Books about Netherlandish from Amazon.com

The volumes in this bibliophile series provide unique portraits of European art history Readers gain fascinating insights into the artists' biographies and their styles: Durer and his famous portraits and altarpieces, the vivid farm scenes of Pieter Bruegel, the great painters of the Italian Renaissance, the symphonies in color of Titian, the mysterious chiaroscuro paintings of Caravaggio, the rococo worlds of Antoine Watteau, and the great historical paintings created by Jean-Auguste-Dominique Ingres. Authoritative texts illuminate the decisive stages in the artists' lives and the development of their styles, explaining their impact against the background of their social context as well as their significance for following generations of artists. Plentiful large sized illustrations showcase each artist's oeuvre. Each volume contains a comprehensive appendix providing information on the artists' biographies in tabular form as well as an extensive bibliography. Each of the authors of the individual volumes is renowned in his or her field..
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From about 1425, artists in the region which is now Belgium and The Netherlands created paintings which were startling in their realism and innovative approach. Published to accompany an exhibition at The Metropolitan Museum of Art, New York, this book celebrates one of the great epochs of western art, from the work of the inventor of oil painting, Jan van Eyck, to that of the highly original genius, Peter Bruegel. More than 100 colour reproductions, with individual commentaries, present the accomplishments of the major figures of the period, including Robert Campin, Rogier van der Weyden, Gerard David and Hans Memling. Essays by specialists in the field discuss various aspects of the subject, and biographies are provided for all the artists represented, together with comparative illustrations of prints and paintings from collections other than that of The Metropolitan..
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This innovative book presents a fresh view of fifteenth-century Netherlandish art and the significance of its contributions to contemporary Italian art, notably in such areas as oil painting, landscape, and portraiture. Focusing on Florence, a prime center of Renaissance culture, the book explores for the first time the profound impact of Netherlandish works on Italian painters including Leonardo, Perugino, and Ghirlandaio.

Paula Nuttall discusses Italian ownership of Netherlandish paintings in the fifteenth century and the shared artistic concerns of Florentine and Netherlandish painters. She examines in depth the various means by which artistic contact occurred, the growth in demand for Netherlandish art in Florence, and the holdings of the Medici and other collectors. With particular emphasis on the period 1460–1500, when the vogue for Netherlandish painting was at its height, the author shows that the consequences of Italian exposure to Netherlandish art were far more sweeping than has been understood before.

Paula Nuttall is an independent scholar. She teaches at the Victoria and Albert Museum in London and at other U.K. institutions. She is a specialist on relationships between Netherlandish painting and Italy and has published widely in this area.
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Otto Pächt's studies of the Early Netherlandish painters are the fruit of a lifetime's research Following his book on the brothers Van Eyck and their circle, this volume deals with the next generation of artists, the great figures of the 15th and early 16th century: Rogier van der Weyden, Petrus Christus, Aelbert van Ouwater, Dieric Bouts, Justus van Gent, Hugo van der Goes, Geertgen tot Sint Jans, Hans Memling and Gerard David. In the tradition of the Vienna School, Pächt's approach put emphasis on formal analysis and on direct contact with the works of art themselves. Taking certain key works by each artist as examples, he discusses every facet of the work including style, mood, iconography, symbolism and construction of space. The chapters are linked by the theme of imitation and continuation: the author compares the same subject as treated by various artists and shows how artists adopted developed ideas and motifs first employed by their predecessors. Although his touchstone was the evidence of his eyes, Pächt was always responsive to the theories of other scholars, and this volume is a gateway to an influential period in the history of art. The proximity of the illustrations to the text enhances his account of the great figures of the period, and there is a folding plate, in colour, of Rogier van de Weyden's Last Judgement alterpiece for the chapel of the hospital, the Hôtel-Dieu, in Beaume. .
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Sight and Spirituality in Early Netherlandish Painting examines the importance of vision as a narrative and thematic concern in works by artists such as Jan van Eyck, Petrus Christus, and Roger van der Weyden. Bret Rothstein argues that their paintings invited the viewer to demonstrate a variety of mental skills. Depicting religious visual experience, these works alluded to the imperceptibility of the divine and implicated the viewer's own experience as part of a larger spiritual and intellectual process. Rothstein demonstrates how and why the act of seeing became a highly valued skill, one to be refined and displayed, as well as a source of competition among both artists and patrons..
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The complexity and variety of sixteenth-century Netherlandish art endow it with a particular dynamism. It was in the sixteenth century that drawing attained an independent status as an art in itself, distinct from painting; landscape increasingly became a separate genre; and artists consciously referred to the great masters of the past, showing the tremendous influence of Italian art in their own works. This volume documents the unique qualities of the art of drawing during the age of Bruegel. Designed to accompany an exhibition at the National Gallery of Art and The Pierpont Morgan Library, the book is also an invaluable scholarly record. In addition to 123 catalogue entries and more than 350 reproductions of rarely-seen drawings, three in-depth essays contain discussions of the art of the period. Its development is traced from a late medieval style at the end of the fifteenth century to the influence of the Italian Renaissance and mannerism in the 1500s, and ultimately to the beginning of the baroque period in the early 1600s. The detailed entries encompass works by sixty-two artists, including Hieronymus Bosch, Jan Gossaert, Lucas van Leyden, Pieter Bruegel the Elder, Jan Brueghel the Elder, Karel van Mander, and others. The book will interest specialists and also general readers attracted by the warmth of Netherlandish art..
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This catalogue of the early Netherlandish paintings in the National Gallery of Art inaugurates a projected series of more than two dozen volumes fully cataloguing the Gallery's holdings of paintings, sculpture, photographs, and decorative arts. This volume contains entries for paintings in the National Gallery that were produced in the fifteenth and sixteenth centuries by artists from the Netherlands. The entries are arranged alphabetically by artist; a short biography and bibliography for each artist is followed by indicidual entries on the paintings, each in order of acquisition. The authors address traditional questions of attribution and iconography; in addition, they examine the social, economic, and religious context in which the individual work of the art functioned. The volume is also probably the first museum catalogue to include the results of analysis by infrared reflectography and dendrochronological examination..
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