Early Netherlandish painting

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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.

1833: 2231: 2209: 775: 1180: 2366: 2296: 1013: 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 1924: 670: 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. 1444: 1050:

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

2160: 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. 2256: 440: 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 1550: 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 971: 1643: 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 2181: 1119: 2752: 1167:

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

1499: 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 2015: 886:

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". 2786: 54: 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. 2711: 1694: 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 2500:

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. 1210: 2598: 2496:

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 1879: 5760: 10370: 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 2292:

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.

33: 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. 2508:

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

5757: 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 1514:

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 657:

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 1137:

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 1076: 243:

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 Dürer 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

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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 Dürer 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

2291:

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. 892:

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

2645:

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.

2519:

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. Dürer, in 1512, was the first artist of the era to properly set down in writing his theories of art, followed by

2968:

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

1031:

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.

873:

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 1862:

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 2931:

Dürer's father, a goldsmith, spent time as a journeyman in the Netherlands and met with, according to his son, "the great artists". Dürer himself travelled there between 1520 and 1521 and visited Bruges, Ghent and Brussels among other places. See Borchert (2011),

1944:

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

364:

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

537:

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

957:

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

949:

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 1775:

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

2447:

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.

1721:

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

799:

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.

1370:

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. 2566:

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.

1332:

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: 291:

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.

1791:

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".

1439:

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.

1073:

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. 1430:

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

661:

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. 2457: 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 484:

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 1639:

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". 917:

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.

2799:

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. 2484:

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

1240:

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. 1592:

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.

6705: 3025:

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

2071:

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.

1571:

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 2438:

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.

821:

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

2159: 923:

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

962:

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.

2805:

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

2553:

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;

2036:

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

1105:

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

1690:

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. 2625:

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

380:

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 4233: 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

6871: 6251: 1153:

Yet the earthly churches are heavily decorated with heavenly symbols. A heavenly throne is clearly represented in some domestic chambers (for example in the

8837: 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

2443:

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,

5783: 2583: 2314:

a greater emphasis on harmony of parts belonging together – "that elegant harmony and grace ... which is called beauty", evident, for example, in

895: 41: 7799: 5657:

Châtelet, Albert. "Early Dutch Painting, Painting in the northern Netherlands in the 15th century". Montreux: Montreux Fine Art Publications, 1980.

3691:

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

3667: 3638: 2689:

Memling's pieces were shown. Nevertheless, van Eyck and van der Weyden, to an extent, were then considered the first rank of Netherlandish artists.

881:

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: 7308: 2696:

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.), 2241: 1409:

illustrated with the head of Christ. The French artists were overtaken in importance from the mid-15th century by masters in Ghent, Bruges and

9714: 5444: 10439: 6695: 2554: 1947: 9166: 2685: 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: 6788: 6107:

Spronk, Ron. "More than Meets the Eye: An Introduction to Technical Examination of Early Netherlandish Paintings at the Fogg Art Museum".

5054: 9200: 6982: 6614: 6522: 1813: 1324: 933: 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. 2529:

15th-century appreciations of contemporary Netherlandish art are exclusively written by Italians, the best known of which include

7058: 6965: 1220: 263: 1803:

and exterior view, while the ability to close the wings allowed protection of the inner images. Originating from conventions in

10424: 9989: 8524: 7958: 7075: 6928: 6685: 4277: 2042: 2020: 774: 763: 1817:

reflects ivory carving of the period. The format was adapted by van Eyck and van der Weyden on commission from members of the

10399: 10394: 8927: 8009: 7725: 7026: 6680: 6269: 6237: 6134: 5904: 5848: 5577: 5563: 5532: 3699: 2946: 2467:

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: 2463: 2094:. Most innovations in this format came from artists living in the Dutch regions of the Burgundian lands, most notably from 1082: 2492:

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: 7209: 6512: 2692:

The Bruges exhibition renewed interest in the period and initiated scholarship that was to flourish in the 20th century.

