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| Author | : Susan Frances Jones |
| Publisher | : National Gallery London |
| Total Pages | : 0 |
| Release | : 2011 |
| Genre | : Museum conservation methods |
| ISBN | : 9781857095050 |
Published on the occasion of the exhibition Jan Jossaert's Renaissance at the National Gallery, London, Feb. 23-May 30, 2011.
| Author | : Jan Gossaert |
| Publisher | : Metropolitan Museum of Art |
| Total Pages | : 498 |
| Release | : 2010 |
| Genre | : Art and design |
| ISBN | : 1588393984 |
Issued in connection with an exhibition held Oct. 5, 2010-Jan. 17, 2011, Metropolitan Museum of Art, New York, and Feb. 23-May 30, 2011, National Gallery, London (selected paintings only).
| Author | : Maryan W. Ainsworth |
| Publisher | : Brepols Publishers |
| Total Pages | : 0 |
| Release | : 2017 |
| Genre | : Art |
| ISBN | : 9782503566689 |
Recent technical examinations of Early Netherlandish art have propelled in-depth studies of key works far beyond traditional connoisseurship methods. Ingenious new applications, as well as a prodigious amount of comparative technical documentation, have changed our views of standard workshop practices, including issues of materials and techniques, and details about the precise nature of collaboration. The studies presented in this book illustrate the variety of approaches and findings in what can be called the new connoisseurship. Here the reader will find alternative methods of evaluating Jan van Eyck's Saint Barbara and Ghent Altarpiece, Dirk Bouts's canvas paintings, Jacb Cornelisz van Oostsanen's Berlin Sketchbook, the Evora Altarpiece and the Saint Anne Altarpiece from Gerard David's workshop, Jan Gossart's Malvagna Triptych, and a triptych by Pieter I Claeissens. These individual studies will be of interest not only to aficionados of Early Netherlandish painting, but also to students who are keen to learn about the pivotal role of technical studies for this period of art history.
| Author | : Barbara von Barghahn |
| Publisher | : Pindar Press |
| Total Pages | : 887 |
| Release | : 2013-12-31 |
| Genre | : Art |
| ISBN | : 1915837049 |
This book investigates Jan Van Eyck's patronage by the Crown of Portugal and his role as diplomat-painter for the Duchy of Burgundy following his first voyage to Lisbon in 1428-1429, when he painted two portraits of Infanta Isabella, who became the third wife of Philip the Good in 1430. New portrait identifications are provided for the Ghent Altarpiece (1432) and its iconographical prototype, the lost Fountain of Life. These altarpieces are analysed with regard to King Joao I's conquest of Ceuta, achieved by his sons, who were hailed as an "illustrious generation." Strong family ties between the dynastic houses of Avis and Lancaster explain Lusitania's sustained fascination with Arthurian lore and the Grail quest. Several chapters of this book are overlaid with a chivalric veneer. A second "secret mission" to Portugal in 1437 by Jan van Eyck is postulated and this diplomatic visit is related to Prince Henry the Navigator's expedition to Tangier and King Duarte's attempts to forge an alliance with Alfonso V of Aragon. Late Eyckian commissions are reviewed in the light of this ill-fated crusade and additional new portraits are identified. The most significant artist of Renaissance Flanders appears to have been patronized as much by the House of Avis as by the Duchy of Burgundy. Barbara von Barghahn is Professor of Art History at George Washington University and a specialist in the art history of Portugal, Spain, and their colonial dominions, as well as Flanders. In 1993, she was conferred O Grao Comendador in the Portuguese Order of Prince Henry the Navigator. She has spent nearly a decade completing research about Jan van Eyck's diplomatic visits to the Iberian Peninsula.
| Author | : Metropolitan Museum of Art (New York, N.Y.) |
| Publisher | : Metropolitan Museum of Art |
| Total Pages | : 174 |
| Release | : 1987 |
| Genre | : Art |
| ISBN | : 0870994344 |
"In this volume, the work of the German, Dutch, Flemish, French, and English masters of the fifteenth and sixteenth centuries is explored in more than one hundred reproductions. In addition to such well-known masterpieces as Van Eyck's Crucifixion and Last Judgment, Memling's Tommaso Portinari and Maria Baroncelli, Bruegel's Harvesters, Durer's woodcut The Four Horsemen of the Apocalypse, Cranach's Judgment of Paris, and Holbein's Erasmus of Rotterdam, this volume includes many lesser-known works in oil and on paper, as well as sculpture, decorative arts, and armor from the collections of The Metropolitan Museum of Art."--Page [2] of cover.
| Author | : Edward H. Wouk |
| Publisher | : BRILL |
| Total Pages | : 858 |
| Release | : 2018-03-20 |
| Genre | : Art |
| ISBN | : 9004343253 |
Frans Floris de Vriendt radically transformed Netherlandish art. His monumental mythologies introduced a new appreciation for the heroic nude to the Low Countries and his religious art challenged standards of decorum. Born into a family of sculptors and architects, Floris refashioned his art through travel, first studying with the humanist painter Lambert Lombard in Liège and then continuing on to Italy. These experiences defined the hybridizing novelty of his art, forged by juxtaposing antique and modern, Italian and northern sources. This book maps Floris’s hybrid style onto shifting conceptions of cultural, religious, and political identity on the eve of the Dutch Revolt. It explores his collaborations and rivalries, engagement with artistic theory, hierarchical workshop, and revolutionary use of print.
