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what he saw as a co-existence of the spiritual and material worlds. The iconography was embedded in the work unobtrusively; typically the references comprised small but key background details. The embedded symbols were meant to meld into the scenes and were "a deliberate strategy to create an experience of spiritual revelation". Van Eyck's religious paintings in particular "always present the spectator with a transfigured view of visible reality". To him the day-to-day is harmoniously steeped in symbolism, such that, according to
Harbison, "descriptive data were rearranged ... so that they illustrated not earthly existence but what he considered supernatural truth." This blend of the earthly and heavenly evidences van Eyck's belief that the "essential truth of Christian doctrine" can be found in "the marriage of secular and sacred worlds, of reality and symbol". He depicts overly large Madonnas, whose unrealistic size shows the separation between the heavenly from earthly, but placed them in everyday settings such as churches, domestic chambers or seated with court officials.
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2461:. According to Nash, van der Weyden's panel is an insightful look at the appearance of pre-Reformation churches, and the manner in which images were placed so that they resonated with other paintings or objects. Nash goes on to say that, "any one would necessarily be seen in relation to other images, repeating, enlarging, or diversifying the chosen themes". Because iconoclasts targeted churches and cathedrals, important information about the display of individual works has been lost, and with it, insights about the meaning of these artworks in their own time. Many other works were lost to fires or in wars; the break-up of the Valois Burgundian state made the Low Countries the cockpit of European conflict until 1945. Van der Weyden's
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2770:. He built on Friedländer's attempts at attribution, but focused more on social history and religious iconography. Panofsky developed the terminology with which the Netherlandish paintings are usually described, and made significant advances identifying the rich religious symbolism especially of the major altarpieces. Panofsky was the first scholar to connect the work of Netherlandish painters and illuminators, noticing the considerable overlap. He considered the study of manuscripts to be integral to the study of panels, though in the end came to view illumination as less significant than panel painting – as a prelude to the truly significant work of the northern artists of the 15th and 16th centuries.
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as the arbiter of taste and their appreciation in turn drove demand for highly luxurious and expensive illuminated manuscripts, gold-edged tapestries and jewel-bordered cups. Their appetite for finery trickled down through their court and nobles to the people who for the most part commissioned local artists in Bruges and Ghent in the 1440s and 1450s. While
Netherlandish panel paintings did not have intrinsic value as did for example objects in precious metals, they were perceived as precious objects and in the first rank of European art. A 1425 document written by Philip the Good explains that he hired a painter for the "excellent work that he does in his craft". Jan van Eyck painted the
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2812:, "Social history was becoming increasingly important. Panofsky had never really talked about what kind of people these were." Harbison sees the works as objects of devotion with a "prayer book mentality" available to middle-class burghers who had the means and the inclination to commission devotional objects. Most recent scholarship is moving away from the focus on religious iconography; instead, it investigates how a viewer is meant to experience a piece, as with donor paintings that were meant to elicit the feeling of a religious vision. James Marrow thinks the painters wanted to evoke specific responses, which are often hinted at by the figures' emotions in the paintings.
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645:, an area intermittently ruled by the Burgundian court between 1435 and 1471. The Burgundian duchy was at its peak influence, and the innovations made by the Netherlandish painters were soon recognised across the continent. By the time of van Eyck's death, his paintings were sought by wealthy patrons across Europe. Copies of his works were widely circulated, a fact that greatly contributed to the spread of the Netherlandish style to central and southern Europe. Central European art was then under the dual influence of innovations from Italy and from the north. Often the exchange of ideas between the Low Countries and Italy led to patronage from nobility such as
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2280:. The philosophical and artistic traditions of the Mediterranean were not however part of the northern heritage, to the extent that many elements of Latin culture were actively disparaged in the north. The role of Renaissance humanism in art, for example, was less pronounced in the Low Countries than in Italy. Local religious trends had a strong influence on early northern art, as can be seen in the subject matter, composition and form of many late 13th- and early 14th-century artworks. The northern painters' doctrine was also built on elements of recent Gothic tradition, and less on the classical tradition prevalent in Italy.
2040:. They were rarely based on actual locations; the settings tended to be largely imagined, designed to suit the thematic thrust of the panel. Because most of the works were donor portraits, very often the landscapes were tame, controlled and served merely to provide a harmonious setting for the idealised interior space. In this, the northern artists lagged behind their Italian counterparts who were already placing their sitters within geographically identifiable and closely described landscapes. Some of the northern landscapes are highly detailed and notable in their own right, including van Eyck's unsentimental c. 1430
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1459:. There was a strong political aspect; the form had many influential patrons such as Jean, Duke of Berry and Philip the Good, the latter of whom collected more than a thousand illuminated books before his death. According to Thomas Kren, Philip's "library was an expression of the man as a Christian prince, and an embodiment of the state – his politics and authority, his learning and piety". Because of his patronage the manuscript industry in the Lowlands grew so that it dominated Europe for several generations. The Burgundian book-collecting tradition passed to Philip's son and his wife, Charles the Bold and
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not alter the sense of the real; in his paintings a domestic scene is no more complicated than a one showing religious iconography, but one the viewer would recognise and understand. Van der Weyden's symbolism was far more nuanced than Campin's but not as dense as van Eyck's. According to
Harbison, van der Weyden incorporated his symbols so carefully, and in such an exquisite manner, that "Neither the mystical union that results in his work, nor his reality itself for that matter, seems capable of being rationally analyzed, explained or reconstructed." His treatment of architectural details,
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royalty, the upper nobility or princes of the church. The new affluence in the
Burgundian Netherlands brought a wider variety of clientele, as members of the upper middle class could now afford to commission a portrait. As a result, more is known about the appearance and dress of the region's people than at any time since the late Roman period. Portraits did not generally require lengthy sittings; typically a series of preparatory drawings were used to flesh out the final panel. Very few of these drawings survive, a notable exception being
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1391:, prayer books and histories, as well as romance and poetry books. At the start of the 15th century, Gothic manuscripts from Paris dominated the northern European market. Their popularity was in part due to the production of more affordable, single leaf miniatures which could be inserted into unillustrated books of hours. These were at times offered in a serial manner designed to encourage patrons to "include as many pictures as they could afford", which clearly presented them as an item of fashion but also as a form of
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genre pieces. Many surviving panels are painted on both sides or with the reverse bearing family emblems, crests or ancillary outline sketches. In the case of single panels, the markings on the reverse are often wholly unrelated to the obverse and may be later additions, or as
Campbell speculates, "done for the artist's amusement". Painting each side of a panel was practical since it prevented the wood from warping. Usually the frames of hinged works were constructed before the individual panels were worked on.
1163:, where the location is a fusion of the earthly and celestial. Van Eyck's iconography is often so densely and intricately layered that a work has to be viewed multiple times before even the most obvious meaning of an element is apparent. The symbols were often subtly woven into the paintings so that they only became apparent after close and repeated viewing, while much of the iconography reflects the idea that, according to John Ward, there is a "promised passage from sin and death to salvation and rebirth".
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2504:" term is often used, a derivative of a German term. Collecting a group of works under one notname is often contentious; a set of works assigned one notname could have been produced by various artists whose artistic similarities can be explained by shared geography, training, and response to market-demand influences. Some major artists who were known by pseudonyms are now identified, sometimes controversially, as in the case of Campin, who is usually, but not always, associated with the Master of Flémalle.
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1601:) with tapestries showing scenes of the "Battle and Overthrow of People of Liege". At Charles the Bold and Margaret of York's wedding the room "was hung above with draperies of wool, blue and white, and on the sides was tapestried with a rich tapestry woven with the history of Jason and the Golden Fleece". Rooms typically were hung from ceiling to floor with tapestries and some rooms named for a set of tapestries, such as a chamber Philip the Bold named for a set of white tapestries with scenes from
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reduced number in part follows from the identification of other mid-15th-century painters such as van der Weyden, Christus and
Memling, while Hubert, so highly regarded by late-19th-century critics, is now relegated as a secondary figure with no works definitively attributed to him. Many early Netherlandish masters have not been identified, and are today known by "names of convenience", usually of the "Master of ..." format. The practice lacks an established descriptor in English, but the "
2702:, published in 1919, that the flowering of the school in the early 15th century resulted wholly from the tastes set by the Burgundian court. Another exhibition visitor, Georges Hulin de Loo, published an independent critical catalogue highlighting the large number of mistakes in the official catalogue, which had used attributions and descriptions from the owners. He and Max Friedländer, who visited and wrote a review of the Bruges exhibition, went on to become leading scholars in the field.
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export of works by major artists was, owing to the pressures of commercial demand, not adequately recorded. The practice of signing and dating works was rare until the 1420s, and while the inventories of collectors may have elaborately described the works, they attached little importance to recording the artist or workshop that produced them. Surviving documentation tends to come from inventories, wills, payment accounts, employment contracts and guild records and regulations.
2324:. By the early 16th century, the reputation of the northern masters was such that there was an established north–south trade in their works, although many of the paintings or objects sent south were by lesser artists and of lower quality. Innovations introduced in the north and adopted in Italy included the setting of figures in domestic interiors and the viewing of interiors from multiple vantage points, through openings such as doors or windows. Hugo van der Goes'
761:, active in the late 15th and early 16th centuries, remains one of the most important and popular of the Netherlandish painters. He was anomalous in that he largely forwent realistic depictions of nature, human existence and perspective, while his work is almost entirely free of Italian influences. His better-known works are instead characterised by fantastical elements that tend towards the hallucinatory, drawing to some extent from the vision of hell in van Eyck's
1040:) were more common in middle-class households, and records show a strong interest in domestically owned religious panel paintings. Members of the merchant class typically commissioned smaller devotional panels, containing specified subject matter. Alterations varied from having individualised panels added to a prefabricated pattern, to the inclusion of a donor portrait. The addition of coats-of-arms were often the only change – an addition seen in van der Weyden's
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2118:. Patinir's works are relatively small and use a horizontal format; this was to become so standard for landscapes in art that it is now called "landscape" format in ordinary contexts, but at the time it was a considerable novelty, as the vast majority of panel paintings before 1520 were vertical in format. World landscape paintings retain many of the elements developed from the mid-15th century, but are composed, in modern cinematic terms, as a
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barrel-shaped columns, droll cartouches, 'twisted' figures, and stunningly unrealistic colours – actually employ the visual language of
Mannerism". Wealthy northern merchants could afford to buy paintings from the top tier of artists. As a result, painters became increasingly aware of their status in society: they signed their works more often, painted portraits of themselves, and became well-known figures because of their artistic activities.
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1746:. In these paintings members of the Holy Family appear on the wings instead of just the central panels, while the latter is notable for the continuous landscape connecting the three inner panels. From the 1490s Hieronymus Bosch painted at least 16 triptychs, the best of which subverted existing conventions. Bosch's work continued the move towards secularism and emphasised landscape. Bosch also unified the scenes of the inner panels.
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that this situation has fostered a lack of caution in connecting works with historical persons, and that such connections often rest on tenuous circumstantial evidence. The identities of a number of well-known artists have been founded on the basis of a single signed, documented or otherwise attributed work, from which follow further attributions based on technical evidence and geographical proximity. The so-called
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began to explore illusionistic depictions of three dimensions. The painting of the early 16th century can be seen as leading directly from the artistic innovations and iconography of the previous century, with some painters, following the traditional and established formats and symbolism of the previous century, continuing to produce copies of previously painted works. Others came under the influence of
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931:" that proved his ability as a craftsman, and the payment of a substantial entrance fee. The system was protectionist at a local level through the nuances of the fee system. Although it sought to ensure a high quality of membership, it was a self-governing body that tended to favour wealthy applicants. Guild connections sometimes appear in paintings, most famously in van der Weyden's
199:. Their subjects are usually religious scenes or small portraits, with narrative painting or mythological subjects being relatively rare. Landscape is often richly described but relegated as a background detail before the early 16th century. The painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of
1981:– towards the less formal but more engaging three-quarter view. At this angle, more than one side of the face is visible as the sitter's body is rotated towards the viewer. This pose gives a better view of the shape and features of the head and allows the sitter to look out towards the viewer. The gaze of the sitter rarely engages the viewer. Van Eyck's 1433
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in the "Hours of Raoul d'Ailly". Commissions were often shared between several masters, with junior painters or specialists assisting, especially with details such as the border decorations, these last often done by women. The masters rarely signed their work, making attribution difficult; the identities of some of the more significant illuminators are lost.
2744:'s analysis in the 1950s and 1960s followed and in many ways challenged Friedländer's work. Writing in the United States, Panofsky made the work of the German art historians accessible to the English-speaking world for the first time. He effectively legitimized Netherlandish art as a field of study, and raised its status to something similar to the early
804:, one of the few who followed Bosch's style, is an important bridge between the Early Netherlandish artists and their successors. His work retains many 15th-century conventions, but his perspective and subjects are distinctly modern. Sweeping landscapes came to the fore in paintings that were provisionally religious or mythological, and his
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indicate that he had a good knowledge of both Latin and Greek. A number of artists were financially successful and much sought-after in the Low
Countries and by patrons across Europe. Many artists, including David and Bouts, could afford to donate large works to the churches, monasteries and convents of their choosing. Van Eyck was a
1951:, Dieric Bouts went further by situating the man in a room complete with a window that looks out at a landscape, while in the 16th century, the full-length portrait became popular in the north. The latter format was practically unseen in earlier northern art, although it had a tradition in Italy going back centuries, most usually in
1807:, diptychs typically functioned as less expensive and more portable altarpieces. Diptychs are distinct from pendants in that they are physically connected wings and not merely two paintings hung side by side. They were usually near-miniature in scale, and some emulated medieval "treasury art" -small pieces made of gold or ivory. The
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to create a heightened sense of contemporary beliefs and spiritual ideals. Morally the works express a fearful outlook, combined with a respect for restraint and stoicism. The paintings above all emphasise the spiritual over the earthly. Because the cult of Mary was at an apex at the time, iconographic elements related to the
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and silver – which often had to be imported. Entrepreneurs were in direct contact with the patron, and often went through the nuances of the design at both the cartoon and final stages. This examination was often a difficult business and necessitated delicate management; in 1400 Isabeau of
Bavaria rejected a completed set by
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born of the rising affluence of the region's middle class, many of whom had now travelled south and seen countryside noticeably different from their flat homeland. At the same time, the later part of the century saw the emergence of specialisation and a number of masters focused on detailing landscape, most notably
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lower art form and the majority of surviving pre-16th-century examples are unattributed. Large numbers of single devotional panels showing saints and biblical figures were being produced, but depictions of historical, known individuals did not begin until the early 1430s. Van Eyck was the pioneer; his seminal 1432
1314:, which are well recorded in surviving documentation, while demand for panel paintings is less evident – they may have been less suited to itinerant courts. Wall hangings and books functioned as political propaganda and as a means to showcase wealth and power, whereas portraits were less favoured. According to
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outlines of even the major artists' lives; attribution of some of the most significant works is still debated. Scholarship of Early
Netherlandish painting was one of the main activities of 19th- and 20th-century art history, and a major focus of two of the most important art historians of the 20th century:
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both sought out Netherlandish painters, sharing a preference for van der Weyden and Bosch. By the early 17th century, no collection of repute was complete without 15th- and 16th-century northern European works; the emphasis however tended to be on the Northern Renaissance as a whole, more towards the
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The northern masters were greatly admired in Italy. According to Friedländer they exercised a strong influence over 15th-century Italian artists, a view Panofsky agrees with. However, Italian painters began to move beyond Netherlandish influences by the 1460s, as they concentrated on composition with
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is an early example, which shows the artist himself looking at the viewer. Although there is often direct eye contact between subject and viewer, the look is normally detached, aloof and uncommunicative, perhaps to reflect the subject's high social position. There are exceptions, typically in bridal
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movement – grew in popularity. Private reflection and prayer was encouraged and the small-scale diptych fitted this purpose. It became popular among the newly emerging middle class and the more affluent monasteries across the Low Countries and northern Germany. Ainsworth says that regardless of size,
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alongside saints or the Virgin and Child. The donor was nearly always shown kneeling in full or half length, with hands clasped in prayer. The Virgin and Child are always positioned on the right, reflecting the Christian reverence for the right hand side as the "place of honour" alongside the divine.
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Netherlandish diptychs tend to illustrate only a small range of religious scenes. There are numerous depictions of the Virgin and Child, reflecting the Virgin's contemporary popularity as a subject of devotion. The inner panels consisted mainly of donor portraits – often of husbands and their wives –
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were widely popular in northern Europe from the mid-15th to the early 16th century. They consisted of two equally sized panels joined by hinges (or, less often, a fixed frame); the panels were usually linked thematically. Hinged panels could be opened and closed like a book, allowing both an interior
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Because tapestries were designed largely by painters, their formal conventions are closely aligned with the conventions of panel painting. This is especially true with the later generations of 16th-century painters who produced panoramas of heaven and hell. Harbison describes how the intricate, dense
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Netherlandish artists found increasingly inventive ways to highlight and differentiate their work from manuscripts from surrounding countries; such techniques included designing elaborate page borders and devising ways to relate scale and space. They explored the interplay between the three essential
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There was considerable overlap between panel painting and illumination; van Eyck, van der Weyden, Christus and other painters designed manuscript miniatures. In addition, miniaturists would borrow motifs and ideas from panel paintings; Campin's work was often used as a source in this way, for example
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Netherlandish illuminators had an important export market, designing many works specifically for the English market. Following a decline in domestic patronage after Charles the Bold died in 1477, the export market became more important. Illuminators responded to differences in taste by producing more
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Paintings and other precious objects served an important aid in the religious life of those who could afford them. Prayer and meditative contemplation were means to attain salvation, while the very wealthy could also build churches (or extend existing ones), or commission artworks or other devotional
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Other artists employed symbolism in a more prosaic manner, despite van Eyck's great influence on both his contemporaries and later artists. Campin showed a clear separation between spiritual and earthly realms; unlike van Eyck, he did not employ a programme of concealed symbolism. Campin's symbols do
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By the 16th century the iconographic innovations and painterly techniques developed by van Eyck had become standard throughout northern Europe. Albrecht DĂĽrer emulated van Eyck's precision. Painters enjoyed a new level of respect and status; patrons no longer simply commissioned works but courted the
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around 1590. There was considerable overlap, and the early- to mid-16th-century innovations can be tied to the Mannerist style, including naturalistic secular portraiture, the depiction of ordinary (as opposed to courtly) life, and the development of elaborate landscapes and cityscapes that were more
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in the mid-1950s pioneered methodologies and scholarship in technical studies. Examination of paint layers and underlayers was later applied to other Netherlandish works, allowing for more accurate attributions. Van Eyck's work, for example, typically shows underdrawings unlike Christus' work. These
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Netherlandish art became popular with museum-goers in the late 19th century. At the beginning of the 20th century, van Eyck and Memling were the most highly regarded, with van der Weyden and Christus little more than footnotes. Later many of the works then attributed to Memling were found to be from
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split Belgium from the Netherlands of today; as the newly created state sought to establish a cultural identity, Memling's reputation came to equal that of van Eyck in the 19th century. Memling was seen as the older master's match technically, and as possessing a deeper emotional resonance. When in
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Because Jan van Eyck's life is well documented in comparison to his contemporary painters, and because he was so clearly the period's innovator, a great number of works were attributed to him after art historians began to research the period. Today Jan is credited with about 26–28 extant works. This
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claimed it was appealing only to "monks and friars". At this point northern art began to fall almost completely out of favour in Italy. By the 17th century, when Bruges had lost its prestige and position as the pre-eminent European trading city (the rivers silted and ports were forced to close), the
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genre, which is typified by biblical or historical figures within an imagined panoramic landscape, usually mountains and lowlands, water and buildings. Paintings of this type are characterised by an elevated viewpoint, with the figures dwarfed by their surroundings. The format was taken up by, among
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and illuminated manuscripts. Full-length portraits were reserved for depictions of the highest echelon of society, and were associated with princely displays of power. Of the second generation of northern painters, Hans Memling became the leading portraitist, taking commissions from as far as Italy.
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Van der Weyden developed the conventions of northern portraiture and was hugely influential on the following generations of painters. Rather than merely follow van Eyck's meticulous attention to detail, van der Weyden created more abstract and sensual representations. He was highly sought after as a
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Late 20th-century technical examination has shown significant differences in technique and style between the panels of individual diptychs. The technical inconsistencies may be the result of the workshop system, in which the more prosaic passages were often completed by assistants. A change in style
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deemed them offensive, and many works in the Low Countries were destroyed. Extant examples are found mostly in German churches and monasteries. As secular works grew in demand, triptychs were often broken up and sold as individual works, especially if a panel or section contained an image that could
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describes how they bestowed a "prestige which, in the first half of the 15th century, only the workshops of the Burgundian Netherlands were capable of achieving". By the 1390s, Netherlandish altarpieces were produced mostly in Brussels and Bruges. The popularity of Brussels' altarpieces lasted until
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Looms were not controlled by the guilds. Dependent on a migrant workforce, their commercial activity was driven by entrepreneurs, who were usually painters. The entrepreneur would locate and commission patrons, hold a stock of cartoons and provide raw materials such as wool, silk, and sometimes gold
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The practical use of textiles results from their portability; tapestries provided easily assembled interior decorations suited to religious or civic ceremonies. Their value is reflected in their positioning in contemporary inventories, in which they are typically found at the top of the record, then
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and Hans Memling found patrons among the local nobility, they catered specifically to the large foreign population in Bruges. Painters not only exported goods but also themselves; foreign princes and nobility, striving to emulate the opulence of the Burgundian court, hired painters away from Bruges.
