Journal articles: 'Flemish Painting'

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Deam, Lisa. "Flemish versus Netherlandish: A Discourse of Nationalism." Renaissance Quarterly 51, no. 1 (1998): 1–33. http://dx.doi.org/10.2307/2901661.

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AbstractThis essay shows how scholarship on fifteenth-century Flemish panel painting became intertwined with efforts at national identity-building in nineteenth and early twentieth-century Europe. Paintings such as Jan van Eyck's Ghent Altarpiece were not only dispersed across regional and national boundaries, but were intellectually appropriated for competing national programs. The paintings consequently became a site of conflict between the Latin and Germanic traditions. These conflicts are clearly visible through the shifting terminology of this art, variously claimed as “Flemish” and “Netherlandish.” Such nationalist discourses shaped future scholarship on Flemish painting and contributed to its perceived inferiority vis-à-vis the Southern artistic tradition.

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Vozhik, Ekaterina I. "THE FLEMISH SCHOOL OF PAINTING AND THE LANGUAGE OF ITS DESCRIPTION IN THE 1830S–1850S." Texts and History Journal of Philological Historical and Cultural Texts and History Studies 1 (2024): 54–79. https://doi.org/10.31860/2712-7591-2024-1-54-79.

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The article deals with the pragmatics of references to the Flemish (Dutch) school of painting that pervaded the literature of the 1830s–1850s; it also considers how speculations about the aesthetic quality of Flemish art eventually turned out to be a linguistic and mental cliche. By reconstructing the practices that accompanied the perception of a painting in the first half of the XIX century, the author shows that although Flemish art was well represented in private and imperial collections, knowledge of this art was primarily obtained from various publications (catalogues of paintings, lithographs and polytypes, domestic and foreign periodicals, encyclopedias and art criticism). These iconographic and mainly textual sources formed both a visual and a verbal narrative about the Flemish painting style and therefore considerably influenced the way this style was represented. The author demonstrates that the Flemish school of the 1830s–1850s is most often characterized in general terms — frequently through a short verbal formula. Although they usually lacked in formal consistency, such formulas nevertheless contained a stable set of meanings. This set of meanings corresponded with the problem of the correlation between art and reality, which was actively discussed in the press at that time.

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Tizzoni, Marco, and Costanza Cucini. "A Blast Furnace Painting by Jan Brueghel the Elder (1568-1625): a New Interpretation." METALLA 27, no. 1 (June 30, 2023): 81–94. http://dx.doi.org/10.46586/metalla.v27.2023.i1.81-94.

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A small painting by Jan Brueghel the Elder, portraying a blast furnace, is to be found at Galleria Doria - Pamphilj in Rome. The authors discuss this painting while considering the contemporary Flemish paintings of ironworks. From the peculiarity of this painting, from the scene it portrayed and from news about Jan Brueghel´s stay in Italy, the authors conclude that this painting may represent a Bergamasque blast furnace built in Latium.

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Agoston, Laura Camille. "Male/Female, Italy/Flanders, Michelangelo/Vittoria Colonna." Renaissance Quarterly 58, no. 4 (2005): 1175–219. http://dx.doi.org/10.1353/ren.2008.0886.

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AbstractThis essay proposes a new reading of the famous passage comparing the devotional value of Flemish and Italian painting in Francisco de Holanda’s (1517-84) Portuguese treatiseDa pintura antigua. My purpose is to demonstrate that the polarizing and divisive claims made about Flemish painting are unmade in the text itself. The major grounds upon which Flemish art is attacked in the first of the four Roman dialogues are upheld for admiration in the second. The strongly misogynistic character of the passage on Flemish painting has obscured the more complex and shifting treatment of gender identity in the text.

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Hu, Alice Joan. "Madonna in flower garlands in Flemish painting of the XVII century." Культура и искусство, no. 7 (July 2021): 66–80. http://dx.doi.org/10.7256/2454-0625.2021.7.33907.

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The subject of this research is Flemish painting the XVII century in the spiritual and cultural context of the Counter-Reformation, which created remarkable decorative and religious images to counter the iconoclastic trends of the Reformation movement. The object of this research is Flemish paintings of the Baroque Period of the XVII century with flower garlands edging the central image of Madonna. Special attention is given to the variety of iconographic patterns of the image of Virgin Mary framed in a flower garland, which was widely popular in painting of the Baroque period. Some artists use the pattern of “painting in a painting”; others imitate sculpture, the color of which accentuates the brightness of garlands. The article employs iconographic, iconological, and artistic methods, as well as stylistic analysis. The scientific novelty consists in proving the fact that Virgin Mary appears in painting not only as an individual image, but in paintings of flower garlands as well. The acquired results demonstrate that in the XVII centuries, the artists used different iconographic patterns for creating the image of Virgin Mary. The masters were able to combine different types of flowers, reaching the harmony of floral motifs and balancing them with the image of Madonna. The artists demonstrated the beauty of flower garlands by adding different living creatures in their paintings, such as birds and animals, to make them look more colorful, peaceful and vibrant. Thanks to these works, the image of Madonna remained extremely revered in the XVII century.

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Railing, Patricia. "LOST SECRETS OF FLEMISH PAINTING." Art Book 12, no. 3 (August 2005): 37–38. http://dx.doi.org/10.1111/j.1467-8357.2005.00571.x.