| Author | : Marisa Bass |
| Publisher | : Princeton University Press |
| Total Pages | : 223 |
| Release | : 2016-03-29 |
| Genre | : Art |
| ISBN | : 0691169993 |
This is the first in-depth historical study of Jan Gossart (ca. 1478–1532), one of the most important painters of the Renaissance in northern Europe. Providing a richly illustrated narrative of the Netherlandish artist's life and art, Marisa Anne Bass shows how Gossart’s paintings were part of a larger cultural effort in the Netherlands to assert the region’s ancient heritage as distinct from the antiquity and presumed cultural hegemony of Rome. Focusing on Gossart’s vibrant, monumental mythological nudes, the book challenges previous interpretations by arguing that Gossart and his patrons did not slavishly imitate Italian Renaissance models but instead sought to contest the idea that the Roman past gave the Italians a monopoly on antiquity. Drawing on many previously unused primary sources in Latin, Dutch, and French, Jan Gossart and the Invention of Netherlandish Antiquity offers a fascinating new understanding of both the painter and the history of northern European art at large.
| Author | : Yvonne Bleyerveld |
| Publisher | : Brepols Publishers |
| Total Pages | : 380 |
| Release | : 2005 |
| Genre | : History |
| ISBN | : |
This lavishly illustrated handbook was conceived to accompany an international exhibition organised by the city of Mechelen (Malines) in 2005. Both the exhibition and the catalogue highlight an important aspect of Burgundian culture: the impact of noble women on life at the court and in the city around 1500. Margaret of York (1446-1503), the English princess married to Duke Charles-the-Bold, and Margaret of Austria (1480-1530), the only daughter of Mary of Burgundy, both lived in Mechelen as well-to-do widows and are therefore the focal point of this publication. At the time, the city of Mechelen was the cosmopolitan and administrative centre of the Burgundian Netherlands. It forms the stage on which their lives as dowager duchess and as regent of the Netherlands unfold. Both women carried high responsibilities in matters of education, learning, devotion, government, diplomacy, patronage, public appearance and court etiquette. The book looks at the way in which court ladies were meant to behave within a given societal framework and also discusses how each individual interpreted her role by actively negotiating her position of authority. The sixteen essays which introduce the five distinct catalogue sections were written by leading scholars from different disciplines such as Wim Blockmans, Krista De Jonge, Dagmar Eichberger, Marie-Madeleine Fontaine, Anne-Marie Legare, Philippe Lorentz and Walter Prevenier. This book provides much more than a biographical account of two "women of distinction," but regards their lives as paradigmatic for upper-class women of that time. The study takes a fresh look at the transition from the late Middle Ages to the early modern period and offers the reader essential information as well as new insights into matters of gender and female concern.
| Author | : Marian Bisanz |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2013 |
| Genre | : Drawing |
| ISBN | : 9783775732956 |
"The Albertina owns one of the world's most important collections of Netherlandish drawings dating from the period 1430 to 1650, including outstanding individual specimens from the circles around Jan van Eyck, Petrus Christus, or Dirk Bouts. Works by Hieronymus Bosch and Pieter Brueghel the Elder form one of the first highlights of this select collection. The rest of the sixteenth century is exemplified by masterful drawings by artists such as Jan Gossaert, Maarten van Heemskerck, and Hendrick Goltzius. The focus of the collection, however, is Holland's "Golden Age," the seventeenth century, with important works by Rembrandt van Rijn and his school. The southern Netherlands, once dominated by the House of Hapsburg, is represented by the most famous Flemish masters of the age: Peter Paul Rubens, Anton van Dyck, and Jacob Jordaens."--Publisher's website.
| Author | : Larry Silver |
| Publisher | : University of Pennsylvania Press |
| Total Pages | : 309 |
| Release | : 2011-11-29 |
| Genre | : Art |
| ISBN | : 0812206010 |
Albrecht Dürer (1471-1528), perhaps the most famous of all German artists, embodies the modern ideal of the Renaissance man—he was a remarkable painter, printmaker, draftsman, designer, theoretician, and even a poet. More is known about his thoughts and his life than about any other Northern European master of his time, since he wrote extensively about himself, his family's history, his travels, and his friends. His woodcuts and engravings were avidly collected and copied across Europe, and they quickly established his reputation as a master. Praised in life and elegized in death by such thinkers as Martin Luther and Erasmus, he served Emperor Maximilian and other leading church and secular princes in the Holy Roman Empire. Although there is a vast specialized literature on the Nuremberg master, The Essential Dürer fills the need for a foundational book that covers the major aspects of his career. The essays included in this book, written by leading scholars from the United States and Germany, provide an accessible, up-to-date examination of Dürer's art and person as well as his posthumous fame. The essays address an array of topics, from separate and detailed studies of his paintings, drawings, printmaking, and sculpture, to broader concerns such as his visits to and interactions with Venice and the Netherlands, his personal relationships, and his relationships with other artists. Collectively these stimulating essays explore the brilliance of Dürer's creativity and the impact he had on his world, exposing him as an artist fully engaged with the tumultuous intellectual and religious challenges of his time.