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Many of the Burgundian dukes could afford to be extravagant in their taste. Philip the Good followed the example set earlier in France by his great-uncles including Jean, Duke of Berry by becoming a strong patron of the arts and commissioning a large number of artworks. The Burgundian court was seen
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techniques. Smooth transitions of colour are possible because portions of the intermediary layers of paint can be wiped or removed as the paint dries. Oil enables differentiation among degrees of reflective light, from shadow to bright beams, and minute depictions of light effects through the use of
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was the dominant medium until the 1430s, and while it produces both bright and light colours, it dries quickly and is a difficult medium in which to achieve naturalistic textures or deep shadows. Oil allows smooth, translucent surfaces and can be applied in a range of thicknesses, from fine lines to
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as the dominant style in 15th-century northern European painting. These artists sought to show the world as it actually was, and to depict people in a way that made them look more human, with a greater complexity of emotions than had been previously seen. This first generation of Early Netherlandish
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continued and developed on Panofsky's work. They were key in identifying sources of iconography and ascribing attribution, or at least differentiating anonymous masters under names of convenience. The paucity of surviving documentation has made attribution especially difficult, a problem compounded
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with 35,000 visitors, an event that was a "turning point in the appreciation of early Netherlandish art". For a number of reasons, the chief of which was the difficulty of securing paintings for the exhibition, only a few of van Eyck's and van der Weyden's panels were displayed, while almost 40 of
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Many unidentified late-14th- and early-15th-century northern artists were of the first rank, but have suffered academic neglect because they have not been attached to any historical person; as Nash puts it, "much of what cannot be firmly attributed remains less studied". Some art historians believe
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Many thousands of religious objects and artefacts were destroyed, including paintings, sculptures, altarpieces, stained glass, and crucifixes, and the survival rate of works by the major artists is low – even Jan van Eyck has only some 24 extant works confidently attributed to him. The number grows
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From the late 15th century, a number of painters emphasised landscape in their works, a development led in part by the shift in preference from religious iconography to secular subjects. Second-generation Netherlandish painters applied the mid-14th-century dictum of natural representation. This was
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The paintings of the first generation of Netherlandish artists are often characterised by the use of symbolism and biblical references. Van Eyck pioneered, and his innovations were taken up and developed by van der Weyden, Memling and Christus. Each employed rich and complex iconographical elements
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By the 15th century the reach and influence of the Burgundian princes meant that the Low Countries' merchant and banker classes were in the ascendancy. The early to mid-century saw great rises in international trade and domestic wealth, leading to an enormous increase in the demand for art. Artists
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to whom they had to be affiliated to be allowed to operate and receive commissions. Guilds protected and regulated painting, overseeing production, export trade and raw material supply; and they maintained discrete sets of rules for panel painters, cloth painters and book illuminators. For example,
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notes that most are "beautifully made and finished objects. It can be extremely difficult to find the joins". Many paintings' frames were altered, repainted or gilded in the 18th and early 19th centuries when it was common practice to break apart hinged Netherlandish pieces so they could be sold as
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Polyptychs were produced by the more accomplished masters. They provide greater scope for variation, and a greater number of possible combinations of interior and exterior panels that could be viewed at one time. That hinged works could be opened and closed served a practical purpose; on religious
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A number of factors led to the popularity of Netherlandish illuminators. Primary was the tradition and expertise that developed in the region in the centuries following the monastic reform of the 14th century, building on the growth in number and prominence of monasteries, abbeys and churches from
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Religious paintings were commissioned for royal and ducal palaces, for churches, hospitals, and convents, and for wealthy clerics and private donors. The richer cities and towns commissioned works for their civic buildings. Artists often worked in more than one medium; van Eyck and Petrus Christus
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Membership of a guild was highly restricted and access was difficult for newcomers. A master was expected to serve an apprenticeship in his region, and show proof of citizenship, which could be obtained through birth in the city or by purchase. Apprenticeship lasted four to five years, ending with
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claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more
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Following van Eyck's innovations, the first generation of Netherlandish painters emphasised light and shadow, elements usually absent from 14th-century illuminated manuscripts. Biblical scenes were depicted with more naturalism, which made their content more accessible to viewers, while individual
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The avenues for research have been limited by many historical factors. Many archives were destroyed in bombing campaigns in the two world wars, and a great number of works for which records do exist are themselves lost or destroyed. The record-keeping in the region was inconsistent, and often the
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There have been significant challenges for art historians in establishing the names of Netherlandish masters and attributing specific works. The historical record is very poor, such that some major artists' biographies are still bare outlines, while attribution is an ongoing and often contentious
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Few intact diptychs survive. As with altarpieces, the majority were later separated and sold as single "genre" pictures. In the workshop system some were interchangeable, and the religious works may have been paired with newly commissioned donor panels. Later many diptychs were broken apart, thus
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was proportional to their display of devotion while on earth. The veneration of Mary reached a peak in the early 15th century, an era that saw an unending demand for works depicting her likeness. From the mid-15th century, Netherlandish portrayals of the life of Christ tended to be centred on the
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describes the blending of realism and symbolism as perhaps "the most important aspect of early Flemish art". The first generation of Netherlandish painters were preoccupied with making religious symbols more realistic. Van Eyck incorporated a wide variety of iconographic elements, often conveying
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The paintings were most often made on wood, but sometimes on the less expensive canvas. The wood was usually oak, often imported from the Baltic region, with the preference for radially cut boards which are less likely to warp. Typically the sap was removed and the board well-seasoned before use.
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in 1523. A number of mid- and late-16th-century artists maintained many of the conventions, and they are frequently but not always associated with the school. The style of these painters is often dramatically at odds with that of the first generation of artists. In the early 16th century, artists
465:
said that art of the era was meant to be fully integrated with daily routine, to "fill with beauty" the devotional life in a world closely tied to the liturgy and sacraments. After about 1500 a number of factors turned against the pervasive Northern style, not least the rise of Italian art, whose
1897:
Secular portraiture was a rarity in European art before 1430. The format did not exist as a separate genre and was only found infrequently at the highest end of the market in betrothal portraits or royal family commissions. While such undertakings may have been profitable, they were considered a
1730:
or Florentine traditions, were overwhelmingly characterised by images of the enthroned Virgin set against a gilded background. The wings usually contain a variety of angels, donors and saints, but there is never direct eye contact, and only rarely a narrative connection, with the central panel's
1638:
were typically executed on paper or parchment, put together by qualified painters, then sent to weavers, often across a great distance. Because cartoons could be re-used, craftsmen often worked on source material that was decades old. As both paper and parchment are highly perishable, few of the
1030:
Smaller works were not usually produced on commission. More often the masters anticipated the formats and images that would be most sought after and their designs were then developed by workshop members. Ready made paintings were sold at regularly held fairs, or the buyers could visit workshops,
948:
Workshops typically consisted of a family home for the master and lodging for apprentices. The masters usually built up inventories of pre-painted panels as well as patterns or outline designs for ready sale. With the former, the master was responsible for the overall design of the painting, and
242:
Early northern art in general was not well regarded from the early 17th to the mid-19th century, and the painters and their works were not well documented until the mid-19th century. Art historians spent almost another century determining attributions, studying iconography, and establishing bare
234:
became the political and economic centre of Northern Europe, noted for its crafts and luxury goods. Assisted by the workshop system, panels and a variety of crafts were sold to foreign princes or merchants through private engagement or market stalls. A majority of the works were destroyed during
1995:
Around 1508, Albrecht DĂĽrer described the function of portraiture as "preserving a person's appearance after his death". Portraits were objects of status, and served to ensure that the individual's personal success was recorded and would endure beyond his lifetime. Most portraits tended to show
2450:
Many of the period's artworks were commissioned by clergy for their churches, with specifications for a physical format and pictorial content that would complement existing architectural and design schemes. An idea of how such church interiors might have looked can be seen from both van Eyck's
2283:
While devotional paintings – especially altarpieces – remained dominant in Early Netherlandish art, secular portraiture became increasingly common in both northern and southern Europe as artists freed themselves from the prevailing idea that portraiture should be restricted to saints and other
656:
The first generation were literate, well educated and mostly from middle-class backgrounds. Van Eyck and van der Weyden were both highly placed in the Burgundian court, with van Eyck in particular assuming roles for which an ability to read Latin was necessary; inscriptions found on his panels
1769:
Triptychs were commissioned by German patrons from the 1380s, with large-scale export beginning around 1400. Few of these very early examples survive, but the demand for Netherlandish altarpieces throughout Europe is evident from the many surviving examples still extant in churches across the
1685:
were popular across Europe from the late 14th century, with the peak of demand lasting until the early 16th century. During the 15th century, they were the most widely produced format of northern panel painting. Preoccupied with religious subject matter, they come in two broad types: smaller,
1265:
as a means to bring the earthly closer to the divine, Mary left no bodily relics, thus assuming a special position between heaven and humanity. By the early 15th century, Mary had grown in importance within the Christian doctrine to the extent that she was commonly seen as the most accessible
2528:
in 1604. Nash believes a more probable explanation for the absence of theoretical writing on art outside Italy is that the northern artists did not yet have the language to describe their aesthetic values, or saw no point in explaining in writing what they had achieved in painting. Surviving
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Italian influences on Netherlandish art are first apparent in the late 15th century, when some of the painters began to travel south. This also explains why a number of later Netherlandish artists became associated with, in the words of art historian Rolf Toman, "picturesque gables, bloated,
1413:. English production, once of the highest quality, had greatly declined and relatively few Italian manuscripts went north of the Alps. The French masters did not give up their position easily however, and even in 1463 were urging their guilds to impose sanctions on the Netherlandish artists.
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binder was often used as an inexpensive alternative to oil. Many works using this medium were produced but few survive today because of the delicateness of the linen cloth and the solubility of the hide glue from which the binder was derived. Well known and relatively well preserved – though
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panels, a number of van der Weyden triptychs, and a Bouts altarpiece. Subjecting the works to meticulous analysis and examination in the course of acquisition, based on distinguishing characteristics of individual artists, he established an early scholarly system of classification.
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The lack of surviving theoretical writing on art and recorded opinion from any of the pre-16th-century major artists presents still more difficulties in attribution. DĂĽrer, in 1512, was the first artist of the era to properly set down in writing his theories of art, followed by
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Typically pseudonyms are applied after common elements are established among a group of works. Art historians consider similarities of theme, style, iconography, biblical source and physical location before attributing work to an individual or workshop, then assign a generic
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which tended to be clustered in certain areas of the major cities. The masters were allowed to display in their front windows. This was the typical mode for the thousands of panels produced for the middle class – city officials, clergy, guild members, doctors and merchants.
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transparent glazes. This new freedom in controlling light effects gave rise to more precise and realistic depictions of surface textures; van Eyck and van der Weyden typically show light falling on surfaces such as jewellery, wooden floors, textiles and household objects.
1920:
portraitist, yet there are noticeable similarities in his portraits, likely because he used and reused the same underdrawings, which met common ideals of rank and piety. These were then adapted to show the facial characteristics and expressions of the particular sitter.
1310:, by the early 16th century, the region led the field in almost every aspect of portable visual culture, "with specialist expertise and techniques of production at such a high level that no one else could compete with them". The Burgundian court favoured tapestry and
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whether a large altarpiece or a small diptych, Netherlandish painting is a "matter of small scale and meticulous detail". The small size was meant to entice the viewer into a meditative state for personal devotion and perhaps the "experience of miraculous visions".
1526:, in which the borders are decorated with large illusionistic flowers and insects. These elements achieved their effect by being broadly painted, as if scattered across the gilded surface of the miniatures. This technique was continued by, among others, the Flemish
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DĂĽrer's father, a goldsmith, spent time as a journeyman in the Netherlands and met with, according to his son, "the great artists". DĂĽrer himself travelled there between 1520 and 1521 and visited Bruges, Ghent and Brussels among other places. See Borchert (2011),
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Petrus Christus placed his sitter in a naturalistic setting rather than a flat and featureless background. This approach was in part a reaction against van der Weyden, who, in his emphasis on sculptural figures, utilised very shallow pictorial spaces. In his 1462
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identified as German and van der Weyden (born Roger de la Pasture) as French. Scholars were at times preoccupied as to whether the school's genesis was in France or Germany. These arguments and distinctions dissipated after World War I, and following the leads of
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The origins of the Early Netherlandish school lie in the miniature paintings of the late Gothic period. This was first seen in manuscript illumination, which after 1380 conveyed new levels of realism, perspective and skill in rendering colour, peaking with the
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being a better-known example. Often a master's workshop was occupied with both the reproduction of copies of proven commercially successful works, and the design of new compositions arising from commissions. In this case, the master would usually produce the
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typically painted the focal portions, such as the faces, hands and the embroidered parts of the figure's clothing. The more prosaic elements would be left to assistants; in many works it is possible to discern abrupt shifts in style, with the relatively weak
2740:. Friedländer focused on the biographical details of the painters, establishing attribution, and examining their major works. The undertaking proved extremely difficult, given the scant historical record of even the most significant artists. Fellow-German
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about 1530, when the output of the Antwerp workshops grew in favour. This was in part because they produced at a lower cost, allocating different portions of the panels among specialised workshop members, a practice Borchert describes as an early form of
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with later artists, but there are still anomalies; Petrus Christus is considered a major artist, but is given a smaller number of works than van Eyck. In general the later 15th-century works exported to southern Europe have a much higher survival rate.
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The first generation of Netherlandish masters borrowed many customs from 13th- and 14th-century Italian altarpieces. The conventions for Italian triptychs before 1400 were quite rigid. In central panels the mid-ground was populated by members of the
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brought changes in outlook and artistic expression as secular and landscape imagery overtook biblical scenes. Sacred imagery was shown in a didactic and moralistic manner, with religious figures becoming marginalized and relegated to the background.
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Before the mid-15th century, illuminated books were considered a higher form of art than panel painting, and their ornate and luxurious qualities better reflected the wealth, status and taste of their owners. Manuscripts were ideally suited as
835:, van Eyck arranges the scene as if the viewer has just entered the room containing the two figures. Advancements in technique allowed far richer, more luminous and closely detailed representations of people, landscapes, interiors and objects.
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in 1550 and Karel van Mander (c. 1604) placed the art works of era at the heart of Northern Renaissance art. Both writers were instrumental in forming later opinion about the region's painters, with emphasis on van Eyck as the innovator.
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are both thought to have contributed to manuscripts. Van der Weyden designed tapestries, though few survive. The Netherlandish painters were responsible for many innovations, including the advancement of the diptych format, the conventions of
392:, the latter generally considered the first Early Netherlandish master, under whom van der Weyden served his apprenticeship. Illumination reached a peak in the region in the decades after 1400, mainly due to the patronage of Burgundian and
1997:
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and the move away from the Gothic style. In this political and art-historical context, the north follows the Burgundian lands which straddled areas that encompass parts of modern France, Germany, Belgium, Luxembourg, and the Netherlands.
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pass as a secular portrait. A panel would sometimes be cut down to only the figure, with the background over-painted so that "it looked sufficiently like a genre piece to hang in a well-known collection of Dutch 17th-century paintings".
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of the Turin-Milan Hours as the anonymous artist known as Hand G. A number of illustrations from the period show a strong stylistic resemblance to Gerard David, though it is unclear whether they are from his hands or those of followers.
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Burgundian rule created a large class of courtiers and functionaries. Some gained enormous power and commissioned paintings to display their wealth and influence. Civic leaders also commissioned works from major artists, such as Bouts'
416:. The demand for illuminated manuscripts declined towards the end of the century, perhaps because of the costly production process in comparison to panel painting. Yet illumination remained popular at the luxury end of the market, and
2208:
1286:. These echoed the "miracle-working" Byzantine icons then popular in Italy. The format became extremely popular across the north, and his innovations are an important contributing factor to the emergence of the Marian diptych.
2106:. The significant artists from these areas did not slavishly reproduce the scenery before them, but in subtle ways adapted and modified their landscapes to reinforce the emphasis and meaning of the panel they were working on.
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explored the same mix of illusionism and realism. The Limbourgs' career ended just as van Eyck's began – by 1416 all the brothers (none of whom had reached 30) and their patron Jean, Duke of Berry were dead, most likely from
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at the Burgundian court and had easy access to Philip the Good. Van der Weyden was a prudent investor in stocks and property; Bouts was commercially minded and married the heiress Catherine "Mettengelde" ("with the money").
329:
and remains in use today, especially in Dutch and German. In this context, "primitive" does not refer to a perceived lack of sophistication, but rather identifies the artists as originators of a new tradition in painting.
1534:), known for his innovative page layout. Using various illusionistic elements, he often blurred the line between the miniature and its border, frequently using both in his efforts to advance the narrative of his scenes.
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1005:, Italy and the powerful families of England and Scotland. At first, masters had acted as their own dealers, attending fairs where they could also buy frames, panels and pigments. The mid-century saw the development of
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to Brussels in 1517, which were widely seen while in the city. Although the influence of Italian art was soon widespread across the north, it in turn had drawn on the 15th-century northern painters, with Michelangelo's
905:(c. 1440–55). The paint was generally applied with brushes or sometimes with thin sticks or brush handles. The artists often softened the contours of shadows with their fingers, at times to blot or reduce the
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original cartoons survive. Once a design was agreed upon its production might be farmed out among many weavers. Looms were active in all the major Flemish cities, in most of the towns and in many of the villages.
554:, Hand G's contributions to the Turin-Milan Hours "constitute the most marvelous group of paintings that have ever decorated any book, and, for their period, the most astounding work known to the history of art".
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The most usual way in the 15th century for a patron to commission a piece was to visit a master's workshop. Only a certain number of masters could operate within any city's bounds; they were regulated by artisan
6205:
Wuenschel, Joerg: Trust through Law – A Contribution to the History of the Regulation of the Art Trade and to the Protection of the Integrity of the Cultural Heritage, Baden-Baden, 2023. ISBN 978-3-7560-1127-8.
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More recent research from art historians such as Lorne Campbell relies on X-ray and infrared photography to develop an understanding of the techniques and materials used by the painters. The conservation of the
1319:
2666:; though a catalogue of works attributed to the School of Cologne, Jan van Eyck and van der Weyden was compiled by Waagen, there were no other buyers so Albert purchased them himself. At a period when London's
1132:, London. This fragment is unusually rich in iconographical detail, including the Magdalen's averted eyes, her attribute of ointment, and the concept of Christ as the word represented by the book in her hands.
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debate. Even the most widely accepted attributions are typically only as a result of decades of scientific and historical research originating from after the start of the 20th century. Some painters, such as
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pieces as a means to guarantee salvation in the afterlife. Vast numbers of Virgin and Child paintings were produced, and original designs were widely copied and exported. Many of the paintings were based on
1018:
1992:, when the object of the work is to make the sitter as attractive as possible. In these cases the sitter was often shown smiling, with an engaging and radiant expression designed to appeal to her intended.
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to Brussels to be woven into hangings. Such woven wall hangings played a central political role as diplomatic gifts, especially in their larger format; Philip the Good gifted several to participants at the
356:
a simultaneous shift in art began sometime between 1406 and 1420 when a "revolution took place in painting"; a "new beauty" in art emerged, one that depicted the visible rather than the metaphysical world.
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built on Panofsky's work, and resolved many of the issues that Panofsky had struggled with, especially in relation to identifying the sources of iconography, and attributing works of the early to mid-15th
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scenes. These, according to Pächt, should be defined as early examples of Netherlandish landscape painting. The landscape tradition in illuminated manuscripts would continue for at least the next century.
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was one of the most expensive and prized artistic products in Europe. Commercial production proliferated across the Netherlands and northern France from the early 15th century, especially in the cities of
2230:
505:, turning towards secular narrative cycles, as biblical imagery was blended with mythological themes. A full break from the mid-15th-century style and subject matter was not seen until the development of
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being "taken to pieces and lifted, panel by panel, into the tower to preserve it from the rioters". Antwerp saw very thorough destruction in its churches in 1566, followed by more losses in the Spanish
2320:
1866:
between panels can be seen, according to historian John Hand, because the divine panel was usually based on general designs sold on the open market, with the donor panel added after a patron was found.
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artists were interested in the accurate reproduction of objects (according to Panofsky they painted "gold that looked like gold"), paying close attention to natural phenomena such as light, shadow and
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the rules set higher citizenship requirements for miniaturists and prohibited them from using oils. Overall, panel painters enjoyed the highest level of protection, with cloth painters ranking below.
829:
and outlined figuration of earlier painting in favour of three-dimensional pictorial spaces. The position of viewers and how they might relate to the scene became important for the first time; in the
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or overall composition to be painted by assistants. As a result, many surviving works that evidence first-rank compositions but uninspired execution are attributed to workshop members or followers.
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discoveries, too, hint at the relationships between the masters of the first rank and those in the following generations, with Memling's underdrawings clearly showing van der Weyden's influence.
369:, Panofsky, and Pächt, English-language scholars now almost universally describe the period as "Early Netherlandish painting", although many art historians view the Flemish term as more correct.
160:
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
2808:
Scholarship since the 1970s has tended to move away from a pure study of iconography, instead emphasizing the paintings' and artists' relation to the social history of their time. According to
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in the mid-16th century was built on a subversion of the conventions of Early Netherlandish art, which in turn fell out of public favour. Yet it remained popular in some royal art collections;
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Landscape was a secondary concern to Netherlandish painters before the mid 1460s. Geographical settings were rare and when they did appear usually consisted of glimpses through open windows or
727:) and other innovations borrowed from France and southern Italy. Some 16th-century painters borrowed heavily from the previous century's techniques and styles. Even progressive artists such as
1607:. For about two centuries during the Burgundian period, master weavers produced "innumerable series of hangings heavy with gold and silver thread, the like of which the world had never seen".
3641:
1294:
Although the Netherlandish artists are primarily known for their panel paintings, their output includes a variety of formats, including illuminated manuscripts, sculpture, tapestries, carved
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Wealthy foreign patronage and the development of international trade afforded the established masters the chance to build up workshops with assistants. Although first-rank painters such as
466:
commercial appeal began to rival Netherlandish art by 1510, and overtook it some ten years later. Two events symbolically and historically reflect this shift: the transporting of a marble
2853:
From contemporary records, it is estimated that about a third were painted on canvas, but as these were far less durable, most extant works are on wooden panels. See Ridderbos (2005), 297
2904:
In 14th-century altarpieces the "nature of the subject" was most important; generally the more sacred the subject the more decorative and elaborate its treatment. See Huizinga (2009), 22
1523:
566:. These three artists are considered the first rank and most influential of the early generation of Early Netherlandish painters. Their influence was felt across northern Europe, from
1171:, colour and space is presented in such an inexplicable manner that "the particular objects or people we see before us have suddenly, jarringly, become symbols with religious truth".
2180:
1857:
Their development and commercial worth has been linked to a change in religious attitude during the 14th century, when a more meditative and solitary devotion – exemplified by the
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settings. The earliest northern examples are compound works incorporating engraving and painting, usually with two painted wings that could be folded over a carved central corpus.
1541:, leading to the destruction of many manuscripts. Originals were highly sought after, a revival that helped the rediscovery of Netherlandish art in the later part of the century.
629:
A number of artists traditionally associated with the movement had origins that were neither Dutch nor Flemish in the modern sense. Van der Weyden was born Roger de la Pasture in
1537:
During the early 19th century, the collection of 15th- and 16th-century Netherlandish cut-out, as miniatures or parts for albums, became fashionable amongst connoisseurs such as
2950:
of 1444 is credited as the earliest extant faithful portrayal in European art history of a landscape based on observation of real topographical features. See Borchert (2011), 58
1282:. Such a commission was usually executed as part of a triptych, or later as a more affordable diptych. Van der Weyden popularised the existing northern tradition of half-length
546:
are usually attributed. Although his identity has not been definitively established, Hand G, who contributed c. 1420, is thought to have been either Jan van Eyck or his brother
791:, Vienna. The most famous of Bruegel's several winter landscapes, the panel is indicative of how painting in the mid-16th century tended towards the secular and everyday life.
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in Heidelberg. Schopenhauer did primary archival research because there was very little historical record of the masters, apart from official legal documents. She published
2913:
The work comprises 12 exterior and 14 interior painted panels, and the different possible combinations of panels produced different intended meanings. See Toman (2011), 319
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era, a number of schools developed in northern Europe. Early Netherlandish art originated in French courtly art, and is especially tied to the tradition and conventions of
1734:
Netherlandish painters adapted many of these conventions, but subverted them almost from the start. Van der Weyden was especially innovative, as apparent in his 1442–1445
2609:, Paris. This work was first publicly displayed in 1802, attributed to van Eyck. Art historians in the 19th century were preoccupied with the difficulties of attribution.
1250:
is probably the best known. In this way the traditions of the earlier centuries were absorbed and re-developed as a distinctly rich and complex iconographical tradition.
1940:. One of the first portraits to present its sitter in a three-dimensional room. Many sources mention her enigmatic and complex expression, and petulant, reserved gaze.
10212:
1395:. The single leaves had other uses rather than inserts; they could be attached to walls as aids to private meditation and prayer, as seen in Christus' 1450–60 panel
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1904:
is one of the earliest surviving examples, emblematic of the new style in its realism and acute observation of the small details of the sitter's appearance. His
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Yet the earthly churches are heavily decorated with heavenly symbols. A heavenly throne is clearly represented in some domestic chambers (for example in the
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2582:– then attributed to van Eyck – was the only piece of Netherlandish art on display there. More large panels were added to the collection after the French
279:
The term "Early Netherlandish art" applies broadly to painters active during the 15th and 16th centuries in the northern European areas controlled by the
5300:
2617:
became interested in the work of Jan van Eyck and his followers, having seen early Netherlandish and Flemish paintings in the collection of the brothers
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in 1576, and a further period of official iconoclasm in 1581, which now included city and guild buildings, when Calvinists controlled the city council.
