Related Research Articles
Early Netherlandish painting is the body of work by artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance period, once known as the Flemish Primitives. It flourished especially in the cities of Bruges, Ghent, Mechelen, Leuven, Tournai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568–Max J. Friedländer's acclaimed surveys run through Pieter Bruegel the Elder. Early Netherlandish painting coincides with the Early and High Italian Renaissance, but the early period is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy. Beginning in the 1490s, as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic.
The Mérode Altarpiece is an oil on oak panel triptych, now in The Cloisters, in New York City. It is unsigned and undated, but attributed to Early Netherlandish painter Robert Campin and an assistant. The three panels represent, from left to right, the donors kneeling in prayer in a garden, the moment of the Annunciation to Mary, which is set in a contemporary, domestic setting, and Saint Joseph, a carpenter with the tools of his trade. The many elements of religious symbolism include the lily and fountain, and the Holy Spirit represented by the rays of light coming through from the central panel's left hand window.
Petrus Christus was an Early Netherlandish painter active in Bruges from 1444, where, along with Hans Memling, he became the leading painter after the death of Jan van Eyck. He was influenced by van Eyck and Rogier van der Weyden and is noted for his innovations with linear perspective and a meticulous technique which seems derived from miniatures and manuscript illumination. Today, some 30 works are confidently attributed to him. The best known include the Portrait of a Carthusian (1446) and Portrait of a Young Girl ; both are highly innovative in the presentation of the figure against detailed, rather than flat, backgrounds.
Antwerp Mannerism is the name given to the style of a group of largely anonymous painters active in the Southern Netherlands and principally in Antwerp in roughly the first three decades of the 16th century, a movement marking the tail end of Early Netherlandish painting, and an early phase within Dutch and Flemish Renaissance painting. The style bore no relation to Italian Mannerism, which it mostly predates by a few years, but the name suggests that it was a reaction to the "classic" style of the earlier Flemish painters, just as the Italian Mannerists were reacting to, or trying to go beyond, the classicism of High Renaissance art.
Portrait of a Young Girl is a small oil-on-oak panel painting by the Early Netherlandish painter Petrus Christus. It was completed towards the end of his life, between 1465 and 1470, and is held in the Gemäldegalerie, Berlin. It marks a major stylistic advance in contemporary portraiture; the girl is set in an airy, three-dimensional, realistic setting, and stares out at the viewer with a complicated expression that is reserved, yet intelligent and alert.
Portrait of a Carthusian is a painting in oils on oak panel by the Early Netherlandish painter Petrus Christus in 1446. The work is part of the Jules Bache Collection housed at the Metropolitan Museum of Art in New York City.
Saint Luke Drawing the Virgin is a large oil and tempera on oak panel painting, usually dated between 1435 and 1440, attributed to the Early Netherlandish painter Rogier van der Weyden. Housed in the Museum of Fine Arts, Boston, it shows Luke the Evangelist, patron saint of artists, sketching the Virgin Mary as she nurses the Child Jesus. The figures are positioned in a bourgeois interior which leads out towards a courtyard, river, town and landscape. The enclosed garden, illusionistic carvings of Adam and Eve on the arms of Mary's throne, and attributes of St Luke are amongst the painting's many iconographic symbols.
Virgin and Child with Four Angels is a small oil-on-panel painting by the Early Netherlandish artist Gerard David. Likely completed between 1510 and 1515, it shows the Virgin Mary holding the child Jesus, while she is crowned Queen of Heaven by two angels above her, accompanied by music provided by another two angels placed at either side of her. In its fine detail and lush use of colour the work is typical of both David and late period Flemish art.
The Portrait of Cardinal Niccolò Albergati is a painting by early Netherlandish painter Jan van Eyck, dating to around 1431 and now in the Kunsthistorisches Museum of Vienna, Austria. Niccolò Albergati was traditionally identified as the subject of the portrait, but modern scholarship suggests that Henry Beaufort is more likely to be its subject. If the portrait is of Henry Beaufort, it would be the earliest realistic portrait of an Englishman. Other scholars maintain it does not depict a cardinal at all.
Lamentation (Pietà) is an oil painting on panel of the common subject of the Lamentation of Christ that is now regarded as by an artist in the "circle" of the Early Netherlandish painter Petrus Christus, rather than by Christus himself. It was painted in c. 1444, and is now in the Louvre in Paris.
Madonna in the Church is a small oil panel by the early Netherlandish painter Jan van Eyck. Probably executed between c. 1438–1440, it depicts the Virgin Mary holding the Child Jesus in a Gothic cathedral. Mary is presented as Queen of Heaven wearing a jewel-studded crown, cradling a playful child Christ who gazes at her and grips the neckline of her red dress in a manner that recalls the 13th-century Byzantine tradition of the Eleusa icon. Tracery in the arch at the rear of the nave contains wooden carvings depicting episodes from Mary's life, while a faux bois sculpture in a niche shows her holding the child in a similar pose. Erwin Panofsky sees the painting composed as if the main figures in the panel are intended to be the sculptures come to life. In a doorway to the right, two angels sing psalms from a hymn book. Like other Byzantine depictions of the Madonna, van Eyck depicts a monumental Mary, unrealistically large compared to her surroundings. The panel contains closely observed beams of light flooding through the cathedral's windows. It illuminates the interior before culminating in two pools on the floor. The light has symbolic significance, alluding simultaneously to Mary's virginal purity and God's ethereal presence.
