3. Making the Most of Theatre and Painting: The Power of Tableaux Vivants in Joyous Entries from the Southern Netherlands (1458–1635)

  1. Caroline van Eck1 and
  2. Stijn Bussels2
  1. Stijn Bussels

Published Online: 20 APR 2011

DOI: 10.1002/9781444396744.ch3

Theatricality in Early Modern Art and Architecture

Theatricality in Early Modern Art and Architecture

How to Cite

Bussels, S. (2011) Making the Most of Theatre and Painting: The Power of Tableaux Vivants in Joyous Entries from the Southern Netherlands (1458–1635), in Theatricality in Early Modern Art and Architecture (eds C. van Eck and S. Bussels), Wiley-Blackwell, Oxford, UK. doi: 10.1002/9781444396744.ch3

Editor Information

  1. 1

    Leiden University, The Netherlands

  2. 2

    University of Groningen, The Netherlands

Author Information

  1. University of Groningen, The Netherlands

Publication History

  1. Published Online: 20 APR 2011
  2. Published Print: 14 APR 2011

Book Series:

  1. Art History Book Series

Book Series Editors:

  1. David Peters Corbett3 and
  2. Christine Riding4

Series Editor Information

  1. 3

    University of East Anglia, London, Uk

  2. 4

    Tate, London, Uk

ISBN Information

Print ISBN: 9781444339024

Online ISBN: 9781444396744

Keywords:

  • making the most of theatre and painting - Power of Tableaux Vivants in Joyous Entries from the Southern Netherlands (1458–1635);
  • sixteenth-century northern Europe - and southern Netherlands, municipalities using tableaux vivants, to welcome princes during their Joyous Entry into the city;
  • tableaux vivants, of sixteenth century - losing importance, with decorated triumphal arches dominance;
  • success and decline of tableaux vivants - three entries, spanning 200 years;
  • tableaux vivants, decreasing importance - a general evolution in northern Europe;
  • tableaux vivants, 1458 and 1549 - theatrical and pictorial use, putting across political ideas of the citizenry;
  • The Ghent Entry of 1458, mid-fifteenth century - Burgundian dukes, and strengthening hold on territories;
  • tableaux vivants, influencing painters - in Van der Goes' adoration of the shepherds, the Ghent period;
  • The Antwerp tableaux vivants, theatrical and pictorial - intersection of theatre and painting, different to Ghent entry of 1458;
  • theatre and the Ghent tableaux, machinery and living figures - movement and sound, sharing composition and use of banderols

Summary

This chapter contains sections titled:

  • The Ghent Entry of 1458

  • The Antwerp Entry of 1549

  • The Antwerp Entry of 1635

  • Conclusion