2153:, and the wealthy town-dweller's view of the countryside, art historians have explored the paintings as religious metaphors for the pilgrimage of life.
1375:
or offerings to commemorate dynastic marriages or other major courtly occasions. From the 12th century, specialist monastery-based workshops (in French
1092:. Civic commissions were less common and were not as lucrative, but they brought notice to and increased a painter's reputation, as with Memling, whose
868:
thick broad strokes. It dries slowly and is easily manipulated while still wet. These characteristics allowed more time to add subtle detail and enable
557:
Jan van Eyck's use of oil as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian
156:
that characterised developments in Italy. Beginning in the 1490s, as increasing numbers of Netherlandish and other Northern painters traveled to Italy,
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2583:
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a greater emphasis on harmony of parts belonging together – "that elegant harmony and grace ... which is called beauty", evident, for example, in
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41:
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5657:
Châtelet, Albert. "Early Dutch Painting, Painting in the northern Netherlands in the 15th century". Montreux: Montreux Fine Art Publications, 1980.
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Trust through Law – A Contribution to the History of the Regulation of the Art Trade and to the Protection of the Integrity of the Cultural Heritage
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Memling's pieces were shown. Nevertheless, van Eyck and van der Weyden, to an extent, were then considered the first rank of Netherlandish artists.
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dating, and the particular use of Baltic oak gives clues as to the artist's location. The panels generally show very high degrees of craftsmanship.
1832:
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was the first historian to place Netherlandish art squarely in the Burgundian period – outside of nationalistic borders – suggesting in his book
5554:. "Innovation, reconstruction, deconstruction: Early Netherlandish Diptychs in the mirror of their reception". John Hand and Ron Spronk (eds.),
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illustrated with the head of Christ. The French artists were overtaken in importance from the mid-15th century by masters in Ghent, Bruges and
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1947:
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326:
313:
The Netherlandish artists have been known by a variety of terms. "Late Gothic" is an early designation which emphasises continuity with the
253:
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Spronk, Ron. "More than Meets the Eye: An Introduction to Technical Examination of Early Netherlandish Paintings at the Fogg Art Museum".
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384:. Modern art historians see the era as beginning with 14th-century manuscript illuminators. They were followed by panel painters such as
1475:, who was an avid collector of Flemish manuscripts. The libraries left by Philip and Edward IV formed the nucleus from which sprang the
562:
scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and
9707:
6244:
2130:. Hieronymus Bosch adapted elements of the world landscape style, with the influence especially notable in his single-panel paintings.
456:, Madrid. Art historians are divided as to whether the central panel was intended as a moral warning or as a panorama of paradise lost.
2984:
3883:
2002:
855:, London), is an austere but affecting portrayal of sorrow and grief, and one of the few surviving 15th-century glue-size paintings.
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15th-century appreciations of contemporary Netherlandish art are exclusively written by Italians, the best known of which include
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1220:
263:
17:
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and exterior view, while the ability to close the wings allowed protection of the inner images. Originating from conventions in
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2042:
2020:
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reflects ivory carving of the period. The format was adapted by van Eyck and van der Weyden on commission from members of the
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5577:
5563:
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polyptych is perhaps the most significant loss; from records it appears to have been comparable in scale and ambition to the
2191:
1507:
1422:
7569:
6896:
6881:
6527:
2509:
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2094:. Most innovations in this format came from artists living in the Dutch regions of the Burgundian lands, most notably from
1082:
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of Bruges, who were mass-producing panels to be sold at fair stalls, have had as many as 500 painting attributed to them.
8307:
8290:
7691:
7301:
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The Bruges exhibition renewed interest in the period and initiated scholarship that was to flourish in the 20th century.
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or "Iconoclastic Fury" in 1566 in the Netherlands. On 19 August 1566, this wave of mob destruction reached Ghent, where
2295:
1983:
1932:
1052:
976:
675:
593:
9276:
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Of which three are documented but lost, eight survive fully intact, and five exist in fragments. See Jacobs (2000), 1010
321:" or the "Old Netherlandish school". "Flemish Primitives" is a traditional art-historical term borrowed from the French
9344:
8195:
6557:
6517:
5420:
2827:
Flemish and Netherlandish art were only distinguished from each other from the early 17th century. See Spronk (1997), 7
1707:, Paris. This triptych is noted for the floating "speech" inscriptions and the continuous landscape uniting the panels.
1480:
1436:
1427:
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2196:
1179:
699:, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up;
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2222:
2114:
others, Gerard David and Pieter Bruegel the Elder, and became popular in Germany, especially with painters from the
1659:
having earlier approved the designs, to de Laon's – and presumably his commissioner's – considerable embarrassment.
1232:" tradition, this complex panel has been described as an "unflinching, yet emotive depiction of physical suffering".
7681:
7157:
6906:
6781:
6725:
6188:
2516:, is one of the more notable examples; others include Hugo van der Goes, Campin, Stefan Lochner and Simon Marmion.
1923:
1468:
692:
683:, Washington. Van der Weyden moved portraiture away from idealisation and towards more naturalistic representation.
522:
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669:
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established centres of power in the Netherlands, they brought with them a more cosmopolitan outlook. According to
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9602:
9151:
9010:
8774:
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7630:
7339:
7294:
7232:
6992:
5719:
Elkins, John, "On the Arnolfini Portrait and the Lucca Madonna: Did Jan van Eyck Have a Perspectival System?".
5582:
3892:
2655:
2637:; Waagen's work drew on Schlegel and Schopenhauer's earlier analyses. Waagen went on to become director of the
2472:
1665:
1527:
1443:
882:
448:
2732:
The most significant early research of Early Netherlandish art occurred in the 1920s, in German art historian
1611:
ranked in accordance with their material or colouring. White and gold were considered of the highest quality.
10429:
8691:
8444:
7227:
7217:
6987:
6943:
6901:
6604:
6532:
5839:
5297:
2698:
2167:
2076:"explored new territory in the genre of landscape", seen in several of the leaves he painted for the c. 1520
2048:
1362:
Master of Girart de Roussillon, c. 1450, Burgundian wedding (Philip the Good and Isabella of Portugal).
1342:
1042:
767:. Bosch followed his own muse, tending instead towards moralism and pessimism. His paintings, especially the
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The first generations of artists were active during the height of Burgundian influence in Europe, when the
2028:, New York. The Crucifixion panel in this diptych is framed within an azure sky against a distant view of
439:
152:, but the early period (until about 1500) is seen as an independent artistic evolution, separate from the
9734:
9435:
8101:
7222:
6774:
5643:
Chapuis, Julien. "Early Netherlandish Painting: Shifting Perspectives". Maryan Ainsworth, et al. (eds.),
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2778:
by the workshop system. It was not until the late 1950s, after the research of Friedländer, Panofsky and
2416:
broke out across much of Northern Europe. These might be official and peaceable, as in England under the
2334:, played an important role in introducing Florentine painters to trends from the north, and artists like
2255:
2172:
1912:
1065:
9388:
5287:, 240; Queen Victoria donated the best of them to the National Gallery after the Prince Consort's death.
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8458:
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7659:
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6221:
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panel in 1860 from Edmond Beaucousin's "small but choice" collection of early Netherlandish paintings.
2025:
1890:
1099:
906:
348:, who were favoured by the Burgundian court over artists attached to the lavish French court. When the
8382:
1487:
lavish and extravagantly decorated works tailored for foreign elites, including Edward IV of England,
9230:
9109:
9065:
8473:
8116:
8084:
7982:
7468:
2760:
2530:
1519:
1363:
1318:, those that were commissioned functioned to highlight lines of succession, such as van der Weyden's
1088:
1056:
while in Philip's employ, and Rogier van der Weyden became the duke's portrait painter in the 1440s.
2638:
1937:
1009:
as a profession; the activity became purely commercially driven, dominated by the mercantile class.
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creating two saleable works from one. During the Reformation, religious scenes were often removed.
1818:
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holidays the more prosaic and everyday outer panels were replaced by the lush interior panels. The
1476:
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801:
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778:
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142:
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did not exist during the era; the works were known as "paintings with doors". See Jacobs (2011), 8
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970:
366:
27:
Work of artists active in the Low Countries during the 15th- and 16th-century Northern Renaissance
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3001:
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Described by Panofsky as "the interior viewed through a triple arcade". See Panofsky (1969), 142
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held under low light and with the panels split so that both sides can be displayed simultaneously
2630:
2412:
soon became the dominant force in Netherlandish Protestantism. From 1520, outbursts of reformist
1966:
in front of a landscape view. Van Eyck and van der Weyden similarly influenced the French artist
1555:
985:
981:
783:
680:
216:
9264:
9082:
8574:
5911:
The Early Portrait, from the Collection of the Prince of Liechtenstein and the Kunstmuseum Basel
5810:
Harbison, Craig. "The Art of the Northern Renaissance". London: Laurence King Publishing, 1995.
1447:
863:
can be traced to the 12th century, innovations in its handling and manipulation define the era.
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8485:
7453:
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7014:
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6886:
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5973:
Nash, Susie. "A Fifteenth-Century French Manuscript and an Unknown Painting by Robert Campin".
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7107:
7031:
6938:
6750:
6457:
6452:
6367:
6046:
Powell, Amy. "A Point 'Ceaselessly Pushed Back': The Origin of Early Netherlandish Painting.
2871:
2671:
2056:
2037:
1736:
1718:, completed in 1432, had different configurations for weekdays, Sundays and church holidays.
1254:
733:
618:
563:
393:
168:
36:
8332:
5501:
Ainsworth, Maryan. "Religious Painting from 1500 to 1550". Maryan Ainsworth, et al. (eds.),
5487:. "The Business of Art: Patrons, Clients and Art Markets". Maryan Ainsworth, et al. (eds.),
2622:
1977:
The Netherlandish artists moved away from the profile view – popularised during the Italian
1782:
Multi-panel Netherlandish paintings fell out of favour and were considered old-fashioned as
1749:
244:
138:
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7654:
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7263:
7122:
7112:
7102:
7048:
6955:
6805:
6720:
6715:
6437:
6229:
6090:
5570:
Van Eyck to Dürer: The Influence of Early Netherlandish painting on European Art, 1430–1530
5551:
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2014:
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838:
826:
822:
551:
502:
377:
288:
161:
153:
86:
82:
5669:
More Than Woven Paintings: The Reappearance of Rogier Van Der Weyden's Designs in Tapestry
2728:
work on these panels in the 1950s led to advances in methodology and technical application
1426:
perhaps marks both the beginning and a highpoint of Netherlandish illumination. Later the
582:
360:
In the 19th century, the Early Netherlandish artists were classified by nationality, with
8:
10404:
10249:
9834:
9750:
9719:
9597:
9560:
9361:
9247:
9094:
8767:
8453:
8439:
8045:
7968:
7846:
7766:
7744:
7188:
7130:
7067:
7004:
6845:
6745:
6700:
6332:
5937:
2343:
2301:
2277:
2103:
1616:
1612:
1450:'s chivalrous and romantic leaf from his "Livre du cœur d'Amour épris", c. 1458–1460
1266:
intercessor with God. It was thought that the length each person would need to suffer in
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750:
542:
and the Netherlandish artist known as Hand G, to whom the most significant leaves of the
405:
385:
318:
284:
149:
10328:
9572:
8106:
6067:
Silver, Larry. "The State of Research in Northern European Art of the Renaissance Era".
5982:
From van Eyck to Bruegel: Early Netherlandish Painting in the Metropolitan Museum of Art
5676:
From van Eyck to Bruegel: Early Netherlandish Painting in the Metropolitan Museum of Art
5645:
From Van Eyck to Bruegel: Early Netherlandish Painting in the Metropolitan Museum of Art
5594:
Campbell, Lorne. "The Art Market in the Southern Netherlands in the Fifteenth Century".
5503:
From Van Eyck to Bruegel: Early Netherlandish Painting in the Metropolitan Museum of Art
5489:
From Van Eyck to Bruegel: Early Netherlandish Painting in the Metropolitan Museum of Art
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8959:
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8713:
8500:
8275:
8149:
8079:
7941:
7936:
7713:
7478:
7443:
7193:
7140:
7135:
7095:
6960:
6833:
6730:
6497:
6397:
6392:
6288:
5710:
3018:
2650:
2558:
2485:
1906:
1776:
1628:
1624:
1258:
1139:
831:
757:
artists, sponsoring their travel and exposing them to new and wide-ranging influences.
506:
317:. In the early 20th century, the artists were variously referred to in English as the "
62:
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9530:
9210:
2606:
1704:
1253:
Marian devotion grew from the 13th century, mostly forming around the concepts of the
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9942:
9802:
9672:
9587:
9577:
9242:
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9099:
8718:
8681:
8652:
8605:
8468:
8414:
8404:
8394:
8285:
7963:
7875:
7865:
7852:
7841:
7504:
7433:
7408:
7364:
7150:
7145:
7090:
7009:
6999:
6972:
6950:
6866:
6735:
6609:
6492:
6487:
6482:
6442:
6317:
6196:
6179:
6130:
6098:
6081:
6078:
Peasant Scenes and Landscapes: The Rise of Pictorial Genres in the Antwerp Art Market
6058:
6023:
5999:
5985:
5964:
5947:
5928:
5914:
5900:
5886:
5872:
5844:
5825:
5811:
5791:
5774:
5740:
5696:
5688:
5679:
5658:
5648:
5634:
5620:
5606:
5573:
5559:
5528:
5520:
5506:
5492:
3695:
3022:
2791:
2774:
2663:
2575:
2397:
2259:
2142:
2134:
2064:
1971:
1957:
1882:
1822:
1783:
1758:
1594:
1417:
1192:
1002:
860:
716:
646:
543:
539:
468:
429:
306:
192:
184:
8256:
7676:
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808:
were complex, with overtones of religious skepticism and even hints of nationalism.
771:, are among the most significant and accomplished of the late Netherlandish period.
433:
10355:
10301:
10259:
9962:
9755:
9393:
9300:
9178:
8891:
8874:
8832:
8827:
8822:
8740:
8686:
8409:
8354:
8251:
8219:
8190:
8069:
8062:
8057:
8030:
7892:
7887:
7564:
7325:
7248:
6823:
6599:
6584:
6462:
6382:
6312:
6302:
6069:
5517:
Beggars, Iconoclasts, and Civic Patriots: the Political Culture of the Dutch Revolt
5484:
4242:
3650:
3049:
A term now obsolete in English, but the French and Dutch equivalents are still used
2716:
2667:
2534:
2525:
2489:
2401:
2335:
2146:
1753:
1714:
1620:
1603:
1589:
1531:
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1492:
1464:
1460:
1405:
1400:
1358:
1315:
1129:
878:
852:
758:
658:
598:
481:
443:
417:
413:
301:
268:
188:
146:
67:
10083:
6297:
6032:
Pearson, Andrea. "Personal Worship, Gender, and the Devotional Portrait Diptych".
5925:
Illuminated Manuscripts of Belgium and the Netherlands at the J. Paul Getty Museum
3694:. Schriften zum Kunst- und Kulturrecht (1. Auflage ed.). Baden-Baden: Nomos.
2590:, who after a visit in 1803 wrote an analysis of Netherlandish art, sending it to
1900:
340:("new art"), which linked the movement with innovative composers of music such as
10276:
10133:
10108:
10058:
9982:
9807:
9797:
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9657:
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9450:
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9398:
9146:
9053:
8995:
8817:
8812:
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7902:
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7733:
7686:
7669:
7593:
7534:
7524:
7463:
6918:
6477:
6467:
6427:
6402:
6387:
6372:
6347:
6342:
6322:
6160:
Ward, John. "Disguised Symbolism as Enactive Symbolism in Van Eyck's Paintings".
5764:
5749:
5448:
5424:
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5058:
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3645:
3005:
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2214:
2110:
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1927:
1858:
1742:
1699:
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1384:
1372:
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1187:
1106:
650:
547:
530:
453:
409:
397:
345:
341:
176:
46:
8160:
6167:
Wieck, Roger. "Folia Fugitiva: The Pursuit of the Illuminated Manuscript Leaf".
5980:
Orenstein, Nadine. "Pieter Bruegel the Elder". Maryan Ainsworth, et al. (eds.),
2785:
2710:
2276:
The progressions in northern art developed almost simultaneously with the early
53:
10338:
10306:
10254:
10202:
10185:
10175:
10103:
9765:
9642:
9612:
9509:
9497:
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9305:
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9104:
9000:
8703:
8399:
8339:
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8144:
8074:
7781:
7703:
7620:
7473:
6740:
6412:
6008:
5834:
5800:
3332:
Vlieghe (1998), 187–200. Highlights recent instances where institutions in the
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2693:
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German Albrecht DĂĽrer, by far the most collectable northern artist of the era.
2538:
2521:
2396:
accepted some imagery, but few Early Netherlandish paintings met his criteria.
1841:
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1693:
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817:
746:
688:
634:
558:
462:
331:
258:
9919:
7788:
6127:
Renaissance: Art and Architecture in Europe during the 15th and 16th Centuries
5544:
Blum, Shirley Neilsen. "Early Netherlandish Triptychs: A Study in Patronage".
2586:. These works had a profound effect on German literary critic and philosopher
1336:, new conventions for Marian portraits, and, through works such as van Eyck's
309:
are generally seen as the first major works of the Early Netherlandish period.
10388:
10239:
10207:
10068:
10063:
10046:
9874:
9869:
9854:
9829:
9819:
9770:
9430:
9408:
9339:
9205:
9034:
8937:
8913:
8896:
8864:
8849:
8630:
8620:
8615:
8519:
8268:
8229:
8168:
7994:
7951:
7720:
7649:
7581:
7423:
7317:
6422:
6407:
6352:
6337:
6282:
5674:
Christiansen, Keith. "The View from Italy". Maryan Ainsworth, et al. (eds.),
2641:
in Berlin, amassing a collection of Netherlandish art, including most of the
2417:
2393:
2115:
1804:
1560:
1347:
1299:
1283:
1241:
1155:
638:
613:
389:
231:
220:
122:
9724:
8869:
8531:
5417:
2597:
2570:
The Netherlandish painters were largely forgotten in the 18th century. When
1580:. The perceived technical ability of these artisans was such that, in 1517,
353:
239:
in the 16th and 17th centuries; today only a few thousand examples survive.
10318:
10271:
10227:
10217:
10180:
10150:
10113:
10088:
10078:
10041:
9884:
9667:
9535:
9259:
9188:
8985:
8908:
8659:
8610:
8514:
8495:
8463:
8360:
8300:
8295:
8040:
7860:
7698:
7556:
7539:
7499:
7494:
7448:
7386:
6472:
6432:
6417:
6377:
6362:
6357:
6327:
6307:
2633:
published the first modern scholarly work on early Netherlandish painting,
2591:
2426:
2408:
were wholly opposed to public religious images, above all in churches, and
2374:
2348:
2073:
1978:
1967:
1956:
He was highly influential on later painters and is credited with inspiring
1836:
1787:
1209:
959:
842:
728:
588:
497:
490:
473:
408:. This patronage continued in the low countries with the Burgundian dukes,
361:
314:
180:
172:
134:
130:
126:
57:
10313:
8174:
1635:
1518:
components of a manuscript: border, miniature and text. An example is the
10234:
10197:
10138:
10014:
10009:
10004:
9952:
9947:
9889:
9792:
9729:
9682:
9622:
9592:
9514:
9356:
9194:
9183:
9156:
9126:
8990:
8964:
8881:
8802:
8790:
8745:
8735:
8730:
8708:
8669:
8505:
8480:
8365:
8327:
8234:
8202:
8154:
7882:
7810:
7603:
7544:
7458:
7396:
7356:
6891:
6813:
6797:
6575:
5744:
2941:
2405:
2347:. By the mid-16th-century, however, Netherlandish art was seen as crude;
2186:
2150:
2123:
2087:
1723:
1432:
1322:
of Charles the Bold; or for betrothals as in the case of van Eyck's lost
928:
745:, often travelling between the cities. He moved to Antwerp in 1505, when
720:
641:
is often regarded as an Early Netherlandish painter because he came from
196:
157:
5705:
Deam, Lisa. "Flemish versus Netherlandish: A Discourse of Nationalism".
5455:, University of Massachusetts, 14 April 2000. Retrieved 15 December 2012
1878:
1597:
in 1435, where the halls were draped from top to bottom and all around (
1435:. Van Eyck is thought to have contributed several of the more acclaimed
1019:
Jean Wauquelin presenting his 'Chroniques de Hainaut' to Philip the Good
191:. These artists made significant advances in natural representation and
10281:
10093:
10053:
9999:
9967:
9859:
9697:
9652:
9545:
9351:
9161:
9029:
8750:
8552:
8344:
8185:
7973:
7739:
7644:
7608:
7598:
7576:
7391:
7381:
7369:
7321:
6114:
Teasdale Smith, Molly. "On the Donor of Jan van Eyck's Rolin Madonna".
5996:
Early Netherlandish Painting from Rogier van der Weyden to Gerard David
5956:
5714:
2571:
2413:
2385:
2284:
religious figures. In Italy this development was tied to the ideals of
1581:
1392:
1307:
1200:
1006:
998:
869:
373:
305:, completed in 1432 by Hubert and Jan van Eyck. This polyptych and the
236:
2738:
Meisterwerke der Niederländischen Malerei des 15. und 16. Jahrhunderts
2384:
Religious images came under close scrutiny as actually or potentially
10343:
10333:
10296:
10128:
10118:
10098:
9924:
9894:
9627:
9550:
8969:
8755:
8592:
8349:
8050:
7999:
7897:
7708:
7514:
7485:
6828:
6664:
6594:
6039:
John Goldsmith. "The Museum's Collection of Renaissance Tapestries".
2721:
2550:
2409:
2119:
2029:
1989:
1962:
1845:
1682:
1311:
1036:
889:
805:
724:
704:
496:
Netherlandish painting ends in the narrowest sense with the death of
421:
208:
7316:
5585:. "Robert Campin, the Master of Flémalle and the Master of Mérode".
1916:, commissioned as testament to Rolin's power, influence, and piety.
1669:
resembles, "in its precise symbolism ... a medieval tapestry".
1159:). More difficult to discern are the settings for paintings such as
32:
10323:
10244:
10192:
10123:
10036:
9957:
9909:
9775:
9760:
9617:
9555:
9487:
9381:
9366:
9040:
8954:
8944:
8932:
8676:
8139:
7836:
7776:
6649:
3333:
2882:("John of Flanders") into her service. See Ainsworth (1998a), 25–26
2782:, that the attributions generally accepted today were established.
2285:
2127:
1849:, after 1450, a rare surviving diptych with intact frame and hinges
1678:
1568:
938:
768:
687:
The Early Netherlandish masters' influence reached artists such as
336:
212:
204:
114:
102:
6055:
Early Netherlandish Paintings: Rediscovery, Reception and Research
5871:. University Park, PA: Pennsylvania State University Press, 2011.
2149:, the role of Antwerp as a booming centre both of world trade and
2126:. The human presence remained central rather than serving as mere
1455:
the 12th century that had already produced significant numbers of
9662:
9465:
9403:
9220:
9119:
8859:
8586:
8419:
8025:
7625:
7509:
6659:
6639:
2684:
van der Weyden or his workshop. In 1902, Bruges hosted the first
2501:
2095:
2078:
1808:
1799:
1687:
1585:
1577:
1410:
1388:
1295:
864:
742:
719:
at the start of the 16th century. There was a rise in demand for
696:
630:
567:
477:
425:
224:
200:
118:
110:
8581:
5752:, "Painting and the Counter-Reformation", from the catalogue to
4845:
Awch behelt daz gemell dy gestalt der menschen nach jrem sterben
3336:
have refused to loan painters to exhibitions labelled "Flemish".
