2 edition of Aspects of Netherlandish carved altarpieces, 1380-1530 found in the catalog.
Aspects of Netherlandish carved altarpieces, 1380-1530
Lynn F. Jacobs
|Statement||Lynn F. Jacobs.|
|LC Classifications||NA5060 .J23 1987|
|The Physical Object|
|Pagination||216 p.,  p. of plates :|
|Number of Pages||216|
ISBN: OCLC Number: Description: pages: illustrations ; 25 cm. Contents: Introduction --Notes to introduction --I. Altar and van Eyck's Lucca Madonna ; Petrus Christus' Madonna with Saints Jerome and Francis ; Rogier van der Weyden's Thyssen Madonna and Child --Notes to Chapter I --II. Early Netherlandish painting was nourished by a vibrant national economy and international trade. Bruges was the favored residence of the dukes of Burgundy in the fifteenth century, and Antwerp was the commercial hub of Europe in the sixteenth.
More books were printed in the forty years before than had been produced during the entire Middle Ages. Oil Painting in the Netherlands Other developments revolutionized painting. A new market was created by the middle class for small versions of the painted panels found in church altarpieces for use in private devotions at home. Condition: Fair. Volume I. This is an ex-library book and may have the usual library/used-book markings book has hardback covers. In fair condition, suitable as a study copy. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,grams, ISBN: Seller Inventory #
This book on Northern Renaissance art focuses on the material aspects of art and the use that was made of the artworks produced in North Western Europe during the Early Renaissance period. Most (but by no means all) the art discussed is from Netherlandish artists in /5(4). Early Netherlandish art, sculpture, painting, architecture, and other visual arts created in the several domains that in the late 14th and 15th centuries were under the rule of the dukes of Burgundy, coincidentally counts of Flanders. As the terms “Burgundian” and “Flemish” describe only parts of.
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Early Netherlandish Carved Altarpieces, Medieval Tastes and Mass Marketing In the fifteenth and sixteenth centuries, large-scale, lavishly carved wooden altarpieces achieved great popularity in the South Netherlands. Over of these splendid works survive, yet until recently scholars have not paid them the attention they deserve.
: Early Netherlandish Carved Altarpieces, Medieval Tastes and Mass Marketing (): Jacobs, Lynn F.: BooksCited by: One of the very few books available on this subject in English, this volume presents a selection of the best and most representative works from the Victoria and Albert Museum's extensive collection of late-medieval Netherlandish sculpture.
Ranging from small, single figures and devotional altar carvings to full-scale altarpieces, the book looks not only at these fine sculptures themselves but. the carved altarpiece. Such Early Netherlandish Altarpieces prevailed just moments prior to the Protestant Reformation.
Despite the humanist movements of the Renaissance that seemed to secularize society, Catholicism prevailed, and perhaps was better 1 Lynn Jacobs, Early Netherlandish Carved Altarpieces, Medieval. If quizzed to name two sculptors of early Netherlandish wooden altarpieces, many of my colleagues and I would not pass or would do so only with considerable searching the depths of our memories.
Even if we relaxed the rules and permitted the use of the standard introductions to Netherlandish art by Charles Cuttler (), James Snyder (), or Craig Harbison (), these. Aspects of Netherlandish Carved Altarpieces.
Thesis English De oorspronkelijke betekenis en interpretatie van de keurmerken op Brabantse retabels. The remarkable late sixteenth-century account of Long Melford Church written by former churchwarden Roger Martyn includes a description of the carved wooden altarpiece placed at the high altar from (when, according to an inscription on the exterior of the church, the altarpiece was made) until –8.
Early Netherlandish Carved Altarpieces – Medieval Tastes and Mass Marketing. New York: Cambridge University Press, Popham, A.
Catalogue of Drawings by Dutch and Flemish Artists Preserved in the Department of Prints and Drawings in the British Museum, vol. London, Steinbart, Kurt. “Nachlese im Werke des Jacob. discussed numerous aspects of the work and its context: the surviving contract, iconographic content (the depicted subjects and the holy blood relic incorporated into its upper part), formal design, Riemenschneider’s artistic style and workshop practices, and the social-political tensions between the altarpiece’s patrons and its wider audience.