The Crucifixion and Last Judgement diptych consists of two small painted panels attributed to the Early Netherlandish artist Jan van Eyck, with areas finished by unidentified followers or members of his workshop. This diptych is one of the early Northern Renaissance oil-on-panel masterpieces, renowned for its unusually complex and highly detailed iconography, and for the technical skill evident in its completion. It was executed in a miniature format; the panels are just 56.5 cm (22.2 in) high by 19.7 cm (7.8 in) wide. The diptych was probably commissioned for private devotion.
Triptych of the Sedano family is an oil-on-panel triptych altarpiece by the Early Netherlandish painter Gerard David, usually dated between 1490 and 1498, probably c. 1495. It is noted for its innovative framing and for its rendering of the decorative oriental carpet seen at Mary's feet.
The Cambrai Madonna, also called the Notre-Dame de Grâce, produced around 1340, is a small Italo-Byzantine, possibly Sienese, replica of an Eleusa icon. The work on which it is based is believed to have originated in Tuscany c. 1300, and influenced a wide number of paintings from the following century as well as Florentine sculptures from the 1440–1450s. This version was in turn widely copied across Italy and northern Europe during the 14th and 15th centuries; Filippo Lippi's 1447 Enthroned Madonna and Child is a well known example.
Madonna of the Dry Tree or Our Lady of the Barren Tree is a small oil-on-oak panel painting dated c. 1462–1465, attributed to the Early Netherlandish painter Petrus Christus. Its dramatic imagery shows the Virgin Mary holding the Christ Child within a tree, surrounded by black, withered branches forming a crown of thorns.
The Nativity is a devotional mid-1450s oil-on-wood panel painting by the Early Netherlandish painter Petrus Christus. It shows a nativity scene with grisaille archways and trompe-l'œil sculptured reliefs. Christus was influenced by the first generation of Netherlandish artists, especially Jan van Eyck and Rogier van der Weyden, and the panel is characteristic of the simplicity and naturalism of art of that period. Placing archways as a framing device is a typical van der Weyden device, and here likely borrowed from that artist's Saint John Altarpiece and Miraflores Altarpiece. Yet Christus adapts these painterly motifs to a uniquely mid-15th century sensibility, and the unusually large panel – perhaps painted as a central altarpiece panel for a triptych – is nuanced and visually complex. It shows his usual harmonious composition and employment of one-point-perspective, especially evident in the geometric forms of the shed's roof, and his bold use of color. It is one of Christus's most important works. Max Friedländer definitely attributed the panel to Christus in 1930, concluding that "in scope and importance, [it] is superior to all other known creations of this master."
The Mystic Marriage of St. Catherine is a c. 1480 oil-on-oak painting by the Early Netherlandish painter Hans Memling, now in the Metropolitan Museum of Art, New York. The Virgin Mary sits on a throne in a garden holding the Child Jesus in her lap. Mother and child are flanked by angels playing musical instruments, with St Catherine of Alexandria to the left opposite St Barbara on the right. The male figure standing slightly behind the celestial group presumably commissioned the painting as a devotional donor portrait.
Portrait of Maria Portinari is a small c. 1470–72 painting by Hans Memling in tempera and oil on oak panel. It portrays Maria Maddalena Baroncelli, about whom very little is known. She is about 14 years old, and depicted shortly before her wedding to the Italian banker, Tommaso Portinari. Maria is dressed in the height of late fifteenth-century fashion, with a long black hennin with a transparent veil and an elaborate jewel-studded necklace. Her headdress is similar and a necklace identical to those in her depiction in Hugo van der Goes's later Portinari Altarpiece, a painting that may have been partly based on Memling's portrait.
The Pagagnotti Triptych is an oil-on-wood triptych by Hans Memling produced circa 1480. The original was disassembled and separated, with the center panel held at the Uffizi gallery in Florence and the two wing panels at the National Gallery in London.
Exeter Madonna or Virgin and Child with Saint Barbara and Jan Vos are names given to a small oil-on-wood panel painting completed c. 1450 by the Early Netherlandish painter Petrus Christus. It shows Saint Barbara presenting a Carthusian monk identified as Jan Vos, to the Virgin Mary who holds the Christ Child in her arms. Its diminutive size suggests it was meant as a personal devotional piece.
References
- ↑ Grosvenor, Bendor. "All Hail Maryan Ainsworth". arthistorynews, 26 February 2011. Retrieved 20 November 2015
- ↑ "Maryan Ainsworth Appointed Kress-Beinecke Professor at the Center for Advanced Study in the Visual Arts in Washington -". CODART. August 15, 2018. Retrieved May 9, 2019.
| International | |
|---|---|
| National | |
| Academics | |
| People | |
| Other | |