3000:
The Boisserée collection was acquired in 1827, on the advice of
2338:
came under the influence of northern painters working in Italy.
2063:. The influence can be seen in the illuminations painted in the
10286:
10145:
9637:
9567:
9136:
9048:
8903:
8134:
6644:
5853:
Hulin de Loo, Georges. "Diptychs of Rogier van der Weyden: I".
2341:
Memling successfully merged the two styles, exemplified in his
2331:
2306:
2269:
2200:
2138:
2099:
1952:
950:
942:
738:
712:
708:
642:
637:
both worked in the Netherlands in a fully Netherlandish style.
571:
428:, found a new mass market, especially those by artists such as
295:
106:
94:
6766:
2658:
at Schloss Wallerstein was forced onto the market, his cousin
992:
styles. Mary is overly large, symbolizing her heavenly status.
607:
133:
in 1523, although many scholars extend it to the start of the
8370:
6654:
5869:
Opening Doors: The Early Netherlandish Triptych Reinterpreted
5671:, Volume 2. London: University of London, 2002. (Ph.D thesis)
5332:
2844:
painters taught members of their workshops to read and write.
2841:
2024:. Christ and thief before a view of Jerusalem, c. 1430.
1727:
1686:
portable private devotional works, or larger altarpieces for
1573:
1267:
1262:
919:
98:
6259:
6080:. Philadelphia, PA: University of Pennsylvania Press, 2006.
5726:
Freeman, Margaret. "A New Room for the Unicorn Tapestries".
145:. Early Netherlandish painting coincides with the Early and
10222:
9024:
1346:
in the 1430s, laying the foundation for the development of
1303:
167:
The major Netherlandish painters include Campin, van Eyck,
6146:
Van Vaernewijck, Marcus; de Smet de Naeyer, Maurice (ed).
5788:
Prayers and Portraits: Unfolding the Netherlandish Diptych
2250:
10213:
Art in the Protestant Reformation and Counter-Reformation
700:
287:. These artists became an early driving force behind the
6153:
Vlieghe, Hans. "Flemish Art, Does It Really Exist?". In
5739:. Translated by Heinz Norden. Leiden: Praeger, 1967–76.
5477:
Acres, Alfred. "Rogier van der Weyden's Painted Texts".
3854:
3852:
3850:
3848:
2766:
Panofsky was one of the first art historians to abandon
1244:
prototypes of the 12th and 13th centuries, of which the
5773:. (First pub. in German, 1916), London: Phaidon, 1981.
2475:
in 1695, and is today known only from a tapestry copy.
1634:
Tapestry production began with design. The designs, or
6155:
Simiolus: Netherlands Quarterly for the History of Art
6053:
Ridderbos, Bernhard; Van Buren, Anne; Van Veen, Henk.
5556:
Essays in Context: Unfolding the Netherlandish diptych
3639:
The Virgin and Child with Saints Barbara and Catherine
1631:
and Philip the Good all held substantial collections.
5803:. "Realism and Symbolism in Early Flemish Painting".
5631:
Medieval Tapestries in The Metropolitan Museum of Art
4530:
4528:
3845:
2724:
salt mine at the end of World War II. The pioneering
653:, who commissioned manuscripts from both traditions.
4428:
4426:
4424:
1786:
came to the fore in the mid-16th century. Later the
6041:
The Metropolitan Museum of Art Bulletin, New Series
5860:Jacobs, Lynn. "The Triptychs of Hieronymus Bosch".
4604:
4602:
4600:
3797:
3795:
3793:
2133:The most popular subjects of this type include the
1553:"The Mystic Capture of the Unicorn", fragment from
937:, in which Christ's body is given the t-shape of a
129:in the 1420s and lasts at least until the death of
5537:Bauman, Guy. "Early Flemish Portraits 1425–1525".
4525:
2874:– who owned a collection of 300 paintings – hired
2471:. It was destroyed by French artillery during the
896:Virgin and Child with Saints Barbara and Catherine
5558:. Cambridge, MA: Harvard University Press, 2006.
4421:
4182:
4180:
3298:
3296:
2059:landscapes the Limbourg brothers painted for the
893:substantially damaged – examples include Matsys'
731:made copies, such as his reworking of van Eyck's
10386:
4597:
3790:
3193:
2055:Van Eyck was almost certainly influenced by the
1261:. In a culture that venerated the possession of
1001:coast, the north German and Polish regions, the
816:Campin, van Eyck and van der Weyden established
715:were the most important artistic centres in the
6193:Albrecht Altdorfer and the Origins of Landscape
6057:. Amsterdam: Amsterdam University Press, 2005.
5239:
5237:
5200:
5198:
4267:
4152:
4150:
2705:
2145:. As well as connecting the style to the later
1648:Tapestry with Scenes from the Passion of Christ
941:to reflect its commission for a chapel for the
6148:Mémoires d'un patricien gantois du XVIe siècle
5824:. Ithaca, NY: Cornell University Press, 1985.
5790:. New Haven, CT: Yale University Press, 2006.
5633:. New York: Metropolitan Museum of Art, 1993.
5519:, Ithaca, NY: Cornell University Press, 2008,
4956:
4954:
4952:
4950:
4670:
4177:
3995:
3993:
3965:
3963:
3961:
3293:
1228:, Utrecht. One of the finest examples of the "
980:, 1434–1436. Wing from a dismantled triptych.
211:. The period is also noted for its sculpture,
7302:
6782:
6245:
6178:. Washington: National Gallery of Art, 1987.
5843:. Oxford: Benediction, 1924, (2009 edition).
5603:The Fifteenth-Century Netherlandish Paintings
4697:
4062:
3277:
3275:
3273:
3271:
2424:, or unofficial and often violent, as in the
2046:and van der Weyden's widely copied 1435–1440
93:. It flourished especially in the cities of
77:is the body of work by artists active in the
5234:
5195:
4387:
4385:
4275:"Manuscript Illumination in Northern Europe"
4147:
3875:
3873:
2355:
1672:
1403:, which shows a small leaf with text to the
695:, both of whom, working in mid-15th-century
195:, and their work typically features complex
6615:Master of the Amsterdam Death of the Virgin
6523:Master of the Legend of St. Ursula (Bruges)
6143:. Whitefish, MT: Kessinger Publishing, 1944
5822:Panofsky and the Foundations of Art History
5050:analysed in Arnade, 146 (quoted); see also
4947:
4813:
4811:
4715:
4706:
3990:
3958:
2574:was converted to an art gallery during the
1615:had 57 tapestries, of which 16 were white.
997:from the area attracted patronage from the
633:. The German Hans Memling and the Estonian
461:portraits became more evocative and alive.
7309:
7295:
6789:
6775:
6252:
6238:
6013:Renaissance and Renascences in Western Art
5883:Janson's History of Art: Western Tradition
5186:
3268:
1102:brought him additional civic commissions.
5963:. Oxford: Oxford University Press, 2008.
5927:. Los Angeles: Getty Publications, 2010.
5505:. New York: Metropolitan Museum, 1998b.
5491:. New York: Metropolitan Museum, 1998a.
5434:
5412:
5410:
4884:
4470:
4468:
4382:
3870:
3687:
3184:
3124:
3122:
3120:
3057:
3055:
2985:Virgin and Child with Canon van der Paele
2635:Ueber Hubert van Eyck und Johann van Eyck
2137:and the plight of hermits such as Saints
2109:Patinir developed what is now called the
2067:, which show rich landscapes in the tiny
1650:, c. 1470–90. Rijksmuseum, Amsterdam
1353:
811:
6095:The Northern Renaissance (Art and Ideas)
5647:. New York: Metropolitan Museum, 1998.
5391:
5389:
5104:
5102:
4875:
4868:
4866:
4808:
4556:
4554:
4552:
4491:
4489:
4440:
4438:
4321:
4216:
4214:
4212:
4210:
4140:
4138:
4136:
3284:
3078:
3076:
2784:
2750:
2709:
2654:1848 the collection of Prince Ludwig of
2596:
2364:
2294:
2254:
2013:
1922:
1877:
1831:
1748:
1692:
1641:
1548:
1497:
1442:
1357:
1117:
1058:
1011:
984:, Washington DC. The architecture shows
969:
837:
773:
668:
517:
438:
294:
274:
52:
31:
6109:Harvard University Art Museums Bulletin
5984:. New York: Metropolitan Museum, 1998.
5943:The Reformation: Europe's House Divided
5728:The Metropolitan Museum of Art Bulletin
5678:. New York: Metropolitan Museum, 1998.
5539:The Metropolitan Museum of Art Bulletin
5134:
5132:
4774:
4772:
4581:
4579:
4577:
4575:
4542:
4540:
4339:
4337:
4335:
4333:
4124:
4076:
4074:
4046:
4044:
4007:
4005:
3488:
3486:
3467:
3465:
3326:
3317:
3145:
3143:
3131:
2594:, who had the piece published in 1805.
2434:chronicled the events. He wrote of the
2251:Relationship to the Italian Renaissance
1811:seen in works such as van der Weyden's
1278:Those who could afford to commissioned
912:
121:. The period begins approximately with
14:
10387:
9990:Contemporary Indigenous Australian art
6169:The Journal of the Walters Art Gallery
5407:
4733:
4636:
4634:
4632:
4465:
4346:
4296:
4294:
4090:
4088:
4086:
3951:
3949:
3947:
3829:
3827:
3825:
3756:
3754:
3752:
3724:
3722:
3720:
3615:
3613:
3611:
3592:
3590:
3588:
3392:
3390:
3380:
3378:
3376:
3348:
3346:
3344:
3342:
3310:
3308:
3243:
3241:
3117:
3064:
3052:
2043:Crucifixion and Last Judgement diptych
2021:Crucifixion and Last Judgement diptych
2003:Portrait of Cardinal Niccolò Albergati
1988:portraits or in the case of potential
1383:(collections of prayers to be said at
1046:, which exists in several variations.
955:Crucifixion and Last Judgement diptych
764:Crucifixion and Last Judgement diptych
570:and Poland in the east to Austria and
476:to Bruges in 1506, and the arrival of
8010:Art of the late 16th century in Milan
7290:
6770:
6233:
6141:The Last Flowering of the Middle Ages
5572:. London: Thames & Hudson, 2011.
5386:
5368:
5216:
5150:
5099:
5063:
4863:
4588:
4563:
4549:
4507:
4486:
4435:
4412:
4403:
4355:
4312:
4207:
4133:
4097:
3981:
3453:
3426:
3220:
3177:
3175:
3173:
3073:
3004:, to form part of the nucleus of the
1022:, presentation miniature, 1447–1448.
10440:Artists from the Spanish Netherlands
6696:Arts in the court of Philip the Good
6686:Works by Early Netherlandish masters
6528:Master of the Legend of the Magdalen
5311:, London. Retrieved 12 January 2014.
5168:
5159:
5141:
5129:
4902:
4769:
4760:
4661:
4572:
4537:
4373:
4330:
4189:
4071:
4053:
4041:
4002:
3483:
3462:
3140:
3092:
3090:
3088:
2627:Johann van Eyck und seine Nachfolger
2510:Master of the Legend of the Magdalen
2464:The Justice of Trajan and Herkinbald
2242:Landscape with the Flight into Egypt
2219:Landscape with the Flight into Egypt
1974:and Martin Schongauer among others.
1910:is filled with symbolism, as is the
1083:The Justice of Trajan and Herkinbald
737:. Gerard David linked the styles of
6513:Master of the Legend of St. Barbara
5786:; Metzger, Catherine; Spronk, Ron.
5667:Cleland, Elizabeth Adriana Helena.
5442:A Picture Worth Many Thousand Words
4944:Silver (1986), 26–36; Wood, 274–275
4629:
4291:
4083:
3944:
3926:
3908:
3881:Patronage at the Early Valois Court
3861:
3836:
3822:
3763:
3749:
3731:
3717:
3678:, London. Retrieved 7 November 2011
3654:, London. Retrieved 7 November 2011
3608:
3585:
3549:
3417:
3387:
3373:
3339:
3305:
3238:
2090:in the mid-15th century, and later
1726:; early works, especially from the
1703:, c. 1452. Oil on oak panels.
327:famous exhibition in Bruges in 1902
24:
9345:Vienna School of Fantastic Realism
8196:Neoclassical architecture in Milan
6706:Members of the Guild of Saint Luke
6518:Master of the Legend of Saint Lucy
6174:Wolff, Martha; Hand, John Oliver.
6015:. New York: Harper & Row, 1969
5899:. London: National Gallery, 2011.
5807:, Volume 66, No. 4, December, 1984
5605:. London: National Gallery, 1998.
4847:See Rupprich, Hans (ed). "DĂĽrer".
4246:, London. Retrieved 4 January 2004
3531:
3170:
3008:, Munich. See Ridderbos (2005), 86
2840:in his signature, and a number of
2674:purchased Rogier van der Weyden's
2061:Très Riches Heures du Duc de Berry
1508:Très Riches Heures du Duc de Berry
1428:Master of the Legend of Saint Lucy
1423:Très Riches Heures du Duc de Berry
1195:, France. This small c. 1340
85:during the 15th- and 16th-century
25:
10461:
9419:American Figurative Expressionism
7755:International Gothic art in Italy
6819:Greek scholars in the Renaissance
6508:Master of the Embroidered Foliage
6211:
5998:. New York: Harvey Miller, 1997.
5885:. New York: Prentice Hall, 2006.
3085:
2670:sought to increase its prestige,
2352:Italians dominated European art.
2223:Royal Museum of Fine Arts Antwerp
1524:Vienna Master of Mary of Burgundy
1199:copy was believed an original by
141:'s acclaimed surveys run through
10369:
10368:
8928:Neue KĂĽnstlervereinigung MĂĽnchen
6558:Master of the View of Ste-Gudule
6195:, London: Reaktion Books, 1993.
6022:. London: Harper Collins, 1971.
5695:. New York: Tabard Press, 1980.
5541:, Volume 43, No. 4, Spring, 1986
5458:
5398:
5377:
5359:
5350:
5341:
5323:
5314:
5290:
5273:
5264:
5261:Ridderbos et al. (2005), 219–224
5255:
5246:
5225:
5207:
5177:
5120:
5111:
5090:
5081:
5072:
5044:
5035:
5026:
5017:
5008:
4999:
4990:
4981:
4972:
4963:
4938:
4929:
4920:
4911:
4893:
4854:
4838:
4829:
4820:
4799:
4790:
4781:
4751:
4742:
4724:
4688:
4679:
4652:
4643:
4620:
4611:
4516:
4498:
4477:
4456:
4447:
4394:
4364:
4303:
4258:
4249:
4223:
4198:
4168:
4159:
4115:
4106:
3334:French-speaking parts of Belgium
3011:
2994:
2972:
2962:
2953:
2935:
2925:
2916:
2907:
2898:
2885:
2478:
2369:Print of the destruction in the
2344:Virgin and Child with Two Angels
2302:Virgin and Child with Two Angels
2229:
2207:
2179:
2158:
1325:Portrait of Isabella of Portugal
1208:
1178:
1034:Less expensive cloth paintings (
693:Master of the Life of the Virgin
606:
597:, 1433; possible self-portrait.
581:
523:Master of the Life of the Virgin
9850:Tunisian collaborative painting
9323:International Typographic Style
6796:
6620:Master of the Figdor Deposition
6548:Master of the Morrison Triptych
6503:Master of the Antwerp Adoration
6097:. London: Phaidon Press, 2004.
5946:. London: Penguin Books, 2005.
5723:, Volume 73, No. 1, March, 1991
5619:. London: Chaucer Press, 2004.
5283:, excerpted in Frank Herrmann,
4032:
4023:
4014:
3972:
3935:
3917:
3899:
3813:
3804:
3781:
3772:
3740:
3708:
3681:
3657:
3631:
3622:
3599:
3576:
3567:
3558:
3540:
3522:
3513:
3504:
3495:
3474:
3444:
3435:
3408:
3399:
3364:
3355:
3259:
3250:
3229:
3211:
3202:
3161:
3152:
2856:
2847:
2830:
2686:exhibition of Netherlandish art
2373:, the "signature event" of the
1663:and overlaid detail of Bosch's
723:(using woodcuts or copperplate
9603:The Caribbean Artists Movement
6120:Essays in Honor of Harry Bober
6111:, Volume 5, No. 1, Autumn 1996
5548:, Volume 47, No. 2, April 1972
4286:The Metropolitan Museum of Art
3893:The Metropolitan Museum of Art
3108:
3099:
3043:
2836:Van Eyck used elements of the
2821:
2544:
2192:The Miraculous Draft of Fishes
1873:
1528:Master of James IV of Scotland
1113:
859:Although, the use of oil as a
753:, and the two became friends.
449:The Garden of Earthly Delights
325:that became popular after the
13:
1:
10425:Netherlandish Renaissance art
7959:Dutch and Flemish Renaissance
6605:Jacob Cornelisz van Oostsanen
6533:Master of the Lille Adoration
6034:The Sixteenth Century Journal
5862:The Sixteenth Century Journal
5840:The Waning of the Middle Ages
5298:Prince Albert and the Gallery
5252:Ridderbos et al. (2005), viii
5078:Van Vaernewijck (1905–6), 132
3082:Janson, H. W. (2006), 493–501
3032:
2759:during technical analysis in
2699:The Waning of the Middle Ages
2371:Church of Our Lady in Antwerp
2360:
2168:Saint Luke Drawing the Virgin
2049:Saint Luke Drawing the Virgin
1788:iconoclasm of the Reformation
1567:During the mid-15th century,
1343:Saint Luke Drawing the Virgin
1306:. According to art historian
1043:Saint Luke Drawing the Virgin
899:(c. 1415–25) and Bouts'
825:. They moved beyond the flat
691:and the painter known as the
594:Portrait of a Man in a Turban
513:
489:based on a type developed by
10400:Flemish Renaissance painters
10395:Early Netherlandish painting
10074:Modern European ink painting
9446:Bay Area Figurative Movement
7020:Platonism in the Renaissance
6924:Early Netherlandish painting
6681:Early Netherlandish painting
6543:Master of the Mansi Magdalen
6218:Early Netherlandish Painting
6176:Early Netherlandish painting
6020:Early Netherlandish Painting
5977:, Volume 137, No. 1108, 1995
5737:Early Netherlandish Painting
5431:. Retrieved 15 December 2012
5365:Ridderbos et al. (2005), 275
5356:Ridderbos et al. (2005), 284
5320:Ridderbos et al. (2005), 203
3896:. Retrieved 28 November 2013
3510:Ridderbos et al. (2005), 378
3208:Huizinga (2009 ed.), 223–224
3158:Ridderbos et al. (2005), 271
3037:
2706:Scholarship and conservation
2009:
1203:and therefore widely copied.
1077:Justice for Emperor Otto III
965:
267:only covering artists up to
264:Early Netherlandish Painting
254:Early Netherlandish Painting
75:Early Netherlandish painting
7:
9735:Artificial intelligence art
5629:Cavallo, Adolfo Salvatore.
5598:, Volume 118, No. 877, 1976
5591:, Volume 116, No. 860, 1974
5429:University of Massachusetts
5329:Campbell (1998), 13–14, 394
4851:, Volume 3. Berlin, 1966. 9
4080:Ridderbos et al (2005), 248
2584:conquered the Low Countries
2173:Museum of Fine Arts, Boston
2018:Detail from Jan van Eyck's
1913:Madonna of Chancellor Rolin
1794:
1544:
1338:Madonna of Chancellor Rolin
1302:, brass objects and carved
1161:Madonna of Chancellor Rolin
1066:Madonna of Chancellor Rolin
10:
10466:
9648:Post-painterly abstraction
9471:Situationist International
8845:Pennsylvania Impressionism
6929:Dutch and Flemish painting
6872:Central and Eastern Europe
6841:Outline of the Renaissance
6553:Master of the Prodigal Son
6538:Master of the LĂĽbeck Bible
6222:Metropolitan Museum of Art
6150:. Paris: N. Heins, 1905–06
5857:, Volume 43, No. 245, 1923
5470:
5338:Ridderbos et al. (2005), 5
5041:Christiansen (1998), 53–59
3492:Ainsworth (1998b), 326–327
3235:Ainsworth (1998b), 319–322
2978:The central panels of the
2947:Miraculous Draft of Fishes
2549:The dominance of Northern
2026:Metropolitan Museum of Art
1891:Metropolitan Museum of Art
1666:Garden of Earthly Delights
1289:
749:was the head of the local
89:period, once known as the
42:The Descent from the Cross
10364:
10168:
9933:
9743:
9523:
9315:
9299:
9231:California Scene Painting
9110:California Scene Painting
9066:Figurative Constructivism
8978:
8783:
8562:
8551:
8381:
8318:
8211:
8127:
8117:Poussinists and Rubenists
8018:
7822:
7555:
7355:
7346:
7333:
7241:
7208:
7176:
7121:
7066:
7057:
6854:
6804:
6726:Netherlandish Renaissance
6673:
6632:
6566:
6279:
6268:
6164:, Volume 15, No. 29, 1994
5913:. Munich: Prestel, 2006.
5709:, Volume 51, No. 1, 1998
5481:, Volume 21, No. 41, 2000
5285:The English as Collectors
4835:Kemperdick (2006), 21, 92
4288:. Retrieved 11 March 2012
3923:Ainsworth (1998a), 30, 34
3905:Ainsworth (1998a), 24, 28
3688:Wuenschel, Joerg (2023).
3605:Ridderbos (2005), 296–297
2720:during recovery from the
2356:Destruction and dispersal
2197:Musée d'Art et d'Histoire
1825:, Hans Memling and later
1673:Triptychs and altarpieces
1522:(c. 1467–80) by the
1471:; and to his son-in-law,
1364:Austrian National Library
10420:Netherlandish Gothic art
10329:Prehistoric European art
9978:Contemporary African art
9461:Gendai Bijutsu Kondankai
9389:GeneraciĂłn de la Ruptura
9016:Universal Constructivism
8808:California Impressionism
8763:American Barbizon school
6756:Nativity of Jesus in art
6129:. Bath: Parragon, 2011.
6073:, Volume 68, No. 4, 1986
6050:, Volume 88, No. 4, 2006
6036:, Volume 31, No. 1, 2000
5961:Northern Renaissance art
5864:, Volume 31, No. 4, 2000
5771:From Van Eyck to Bruegel
5730:. Volume 32, No. 1, 1973
4805:Borchert (2011), 277–283
4730:Kemperdick (2006), 21–23
4685:Huizinga (2009 ed.), 225
4676:Borchert (2006), 182–185
4121:MacCulloch (2005), 11–13
4103:Harbison (1991), 159–160
4038:Harbison (1984), 591–593
4020:Harbison (1984), 590–592
3941:Campbell (1998), 392–405
3932:Ainsworth (1998a), 25–26
3810:Harbison (1991), 169–187
3714:Campbell (1976), 190–192
3501:Orenstein (1998), 381–84
3396:Ainsworth (1998a), 24–25
2815:
2237:Pieter Bruegel the Elder
1933:Portrait of a Young Girl
1819:House of Valois-Burgundy
1646:Unknown Flemish weaver,
1477:Royal Library of Belgium
1226:Museum Catharijneconvent
1024:Royal Library of Belgium
877:Wood supports allow for
802:Pieter Bruegel the Elder
789:Kunsthistorisches Museum
779:Pieter Bruegel the Elder
372:In the 14th century, as
249:From Van Eyck to Breugel
143:Pieter Bruegel the Elder
10156:Walking Artists Network
9493:Letterist International
9333:Washington Color School
8247:Arts in the Philippines
6261:Early Netherlandish art
6118:, Volume 20, No. 1. In
6043:, Volume 6, No. 4, 1947
5975:The Burlington Magazine
5693:Hubert and Jan van Eyck
5596:The Burlington Magazine
5588:The Burlington Magazine
5568:Borchert, Till-Holger.