Early Netherlandish Carved Altarpieces, Medieval Tastes and Mass Marketing. By Lynn E Jacobs. (New York: Cambridge University Press. xv, $) This book must now be understood as a basic primer for the study of the manufacture, sale, and function of fifteenth- and sixteenth-- century carved wooden altarpieces in.
A carved altarpiece executed in a Brussels workshop in the late fifteenth or early sixteenth century, as well as two wooden sculptures exhibited at the Niguliste Museum, bear witness to the spread of Southern Netherlandish carved altarpieces to the eastern side of the Baltic Sea.
Early Netherlandish painting is the work of artists, sometimes known as the Flemish Primitives, active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance, especially in the flourishing cities of Bruges, Ghent, Mechelen, Leuven, Tournai and Brussels, all in present-day period begins approximately with Robert Campin and Jan van Eyck in.
Altarpiece, work of art that decorates the space above and behind the altar in a Christian church. Painting, relief, and sculpture in the round have all been used in altarpieces, either alone or in combination.
These artworks usually depict holy personages, saints, and biblical subjects. Several. This collection of essays explores the diverse ways in which Netherlandish art and luxury goods permeated the artistic landscape of Renaissance Spain.
Covering a wide range of approaches and perspectives, the book includes studies on carved altarpieces, stone sculpture, painting, tapestry, architectural design, prints and mathematical instruments. The Marketing and Standardization of South Netherlandish Carved Altarpieces: Limits on the Role of the Patron (pp.
) Lynn F. Jacobs DOI: / As a result of their popularity in the late 15th and the beginning of the 16th century, Netherlandish carved altarpieces were exported abroad to Rhineland and Westphalia, France, the Baltic Coast (especially Poland), the Iberian Peninsula, England and Scandinavia.
There still exist approximately Netherlandish carved altarpieces today. Description: The carved wooden altarpieces produced in the South Netherlands from the late-fourteenth through the mid-sixteenth centuries are among the most lavish and splendid examples of late medieval art.
Though currently one of the least known and appreciated types of Netherlandish art, such altarpieces were the most common form of. This review considers three books on Northern altarpieces, each with a rather different perspective.
Brigitte D’Hainaut-Zveny takes a fresh approach to the study of Netherlandish carved altarpieces of the fifteenth and sixteenth centuries. A well-known scholar of Brussels retables, D’Hainaut-Zveny’s focuses on the status of the altarpiece. taking Flemish carved altarpieces down a divergent path.
In short, producers of south Netherlandish carved retables, by adopting a clearly defined iconographic and aesthetic program, created their own market niche, their own easily recognizable commodity, which functioned much like a brand name today.
There is little to criticize in this book. As a result of their popularity in the late 15th and the beginning of the 16th century, Netherlandish carved altarpieces were exported abroad to Rhineland and Westphalia, France, the Baltic Coast (especially Poland), the Iberian Peninsula, England and Scandinavia.
There still exist more than Netherlandish carved altarpieces today. This round table, which is organized. Each group has one music book, suggesting that their singing is antiphonal and polyphonic.
The upper choir, composed of winged angels in white robes, may represent a children's chorus. Master of the Saint Lucy Legend, Netherlandish, active c. - c.Mary, Queen of Heaven, c. /, oil on panel, Samuel H. Kress Collection, Jan van Eyck's van der Paele Virgin, commissioned to mark his patron's chaplaincies at St.
Donatian's church, Bruges, can be situated within the visual culture of commemoration in the Netherlands, and specifically within the tradition of erecting a wall-mounted memorial to mark one's burial place or the site of a pious foundation.
Scrutiny of written sources—both archival documents and the.The present study shows that patrons played a more limited role in the production of South Netherlandish carved altarpieces. Many retables were made .