Antwerp In The Renaissance
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| Author | : Bruno Blonde |
| Publisher | : |
| Total Pages | : 350 |
| Release | : 2020-09-19 |
| Genre | : |
| ISBN | : 9782503588339 |
This book engages with Antwerp in the Renaissance. Bringing together several specialists of sixteenth-century Antwerp, it offers new research results and fresh perspectives on the economic, cultural and social history of the metropolis in the sixteenth century. Recurrent themes are the creative ways in which the Italian renaissance was translated in the Antwerp context. Imperfect imitation often resulted from the specific social context in which the renaissance was translated: Antwerp was a metropolis marked by a strong commercial ideology, a high level affluence and social inequality, but also by the presence of large and strong middling layers, which contributed to the city's 'bourgeois' character. The growth of the Antwerp market was remarkable: in no time the city gained metropolitan status. This book does a good job in showing how quite a few of the Antwerp 'achievements' did result from the absence of 'existing structures' and 'examples'. Moreover, the city and its culture were given shape by the many frictions, and uncertainties that came along with rapid urban growth and religious turmoil.
| Author | : Dan Ewing |
| Publisher | : Brepols Publishers |
| Total Pages | : 0 |
| Release | : 2016 |
| Genre | : Art, Flemish |
| ISBN | : 9782503555317 |
The Antwerp painter Jan de Beer (c.1475-1527 /28) was highly esteemed in his lifetime and still famous forty years after his death, but then fell into oblivion until the early twentieth century. This monograph is the first published, comprehensive study of his art and career. Its biography is the result of a thorough search of the archives and includes a recently discovered teaching contract with Lieven van Male of Ghent. All documents are fully transcribed, including documents for the artist's painter-son, Aert de Beer (c.1508-1538/40). Results from technical studies of the artist's work, including underdrawings and dendrochronological dating, are incorporated throughout the book. The artist's surviving oeuvre consists of forty works, mainly devotional paintings and triptychs but also a dozen drawings and a stained glass window in Antwerp Cathedral after a lost design. De Beer's stylish, elegant art exerted a powerful appeal upon the buying public, churches abroad, and copyists. His lost Adoration of the Magi was the best-selling painting design in Antwerp at the time. De Beer is further important as one of only two Antwerp artists of his generation for whom a signficant body of drawings exist. The catalogue of paintings and drawings by the artist and his workshop, including the numerous copies and variants, comes to over 170 works. De Beer's art is typically associated with the work of the Antwerp Mannerists, a prominent group of painters active in the city during his lifetime. This study argues that De Beer's work, plus that of the Mannerists and the city's retable carvers, should be understood as a novel, modern expression of late Gothic art, a sixteenth-century renewal of the Gothic mode that was also manifested in contemporary architecture, calligraphy, music and poetry.
| Author | : Iain Fenlon |
| Publisher | : Springer |
| Total Pages | : 429 |
| Release | : 1990-02-15 |
| Genre | : Music |
| ISBN | : 1349205362 |
From the series examining the development of music in specific places during particular times, this book looks at European countries at the time of the Renaissance, concentrating on Italy. It is to be published in conjunction with a television series.
| Author | : Michael Pye |
| Publisher | : Simon and Schuster |
| Total Pages | : 260 |
| Release | : 2021-09-07 |
| Genre | : History |
| ISBN | : 1643137786 |
A revelatory history of Antwerp—from its rise to a world city to its fall in the Spanish Fury—by the New York Times Notable author of The Edge of the World. Before Amsterdam, there was a dazzling North Sea port at the hub of the known world: the city of Antwerp. In the Age of Exploration, Antwerp was sensational like nineteenth-century Paris or twentieth-century New York. It was somewhere anything could happen or at least be believed: killer bankers, easy kisses, a market in secrets and every kind of heresy. For half the sixteenth century, it was the place for breaking rules—religious, sexual, intellectual. And it was a place of change—a single man cornered all the money in the city and reinvented ideas of what money meant. Another gave the city a new shape purely out of his own ambition. Jews fleeing the Portuguese Inquisition needed Antwerp for their escape, thanks to the remarkable woman at the head of the grandest banking family in Europe. Thomas More opened Utopia there, Erasmus puzzled over money and exchanges, William Tyndale sheltered there and smuggled out his Bible in English until he was killed. Pieter Bruegel painted the town as The Tower of Babel. But when Antwerp rebelled with the Dutch against the Spanish and lost, all that glory was buried and its true history rewritten. The city that unsettled so many now became conformist. Mutinous troops burned the city records, trying to erase its true history. In Europe’s Babylon, Michael Pye sets out to rediscover the city that was lost and bring its wilder days to life using every kind of clue: novels, paintings, songs, schoolbooks, letters and the archives of Venice, London and the Medici. He builds a picture of a city haunted by fire, plague, and violence, but one that was learning how to be a power in its own right as it emerged from feudalism. An astounding and original narrative that illuminates this glamorous and bloody era of history and reveals how this fascinating city played its role in making the world modern.