5279:Steegman, John (1950).
5032:Christiansen (1998), 58
5023:Christiansen (1998), 49
4996:Christiansen (1998), 53
4969:Christiansen (1998), 40
4739:Van der Elst (1944), 69
4721:Dhanens (1980), 269–270
4649:Hulin de Loo (1923), 53
4231:Portrait of a Young Man
3858:Campbell (1976) 188–189
3450:Van Der Elst (1944), 96
3423:Van Der Elst (1944), 76
3017:In the 1960s and 1970s
3002:Johann Georg von Dillis
2631:Gustav Friedrich Waagen
2629:in 1822, the same year
2473:bombardment of Brussels
2458:Exhumation of St Hubert
2165:Rogier van der Weyden,
1697:Rogier van der Weyden,
1604:The Romance of the Rose
1556:The Hunt of the Unicorn
1397:Portrait of a Young Man
1122:Rogier van der Weyden,
1016:Rogier van der Weyden,
982:National Gallery of Art
784:The Hunters in the Snow
681:National Gallery of Art
673:Rogier van der Weyden,
510:than background views.
382:illuminated manuscripts
217:illuminated manuscripts
18:Early Netherlandish art
10450:16th-century paintings
10445:15th-century paintings
10435:Burgundian Netherlands
10267:Illuminated manuscript
9915:The Designers Republic
9865:Neue Slowenische Kunst
9788:Pattern and Decoration
9688:Institutional critique
9328:Abstract expressionism
8308:Latin American Baroque
8264:Colonial Asian Baroque
6590:Geertgen tot Sint Jans
6448:Vrancke van der Stockt
6139:Van Der Elst, Joseph.
5895:Jones, Susan Frances.
5756:. Toledo, Ohio, 1993.
5014:Panofsky (1969), 142–3
4899:Ainsworth (1998b), 392
4849:Schriftlicher Nachlass
4667:Hand et al. (2006), 16
4264:Hand et al. (2006), 63
3546:Campbell (1998), 39–41
3441:Ainsworth (1998b), 319
3414:Châtelet (1980), 27–28
3352:Borchert (2011), 35–36
3226:Harbison (1995), 60–61
3217:Ainsworth (1998b), 321
2796:
2763:
2761:Saint Bavo's Cathedral
2729:
2662:arranged a viewing at
2610:
2432:Marcus van Vaernewijck
2390:Protestant Reformation
2388:from the start of the
2381:
2377:, August 20, 1566, by
2310:
2273:
2033:
1960:'s positioning of the
1941:
1938:Gemäldegalerie, Berlin
1894:
1850:
1766:
1708:
1651:
1564:
1510:
1451:
1367:
1354:Illuminated manuscript
1259:Assumption into heaven
1216:Geertgen tot Sint Jans
1133:
1070:
1027:
993:
953:passage in van Eyck's
934:Descent from the Cross
856:
812:Technique and material
792:
684:
664:Vrancke van der Stockt
534:
457:
315:art of the Middle Ages
310:
71:
50:
9905:Artist-run initiative
9880:Young British Artists
9845:New European Painting
9781:Moscow Conceptualists
9703:Feminist art movement
9481:Ukrainian underground
9456:Gutai Art Association
8855:Ten American Painters
8359:Western influence in
7336:List of art movements
7254:Medieval renaissances
7032:Scientific Revolution
6751:Adoration of the Magi
6458:Rogier van der Weyden
6453:Goswin van der Weyden
6091:Smith, Jeffrey Chipps
5909:Kemperdick, Stephan.
5707:Renaissance Quarterly
5552:Borchert, Till-Holger
5270:Smith (2004), 413–416
5147:Ainsworth (1998a), 36
4826:Kemperdick (2006), 21
4796:Kemperdick (2006), 25
4787:Kemperdick (2006), 24
4778:Kemperdick (2006), 28
4766:Kemperdick (2006), 26
4757:Kemperdick (2006), 23
4748:Smith (2004), 104–107
4703:Kemperdick (2006), 19
4658:Ainsworth (1998c), 79
4640:Hand et al. (2006), 3
4370:Wieck (1996), 234–237
4156:Ainsworth (1998a), 24
4112:MacCulloch (2005), 18
4059:Ainsworth (2009), 104
3914:Ainsworth (1998a), 30
3867:Ainsworth (1998a), 31
3842:Ainsworth (1998a), 37
3769:Ainsworth (1998a), 32
3746:Campbell (2004), 9–14
3728:Ainsworth (1998a), 34
3480:Oliver Hand et al. 15
3314:Kemperdick (2006), 55
3256:Harbison (1995), 26–7
2872:Isabella I of Castile
2870:in c. 1473, and
2788:
2754:
2734:Max Jakob Friedländer
2713:
2656:Oettingen-Wallerstein
2600:
2455:and van der Weyden's
2453:Madonna in the Church
2368:
2298:
2258:
2221:, late 15th century.
2171:, c. 1435–1440.
2057:Labours of the Months
2017:
1926:
1881:
1835:
1764:Doge's Palace, Venice
1752:
1737:Miraflores Altarpiece
1696:
1645:
1552:
1501:
1481:English Royal Library
1446:
1361:
1350:as a separate genre.
1340:and van der Weyden's
1255:Immaculate Conception
1224:, c. 1485–1495.
1121:
1062:
1015:
973:
927:the production of a "
841:
777:
734:Madonna in the Church
672:
619:Rogier van der Weyden
564:Rogier van der Weyden
529:, c. 1463–1490.
521:
452:, c. 1490–1510.
442:
394:House of Valois-Anjou
298:
275:Terminology and scope
169:Rogier van der Weyden
117:, all in present-day
56:
37:Rogier van der Weyden
35:
10430:Northern Renaissance
9715:Saqqakhaneh movement
9608:Chicano art movement
9476:Soviet Nonconformist
9282:Boston Expressionism
9265:Abstraction-Création
9083:Arbeitsrat fĂĽr Kunst
9076:Cologne Progressives
8796:Art Nouveau in Milan
8599:Anglo-Japanese style
8575:National romanticism
8005:Fontainebleau School
7915:Northern Renaissance
7750:International Gothic
7123:Northern Renaissance
6721:Northern Renaissance
6716:International Gothic
6595:Jan Joest van Calcar
6570:Northern Netherlands
6567:Active mainly in the
6438:Aert van den Bossche
6283:Southern Netherlands
6280:Active mainly in the
6162:Artibus et Historiae
5938:MacCulloch, Diarmaid
5897:Van Eyck to Gossaert
5820:Holly, Michael Ann.
5769:Friedländer, Max J.
5479:Artibus et Historiae
5440:Buchholz, Sarah R. "
5231:Smith (2004), 411–12
5204:Campbell (1998), 114
4872:Harbison (1995), 134
4617:Borchert (2006), 175
4560:Campbell (1998), 405
4504:Jacobs (2011), 26–28
4174:Cleland (2002), i–ix
4130:Borchert (2011), 206
4050:Harbison (1984), 596
4011:Harbison (1984), 590
3999:Harbison (1984), 589
3969:Harbison (1984), 601
3519:Panofsky (1969), 163
3459:Borchert (2011), 101
3432:Borchert (2011), 247
3370:Borchert (2011), 117
3114:Panofsky (1969), 165
2677:The Magdalen Reading
2615:Johanna Schopenhauer
2514:Pieter van Coninxloo
2512:, who may have been
2422:English Commonwealth
2327:Portinari Altarpiece
2265:Portinari Altarpiece
1772:Till-Holger Borchert
1539:William Young Ottley
1520:Nassau book of hours
1489:James IV of Scotland
1463:; his granddaughter
1143:vastly predominate.
1125:The Magdalen Reading
913:Guilds and workshops
552:Georges Hulin de Loo
503:Renaissance humanism
378:International Gothic
289:Northern Renaissance
162:International Gothic
154:Renaissance humanism
87:Northern Renaissance
83:Habsburg Netherlands
10250:Hierarchy of genres
9815:Saint Soleil School
9751:Post-conceptual art
9720:The Stars Art Group
9598:Black Arts Movement
9561:Neo-Dada Organizers
9362:Lyrical abstraction
9095:Australian tonalism
8768:California Tonalism
8440:Hudson River School
8243:Colonial Asian art
7983:English Renaissance
7932:Ghent–Bruges school
7920:Early Netherlandish
7832:Italian Renaissance
7745:Gothic art in Milan
7076:Bergamo and Brescia
7068:Italian Renaissance
6846:Renaissance studies
6746:Ghent-Bruges school
6701:Guild of Saint Luke
6573:(mostly present-day
6333:Melchior Broederlam
6286:(mostly present-day
6270:Early Netherlandish
5855:Burlington Magazine
5734:Friedländer, Max J.
5404:Campbell (2004), 74
5347:Chapuis (1998), 3–4
5243:Chapuis (1998), 4–7
5117:Campbell (1998), 21
4908:Harbison (1995), 61
4712:Dhanens (1980), 198
4569:Pearson (2000), 100
4546:Borchert (2011), 52
4534:Borchert (2011), 35
4522:Acres (2000), 88–89
4483:Campbell (2004), 89
4474:Jacobs (2000), 1009
4462:Harbison (1995), 80
4400:Phillip (1947), 123
4204:Harbison (1995), 27
4195:Harbison (1995), 47
4165:Cavallo (1993), 164
3819:Smith (2004), 26–27
3778:Borchert (2008), 86
3737:Harbison (1995), 64
3619:Campbell (1998), 31
3596:Campbell (1998), 29
3582:Borchert (2011), 24
3573:Borchert (2011), 22
3564:Jones (2011), 10–11
3528:Smith (2004), 58–60
3384:Campbell (1998), 20
3361:Smith (2004), 89–90
3281:Harbison (1995), 29
3265:Harbison (1995), 25
3247:Harbison (1995), 60
3190:Pächt (1999), 12–13
2746:Italian renaissance
2278:Italian Renaissance
1613:Charles V of France
1504:The Death of Christ
1502:Limbourg brothers,
1271:iconography of the
1188:The Cambrai Madonna
1089:Justice of Cambyses
1080:, van der Weyden's
879:dendrochronological
851:, c. 1440–55 (
406:Jean, Duke of Berry
386:Melchior Broederlam
334:preferred the term
319:Ghent-Bruges school
271:who died in 1516).
150:Italian Renaissance
10292:Landscape painting
9900:New Leipzig School
9840:Neo-conceptual art
9588:Art & Language
9583:Capitalist realism
9505:Florida Highwaymen
9441:Hard-edge painting
9255:Streamline Moderne
9216:Harlem Renaissance
9059:Novecento Italiano
8887:Deutscher Werkbund
8714:Post-Impressionism
8276:Latin American art
8080:Guild of Romanists
7942:German Renaissance
7937:Northern Mannerism
7194:Spanish Golden Age
6834:Northern Mannerism
6731:Northern Mannerism
6691:Flemish Primitives
6498:Master of Affligem
6398:Cornelis Liefrinck
6393:Adriaen Isenbrandt
6125:Toman, Rolf (ed).
5763:2021-02-24 at the
5689:Dhanens, Elisabeth
5515:Arnade, Peter J.,
5464:Chapuis (1998), 12
5447:2013-10-19 at the
5423:2013-06-05 at the
5374:Silver (1986), 518
5303:2021-05-08 at the
5213:Nash (2008), 22–23
5126:Nash (2008), 16–17
5057:2016-03-03 at the
4987:Deam (1998), 28–29
4917:Wood (1993), 42–47
4585:Pearson (2000), 99
4453:Cavallo (1973), 12
4432:Cavallo (1973), 21
4352:Nash (2008), 92–93
4309:Kren (2010), 20–24
4280:2010-08-05 at the
4236:2014-01-04 at the
3978:Powell (2006), 708
3886:2020-07-11 at the
3879:Chapuis, Julien. "
3801:Chapuis (1998), 13
3670:2022-03-27 at the
3644:2012-05-11 at the
3199:Chapuis (1998), 19
3167:Kren (2010), 11–12
3105:Deam (1998), 12–13
3096:Campbell (1998), 7
3019:Lotte Brand Philip
2797:
2764:
2730:
2651:Belgian Revolution
2623:Melchior Boisserée
2611:
2559:Philip II of Spain
2486:Adriaen Isenbrandt
2382:
2311:
2274:
2262:, detail from the
2034:
1942:
1907:Arnolfini Portrait
1895:
1851:
1777:division of labour
1767:
1709:
1652:
1629:Isabeau of Bavaria
1625:Isabella of Valois
1565:
1511:
1452:
1368:
1348:landscape painting
1134:
1100:Sint-Janshospitaal
1095:St John Altarpiece
1071:
1028:
994:
945:guild of archers.
857:
832:Arnolfini Portrait
793:
685:
676:Portrait of a Lady
666:invested in land.
535:
507:Northern Mannerism
458:
323:primitifs flamands
311:
245:Max J. Friedländer
139:Max J. Friedländer
91:Flemish Primitives
72:
63:Arnolfini Portrait
51:
10415:Netherlandish art
10382:
10381:
10164:
10163:
10020:Corporate Memphis
9973:Classical Realism
9943:Amazonian pop art
9835:Appropriation art
9803:Neo-expressionism
9673:Environmental art
9578:Nouvelle tendance
9295:
9294:
9243:Socialist realism
9100:Dresden Secession
8719:Neo-Impressionism
8682:Decadent movement
8653:Heidelberg School
8547:
8546:
8445:American luminism
8430:DĂĽsseldorf School
8425:Shoreham Ancients
8415:Nazarene movement
8405:Danish Golden Age
8286:Indochristian art
7964:Antwerp Mannerism
7853:Pittura infamante
7847:Florentine School
7842:Proto-Renaissance
7284:
7283:
7204:
7203:
7177:Iberian peninsula
6944:Italian sculpture
6764:
6763:
6736:Antwerp Mannerism
6711:Netherlandish art
6628:
6627:
6610:Master of Alkmaar
6493:Jacob van Utrecht
6488:Bernard van Orley
6483:Lieven van Lathem
6443:Hugo van der Goes
6318:Lancelot Blondeel
6189:Wood, Christopher
6171:, Volume 54, 1996
6157:, Volume 26, 1998
6135:978-1-4075-5238-5
6018:Panofsky, Erwin.
5905:978-1-85709-504-3
5849:978-1-84902-895-0
5784:Hand, John Oliver
5754:The Age of Rubens
5615:Campbell, Lorne.
5601:Campbell, Lorne.
5578:978-0-500-23883-7
5564:978-0-300-12140-7
5533:978-0-8014-7496-5
5485:Ainsworth, Maryan
5183:Chapuis (1998), 8
4978:Toman (2011), 198
4960:Toman (2011), 317
4935:Silver (1986), 27
4890:Pächt (1999), 187
4626:Smith (2004), 178
4608:Smith (2004), 134
4594:Smith (2004), 144
4495:Toman (2011), 319
4391:Freeman (1973), 1
4220:Wieck (1996), 233
4068:Evans (2004), 582
3701:978-3-7560-1127-8
3471:Toman (2011), 335
3302:Toman (2011), 322
3290:Pächt (1999), 179
3023:Elisabeth Dhanens
2792:Beaune Altarpiece
2789:Van der Weyden's
2775:Friedrich Winkler
2664:Kensington Palace
2578:, Gerard David's
2576:French Revolution
2398:Andreas Karlstadt
2260:Hugo van der Goes
2135:Flight into Egypt
2065:Turin-Milan Hours
1984:Portrait of a Man
1972:Hans Pleydenwurff
1948:Portrait of a Man
1887:Portrait of a Man
1883:Hugo van der Goes
1823:Hugo van der Goes
1821:, and refined by
1784:Antwerp Mannerism
1759:The Hermit Saints
1740:and c. 1452
1595:Congress of Arras
1448:Barthélemy d'Eyck
1418:Limbourg brothers
1193:Cambrai Cathedral
1003:Iberian Peninsula
717:Holy Roman Empire
647:Matthias Corvinus
544:Turin-Milan Hours
540:Limbourg brothers
482:tapestry cartoons
469:Madonna and Child
430:Martin Schongauer
307:Turin-Milan Hours
281:Dukes of Burgundy
185:Hugo van der Goes
16:(Redirected from
10457:
10372:
10371:
10356:Western painting
10302:Modern sculpture
10260:History painting
9963:Art intervention
9756:Installation art
9573:Nouveau réalisme
9313:
9312:
9287:Leningrad School
9179:Mexican muralism
9152:Grosvenor School
8892:American Realism
8875:Der Blaue Reiter
8833:Berlin Secession
8828:Vienna Secession
8823:Munich Secession
8741:Pont-Aven School
8560:
8559:
8410:Troubadour style
8388:(c. 1770 – 1862)
8355:Qing handicrafts
8321:Western elements
8252:Letras y figuras
8225:African-American
8220:African diaspora
8191:Directoire style
8102:Heptanese school
8085:Dutch Golden Age
8070:Stroganov School
8063:Lutheran Baroque
8058:Louis XIII style
8031:Baroque in Milan
7893:Bolognese School
7888:High Renaissance
7871:Forlivese School
7866:Ferrarese School
7589:Migration Period
7353:
7352:
7311:
7304:
7297:
7288:
7287:
7249:Cloak and dagger
7064:
7063:
6934:Italian painting
6824:High Renaissance
6791:
6784:
6777:
6768:
6767:
6600:Lucas van Leyden
6585:Hieronymus Bosch
6463:Jan van Dornicke
6383:Gerard Horenbout
6313:Ambrosius Benson
6303:Alexander Bening
6277:
6276:
6263:(c. 1420s–1530s)
6254:
6247:
6240:
6231:
6230:
6070:The Art Bulletin
6048:The Art Bulletin
5805:The Art Bulletin
5721:The Art Bulletin
5465:
5462:
5456:
5438:
5432:
5414:
5405:
5402:
5396:
5395:Kren (2010), 177
5393:
5384:
5381:
5375:
5372:
5366:
5363:
5357:
5354:
5348:
5345:
5339:
5336:
5330:
5327:
5321:
5318:
5312:
5309:National Gallery
5294:
5288:
5281:Consort of Taste
5277:
5271:
5268:
5262:
5259:
5253:
5250:
5244:
5241:
5232:
5229:
5223:
5220:
5214:
5211:
5205:
5202:
5193:
5192:Pächt (1997), 16
5190:
5184:
5181:
5175:
5172:
5166:
5163:
5157:
5156:Nash (2008), 123
5154:
5148:
5145:
5139:
5136:
5127:
5124:
5118:
5115:
5109:
5106:
5097:
5094:
5088:
5085:
5079:
5076:
5070:
5067:
5061:
5052:Art through time
5048:
5042:
5039:
5033:
5030:
5024:
5021:
5015:
5012:
5006:
5003:
4997:
4994:
4988:
4985:
4979:
4976:
4970:
4967:
4961:
4958:
4945:
4942:
4936:
4933:
4927:
4924:
4918:
4915:
4909:
4906:
4900:
4897:
4891:
4888:
4882:
4881:Pächt (1999), 29
4879:
4873:
4870:
4861:
4860:Smith (2004), 95
4858:
4852:
4842:
4836:
4833:
4827:
4824:
4818:
4817:Smith (2004), 96
4815:
4806:
4803:
4797:
4794:
4788:
4785:
4779:
4776:
4767:
4764:
4758:
4755:
4749:
4746:
4740:
4737:
4731:
4728:
4722:
4719:
4713:
4710:
4704:
4701:
4695:
4694:Bauman (1986), 4
4692:
4686:
4683:
4677:
4674:
4668:
4665:
4659:
4656:
4650:
4647:
4641:
4638:
4627:
4624:
4618:
4615:
4609:
4606:
4595:
4592:
4586:
4583:
4570:
4567:
4561:
4558:
4547:
4544:
4535:
4532:
4523:
4520:
4514:
4513:Blum (1972), 116
4511:
4505:
4502:
4496:
4493:
4484:
4481:
4475:
4472:
4463:
4460:
4454:
4451:
4445:
4444:Nash (2008), 209
4442:
4433:
4430:
4419:
4418:Nash (2008), 266
4416:
4410:
4409:Nash (2008), 264
4407:
4401:
4398:
4392:
4389:
4380:
4377:
4371:
4368:
4362:
4359:
4353:
4350:
4344:
4341:
4328:
4327:Nash (1995), 428
4325:
4319:
4316:
4310:
4307:
4301:
4298:
4289:
4271:
4265:
4262:
4256:
4253:
4247:
4243:National Gallery
4227:
4221:
4218:
4205:
4202:
4196:
4193:
4187:
4186:Jones (2011), 30
4184:
4175:
4172:
4166:
4163:
4157:
4154:
4145:
4142:
4131:
4128:
4122:
4119:
4113:
4110:
4104:
4101:
4095:
4094:Jones (2011), 14
4092:
4081:
4078:
4069:
4066:
4060:
4057:
4051:
4048:
4039:
4036:
4030:
4027:
4021:
4018:
4012:
4009:
4000:
3997:
3988:
3985:
3979:
3976:
3970:
3967:
3956:
3953:
3942:
3939:
3933:
3930:
3924:
3921:
3915:
3912:
3906:
3903:
3897:
3877:
3868:
3865:
3859:
3856:
3843:
3840:
3834:
3833:Jones (2011), 25
3831:
3820:
3817:
3811:
3808:
3802:
3799:
3788:
3787:Jones (2011), 29
3785:
3779:
3776:
3770:
3767:
3761:
3760:Jones (2011), 28
3758:
3747:
3744:
3738:
3735:
3729:
3726:
3715:
3712:
3706:
3705:
3685:
3679:
3676:National Gallery
3661:
3655:
3651:National Gallery
3635:
3629:
3628:Spronk (1997), 8
3626:
3620:
3617:
3606:
3603:
3597:
3594:
3583:
3580:
3574:
3571:
3565:
3562:
3556:
3555:Smith (2004), 61
3553:
3547:
3544:
3538:
3535:
3529:
3526:
3520:
3517:
3511:
3508:
3502:
3499:
3493:
3490:
3481:
3478:
3472:
3469:
3460:
3457:
3451:
3448:
3442:
3439:
3433:
3430:
3424:
3421:
3415:
3412:
3406:
3405:Nash (2008), 121
3403:
3397:
3394:
3385:
3382:
3371:
3368:
3362:
3359:
3353:
3350:
3337:
3330:
3324:
3323:Pächt (1999), 16
3321:
3315:
3312:
3303:
3300:
3291:
3288:
3282:
3279:
3266:
3263:
3257:
3254:
3248:
3245:
3236:
3233:
3227:
3224:
3218:
3215:
3209:
3206:
3200:
3197:
3191:
3188:
3182:
3179:
3168:
3165:
3159:
3156:
3150:
3147:
3138:
3137:Pächt (1999), 12
3135:
3129:
3128:Pächt (1999), 11
3126:
3115:
3112:
3106:
3103:
3097:
3094:
3083:
3080:
3071:
3070:Pächt (1999), 30
3068:
3062:
3061:Spronk (1996), 7
3059:
3050:
3047:
3027:
3015:
3009:
2998:
2992:
2988:, and Memling's
2980:Ghent Altarpiece
2976:
2970:
2966:
2960:
2957:
2951:
2939:
2933:
2929:
2923:
2920:
2914:
2911:
2905:
2902:
2896:
2889:
2883:
2860:
2854:
2851:
2845:
2834:
2828:
2825:
2802:Ghent Altarpiece
2757:Ghent Altarpiece
2717:Ghent Altarpiece
2672:Charles Eastlake
2668:National Gallery
2605:, c. 1500.
