il '500 nei paesi bassi
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Dutch and Flemish Renaissance painting
The Fall of Icarus, now considered a copy of
Pieter Bruegel the Elder
Hell, the right panel from the triptych
The Garden of Earthly Delightsby
Hieronymus Bosch
From Wikipedia, the free encyclopedia
For fifteenth century Dutch and Flemish painting, see Early Netherlandish painting.
Dutch and Flemish Renaissance paintingrepresents the 16th century
response to Italian Renaissance artin the Low Countries. These artists,
who span from theAntwerp Manneristsand Hieronymus Boschat the start
of the 16th century to the late Northern Manneristssuch as Hendrik
Goltziusand Joachim Wtewaelat the end, drew on both the recent
innovations of Italian painting and the local traditions of the Early
Netherlandish artists.Antwerpwas the most important artistic centre in the
region. Many artists worked for European courts, including Bosch, whose
fantastic painted images left a long legacy. Jan Mabuse, Maarten van
Heemskerckand Frans Floriswere all instrumental in adopting Italian
models and incorporating them into their own artistic language. Pieter
Brueghel the Elder, with Bosch the only artist from the period to remainwidely familiar, may seem atypical, but in fact his many innovations drew on
the fertile artistic scene in Antwerp.
Dutch and Flemish painters were also instrumental in establishing new subjects such as landscape paintingand genre
painting. Joachim Patinir, for example, played animportant role in developing landscape painting, inventing the compositional
type of the world landscape, which was perfected by Pieter Bruegel the Elderwho, followed by Pieter Aertsen, also helped
popularise genre painting. From the mid-century Pieter Aertsen, later followed by his nephew Joachim Beuckelaer,
established a type of "monumental still life" featuring large spreads of food with genre figures, and in the background small
religious of moral scenes. Like the world landscapes, these represented a typically "Mannerist inversion" of the normal
decorum of thehierarchy of genres, giving the "lower" subject matter more space than the "higher".[1]Anthonis Morwas the
leading portraitist of the mid-century, in demand in courts all over Europe for his reliable portraits in a style that combined
Netherlandish precision with the lessons of Titianand other Italian painters.
Contents [hide]
1 Stylistic evolution
2 Painters
3 See also
4 Notes
5 References
6 Further reading
Stylistic evolution [edit]
Italian Renaissanceinfluences begin to show on Early Netherlandish paintingaround
1500, but in many ways the older style was remarkably persistent.Antwerp Mannerism
is a term for painters showing some Italian influence, but mainly continuing the style
and subjects of the older masters. Hieronymus Boschis a highly individual artist,
whose work is strange and full of seemingly irrational imagery, making it difficult to
interpret.[2]Most of all it seems surprisingly modern, introducing a world of dreams
that seems more related to Gothic artthan the Italian Renaissance, although some
Venetian prints of the same period show a comparable degree of fantasy. The
Romanistswere the next phase of influence, adopting Italian styles in a far more
thorough way.
After 1550 the Flemish and Dutch painters begin to show more interest in nature and
beauty "in itself", leading to a style that incorporates Renaissance elements, but
remains far from the elegant lightness of Italian Renaissance art,[3]
and directly leadsto the themes of the great Flemish and Dutch Baroquepainters: landscapes, still lifes
and genre painting - scenes from everyday life.[2]
This evolution is seen in the works of Joachim Patinirand Pieter Aertsen, but the true
genius among these painters was Pieter Brueghel the Elder, well known for his
depictions of nature and everyday life, showing a preference for the natural condition
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Cornelis Aerentsz van der Dussen
by Jan van Scorel (c.1535) Panel,
Weiss Gallery, London
History of Dutchand Flemishpainting
Early Netherlandish (14001523)
Renaissance painting (15201580)
Northern Mannerism (15801615)
Dutch "Golden Age" painting (16151702)
Flemish Baroque painting (16081700)
List of Dutch painters
List of Flemish painters
of man, choosing to depict the peasant instead of the prince.
The Fall of Icarus(now in fact considered a copy of a Bruegel work), although highly
atypical in many ways, combines several elements of Northern Renaissancepainting.
It hints at the renewed interest for antiquity (the Icaruslegend), but the hero Icarus is
hidden away in the background. The main actors in the painting are nature itself and,
most prominently, the peasant, who does not even look up from his plough when
Icarus falls. Brueghel shows man as an anti-hero, comical and sometimes
grotesque.[3]
Painters [edit]
Pieter Aertsen
Simon Bening
Hieronymus Bosch
Pieter Brueghel the Elder
Pieter Brueghel the Younger
Joachim Beuckelaer
Joos van Cleve
Pieter Coecke van Aelst
Hieronymus Cock
Corneille de Lyon
Hans Eworth
Frans Floris
Maarten van Heemskerck
Caterina van Hemessen
Jan Sanders van Hemessen
Adriaen Isenbrant
Jan Mabuse van Gosaert
Anthonis Mor
Lucas van Leyden
Lambert Lombard
Quentin Matsys
Jan Mostaert
Bernard van Orley
Joachim Patinir
Frans Pourbus the Elder
Pieter Pourbus
Jan Provoost
Marinus van Reymerswaele
Jan van Scorel
Levina Teerlinc
Jacob van Utrecht
See also [edit]
Renaissance in the Netherlands
Northern Renaissance
Notes [edit]1. ^Snyder, 409-412, 432-445
2. ^ abJanson, H.W.; Janson, Anthony F. (1997). History of Art (5th, rev. ed.). New York: Harry N. Abrams, Inc.ISBN0-8109-
3442-6.
3. ^ abHeughebaert, H.; Defoort, A., Van Der Donck, R. (1998). Artistieke opvoeding. Wommelgem, Belgium: Den Gulden Engel
bvba. ISBN90-5035-222-7.
References [edit]Snyder, James. Northern Renaissance Art, 1985, Harry N. Abrams, ISBN 0-13-623596-4
Further reading [edit]
Orenstein, Nadine M., ed. (2001). Pieter Bruegel the Elder: Drawings and Prints . The Metropolitan Museum of Art.
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