2430:

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: 17: 9276: 7636: 2922:

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: 7664: 4230: 2196: 1179: 699:, drew inspiration from imported works by van der Weyden and Bouts. New and distinctive painterly cultures sprang up; 10419: 9423: 9418: 8263: 7754: 6911: 6818: 6507: 6200: 6183: 6102: 6085: 6062: 6027: 6003: 5989: 5968: 5951: 5932: 5918: 5890: 5876: 5829: 5815: 5795: 5778: 5700: 5683: 5662: 5652: 5638: 5624: 5610: 5524: 5510: 5496: 2365: 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: 8429: 1012: 669: 352:

established centres of power in the Netherlands, they brought with them a more cosmopolitan outlook. According to

10449: 10444: 10434: 9849: 9322: 7613: 7529: 7268: 6876: 6619: 6547: 6502: 2587: 2370: 9602: 9151: 9010: 8774: 7794: 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 6537: 3689: 10073: 9445: 9286: 9114: 7831: 7804: 7043: 7019: 6933: 6542: 2745: 1094: 230:

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.),

5428: 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. 3664: 10414: 10031: 9647: 9470: 8844: 8458: 8434: 7987: 7946: 7659: 7080: 6840: 6569: 6552: 6221: 5942: 2680:

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: 1763: 1712:

holidays the more prosaic and everyday outer panels were replaced by the lush interior panels. The

1476: 1225: 1023: 801: 788: 778: 349: 142: 9171: 9131: 5733: 2895:

did not exist during the era; the works were known as "paintings with doors". See Jacobs (2011), 8

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Work of artists active in the Low Countries during the 15th- and 16th-century Northern Renaissance

10155: 9492: 9332: 9087: 8696: 8642: 8246: 8089: 8004: 7931: 7870: 7275: 7258: 7167: 7085: 5587: 3001: 2959:

Described by Panofsky as "the interior viewed through a triple arcade". See Panofsky (1969), 142

2863: 2795:

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.

10373: 10266: 9914: 9864: 9824: 9787: 9687: 9327: 8647: 8625: 8485: 7453: 7183: 7038: 7014: 6977: 6886: 6589: 6447: 5973:

Nash, Susie. "A Fifteenth-Century French Manuscript and an Unknown Painting by Robert Campin".

5051: 2751: 2659: 2431: 2389: 1215: 1118: 901: 847: 796: 663: 401: 381: 280: 78: 1059: 10409: 9904: 9879: 9844: 9814: 9780: 9702: 9480: 9455: 9070: 8949: 8854: 7413: 7335: 7253: 7162: 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: 10026: 9607: 9376: 9281: 9075: 9005: 8921: 8795: 8598: 8424: 8224: 7914: 7749: 7654: 7588: 7519: 7438: 7428: 7418: 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: 2676: 2614: 2513: 2421: 2326: 2264: 2014: 1771: 1538: 1488: 1472: 1168: 1124: 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

989: 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

3880: 2618: 518: 10291: 9899: 9839: 9582: 9504: 9440: 9254: 9215: 9058: 8959: 8886: 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: 10349: 9530: 9210: 2606: 1704: 1253:

Marian devotion grew from the 13th century, mostly forming around the concepts of the

10019: 9972: 9942: 9802: 9672: 9587: 9577: 9242: 9225: 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: 6217: 4274: 808:

were complex, with overtones of religious skepticism and even hints of nationalism.

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: 1498: 1492: 1464: 1460: 1405: 1400: 1358: 1315: 1129: 878: 852: 771:, are among the most significant and accomplished of the late Netherlandish period 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: 9692: 9677: 9657: 9540: 9450: 9413: 9398: 9146: 9053: 8995: 8817: 8812: 8569: 8538: 8490: 8180: 8111: 8096: 7924: 7902: 7823: 7771: 7761: 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: 5304: 5058: 4281: 4237: 3887: 3671: 3645: 3005: 2879: 2867: 2767: 2440: 2378: 2315: 2214: 2110: 2091: 1927: 1858: 1742: 1699: 1456: 1384: 1372: 1246: 1196: 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: 9371: 9305: 9237: 9104: 9000: 8703: 8399: 8339: 8280: 8144: 8074: 7781: 7703: 7620: 7473: 6740: 6412: 6008: 5834: 5800: 3332:

Vlieghe (1998), 187–200. Highlights recent instances where institutions in the

2875: 2837: 2809: 2779: 2741: 2693: 2563: 2562:

German Albrecht Dürer, 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: 1826: 1693: 1656: 1380: 1333: 1279: 1272: 1229: 1146: 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: 7401: 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,