2603:Marriage at Cana
2580:Marriage at Cana
2535:Bartolomeo Facio
2526:Karel van Mander
2490:Ambrosius Benson
2469:Ghent Altarpiece
2436:Ghent Altarpiece
2402:Huldrych Zwingli
2336:Giovanni Bellini
2330:, in Florence's
2268:, c. 1475.
2233:
2211:
2183:
2162:
2147:Age of Discovery
2104:'s-Hertogenbosch
2079:Grimani Breviary
1998:van Eyck's study
1970:and the Germans
1889:, c. 1480.
1814:Virgin and Child
1762:, c. 1493.
1754:Hieronymus Bosch
1715:Ghent Altarpiece
1621:Mary of Burgundy
1619:owned 19, while
1532:Gerard Horenbout
1493:Eleanor of Viseu
1467:and her husband
1465:Mary of Burgundy
1461:Margaret of York
1457:liturgical texts
1401:National Gallery
1373:diplomatic gifts
1316:Maryan Ainsworth
1284:Marian portraits
1212:
1182:
1130:National Gallery
853:National Gallery
759:Hieronymus Bosch
659:valet de chambre
610:
599:National Gallery
585:
525:, a late Gothic
444:Hieronymus Bosch
414:Charles the Bold
402:Louis I of Anjou
376:gave way to the
350:Burgundian dukes
302:Ghent Altarpiece
285:Habsburg dynasty
269:Hieronymus Bosch
189:Hieronymus Bosch
137:in 1566 or 1568–
68:National Gallery
45:, c. 1435,
21:
10465:
10464:
10460:
10459:
10458:
10456:
10455:
10454:
10385:
10384:
10383:
10378:
10360:
10277:Interactive art
10160:
10134:SoFlo Superflat
10059:Kitsch movement
9983:Africanfuturism
9935:
9929:
9808:Transavantgarde
9739:
9693:Light and Space
9678:Performance art
9658:Psychedelic art
9541:Nueva Presencia
9531:Otra FiguraciĂłn
9519:
9451:Les Plasticiens
9436:New York School
9414:Action painting
9399:Metcalf Chateau
9308:
9303:
9291:
9211:Cercle et Carré
9147:New Objectivity
9054:Return to order
8996:School of Paris
8974:
8818:School of Paris
8779:
8665:Arts and Crafts
8570:Neo-romanticism
8555:
8543:
8539:Etching revival
8491:Barbizon school
8435:Pre-Raphaelites
8387:
8384:
8377:
8320:
8314:
8207:
8181:Louis XVI style
8123:
8112:Louis XIV style
8075:Animal painting
8036:Flemish Baroque
8014:
7925:World landscape
7876:Venetian School
7818:
7805:Majorcan school
7772:Novgorod School
7762:Lucchese School
7734:Opus Anglicanum
7726:Norman-Sicilian
7670:Italo-Byzantine
7570:Early Christian
7551:
7535:Pompeian Styles
7348:
7342:
7329:
7315:
7285:
7280:
7237:
7200:
7172:
7117:
7053:
6966:Northern Europe
6850:
6800:
6795:
6765:
6760:
6669:
6624:
6574:
6572:
6568:
6562:
6478:Justus van Gent
6468:Hubert van Eyck
6428:Joachim Patinir
6403:Lambert Lombard
6388:Lucas Horenbout
6373:Colijn de Coter
6348:Pierre Coustain
6343:Petrus Christus
6287:
6285:
6281:
6271:
6264:
6258:
6214:
6209:
6076:Silver, Larry.
6009:Panofsky, Erwin
5835:Huizinga, Johan
5801:Harbison, Craig
5765:Wayback Machine
5750:Freedberg David
5583:Campbell, Lorne
5473:
5468:
5463:
5459:
5449:Wayback Machine
5439:
5435:
5425:Wayback Machine
5415:
5408:
5403:
5399:
5394:
5387:
5383:Holly (1985), 9
5382:
5378:
5373:
5369:
5364:
5360:
5355:
5351:
5346:
5342:
5337:
5333:
5328:
5324:
5319:
5315:
5305:Wayback Machine
5295:
5291:
5278:
5274:
5269:
5265:
5260:
5256:
5251:
5247:
5242:
5235:
5230:
5226:
5222:Nash (2008), 24
5221:
5217:
5212:
5208:
5203:
5196:
5191:
5187:
5182:
5178:
5174:Nash (2008), 39
5173:
5169:
5165:Nash (2008), 44
5164:
5160:
5155:
5151:
5146:
5142:
5138:Nash (2008), 21
5137:
5130:
5125:
5121:
5116:
5112:
5108:Nash (2008), 14
5107:
5100:
5095:
5091:
5087:Arnade, 133–148
5086:
5082:
5077:
5073:
5069:Nash (2008), 15
5068:
5064:
5059:Wayback Machine
5049:
5045:
5040:
5036:
5031:
5027:
5022:
5018:
5013:
5009:
5005:Nash (2008), 35
5004:
5000:
4995:
4991:
4986:
4982:
4977:
4973:
4968:
4964:
4959:
4948:
4943:
4939:
4934:
4930:
4926:Wood (1993), 47
4925:
4921:
4916:
4912:
4907:
4903:
4898:
4894:
4889:
4885:
4880:
4876:
4871:
4864:
4859:
4855:
4843:
4839:
4834:
4830:
4825:
4821:
4816:
4809:
4804:
4800:
4795:
4791:
4786:
4782:
4777:
4770:
4765:
4761:
4756:
4752:
4747:
4743:
4738:
4734:
4729:
4725:
4720:
4716:
4711:
4707:
4702:
4698:
4693:
4689:
4684:
4680:
4675:
4671:
4666:
4662:
4657:
4653:
4648:
4644:
4639:
4630:
4625:
4621:
4616:
4612:
4607:
4598:
4593:
4589:
4584:
4573:
4568:
4564:
4559:
4550:
4545:
4538:
4533:
4526:
4521:
4517:
4512:
4508:
4503:
4499:
4494:
4487:
4482:
4478:
4473:
4466:
4461:
4457:
4452:
4448:
4443:
4436:
4431:
4422:
4417:
4413:
4408:
4404:
4399:
4395:
4390:
4383:
4379:Nash (2008), 88
4378:
4374:
4369:
4365:
4361:Nash (2008), 94
4360:
4356:
4351:
4347:
4343:Nash (2008), 22
4342:
4331:
4326:
4322:
4318:Nash (2008), 93
4317:
4313:
4308:
4304:
4299:
4292:
4282:Wayback Machine
4272:
4268:
4263:
4259:
4255:Kren (2010), 83
4254:
4250:
4238:Wayback Machine
4228:
4224:
4219:
4208:
4203:
4199:
4194:
4190:
4185:
4178:
4173:
4169:
4164:
4160:
4155:
4148:
4144:Nash (2008), 87
4143:
4134:
4129:
4125:
4120:
4116:
4111:
4107:
4102:
4098:
4093:
4084:
4079:
4072:
4067:
4063:
4058:
4054:
4049:
4042:
4037:
4033:
4029:Ward (1994), 26
4028:
4024:
4019:
4015:
4010:
4003:
3998:
3991:
3986:
3982:
3977:
3973:
3968:
3959:
3955:Ward (1994), 11
3954:
3945:
3940:
3936:
3931:
3927:
3922:
3918:
3913:
3909:
3904:
3900:
3888:Wayback Machine
3878:
3871:
3866:
3862:
3857:
3846:
3841:
3837:
3832:
3823:
3818:
3814:
3809:
3805:
3800:
3791:
3786:
3782:
3777:
3773:
3768:
3764:
3759:
3750:
3745:
3741:
3736:
3732:
3727:
3718:
3713:
3709:
3702:
3686:
3682:
3672:Wayback Machine
3662:
3658:
3646:Wayback Machine
3636:
3632:
3627:
3623:
3618:
3609:
3604:
3600:
3595:
3586:
3581:
3577:
3572:
3568:
3563:
3559:
3554:
3550:
3545:
3541:
3537:Jones (2011), 9
3536:
3532:
3527:
3523:
3518:
3514:
3509:
3505:
3500:
3496:
3491:
3484:
3479:
3475:
3470:
3463:
3458:
3454:
3449:
3445:
3440:
3436:
3431:
3427:
3422:
3418:
3413:
3409:
3404:
3400:
3395:
3388:
3383:
3374:
3369:
3365:
3360:
3356:
3351:
3340:
3331:
3327:
3322:
3318:
3313:
3306:
3301:
3294:
3289:
3285:
3280:
3269:
3264:
3260:
3255:
3251:
3246:
3239:
3234:
3230:
3225:
3221:
3216:
3212:
3207:
3203:
3198:
3194:
3189:
3185:
3180:
3171:
3166:
3162:
3157:
3153:
3149:Deam (1998), 15
3148:
3141:
3136:
3132:
3127:
3118:
3113:
3109:
3104:
3100:
3095:
3086:
3081:
3074:
3069:
3065:
3060:
3053:
3048:
3044:
3040:
3035:
3030:
3016:
3012:
3006:Alte Pinakothek
2999:
2995:
2977:
2973:
2967:
2963:
2958:
2954:
2940:
2936:
2930:
2926:
2921:
2917:
2912:
2908:
2903:
2899:
2890:
2886:
2880:Juan de Flandes
2861:
2857:
2852:
2848:
2835:
2831:
2826:
2822:
2818:
2773:Otto Pächt and
2708:
2607:Musée du Louvre
2572:Musée du Louvre
2555:Mary of Hungary
2547:
2531:Cyriacus Ancona
2481:
2441:Sack of Antwerp
2379:Frans Hogenberg
2363:
2358:
2316:Andrea Mantegna
2253:
2246:
2234:
2225:
2215:Joachim Patinir
2212:
2203:
2184:
2175:
2163:
2111:world landscape
2092:Joachim Patinir
2012:
1928:Petrus Christus
1876:
1859:Devotio Moderna
1797:
1743:Braque Triptych
1705:Musée du Louvre
1700:Braque Triptych
1675:
1547:
1385:canonical hours
1356:
1334:donor portraits
1292:
1280:donor portraits
1247:Cambrai Madonna
1237:
1236:
1235:
1234:
1233:
1213:
1205:
1204:
1197:Italo-Byzantine
1183:
1128:, before 1438.
1116:
1107:Petrus Christus
968:
915:
814:
751:painters' guild
651:King of Hungary
627:
626:
625:
624:
623:
611:
603:
602:
586:
550:. According to
531:Alte Pinakothek
516:
454:Museo del Prado
410:Philip the Good
398:Philip the Bold
346:Gilles Binchois
342:Guillaume Dufay
277:
177:Petrus Christus
47:Museo del Prado
28:
23:
22:
15:
12:
11:
5:
10463:
10453:
10452:
10447:
10442:
10437:
10432:
10427:
10422:
10417:
10412:
10407:
10402:
10397:
10380:
10379:
10377:
10376:
10365:
10362:
10361:
10359:
10358:
10353:
10346:
10341:
10336:
10331:
10326:
10321:
10316:
10311:
10310:
10309:
10307:Late modernism
10304:
10294:
10289:
10284:
10279:
10274:
10269:
10264:
10263:
10262:
10257:
10255:Genre painting
10247:
10242:
10237:
10232:
10231:
10230:
10225:
10220:
10215:
10205:
10203:Ballets Russes
10200:
10195:
10190:
10189:
10188:
10186:Asemic writing
10178:
10176:History of art
10172:
10170:
10169:Related topics
10166:
10165:
10162:
10161:
10159:
10158:
10153:
10148:
10143:
10142:
10141:
10136:
10126:
10121:
10116:
10111:
10106:
10104:Relational art
10101:
10096:
10091:
10086:
10081:
10076:
10071:
10066:
10061:
10056:
10051:
10050:
10049:
10039:
10034:
10029:
10027:Hypermodernism
10024:
10023:
10022:
10012:
10007:
10002:
9997:
9992:
9987:
9986:
9985:
9975:
9970:
9965:
9960:
9955:
9950:
9945:
9939:
9937:
9931:
9930:
9928:
9927:
9922:
9917:
9912:
9907:
9902:
9897:
9892:
9887:
9882:
9877:
9872:
9867:
9862:
9857:
9852:
9847:
9842:
9837:
9832:
9827:
9822:
9817:
9812:
9811:
9810:
9800:
9795:
9790:
9785:
9784:
9783:
9773:
9768:
9766:Postminimalism
9763:
9758:
9753:
9747:
9745:
9741:
9740:
9738:
9737:
9732:
9727:
9722:
9717:
9712:
9711:
9710:
9700:
9695:
9690:
9685:
9680:
9675:
9670:
9665:
9660:
9655:
9650:
9645:
9643:Generative art
9640:
9635:
9630:
9625:
9620:
9615:
9613:Conceptual art
9610:
9605:
9600:
9595:
9590:
9585:
9580:
9575:
9570:
9565:
9564:
9563:
9553:
9548:
9543:
9538:
9533:
9527:
9525:
9521:
9520:
9518:
9517:
9512:
9510:Cybernetic art
9507:
9502:
9501:
9500:
9498:Ultra-Lettrist
9495:
9485:
9484:
9483:
9473:
9468:
9463:
9458:
9453:
9448:
9443:
9438:
9433:
9428:
9427:
9426:
9416:
9411:
9406:
9401:
9396:
9391:
9386:
9385:
9384:
9379:
9374:
9372:Arte Informale
9369:
9359:
9354:
9349:
9348:
9347:
9337:
9336:
9335:
9325:
9319:
9317:
9310:
9309:(1945–present)
9297:
9296:
9293:
9292:
9290:
9289:
9284:
9279:
9274:
9269:
9268:
9267:
9257:
9252:
9251:
9250:
9245:
9238:Heroic realism
9235:
9234:
9233:
9223:
9218:
9213:
9208:
9203:
9198:
9191:
9186:
9181:
9176:
9175:
9174:
9172:Latin American
9169:
9159:
9154:
9149:
9144:
9142:Group of Seven
9139:
9134:
9129:
9124:
9123:
9122:
9112:
9107:
9105:Social realism
9102:
9097:
9092:
9091:
9090:
9088:November Group
9080:
9079:
9078:
9073:
9063:
9062:
9061:
9051:
9046:
9045:
9044:
9032:
9027:
9022:
9021:
9020:
9019:
9018:
9011:Latin American
9006:Constructivism
9003:
9001:Crystal Cubism
8998:
8993:
8988:
8982:
8980:
8976:
8975:
8973:
8972:
8967:
8962:
8957:
8952:
8947:
8942:
8941:
8940:
8930:
8925:
8918:
8917:
8916:
8911:
8901:
8900:
8899:
8889:
8884:
8879:
8878:
8877:
8872:
8862:
8857:
8852:
8847:
8842:
8841:
8840:
8835:
8830:
8825:
8815:
8810:
8805:
8800:
8799:
8798:
8787:
8785:
8781:
8780:
8778:
8777:
8772:
8771:
8770:
8760:
8759:
8758:
8753:
8748:
8743:
8738:
8733:
8728:
8727:
8726:
8711:
8706:
8704:Volcano School
8701:
8700:
8699:
8694:
8684:
8679:
8674:
8673:
8672:
8662:
8657:
8656:
8655:
8650:
8645:
8640:
8639:
8638:
8633:
8618:
8613:
8608:
8603:
8602:
8601:
8589:
8584:
8579:
8578:
8577:
8566:
8564:
8557:
8549:
8548:
8545:
8544:
8542:
8541:
8536:
8535:
8534:
8529:
8528:
8527:
8512:
8511:
8510:
8509:
8508:
8498:
8493:
8483:
8478:
8477:
8476:
8466:
8461:
8459:Norwich School
8456:
8451:
8450:
8449:
8448:
8447:
8437:
8432:
8427:
8422:
8417:
8412:
8407:
8402:
8400:Fairy painting
8391:
8389:
8379:
8378:
8376:
8375:
8374:
8373:
8368:
8357:
8352:
8347:
8342:
8337:
8336:
8335:
8324:
8322:
8316:
8315:
8313:
8312:
8311:
8310:
8305:
8304:
8303:
8298:
8293:
8291:Chilote School
8283:
8281:Casta painting
8273:
8272:
8271:
8266:
8261:
8260:
8259:
8257:Tipos del PaĂs
8254:
8241:
8240:
8239:
8238:
8237:
8227:
8215:
8213:
8209:
8208:
8206:
8205:
8200:
8199:
8198:
8193:
8188:
8183:
8178:
8166:
8165:
8164:
8157:
8152:
8147:
8145:Louis XV style
8142:
8131:
8129:
8125:
8124:
8122:
8121:
8120:
8119:
8114:
8104:
8099:
8094:
8093:
8092:
8082:
8077:
8072:
8067:
8066:
8065:
8060:
8055:
8054:
8053:
8048:
8038:
8033:
8022:
8020:
8016:
8015:
8013:
8012:
8007:
8002:
7997:
7992:
7991:
7990:
7980:
7979:
7978:
7977:
7976:
7971:
7966:
7956:
7955:
7954:
7949:
7947:Cologne School
7939:
7934:
7929:
7928:
7927:
7912:
7911:
7910:
7909:
7908:
7900:
7895:
7890:
7880:
7879:
7878:
7873:
7868:
7858:
7857:
7856:
7849:
7844:
7828:
7826:
7820:
7819:
7817:
7816:
7815:
7814:
7807:
7802:
7800:Italian school
7791:
7786:
7785:
7784:
7782:Sienese School
7774:
7769:
7764:
7759:
7758:
7757:
7752:
7747:
7737:
7730:
7729:
7728:
7718:
7717:
7716:
7711:
7701:
7696:
7695:
7694:
7692:Pre-Romanesque
7689:
7684:
7674:
7673:
7672:
7667:
7662:
7657:
7647:
7642:
7641:
7640:
7628:
7623:
7621:Donor portrait
7618:
7617:
7616:
7611:
7606:
7601:
7596:
7586:
7585:
7584:
7574:
7573:
7572:
7561:
7559:
7553:
7552:
7550:
7549:
7548:
7547:
7542:
7537:
7532:
7530:Julio-Claudian
7527:
7522:
7512:
7507:
7502:
7497:
7492:
7491:
7490:
7489:
7488:
7483:
7482:
7481:
7479:Greco-Buddhist
7471:
7461:
7456:
7451:
7446:
7441:
7436:
7431:
7426:
7421:
7419:Protogeometric
7416:
7406:
7405:
7404:
7399:
7394:
7389:
7379:
7374:
7373:
7372:
7361:
7359:
7350:
7344:
7343:
7334:
7331:
7330:
7314:
7313:
7306:
7299:
7291:
7282:
7281:
7279:
7278:
7273:
7272:
7271:
7266:
7261:
7251:
7245:
7243:
7239:
7238:
7236:
7235:
7230:
7225:
7220:
7214:
7212:
7206:
7205:
7202:
7201:
7199:
7198:
7197:
7196:
7186:
7180:
7178:
7174:
7173:
7171:
7170:
7165:
7160:
7155:
7154:
7153:
7148:
7138:
7133:
7127:
7125:
7119:
7118:
7116:
7115:
7110:
7105:
7100:
7099:
7098:
7088:
7083:
7078:
7072:
7070:
7061:
7055:
7054:
7052:
7051:
7046:
7041:
7036:
7035:
7034:
7024:
7023:
7022:
7012:
7007:
7002:
6997:
6996:
6995:
6990:
6985:
6975:
6970:
6969:
6968:
6963:
6953:
6948:
6947:
6946:
6941:
6936:
6931:
6926:
6916:
6915:
6914:
6909:
6904:
6899:
6894:
6889:
6884:
6879:
6874:
6869:
6858:
6856:
6852:
6851:
6849:
6848:
6843:
6838:
6837:
6836:
6826:
6821:
6816:
6810:
6808:
6802:
6801:
6794:
6793:
6786:
6779:
6771:
6762:
6761:
6759:
6758:
6753:
6748:
6743:
6741:Antwerp school
6738:
6733:
6728:
6723:
6718:
6713:
6708:
6703:
6698:
6693:
6688:
6683:
6677:
6675:
6671:
6670:
6668:
6667:
6662:
6657:
6652:
6647:
6642:
6636:
6634:
6630:
6629:
6626:
6625:
6623:
6622:
6617:
6612:
6607:
6602:
6597:
6592:
6587:
6581:
6579:
6564:
6563:
6561:
6560:
6555:
6550:
6545:
6540:
6535:
6530:
6525:
6520:
6515:
6510:
6505:
6500:
6495:
6490:
6485:
6480:
6475:
6470:
6465:
6460:
6455:
6450:
6445:
6440:
6435:
6430:
6425:
6420:
6415:
6413:Quentin Matsys
6410:
6405:
6400:
6395:
6390:
6385:
6380:
6375:
6370:
6365:
6360:
6355:
6350:
6345:
6340:
6335:
6330:
6325:
6320:
6315:
6310:
6305:
6300:
6294:
6292:
6274:
6266:
6265:
6257:
6256:
6249:
6242:
6234:
6226:
6225:
6213:
6212:External links
6210:
6208:
6207:
6203:
6186:
6172:
6165:
6158:
6151:
6144:
6137:
6123:
6112:
6105:
6088:
6074:
6065:
6051:
6044:
6037:
6030:
6016:
6006:
5992:
5978:
5971:
5954:
5935:
5923:Kren, Thomas.
5921:
5907:
5893:
5879:
5867:Jacobs, Lynn.
5865:
5858:
5851:
5832:
5818:
5808:
5798:
5781:
5767:
5747:
5731:
5724:
5717:
5703:
5686:
5672:
5665:
5655:
5641:
5627:
5617:Van der Weyden
5613:
5599:
5592:
5580:
5566:
5549:
5542:
5535:
5513:
5499:
5482:
5474:
5472:
5469:
5467:
5466:
5457:
5433:
5418:Craig Harbison
5406:
5397:
5385:
5376:
5367:
5358:
5349:
5340:
5331:
5322:
5313:
5289:
5272:
5263:
5254:
5245:
5233:
5224:
5215:
5206:
5194:
5185:
5176:
5167:
5158:
5149:
5140:
5128:
5119:
5110:
5098:
5096:Freedberg, 133
5089:
5080:
5071:
5062:
5043:
5034:
5025:
5016:
5007:
4998:
4989:
4980:
4971:
4962:
4946:
4937:
4928:
4919:
4910:
4901:
4892:
4883:
4874:
4862:
4853:
4837:
4828:
4819:
4807:
4798:
4789:
4780:
4768:
4759:
4750:
4741:
4732:
4723:
4714:
4705:
4696:
4687:
4678:
4669:
4660:
4651:
4642:
4628:
4619:
4610:
4596:
4587:
4571:
4562:
4548:
4536:
4524:
4515:
4506:
4497:
4485:
4476:
4464:
4455:
4446:
4434:
4420:
4411:
4402:
4393:
4381:
4372:
4363:
4354:
4345:
4329:
4320:
4311:
4302:
4300:Kren (2010), 8
4290:
4273:Jones, Susan.