| Author | : Jeffrey Muller |
| Publisher | : BRILL |
| Total Pages | : 657 |
| Release | : 2016-05-23 |
| Genre | : History |
| ISBN | : 9004311882 |
Of more than forty churches that fortified Antwerp as the bulwark of the Counter Reformation in the Netherlands, only St. Jacob’s stands now with its art and archives intact. Parish church of the city’s elite, it is filled with masterpieces, including the altarpiece that Rubens painted for his own burial chapel. Works of architecture, painting, sculpture, and hundreds of sacred objects, documented by the archives, enable a reconstruction of the integral role that art played in the transformation of a whole society over the span of two centuries, from 1585 to the 1790s. It is a history of real people and organizations, who used art for religion, politics, and social purpose, joined together in a church that embodied a diverse community.
| Author | : Elizabeth A. Honig |
| Publisher | : Yale University Press |
| Total Pages | : 374 |
| Release | : 1998-01-01 |
| Genre | : Art |
| ISBN | : 9780300072396 |
This study of the ways in which Flemish painting between 1550 and 1650 reflected the burgeoning capitalism of Antwerp, focuses not only on the market-scene paintings, but also on the interaction between painters and markets as it was influenced by merchants, governments and consumers.
| Author | : John Oliver Hand |
| Publisher | : Yale University Press |
| Total Pages | : 251 |
| Release | : 2004-01-01 |
| Genre | : Art |
| ISBN | : 0300105789 |
"Joos van Cleve (active 1505/08-1540/41), an accomplished and influential Netherlandish artist, and a superb technician and sensitive colorist, created some of the most attractive and endearing images in northern Renaissance painting. In this book - the first major study of Joos in nearly eighty years - the foremost authority on the artist provides a complete and up-to-date account of Joos's life and works." "John Hand discusses events in the artist's career, the increasing obscurity of his works in the centuries after his death, and their rediscovery in the nineteenth century. Hand then examines specific paintings in Joos's oeuvre, addressing a broad spectrum of topics concerning the artist's style, chronology, iconography, influences, and the wide range of his commission."--Jacket.
| Author | : Piet Lombaerde |
| Publisher | : Brepols Publishers |
| Total Pages | : 270 |
| Release | : 2008 |
| Genre | : Architecture |
| ISBN | : |
During the sixteenth century Antwerp was at the forefront of the Renaissance north of the Alps. Not only a new architectural style flourished in the Antwerp metropolis, but at the end of the sixteenth century sciences such as mathematics, optics, geometry and perspective became more and more important. They helped to redefine architecture and the other fine arts on a more scientific base. Their introduction in the arts at the beginning of the seventeenth century lead to new experiences, applications and even innovations in architecture. The Jesuit Order played a very crucial rule in this process. The realization of their new church in the centre of the city of Antwerp became one of the first attempts to bring together the applications of all those new ideas in one total project. Paintings by Peter Paul Rubens and sculptures by Hieronymus Duquenoy, Artus Quellinus etc. were participating in one of the first Early Baroque architectural realizations in the Low Countries. The Jesuit Church of Antwerp, actually the St Carolus Borromeus Church, was designed by Francois d'Aguilon, a scientist and architect of the Jesuit Order. His publication Opticorum Libri sex on optics and on the reflection of light was edited by the Officina Plantiniana in 1613, the same year he started his project for the church. This scientific and theoretical work helps us to understand the new experiences with light and space he experimented with. It is the aim of this publication to bring together researchers to confront the results of their studies about the interpretation of the facade of this Counter-Reformation church, the phenomenon of diffuse light created by reflection and refraction on marble statues, pillars and multiple ornaments, the combination of linear and parallel perspective applications, the sacral and social use of space, the signification of the facade and towers as parts of a perspective scene in the city landscape and the relationship of Rubens's paintings with the Baroque interior. Special attention is also devoted to the School of Mathematics, installed in Antwerp by the Jesuits at that time. The central question will be whether we can conclude that at the beginning of the seventeenth century the innovative sense of creating a new architecture, so typical for the sixteenth century in Antwerp, still persisted in this city during the early seventeenth century, and even lead to a new interpretation of architectural space in European context."
| Author | : Marina Belozerskaya |
| Publisher | : Getty Publications |
| Total Pages | : 292 |
| Release | : 2005-10-01 |
| Genre | : Art |
| ISBN | : 0892367857 |
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
| Author | : Ilja Van Damme |
| Publisher | : Routledge |
| Total Pages | : 433 |
| Release | : 2017-09-18 |
| Genre | : History |
| ISBN | : 1351681796 |
This volume critically challenges the current creative city debate from a historical perspective. In the last two decades, urban studies has been engulfed by a creative city narrative in which concepts like the creative economy, the creative class or creative industries proclaim the status of the city as the primary site of human creativity and innovation. So far, however, nobody has challenged the core premise underlying this narrative, asking why we automatically have to look at cities as being the agents of change and innovation. What processes have been at work historically before the predominance of cities in nurturing creativity and innovation was established? In order to tackle this question, the editors of this volume have collected case studies ranging from Renaissance Firenze and sixteenth-century Antwerp to early modern Naples, Amsterdam, Bologna, Paris, to industrializing Sheffield and nineteenth-and twentieth century cities covering Scandinavian port towns, Venice, and London, up to the French techno-industrial city Grenoble. Jointly, these case studies show that a creative city is not an objective or ontological reality, but rather a complex and heterogenic "assemblage," in which material, infrastructural and spatial elements become historically entangled with power-laden discourses, narratives and imaginaries about the city and urban actor groups.
