;The Well-Dressed Trainer of Huntsmen,&#8221; at the Morgan Library &amp; Museum.

Credit... Pierpont Morgan Library

"Illuminating Style" accompanies an enormous volume of the same title, 30 years in the making, compiled by the Northern European specialist Anne H. van Buren. She died in 2008, before finishing the projection; Roger Due south. Wieck, the Morgan'southward curator of medieval and Renaissance manuscripts, stepped in to complete it. Copiously illustrated and meticulous in its chronology, the book is a definitive guide to medieval way that should prove useful for scholars and designers alike.

Mr. Wieck organized the exhibition, which overlaps with the book but in a few places, and wrote the show's witty and descriptive labels. His commentary often speaks to contemporary tastes; a hip-belted robe "presents an unflatteringly bulbous silhouette," while Italianate doublets let "sexy glimpses of the human being's linen shirt."

Yous can form your own judgments with the help of iv mannequins outfitted in full-scale model attire. For the men there'southward a splendid hunting ensemble of golden-embroidered blueish velvet and lilac wool felt; for the women, a princessy gown of yellow silk trimmed in black crushed velvet and accessorized by a turret. (Its long sleeves and waist-accentuating V-neck might remind y'all of a certain hymeneals dress.)

Some other helpful characteristic of the bear witness is the illustrated timeline that circles the gallery, putting the fashion talk in the context of the Hundred Years' War, the English occupation of Paris, the bubonic plague and other major events in medieval history.

Some of these circumstances accept a clear impact on dress styles; others seem to have no relationship whatsoever. In occupied Paris, for instance, simple gowns were in favor. But lavishly embroidered and accessorized houpelands flourished during the turbulent stretch from 1390 to 1420, which was marked by ceremonious war and the madness of Charles VI.

Hailing from this flow, a hunting treatise known as the "Livre de la Chasse" shows young aristocrats stalking wolves and taking instruction from a foppish trainer. (It was the inspiration for one of the show's costumed mannequins.) The book'due south author, Count Gaston III of Foix, appears in a fur-lined orange houpeland with long bombard sleeves.

The most pronounced changes appear in men'southward fashion; voluminous houpelands give way to curt, nipped-waist gowns with padded shoulders and, later, Italianate coats with wide lapels (known every bit sayons). But the men don't have all the fun. A haughty Catherine of Cleves dons ermine, ruby-red velvet and gilt brocade to distribute alms to the poor; Delilah shears Samson's locks while sporting the elaborate, double-horned "temples" hairstyle.

Headpiece options in the prove rival those on display at the recent royal wedding. Women's temples are pre-empted past the cone-shaped turret, with its cascading veil; men wear hooded "chaperons" (besides worn past women), sacklike "capelines" and jaunty brimmed hats adorned with ostrich feathers.

Among the manuscripts on view are allegorical poems (several versions of the "Romance of the Rose"), applied treatises ("Livre de la Chasse"), chivalric romances ("The Romance of Tristan") and Boccaccio's brusque biographies ("Of Noble Men and Women"). Probably the best sources of medieval mode illustration, as Mr. Wieck writes, are the calendars in prayer books; hither, unconstrained past literature or history, medieval artists painted fashionable men and women of leisure. In two examples at the Morgan young dandies practicing hawking accompany the months of Apr and May.

Most emblematic of the exhibition, though, is a small illumination from a "Romance of the Rose": a tiny Narcissus, stooped over his reflection. His face is comely enough, with its strong jaw and wavy forelock, simply information technology's likely that he'southward too entranced by his own dashing, blue-and-orange outfit.

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Source: https://www.nytimes.com/2011/05/27/arts/design/illuminating-fashion-at-morgan-library-museum-review.html

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