4266:
4257:
4248:
4222:
4206:
4197:
4188:
4176:
4167:
4158:
4146:
4132:
4123:
4114:
4105:
4096:
4082:
4070:
4061:
4052:
4040:
4031:
4022:
4013:
4001:
3989:
3987:Ward (1994), 9
3980:
3971:
3957:
3943:
3934:
3925:
3916:
3907:
3898:
3869:
3860:
3844:
3835:
3821:
3812:
3803:
3789:
3780:
3771:
3762:
3748:
3739:
3730:
3716:
3707:
3700:
3680:
3665:The Entombment
3656:
3630:
3621:
3607:
3598:
3584:
3575:
3566:
3557:
3548:
3539:
3530:
3521:
3512:
3503:
3494:
3482:
3473:
3461:
3452:
3443:
3434:
3425:
3416:
3407:
3398:
3386:
3372:
3363:
3354:
3338:
3325:
3316:
3304:
3292:
3283:
3267:
3258:
3249:
3237:
3228:
3219:
3210:
3201:
3192:
3183:
3181:Nash (2008), 3
3169:
3160:
3151:
3139:
3130:
3116:
3107:
3098:
3084:
3072:
3063:
3051:
3041:
3039:
3036:
3034:
3031:
3029:
3028:
3010:
2993:
2990:Morel Triptych
2971:
2961:
2952:
2934:
2924:
2915:
2906:
2897:
2884:
2876:Michael Sittow
2864:Duke of Urbino
2855:
2846:
2838:Greek alphabet
2829:
2819:
2817:
2814:
2810:Craig Harbison
2780:Meyer Schapiro
2742:Erwin Panofsky
2736:'s pioneering
2707:
2704:
2694:Johan Huizinga
2639:Gemäldegalerie
2601:Gerard David,
2564:Giorgio Vasari
2546:
2543:
2539:Giovanni Santi
2522:Lucas de Heere
2480:
2477:
2392:in the 1520s.
2362:
2359:
2357:
2354:
2299:Hans Memling,
2252:
2249:
2248:
2247:
2235:
2228:
2226:
2213:
2206:
2204:
2185:
2178:
2176:
2164:
2157:
2122:rather than a
2011:
2008:
1936:, after 1460,
1875:
1872:
1842:Mater Dolorosa
1827:Jan van Scorel
1805:Books of Hours
1796:
1793:
1674:
1671:
1657:Colart de Laon
1546:
1543:
1506:, folio 153r,
1381:books of hours
1355:
1352:
1291:
1288:
1273:Man of Sorrows
1230:Man of Sorrows
1221:Man of Sorrows
1214:
1207:
1206:
1184:
1177:
1176:
1175:
1174:
1173:
1147:Craig Harbison
1115:
1112:
1063:Jan van Eyck,
1007:art dealership
974:Jan van Eyck,
967:
964:
914:
911:
883:Lorne Campbell
813:
810:
747:Quentin Matsys
689:Stefan Lochner
635:Michael Sittow
616:, portrait of
612:
605:
604:
587:
580:
579:
578:
577:
576:
574:in the south.
559:Giorgio Vasari
515:
512:
463:Johan Huizinga
434:Albrecht DĂĽrer
396:dukes such as
332:Erwin Panofsky
283:and later the
276:
273:
259:Erwin Panofsky
26:
9:
6:
4:
3:
2:
10462:
10451:
10448:
10446:
10443:
10441:
10438:
10436:
10433:
10431:
10428:
10426:
10423:
10421:
10418:
10416:
10413:
10411:
10408:
10406:
10403:
10401:
10398:
10396:
10393:
10392:
10390:
10375:
10367:
10366:
10363:
10357:
10354:
10352:
10351:
10347:
10345:
10342:
10340:
10337:
10335:
10332:
10330:
10327:
10325:
10322:
10320:
10317:
10315:
10312:
10308:
10305:
10303:
10300:
10299:
10298:
10295:
10293:
10290:
10288:
10285:
10283:
10280:
10278:
10275:
10273:
10270:
10268:
10265:
10261:
10258:
10256:
10253:
10252:
10251:
10248:
10246:
10243:
10241:
10240:Fantastic art
10238:
10236:
10233:
10229:
10226:
10224:
10221:
10219:
10216:
10214:
10211:
10210:
10209:
10208:Christian art
10206:
10204:
10201:
10199:
10196:
10194:
10191:
10187:
10184:
10183:
10182:
10179:
10177:
10174:
10173:
10171:
10167:
10157:
10154:
10152:
10149:
10147:
10144:
10140:
10137:
10135:
10132:
10131:
10130:
10127:
10125:
10122:
10120:
10117:
10115:
10112:
10110:
10109:Skeuomorphism
10107:
10105:
10102:
10100:
10097:
10095:
10092:
10090:
10087:
10085:
10082:
10080:
10077:
10075:
10072:
10070:
10069:Massurrealism
10067:
10065:
10064:Lightpainting
10062:
10060:
10057:
10055:
10052:
10048:
10047:Post-Internet
10045:
10044:
10043:
10040:
10038:
10035:
10033:
10030:
10028:
10025:
10021:
10018:
10017:
10016:
10013:
10011:
10008:
10006:
10003:
10001:
9998:
9996:
9993:
9991:
9988:
9984:
9981:
9980:
9979:
9976:
9974:
9971:
9969:
9966:
9964:
9961:
9959:
9956:
9954:
9951:
9949:
9946:
9944:
9941:
9940:
9938:
9932:
9926:
9923:
9921:
9920:Grunge design
9918:
9916:
9913:
9911:
9908:
9906:
9903:
9901:
9898:
9896:
9893:
9891:
9888:
9886:
9883:
9881:
9878:
9876:
9875:Retrofuturism
9873:
9871:
9870:Scratch video
9868:
9866:
9863:
9861:
9858:
9856:
9855:Memphis Group
9853:
9851:
9848:
9846:
9843:
9841:
9838:
9836:
9833:
9831:
9830:Telematic art
9828:
9826:
9823:
9821:
9820:Guerrilla art
9818:
9816:
9813:
9809:
9806:
9805:
9804:
9801:
9799:
9796:
9794:
9791:
9789:
9786:
9782:
9779:
9778:
9777:
9774:
9772:
9771:Endurance art
9769:
9767:
9764:
9762:
9759:
9757:
9754:
9752:
9749:
9748:
9746:
9742:
9736:
9733:
9731:
9728:
9726:
9723:
9721:
9718:
9716:
9713:
9709:
9706:
9705:
9704:
9701:
9699:
9696:
9694:
9691:
9689:
9686:
9684:
9681:
9679:
9676:
9674:
9671:
9669:
9666:
9664:
9661:
9659:
9656:
9654:
9651:
9649:
9646:
9644:
9641:
9639:
9636:
9634:
9631:
9629:
9626:
9624:
9621:
9619:
9616:
9614:
9611:
9609:
9606:
9604:
9601:
9599:
9596:
9594:
9591:
9589:
9586:
9584:
9581:
9579:
9576:
9574:
9571:
9569:
9566:
9562:
9559:
9558:
9557:
9554:
9552:
9549:
9547:
9544:
9542:
9539:
9537:
9534:
9532:
9529:
9528:
9526:
9522:
9516:
9513:
9511:
9508:
9506:
9503:
9499:
9496:
9494:
9491:
9490:
9489:
9486:
9482:
9479:
9478:
9477:
9474:
9472:
9469:
9467:
9464:
9462:
9459:
9457:
9454:
9452:
9449:
9447:
9444:
9442:
9439:
9437:
9434:
9432:
9431:New media art
9429:
9425:
9422:
9421:
9420:
9417:
9415:
9412:
9410:
9409:Nanyang Style
9407:
9405:
9402:
9400:
9397:
9395:
9392:
9390:
9387:
9383:
9380:
9378:
9375:
9373:
9370:
9368:
9365:
9364:
9363:
9360:
9358:
9355:
9353:
9350:
9346:
9343:
9342:
9341:
9340:Visionary art
9338:
9334:
9331:
9330:
9329:
9326:
9324:
9321:
9320:
9318:
9314:
9311:
9307:
9302:
9298:
9288:
9285:
9283:
9280:
9278:
9275:
9273:
9270:
9266:
9263:
9262:
9261:
9258:
9256:
9253:
9249:
9246:
9244:
9241:
9240:
9239:
9236:
9232:
9229:
9228:
9227:
9224:
9222:
9219:
9217:
9214:
9212:
9209:
9207:
9206:Scuola Romana
9204:
9202:
9199:
9197:
9196:
9192:
9190:
9187:
9185:
9182:
9180:
9177:
9173:
9170:
9168:
9165:
9164:
9163:
9160:
9158:
9155:
9153:
9150:
9148:
9145:
9143:
9140:
9138:
9135:
9133:
9132:Anthropophagy
9130:
9128:
9125:
9121:
9118:
9117:
9116:
9115:Functionalism
9113:
9111:
9108:
9106:
9103:
9101:
9098:
9096:
9093:
9089:
9086:
9085:
9084:
9081:
9077:
9074:
9072:
9069:
9068:
9067:
9064:
9060:
9057:
9056:
9055:
9052:
9050:
9047:
9043:
9042:
9038:
9037:
9036:
9035:Neoplasticism
9033:
9031:
9028:
9026:
9023:
9017:
9014:
9013:
9012:
9009:
9008:
9007:
9004:
9002:
8999:
8997:
8994:
8992:
8989:
8987:
8984:
8983:
8981:
8977:
8971:
8968:
8966:
8963:
8961:
8958:
8956:
8953:
8951:
8948:
8946:
8943:
8939:
8938:Cubo-Futurism
8936:
8935:
8934:
8931:
8929:
8926:
8924:
8923:
8919:
8915:
8912:
8910:
8907:
8906:
8905:
8902:
8898:
8897:Ashcan School
8895:
8894:
8893:
8890:
8888:
8885:
8883:
8880:
8876:
8873:
8871:
8868:
8867:
8866:
8865:Expressionism
8863:
8861:
8858:
8856:
8853:
8851:
8850:Mir iskusstva
8848:
8846:
8843:
8839:
8836:
8834:
8831:
8829:
8826:
8824:
8821:
8820:
8819:
8816:
8814:
8811:
8809:
8806:
8804:
8801:
8797:
8794:
8793:
8792:
8789:
8788:
8786:
8782:
8776:
8773:
8769:
8766:
8765:
8764:
8761:
8757:
8754:
8752:
8749:
8747:
8744:
8742:
8739:
8737:
8734:
8732:
8729:
8725:
8722:
8721:
8720:
8717:
8716:
8715:
8712:
8710:
8707:
8705:
8702:
8698:
8695:
8693:
8690:
8689:
8688:
8685:
8683:
8680:
8678:
8675:
8671:
8668:
8667:
8666:
8663:
8661:
8658:
8654:
8651:
8649:
8646:
8644:
8641:
8637:
8636:Boston School
8634:
8632:
8631:Hoosier Group
8629:
8628:
8627:
8624:
8623:
8622:
8621:Impressionism
8619:
8617:
8616:Peredvizhniki
8614:
8612:
8609:
8607:
8606:Beuron School
8604:
8600:
8597:
8596:
8595:
8594:
8590:
8588:
8585:
8583:
8580:
8576:
8573:
8572:
8571:
8568:
8567:
8565:
8561:
8558:
8554:
8550:
8540:
8537:
8533:
8530:
8526:
8523:
8522:
8521:
8520:Munich School
8518:
8517:
8516:
8513:
8507:
8504:
8503:
8502:
8499:
8497:
8494:
8492:
8489:
8488:
8487:
8484:
8482:
8479:
8475:
8472:
8471:
8470:
8467:
8465:
8462:
8460:
8457:
8455:
8452:
8446:
8443:
8442:
8441:
8438:
8436:
8433:
8431:
8428:
8426:
8423:
8421:
8418:
8416:
8413:
8411:
8408:
8406:
8403:
8401:
8398:
8397:
8396:
8393:
8392:
8390:
8386:
8380:
8372:
8369:
8367:
8364:
8363:
8362:
8358:
8356:
8353:
8351:
8348:
8346:
8343:
8341:
8338:
8334:
8331:
8330:
8329:
8326:
8325:
8323:
8319:Art borrowing
8317:
8309:
8306:
8302:
8299:
8297:
8294:
8292:
8289:
8288:
8287:
8284:
8282:
8279:
8278:
8277:
8274:
8270:
8269:Company style
8267:
8265:
8262:
8258:
8255:
8253:
8250:
8249:
8248:
8245:
8244:
8242:
8236:
8233:
8232:
8231:
8228:
8226:
8223:
8222:
8221:
8217:
8216:
8214:
8210:
8204:
8201:
8197:
8194:
8192:
8189:
8187:
8184:
8182:
8179:
8177:
8176:
8172:
8171:
8170:
8169:Neoclassicism
8167:
8163:
8162:
8158:
8156:
8153:
8151:
8148:
8146:
8143:
8141:
8138:
8137:
8136:
8133:
8132:
8130:
8126:
8118:
8115:
8113:
8110:
8109:
8108:
8105:
8103:
8100:
8098:
8095:
8091:
8088:
8087:
8086:
8083:
8081:
8078:
8076:
8073:
8071:
8068:
8064:
8061:
8059:
8056:
8052:
8049:
8047:
8044:
8043:
8042:
8039:
8037:
8034:
8032:
8029:
8028:
8027:
8024:
8023:
8021:
8017:
8011:
8008:
8006:
8003:
8001:
7998:
7996:
7995:Cretan School
7993:
7989:
7986:
7985:
7984:
7981:
7975:
7972:
7970:
7967:
7965:
7962:
7961:
7960:
7957:
7953:
7952:Danube school
7950:
7948:
7945:
7944:
7943:
7940:
7938:
7935:
7933:
7930:
7926:
7923:
7922:
7921:
7918:
7917:
7916:
7913:
7907:
7906:
7901:
7899:
7896:
7894:
7891:
7889:
7886:
7885:
7884:
7881:
7877:
7874:
7872:
7869:
7867:
7864:
7863:
7862:
7859:
7855:
7854:
7850:
7848:
7845:
7843:
7840:
7839:
7838:
7835:
7834:
7833:
7830:
7829:
7827:
7825:
7821:
7813:
7812:
7808:
7806:
7803:
7801:
7798:
7797:
7796:
7792:
7790:
7787:
7783:
7780:
7779:
7778:
7775:
7773:
7770:
7768:
7765:
7763:
7760:
7756:
7753:
7751:
7748:
7746:
7743:
7742:
7741:
7738:
7736:
7735:
7731:
7727:
7724:
7723:
7722:
7719:
7715:
7712:
7710:
7707:
7706:
7705:
7702:
7700:
7697:
7693:
7690:
7688:
7685:
7683:
7680:
7679:
7678:
7675:
7671:
7668:
7666:
7663:
7661:
7658:
7656:
7653:
7652:
7651:
7648:
7646:
7643:
7639:
7638:
7634:
7633:
7632:
7629:
7627:
7624:
7622:
7619:
7615:
7612:
7610:
7607:
7605:
7602:
7600:
7597:
7595:
7592:
7591:
7590:
7587:
7583:
7580:
7579:
7578:
7575:
7571:
7568:
7567:
7566:
7563:
7562:
7560:
7558:
7554:
7546:
7543:
7541:
7538:
7536:
7533:
7531:
7528:
7526:
7523:
7521:
7518:
7517:
7516:
7513:
7511:
7508:
7506:
7503:
7501:
7498:
7496:
7493:
7487:
7484:
7480:
7477:
7476:
7475:
7472:
7470:
7467:
7466:
7465:
7462:
7460:
7457:
7455:
7452:
7450:
7447:
7445:
7442:
7440:
7437:
7435:
7432:
7430:
7429:Orientalizing
7427:
7425:
7422:
7420:
7417:
7415:
7414:Sub-Mycenaean
7412:
7411:
7410:
7407:
7403:
7400:
7398:
7395:
7393:
7390:
7388:
7385:
7384:
7383:
7380:
7378:
7375:
7371:
7368:
7367:
7366:
7363:
7362:
7360:
7358:
7354:
7351:
7345:
7341:
7337:
7332:
7328:art movements
7327:
7323:
7319:
7312:
7307:
7305:
7300:
7298:
7293:
7292:
7289:
7277:
7274:
7270:
7267:
7265:
7262:
7260:
7257:
7256:
7255:
7252:
7250:
7247:
7246:
7244:
7240:
7234:
7231:
7229:
7226:
7224:
7221:
7219:
7216:
7215:
7213:
7211:
7207:
7195:
7192:
7191:
7190:
7187:
7185:
7182:
7181:
7179:
7175:
7169:
7166:
7164:
7161:
7159:
7158:Low Countries
7156:
7152:
7149:
7147:
7144:
7143:
7142:
7139:
7137:
7134:
7132:
7129:
7128:
7126:
7124:
7120:
7114:
7111:
7109:
7106:
7104:
7101:
7097:
7094:
7093:
7092:
7089:
7087:
7084:
7082:
7079:
7077:
7074:
7073:
7071:
7069:
7065:
7062:
7060:
7056:
7050:
7047:
7045:
7042:
7040:
7037:
7033:
7030:
7029:
7028:
7025:
7021:
7018:
7017:
7016:
7013:
7011:
7008:
7006:
7003:
7001:
6998:
6994:
6991:
6989:
6986:
6984:
6981:
6980:
6979:
6976:
6974:
6971:
6967:
6964:
6962:
6959:
6958:
6957:
6954:
6952:
6949:
6945:
6942:
6940:
6937:
6935:
6932:
6930:
6927:
6925:
6922:
6921:
6920:
6917:
6913:
6910:
6908:
6905:
6903:
6900:
6898:
6895:
6893:
6890:
6888:
6885:
6883:
6882:Italian domes
6880:
6878:
6875:
6873:
6870:
6868:
6865:
6864:
6863:
6860:
6859:
6857:
6853:
6847:
6844:
6842:
6839:
6835:
6832:
6831:
6830:
6827:
6825:
6822:
6820:
6817:
6815:
6812:
6811:
6809:
6807:
6803:
6799:
6792:
6787:
6785:
6780:
6778:
6773:
6772:
6769:
6757:
6754:
6752:
6749:
6747:
6744:
6742:
6739:
6737:
6734:
6732:
6729:
6727:
6724:
6722:
6719:
6717:
6714:
6712:
6709:
6707:
6704:
6702:
6699:
6697:
6694:
6692:
6689:
6687:
6684:
6682:
6679:
6678:
6676:
6672:
6666:
6663:
6661:
6658:
6656:
6653:
6651:
6648:
6646:
6643:
6641:
6638:
6637:
6635:
6631:
6621:
6618:
6616:
6613:
6611:
6608:
6606:
6603:
6601:
6598:
6596:
6593:
6591:
6588:
6586:
6583:
6582:
6580:
6577:
6571:
6565:
6559:
6556:
6554:
6551:
6549:
6546:
6544:
6541:
6539:
6536:
6534:
6531:
6529:
6526:
6524:
6521:
6519:
6516:
6514:
6511:
6509:
6506:
6504:
6501:
6499:
6496:
6494:
6491:
6489:
6486:
6484:
6481:
6479:
6476:
6474:
6471:
6469:
6466:
6464:
6461:
6459:
6456:
6454:
6451:
6449:
6446:
6444:
6441:
6439:
6436:
6434:
6431:
6429:
6426:
6424:
6423:Jan de Molder
6421:
6419:
6416:
6414:
6411:
6409:
6408:Simon Marmion
6406:
6404:
6401:
6399:
6396:
6394:
6391:
6389:
6386:
6384:
6381:
6379:
6376:
6374:
6371:
6369:
6366:
6364:
6361:
6359:
6356:
6354:
6353:Jacques Daret
6351:
6349:
6346:
6344:
6341:
6339:
6338:Robert Campin
6336:
6334:
6331:
6329:
6326:
6324:
6323:Aelbert Bouts
6321:
6319:
6316:
6314:
6311:
6309:
6306:
6304:
6301:
6299:
6298:LuĂs Alimbrot
6296:
6295:
6293:
6290:
6284:
6278:
6275:
6273:
6267:
6262:
6255:
6250:
6248:
6243:
6241:
6236:
6235:
6232:
6228:
6223:
6219:
6216:
6215:
6204:
6202:
6201:0-948462-46-9
6198:
6194:
6190:
6187:
6185:
6184:0-521-34016-0
6181:
6177:
6173:
6170:
6166:
6163:
6159:
6156:
6152:
6149:
6145:
6142:
6138:
6136:
6132:
6128:
6124:
6121:
6117:
6113:
6110:
6106:
6104:
6103:0-7148-3867-5
6100:
6096:
6092:
6089:
6087:
6086:0-8122-2211-3
6083:
6079:
6075:
6072:
6071:
6066:
6064:
6063:0-89236-816-0
6060:
6056:
6052:
6049:
6045:
6042:
6038:
6035:
6031:
6029:
6028:0-06-430002-1
6025:
6021:
6017:
6014:
6010:
6007:
6005:
6004:1-872501-84-2
6001:
5997:
5994:Pächt, Otto.
5993:
5991:
5990:0-87099-870-6
5987:
5983:
5979:
5976:
5972:
5970:
5969:0-19-284269-2
5966:
5962:
5958:
5955:
5953:
5952:0-14-303538-X
5949:
5945:
5944:
5939:
5936:
5934:
5933:1-60606-014-7
5930:
5926:
5922:
5920:
5919:3-7913-3598-7
5916:
5912:
5908:
5906:
5902:
5898:
5894:
5892:
5891:0-13-193455-4
5888:
5884:
5881:Janson, H.W.
5880:
5878:
5877:0-271-04840-9
5874:
5870:
5866:
5863:
5859:
5856:
5852:
5850:
5846:
5842:
5841:
5836:
5833:
5831:
5830:0-8014-9896-1
5827:
5823:
5819:
5817:
5816:1-78067-027-3
5813:
5809:
5806:
5802:
5799:
5797:
5796:0-300-12155-5
5793:
5789:
5785:
5782:
5780:
5779:0-7148-2139-X
5776:
5772:
5768:
5766:
5762:
5759:
5755:
5751:
5748:
5746:
5742:
5738:
5735:
5732:
5729:
5725:
5722:
5718:
5716:
5712:
5708:
5704:
5702:
5701:0-933516-13-4
5698:
5694:
5690:
5687:
5685:
5684:0-87099-870-6
5681:
5677:
5673:
5670:
5666:
5664:
5663:2-88260-009-7
5660:
5656:
5654:
5653:0-87099-870-6
5650:
5646:
5642:
5640:
5639:0-300-08636-9
5636:
5632:
5628:
5626:
5625:1-904449-24-7
5622:
5618:
5614:
5612:
5611:0-300-07701-7
5608:
5604:
5600:
5597:
5593:
5590:
5589:
5584:
5581:
5579:
5575:
5571:
5567:
5565:
5561:
5557:
5553:
5550:
5547:
5543:
5540:
5536:
5534:
5530:
5526:
5525:0-8014-7496-5
5522:
5518:
5514:
5512:
5511:0-87099-870-6
5508:
5504:
5500:
5498:
5497:0-87099-870-6
5494:
5490:
5486:
5483:
5480:
5476:
5475:
5461:
5454:
5450:
5446:
5443:
5437:
5430:
5426:
5422:
5419:
5413:
5411:
5401:
5392:
5390:
5380:
5371:
5362:
5353:
5344:
5335:
5326:
5317:
5310:
5306:
5302:
5299:
5293:
5286:
5282:
5276:
5267:
5258:
5249:
5240:
5238:
5228:
5219:
5210:
5201:
5199:
5189:
5180:
5171:
5162:
5153:
5144:
5135:
5133:
5123:
5114:
5105:
5103:
5093:
5084:
5075:
5066:
5060:
5056:
5053:
5047:
5038:
5029:
5020:
5011:
5002:
4993:
4984:
4975:
4966:
4957:
4955:
4953:
4951:
4941:
4932:
4923:
4914:
4905:
4896:
4887:
4878:
4869:
4867:
4857:
4850:
4846:
4841:
4832:
4823:
4814:
4812:
4802:
4793:
4784:
4775:
4773:
4763:
4754:
4745:
4736:
4727:
4718:
4709:
4700:
4691:
4682:
4673:
4664:
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3046:
3042:
3024:
3020:
3014:
3007:
3003:
2997:
2991:
2987:
2986:
2982:, van Eyck's
2981:
2975:
2965:
2956:
2949:
2948:
2943:
2938:
2928:
2919:
2910:
2901:
2894:
2888:
2881:
2877:
2873:
2869:
2868:Joos van Gent
2865:
2859:
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2700:
2695:
2690:
2687:
2681:
2679:
2678:
2673:
2669:
2665:
2661:
2660:Prince Albert
2657:
2652:
2647:
2644:
2640:
2636:
2632:
2628:
2624:
2620:
2616:
2608:
2604:
2599:
2595:
2593:
2589:
2588:Karl Schlegel
2585:
2581:
2577:
2573:
2568:
2565:
2560:
2556:
2552:
2542:
2540:
2537:in 1456, and
2536:
2532:
2527:
2523:
2517:
2515:
2511:
2505:
2503:
2497:
2493:
2491:
2487:
2479:Documentation
2476:
2474:
2470:
2466:
2465:
2460:
2459:
2454:
2448:
2444:
2442:
2437:
2433:
2429:
2428:
2423:
2419:
2415:
2411:
2407:
2403:
2399:
2395:
2394:Martin Luther
2391:
2387:
2380:
2376:
2372:
2367:
2353:
2350:
2346:
2345:
2339:
2337:
2333:
2329:
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2224:
2220:
2216:
2210:
2205:
2202:
2198:
2194:
2193:
2188:
2182:
2177:
2174:
2170:
2169:
2161:
2156:
2155:
2154:
2152:
2148:
2144:
2140:
2136:
2131:
2129:
2125:
2121:
2117:
2116:Danube school
2112:
2107:
2105:
2101:
2097:
2093:
2089:
2083:
2081:
2080:
2075:
2070:
2066:
2062:
2058:
2053:
2051:
2050:
2045:
2044:
2039:
2031:
2027:
2023:
2022:
2016:
2007:
2005:
2004:
1999:
1993:
1991:
1986:
1985:
1980:
1975:
1973:
1969:
1965:
1964:
1959:
1954:
1950:
1949:
1939:
1935:
1934:
1929:
1925:
1921:
1917:
1915:
1914:
1909:
1908:
1903:
1902:
1901:LĂ©al Souvenir
1892:
1888:
1884:
1880:
1871:
1867:
1863:
1860:
1855:
1848:
1847:
1843:
1838:
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1667:
1660:
1658:
1649:
1644:
1640:
1637:
1632:
1630:
1626:
1622:
1618:
1617:Jean de Berry
1614:
1608:
1606:
1605:
1600:
1596:
1591:
1587:
1583:
1579:
1576:, Bruges and
1575:
1570:
1562:
1561:The Cloisters
1559:, 1495–1505.