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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). "Dürer". 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 Künstlervereinigung München 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 Lübeck 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:Generación 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 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 für 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 18:Early Netherlandish 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:Düsseldorf 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 Figuración 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 País 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 Dürer 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:Luís 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: 4655: 4646: 4637: 4635: 4633: 4623: 4614: 4605: 4603: 4601: 4591: 4582: 4580: 4578: 4576: 4566: 4557: 4555: 4553: 4543: 4541: 4531: 4529: 4519: 4510: 4501: 4492: 4490: 4480: 4471: 4469: 4459: 4450: 4441: 4439: 4429: 4427: 4425: 4415: 4406: 4397: 4388: 4386: 4376: 4367: 4358: 4349: 4340: 4338: 4336: 4334: 4324: 4315: 4306: 4297: 4295: 4287: 4283: 4279: 4276: 4270: 4261: 4252: 4245: 4244: 4239: 4235: 4232: 4226: 4217: 4215: 4213: 4211: 4201: 4192: 4183: 4181: 4171: 4162: 4153: 4151: 4141: 4139: 4137: 4127: 4118: 4109: 4100: 4091: 4089: 4087: 4077: 4075: 4065: 4056: 4047: 4045: 4035: 4026: 4017: 4008: 4006: 3996: 3994: 3984: 3975: 3966: 3964: 3962: 3952: 3950: 3948: 3938: 3929: 3920: 3911: 3902: 3895: 3894: 3889: 3885: 3882: 3876: 3874: 3864: 3855: 3853: 3851: 3849: 3839: 3830: 3828: 3826: 3816: 3807: 3798: 3796: 3794: 3784: 3775: 3766: 3757: 3755: 3753: 3743: 3734: 3725: 3723: 3721: 3711: 3703: 3697: 3693: 3692: 3684: 3677: 3673: 3669: 3666: 3660: 3653: 3652: 3647: 3643: 3640: 3634: 3625: 3616: 3614: 3612: 3602: 3593: 3591: 3589: 3579: 3570: 3561: 3552: 3543: 3534: 3525: 3516: 3507: 3498: 3489: 3487: 3477: 3468: 3466: 3456: 3447: 3438: 3429: 3420: 3411: 3402: 3393: 3391: 3381: 3379: 3377: 3367: 3358: 3349: 3347: 3345: 3343: 3335: 3329: 3320: 3311: 3309: 3299: 3297: 3287: 3278: 3276: 3274: 3272: 3262: 3253: 3244: 3242: 3232: 3223: 3214: 3205: 3196: 3187: 3178: 3176: 3174: 3164: 3155: 3146: 3144: 3134: 3125: 3123: 3121: 3111: 3102: 3093: 3091: 3089: 3079: 3077: 3067: 3058: 3056: 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: 2850: 2843: 2839: 2833: 2824: 2820: 2813: 2811: 2806: 2803: 2794: 2793: 2787: 2783: 2781: 2776: 2771: 2769: 2762: 2758: 2753: 2749: 2747: 2743: 2739: 2735: 2727: 2723: 2719: 2718: 2712: 2703: 2701: 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: 2328: 2323: 2322: 2317: 2308: 2304: 2303: 2297: 2293: 2289: 2287: 2281: 2279: 2271: 2267: 2266: 2261: 2257: 2244: 2243: 2238: 2232: 2227: 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:Léal Souvenir 1892: 1888: 1884: 1880: 1871: 1867: 1863: 1860: 1855: 1848: 1847: 1843: 1838: 1834: 1830: 1828: 1824: 1820: 1816: 1815: 1810: 1806: 1801: 1792: 1789: 1785: 1780: 1778: 1773: 1765: 1761: 1760: 1755: 1751: 1747: 1745: 1744: 1739: 1738: 1732: 1729: 1725: 1719: 1717: 1716: 1706: 1702: 1701: 1695: 1691: 1689: 1684: 1680: 1670: 1668: 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: 1500: 1496: 1494: 1490: 1484: 1482: 1478: 1474: 1470: 1466: 1462: 1458: 1449: 1445: 1441: 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: 1243: 1231: 1227: 1223: 1222: 1217: 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: 1096: 1091: 1090: 1085: 1084: 1079: 1078: 1068: 1067: 1061: 1057: 1055: 1054: 1047: 1045: 1044: 1039: 1038: 1032: 1025: 1021: 1020: 1014: 1010: 1008: 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: 504: 499: 494: 492: 488: 483: 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: 151: 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'œil 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:Fête 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: 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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 Kōbō 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:Repoblación 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 Brücke 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:Naïve 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:tüchlein 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:Yōga 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 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Knowledge

Early Netherlandish painting

Index