https://orfeo.belnet.be/handle/internal/7 2026-04-08T08:05:49Z https://orfeo.belnet.be/handle/internal/14607 Juan Bautista Flamenco : Entry from the Ongoing Dictionary of Little-known Artists Lamas, Eduardo https://orfeo.belnet.be/handle/internal/14585 A Delvaux Skeleton in the Attic? Solving a 60-Year-Old Mystery with the Help of Infrared Reflectography Currie, Christina An unsigned painting of a skeleton in a blue cape, tentatively linked to Paul Delvaux, was examined at the Royal Institute for Cultural Heritage to clarify its authorship. Although the composition and provenance initially suggested a connection to Delvaux, infrared reflectography (IRR) revealed decisive evidence to the contrary. Features hidden underneath the paint layer, such as block-capital colour notes, and underdrawn motifs of carpenter’s tools link the work to works and preparatory drawings by Emile Salkin, including a 1947 skeleton painting with similar tools and technique. Stylistic links between a reused religious scene on the reverse and Salkin’s known studies further support the attribution. The technical findings firmly reattribute Standing Skeleton with a Blue Cape to Salkin, demonstrating the decisive role of imaging in resolving attribution questions. https://orfeo.belnet.be/handle/internal/14556 Art nouveau revisited : Tendencies and Specificities = L'Art nouveau revisité : tendances et particularités Royal Institute for Cultural Heritage As part of the European project Partage Plus, the Royal Institute for Cultural Heritage (IRPA) hosted a conference dedicated to the study of Art Nouveau on 13 and 14 February 2014. This event was the fifteenth Art History Seminar, an initiative of IRPA’s Documentation Department. Special attention was given to the various trends and distinctive features coexisting within Art Nouveau, both in Belgium and abroad. The conference focused particularly on the diverse trends and unique characteristics of Art Nouveau in Belgium and internationally. Freed from the constraints of historicism, artists and craftsmen drew inspiration from an extraordinarily wide range of sources. They revisited local cultures, reviving centuries-old craft techniques (wrought iron, hammering, sgraffito, ceramics, stained glass, etc.) and regional materials. The creation of this innovative visual vocabulary was further enriched by the assimilation of organic forms inspired by nature, archetypes of industrial civilization, and Japonisme. The seminar provided a valuable opportunity to showcase the variety of examples from our cultural heritage and to exchange perspectives on the subject. https://orfeo.belnet.be/handle/internal/14175 Reliekschrijnen in Limburg Reyniers, Jeroen Wist je dat Limburg de thuisbasis is van de grootste verzameling houten beschilderde reliekschrijnen van vóór 1566 in België. Maar liefst 8 van de 14 overgebleven schrijnen vind je hier. En acht locaties in Vlaanderen die zo’n reliekschrijn herbergen, maken deel uit van het Vlaamse Meesters op hun plekproject. Jeroen Reyniers rondde onlangs het wetenschappelijk onderzoek naar deze unieke schrijnen af. In deze lezing heeft hij het over de betekenis van reliekschrijnen vroeger en nu, het bijzondere van houten schrijnen en vertelt hij over de schatten die ze herbergen.; Hasselt, Syntra PXL Limburg, 21/10/2025.