1558:
1557:
1551:
1542:
1540:
1535:
1533:
1529:
1525:
1521:
1515:
1509:
1505:
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1438:
1434:
1429:
1425:
1424:
1419:
1414:
1412:
1408:
1407:
1402:
1399:, now in the
1398:
1394:
1390:
1386:
1382:
1378:
1374:
1365:
1360:
1351:
1349:
1345:
1344:
1339:
1335:
1329:
1327:
1326:
1321:
1317:
1313:
1309:
1305:
1301:
1300:stained glass
1297:
1287:
1285:
1281:
1276:
1274:
1269:
1264:
1260:
1256:
1251:
1249:
1248:
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1231:
1227:
1223:
1222:
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1211:
1202:
1198:
1194:
1190:
1189:
1181:
1172:
1170:
1164:
1162:
1158:
1157:
1156:Lucca Madonna
1151:
1148:
1144:
1142:
1141:
1131:
1127:
1126:
1120:
1111:
1108:
1103:
1101:
1097:
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1020:
1014:
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1004:
1000:
991:
987:
983:
979:
978:
972:
963:
961:
956:
952:
946:
944:
940:
936:
935:
930:
924:
921:
910:
908:
904:
903:
898:
897:
891:
887:
884:
880:
874:
871:
866:
862:
861:binding agent
854:
850:
849:
844:
840:
836:
834:
833:
828:
824:
819:
809:
807:
803:
798:
790:
786:
785:
780:
776:
772:
770:
766:
765:
760:
754:
752:
748:
744:
740:
736:
735:
730:
726:
722:
718:
714:
710:
706:
702:
698:
694:
690:
682:
678:
677:
671:
667:
665:
660:
654:
652:
648:
644:
640:
639:Simon Marmion
636:
632:
621:
620:
615:
614:Cornelis Cort
609:
600:
596:
595:
590:
584:
575:
573:
569:
565:
560:
555:
553:
549:
545:
541:
532:
528:
524:
520:
511:
508:
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499:
494:
492:
488:
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479:
475:
471:
470:
464:
455:
451:
450:
445:
441:
437:
435:
431:
427:
423:
419:
415:
411:
407:
403:
399:
395:
391:
390:Robert Campin
387:
383:
379:
375:
370:
368:
363:
358:
355:
351:
347:
343:
339:
338:
333:
328:
324:
320:
316:
308:
304:
303:
297:
293:
290:
286:
282:
272:
270:
266:
265:
260:
256:
255:
250:
246:
240:
238:
233:
232:Low Countries
228:
226:
222:
221:stained glass
218:
214:
210:
206:
202:
198:
194:
190:
186:
182:
178:
174:
170:
165:
163:
159:
155:
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148:
144:
140:
136:
132:
128:
124:
123:Robert Campin
120:
116:
112:
108:
104:
100:
96:
92:
88:
84:
80:
76:
69:
65:
64:
59:
55:
48:
44:
43:
38:
34:
30:
19:
10410:Medieval art
10350:Trompe-l'Ĺ“il
10348:
10319:Outsider art
10272:Illustration
10228:Lutheran art
10218:Catholic art
10181:Abstract art
10151:Unilalianism
10114:Software art
10089:Neosymbolism
10079:Neo-futurism
10042:Internet art
10032:Hyperrealism
9885:Superfiction
9668:Photorealism
9536:Afrofuturism
9301:Contemporary
9277:Dimensionism
9260:Concrete art
9193:
9189:Precisionism
9039:
8986:Sosaku-hanga
8960:Productivism
8950:Metaphysical
8920:
8909:Proto-Cubism
8813:Secessionism
8775:Costumbrismo
8660:Aestheticism
8611:Hague School
8591:
8515:Academic art
8496:Costumbrismo
8464:Empire style
8301:Quito School
8296:Cusco School
8212:Colonial art
8173:
8161:FĂŞte galante
8159:
8128:18th century
8090:Delft School
8041:Caravaggisti
8019:17th century
7919:
7904:
7861:Quattrocento
7851:
7809:
7732:
7635:
7565:Late antique
7449:Severe style
7439:Black-figure
7326:Contemporary
7269:12th century
6923:
6862:Architecture
6690:
6633:Main centres
6473:Jan van Eyck
6433:Jan Provoost
6418:Hans Memling
6378:Jan Gossaert
6363:Jean Delemer
6358:Gerard David
6328:Dieric Bouts
6308:Simon Bening
6260:
6227:
6192:
6175:
6168:
6161:
6154:
6147:
6140:
6126:
6119:
6115:
6108:
6094:
6077:
6068:
6054:
6047:
6040:
6033:
6019:
6012:
5995:
5981:
5974:
5960:
5941:
5924:
5910:
5896:
5882:
5868:
5861:
5854:
5838:
5821:
5804:
5787:
5770:
5753:
5736:
5727:
5720:
5706:
5692:
5675:
5668:
5644:
5630:
5616:
5602:
5595:
5586:
5569:
5555:
5545:
5538:
5516:
5502:
5488:
5478:
5460:
5452:
5436:
5400:
5379:
5370:
5361:
5352:
5343:
5334:
5325:
5316:
5308:
5292:
5284:
5280:
5275:
5266:
5257:
5248:
5227:
5218:
5209:
5188:
5179:
5170:
5161:
5152:
5143:
5122:
5113:
5092:
5083:
5074:
5065:
5046:
5037:
5028:
5019:
5010:
5001:
4992:
4983:
4974:
4965:
4940:
4931:
4922:
4913:
4904:
4895:
4886:
4877:
4856:
4848:
4844:
4840:
4831:
4822:
4801:
4792:
4783:
4762:
4753:
4744:
4735:
4726:
4717:
4708:
4699:
4690:
4681:
4672:
4663:
4654:
4645:
4622:
4613:
4590:
4565:
4518:
4509:
4500:
4479:
4458:
4449:
4414:
4405:
4396:
4375:
4366:
4357:
4348:
4323:
4314:
4305:
4285:
4269:
4260:
4251:
4241:
4225:
4200:
4191:
4170:
4161:
4126:
4117:
4108:
4099:
4064:
4055:
4034:
4025:
4016:
3983:
3974:
3937:
3928:
3919:
3910:
3901:
3891:
3863:
3838:
3815:
3806:
3783:
3774:
3765:
3742:
3733:
3710:
3690:
3683:
3675:
3659:
3649:
3633:
3624:
3601:
3578:
3569:
3560:
3551:
3542:
3533:
3524:
3515:
3506:
3497:
3476:
3455:
3446:
3437:
3428:
3419:
3410:
3401:
3366:
3357:
3328:
3319:
3286:
3261:
3252:
3231:
3222:
3213:
3204:
3195:
3186:
3163:
3154:
3133:
3110:
3101:
3066:
3045:
3013:
2996:
2989:
2983:
2979:
2974:
2964:
2955:
2945:
2937:
2927:
2918:
2909:
2900:
2892:
2887:
2858:
2849:
2832:
2823:
2807:
2801:
2798:
2790:
2772:
2765:
2756:
2737:
2731:
2726:conservation
2715:
2697:
2691:
2682:
2675:
2649:In 1830 the
2648:
2642:
2634:
2626:
2612:
2602:
2592:Ludwig Tieck
2579:
2569:
2548:
2524:in 1565 and
2518:
2506:
2498:
2494:
2482:
2468:
2462:
2456:
2452:
2449:
2445:
2435:
2427:Beeldenstorm
2425:
2383:
2375:Beeldenstorm
2349:Michelangelo
2342:
2340:
2325:
2319:
2312:
2300:
2290:
2282:
2275:
2263:
2240:
2218:
2190:
2166:
2132:
2108:
2084:
2077:
2074:Simon Bening
2068:
2060:
2054:
2047:
2041:
2035:
2019:
2001:
1994:
1982:
1979:Quattrocento
1976:
1968:Jean Fouquet
1961:
1946:
1943:
1931:
1918:
1911:
1905:
1899:
1896:
1886:
1868:
1864:
1856:
1852:
1840:
1837:Dieric Bouts
1812:
1798:
1781:
1768:
1757:
1741:
1735:
1733:
1720:
1713:
1710:
1698:
1676:
1664:
1661:
1653:
1647:
1633:
1609:
1602:
1598:
1566:
1554:
1536:
1516:
1512:
1503:
1485:
1469:Maximilian I
1453:
1421:
1415:
1404:
1396:
1376:
1369:
1341:
1337:
1330:
1323:
1293:
1277:
1252:
1245:
1238:
1219:
1186:
1165:
1160:
1154:
1152:
1145:
1140:Life of Mary
1138:
1135:
1123:
1104:
1098:for Bruges'
1093:
1087:
1086:and David's
1081:
1075:
1072:
1064:
1053:Annunciation
1051:
1048:
1041:
1035:
1033:
1029:
1017:
995:
977:Annunciation
975:
960:underdrawing
954:
947:
932:
925:
916:
900:
894:
888:
875:
858:
846:
843:Dieric Bouts
830:
815:
806:genre scenes
794:
782:
762:
755:
732:
729:Jan Gossaert
686:
674:
655:
628:
617:
592:
589:Jan van Eyck
556:
536:
527:Annunciation
526:
498:Gerard David
495:
491:Hans Memling
486:
474:Michelangelo
467:
459:
447:
412:and his son
371:
362:Jan van Eyck
359:
335:
322:
312:
300:
278:
262:
252:
248:
241:
229:
181:Hans Memling
173:Dieric Bouts
166:
135:Dutch Revolt
131:Gerard David
127:Jan van Eyck
90:
74:
73:
61:
58:Jan van Eyck
40:
29:
10235:Digital art
10198:Avant-garde
10139:Superstroke
10015:Flat design
10010:Fictive art
10005:Excessivism
9953:Art for art
9948:Altermodern
9890:Taring Padi
9825:Lowbrow art
9793:Pliontanism
9730:Yoru no Kai
9683:Process art
9623:Systems art
9593:Arte Povera
9515:Antipodeans
9424:in New York
9394:Jikken KĹŤbĹŤ
9357:Color field
9226:Regionalism
9195:Aeropittura
9184:Neo-Fauvism
9157:Neues Sehen
9127:Kinetic art
8991:Suprematism
8965:Synchromism
8882:Noucentisme
8803:Primitivism
8791:Art Nouveau
8746:Cloisonnism
8736:Pointillism
8731:Divisionism
8709:Incoherents
8670:Art pottery
8556:(1863–1944)
8506:Macchiaioli
8481:Biedermeier
8469:Historicism
8454:Orientalism
8395:Romanticism
8366:Akita ranga
8218:Art of the
8203:Picturesque
8155:Chinoiserie
8150:Frederician
7988:Tudor court
7883:Cinquecento
7824:Renaissance
7811:Mappa mundi
7795:cartography
7687:Carolingian
7682:Merovingian
7665:Palaeologan
7637:RepoblaciĂłn
7594:Anglo-Saxon
7525:Gallo-Roman
7464:Hellenistic
7459:Kerch style
7397:Minyan ware
7276:Reenactment
7259:Carolingian
6892:Plateresque
6814:Renaissance
6798:Renaissance
6576:Netherlands
6368:Jan de Beer
6224:, New York.
5957:Nash, Susie
2942:Konrad Witz
2545:Rediscovery
2406:John Calvin
2305:, c. 1480.
2187:Konrad Witz
2151:cartography
2124:medium shot
2088:Konrad Witz
2069:bas de page
1874:Portraiture
1770:continent.
1724:Holy Family
1599:tout autour
1379:) produced
1185:Anonymous,
1114:Iconography
929:masterpiece
865:Egg tempera
827:perspective
797:Reformation
721:printmaking
367:Friedländer
223:and carved
197:iconography
193:illusionism
158:Renaissance
10405:Gothic art
10389:Categories
10282:Jewish art
10094:Passionism
10054:iPhone art
10000:Cyborg art
9995:Crypto art
9968:Brandalism
9860:Cyberdelic
9725:Tropicália
9698:Street art
9653:Intermedia
9633:Minimalism
9352:Spatialism
9306:Postmodern
9162:Surrealism
9030:Shin-hanga
8870:Die BrĂĽcke
8838:Sonderbund
8751:Synthetism
8474:Revivalism
8383:Transition
8340:Manichaean
8186:Adam style
8107:Classicism
8046:in Utrecht
7974:Still life
7704:Romanesque
7660:Macedonian
7655:Iconoclast
7614:Visigothic
7520:Republican
7474:Indo-Greek
7444:Red-figure
7233:Structures
7039:Technology
7015:Philosophy
6978:Literature
6897:Portuguese
5758:online PDF
3033:References
2414:iconoclasm
2386:idolatrous
2361:Iconoclasm
2321:Entombment
2309:, Florence
2272:, Florence
1990:betrothals
1893:, New York
1688:liturgical
1683:polyptychs
1582:Pope Leo X
1563:, New York
1530:(possibly
1437:miniatures
1393:indulgence
1308:Susie Nash
1201:Saint Luke
1191:, c 1340.
1026:, Brussels
986:Romanesque
902:Entombment
870:wet-on-wet
848:Entombment
823:reflection
818:naturalism
514:Chronology
422:engravings
374:Gothic art
354:Otto Pächt
237:iconoclasm
213:tapestries
209:polyptychs
79:Burgundian
10344:Shock art
10334:Queer art
10314:NaĂŻve art
10297:Modernism
10129:Superflat
10119:Sound art
10099:Post-YBAs
10084:Neomodern
9925:Verdadism
9895:Superflat
9744:1970–1999
9708:in the US
9628:Video art
9551:Happening
9524:1960–1969
9316:1945–1959
8979:1915–1944
8970:Vorticism
8922:A Nyolcak
8784:1900–1914
8756:Les Nabis
8687:Symbolism
8643:Amsterdam
8593:Japonisme
8563:1863–1899
8525:in Greece
8385:to modern
8230:Caribbean
8175:Goût grec
8097:Capriccio
8051:Tenebrism
8000:Turquerie
7898:Mannerism
7793:Medieval
7650:Byzantine
7631:Mozarabic
7582:Ethiopian
7486:Neo-Attic
7469:"Baroque"
7454:Classical
7424:Geometric
7402:Mycenaean
7349:(Western)
7347:Premodern
7318:Premodern
7228:Humanists
7218:Composers
7059:By region
6939:Sculpture
6887:Palladian
6829:Mannerism
6665:The Hague
6650:Brussels
5453:Chronicle
3038:Citations
2891:The word
2768:formalism
2722:Altaussee
2551:Mannerism
2541:in 1482.
2533:in 1449,
2410:Calvinism
2030:Jerusalem
2010:Landscape
1963:Mona Lisa
1846:Ecce Homo
1731:figures.
1679:triptychs
1677:Northern
1473:Edward IV
1420:' ornate
1406:Vera icon
1377:libraires
1312:metalwork
1242:Byzantine
1069:, c. 1435
966:Patronage
769:triptychs
725:engraving
705:Nuremberg
235:waves of
205:triptychs
10374:Category
10324:Portrait
10245:Folk art
10193:Anti-art
10124:Stuckism
10037:Idea art
9958:Art game
9910:Artivism
9798:Punk art
9776:Sots Art
9761:Artscene
9618:Land art
9556:Neo-Dada
9488:Lettrism
9382:Nuagisme
9367:Tachisme
9248:Nazi art
9041:De Stijl
8955:Rayonism
8945:Art Deco
8933:Futurism
8724:Luminism
8692:Romanian
8677:Tonalism
8648:Canadian
8626:American
8532:Neo-Grec
8140:Rocaille
7969:Romanism
7903:Counter-
7837:Trecento
7777:Duecento
7767:Crusades
7699:Ottonian
7677:Frankish
7557:Medieval
7540:Trajanic
7500:Scythian
7495:Etruscan
7387:Cycladic
7365:Thracian
7264:Ottonian
7184:Portugal
7168:Scotland
7086:Lombardy
7081:Florence
7005:Medicine
6956:Humanism
6912:Venetian
6855:By field
5761:Archived
5745:61544744
5546:Speculum
5445:Archived
5421:Archived
5301:Archived
5055:Archived
4278:Archived
4234:Archived
3884:Archived
3668:Archived
3642:Archived
3026:century.
2893:triptych
2613:In 1821
2420:and the
2286:humanism
2195:, 1444.
2128:staffage
2000:for his
1958:Leonardo
1800:Diptychs
1795:Diptychs
1636:cartoons
1590:cartoons
1569:tapestry
1545:Tapestry
1479:and the
1389:psalters
1366:, Vienna
1320:portrait
1296:retables
1257:and her
1037:tĂĽchlein
939:crossbow
787:, 1565.
679:, 1460.
601:, London
533:, Munich
426:woodcuts
337:ars nova
225:retables
201:diptychs
115:Brussels
103:Mechelen
70:, London
66:, 1434,
49:, Madrid
10339:Realism
9936:present
9663:Nut Art
9466:Pop art
9404:Mono-ha
9272:The Ten
9221:Kapists
9167:Iranian
9120:Bauhaus
8914:Orphism
8860:Fauvism
8697:Russian
8587:Nihonga
8501:Verismo
8486:Realism
8420:Purismo
8333:Moorish
8328:Islamic
8235:Haitian
8026:Baroque
7905:Maniera
7789:Mudéjar
7714:Spanish
7626:Pictish
7609:Lombard
7604:Insular
7545:Severan
7510:Gaulish
7505:Iberian
7434:Archaic
7377:Nuragic
7357:Ancient
7340:periods
7242:Related
7223:Figures
7141:Germany
7131:England
7049:Warfare
7044:Theatre
7027:Science
6993:Spanish
6907:Spanish
6806:General
6674:General
6660:Tournai
6640:Antwerp
6289:Belgium
6272:artists
6220:at the
5715:2901661
5471:Sources
2502:notname
2143:Anthony
2096:Haarlem
2038:arcades
1809:tracery
1728:Sienese
1586:Raphael
1578:Tournai
1411:Utrecht
1290:Formats
743:Antwerp
697:Cologne
631:Tournai
568:Bohemia
487:Madonna
478:Raphael
420:, both
119:Belgium
111:Tournai
10287:Kitsch
10146:Toyism
9638:Fluxus
9568:Op art
9137:Mingei
9071:Stupid
9049:Purism
8904:Cubism
8553:Modern
8345:Mughal
8135:Rococo
7740:Gothic
7721:Norman
7645:Viking
7599:Hunnic
7577:Coptic
7392:Minoan
7382:Aegean
7370:Dacian
7322:Modern
7163:Poland
7146:Saxony
7136:France
7113:Venice
7108:Urbino
7103:Sicily
7096:Papacy
6988:French
6961:France
6902:Purism
6877:French
6645:Bruges
6199:
6182:
6133:
6122:, 1981
6101:
6084:
6061:
6026:
6002:
5988:
5967:
5950:
5931:
5917:
5903:
5889:
5875:
5847:
5828:
5814:
5794:
5777:
5743:
5713:
5699:
5682:
5661:
5651:
5637:
5623:
5609:
5576:
5562:
5531:
5523:
5509:
5495:
3698:
2866:hired
2619:Sulpiz
2418:Tudors
2332:Uffizi
2307:Uffizi
2270:Uffizi
2245:, 1563
2201:Geneva
2139:Jerome
2100:Leiden
1953:fresco
1433:plague
1263:relics
1169:niches
999:Baltic
990:Gothic
951:Deesis
943:Leuven
920:guilds
739:Bruges
713:Munich
709:Vienna
643:Amiens
622:, 1572
572:Swabia
548:Hubert
418:prints
257:) and
107:Leuven
95:Bruges
60:, The
9934:2000–
9377:COBRA
8371:Uki-e
8361:Japan
8350:Qajar
7709:Mosan
7515:Roman
7409:Greek
7210:Lists
7189:Spain
7151:Weser
7010:Music
7000:Magic
6983:Dutch
6973:Latin
6951:Dance
6867:Brick
6655:Ghent
6116:Gesta
5711:JSTOR
2969:name.
2842:Ghent
2816:Notes
2643:Ghent
1584:sent
1574:Arras
1304:tombs
1268:limbo
907:glaze
99:Ghent
10223:Icon
9546:ZERO
9304:and
9201:Asso
9025:Dada
8582:YĹŤga
7324:and
7091:Rome
6197:ISBN
6180:ISBN
6131:ISBN
6099:ISBN
6082:ISBN
6059:ISBN
6024:ISBN
6000:ISBN
5986:ISBN
5965:ISBN
5948:ISBN
5929:ISBN
5915:ISBN
5901:ISBN
5887:ISBN
5873:ISBN
5845:ISBN
5826:ISBN
5812:ISBN
5792:ISBN
5775:ISBN
5741:OCLC
5697:ISBN
5680:ISBN
5659:ISBN
5649:ISBN
5635:ISBN
5621:ISBN
5607:ISBN
5574:ISBN
5560:ISBN
5529:ISBN
5521:ISBN
5507:ISBN
5493:ISBN
3696:ISBN
3674:".
3648:" .
3021:and
2878:and
2862:The
2755:The
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2557:and
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2141:and
2120:long
2102:and
1681:and
1491:and
1416:The
988:and
890:Glue
795:The
741:and
711:and
432:and
424:and
404:and
388:and
344:and
299:The
251:and
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147:High
125:and
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6919:Art
5451:".
5427:".
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3890:".
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701:Ulm
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