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Carrier, David. "Naturalism and Allegory in Flemish Painting." Journal of Aesthetics and Art Criticism 45, no. 3 (1987): 237. http://dx.doi.org/10.2307/431453.

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CARRIER, DAVID. "Naturalism And Allegory in Flemish Painting." Journal of Aesthetics and Art Criticism 45, no. 3 (March 1, 1987): 237–50. http://dx.doi.org/10.1111/1540_6245.jaac45.3.0237.

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Ferrero, Sebastian. "Materializing the Invisible: Landscape Painting in Viceregal Peru as Visionary Painting." Arts 10, no. 3 (August 26, 2021): 57. http://dx.doi.org/10.3390/arts10030057.

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Landscape painting in Peru typically does not receive much attention from critical dis-course, even though the adoption of the Flemish landscape by Andean viceregal painters became a distinctive feature of Peruvian painting of the second half of the 17th century. Considered a consequence of a change in the artistic taste of viceregal society, the landscape was perceived as a secondary element of the composition. In this article, we will analyze the inclusion of the Flemish landscape in Andean religious painting from another critical perspective that takes into account different spiritual processes that colonial religiosity goes through. We analyze how the influence of the Franciscan and Jesuit mysticism created a fertile ground where landscape painting could develop in Peru. The Andean viceregal painters found in the landscape an effective way to visualize suprasensible spiritual experiences and an important device for the development in Peru of a painting with visionary characteristics.

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Benninga, Sara. "The Changing Perception of the Five Senses." Ikonotheka, no. 29 (September 16, 2020): 103–22. http://dx.doi.org/10.31338/2657-6015ik.29.14.

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This article examines the changing approach towards the representation of the senses in 17th-century Flemish painting. These changes are related to the cultural politics and courtly culture of the Spanish sovereigns of the Southern Netherlands, the Archdukes Albert and Isabella. The 1617–18 painting-series of the Five Senses by Jan Brueghel the Elder and Peter Paul Rubens as well as the pendant paintings on the subject are analyzed in relation to the iconography of the five senses, and in regard to Flemish genre themes. In this context, the excess of objects, paintings, scientific instruments, animals, and plants in the Five Senses are read as an expansion of the iconography of the senses as well as a reference to the courtly material culture of the Archdukes. Framing the senses as part of a cultural web of artifacts, Brueghel and Rubens refer both to elite lived experience and traditional iconography. The article examines the continuity between the iconography of the senses from 1600 onwards, as developed by Georg Pencz, Frans Floris, and Maerten de Vos, and the representation of the senses in the series. In addition, the article shows how certain elements in the paintings are influenced by genre paintings of the courtly company and collector’s cabinet, by Frans Francken, Lucas van Valckenborch and Louis de Caullery. Through the synthesis of these two traditions the subject of the five senses is reinvented in a courtly context

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Wang, Lo-Ya. "The Narrative Functions of the Admonisher in Lech Majewski’s The Mill and the Cross (2011)." Acta Universitatis Sapientiae Film and Media Studies 25 (August 20, 2024): 14–34. http://dx.doi.org/10.47745/ausfm-2024-0002.

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Lech Majewski’s The Mill and the Cross (2011) offers the possibility to enter the highly complex painting of the Flemish master, crossing the boundaries between painting and cinema. The article aims to reveal how the visual motif of the admonisher, which can be found both in the theory of painting (e.g. in Alberti’s treatise On Painting) and the practice of pictorial arts (especially in Pieter Bruegel the Elder’s paintings), is appropriated to compose a cinematic adaptation of Bruegel’s painting The Way to the Calvary (1564). Since the use of this narrative device, the admonisher, constitutes one of the most important motifs in the film, the main aspect of the study will focus on how the narrative functions of the pictorial figure are operated to arouse the spectators’ curiosity, leading them in the meanders of the composition, and triggering potential narrative threads. Through the analysis of the film, firstly, I will demonstrate the narrative functions of the admonisher, secondly, the logic of animating the whole movie, and finally, how the animation process explores the intermedial relationship between painting and cinema.

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Harbison, Craig. "Visions and Meditations in Early Flemish Painting." Simiolus: Netherlands Quarterly for the History of Art 15, no. 2 (1985): 87. http://dx.doi.org/10.2307/3780659.

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Luxford, Julian M. "Bruegel to Rubens: Masters of Flemish Painting." Renaissance Studies 22, no. 5 (November 2008): 723–28. http://dx.doi.org/10.1111/j.1477-4658.2008.00517.x.

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Bogomolov, Nikolai. "Вячеслав Иванов и искусство Ренессансa." Modernités Russes 12, no. 1 (2011): 109–23. http://dx.doi.org/10.3406/modru.2011.955.

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Viacheslav Ivanov’s interest in Italian Renaissance painting is well known, and it has been analyzed more than once. For the most part, however, such investigations have treated poems of his with elements of ekphrasis or with mentions of artists and their paintings, or articles of his that refer to painting. In our opinion much remains to be said about this matter, and we offer some new materials relating to it. Among them are letters to Ivanov from members of his immediate circle (and, to a lesser, degree his own letters), which note his interest in Renaissance masters ; the reproductions of works of art that he wanted to have before his eyes throughout his life ; the advice that he gave to his friend and housekeeper M. M. Zamjatnina, who heard lectures on the subject and wrote about Renaissane painting ; finally, the books Zamjatnina checked out from the Geneva Library, volumes that could not have escaped Ivanov’s attention. These new materials demonstrate, firstly, that we should pay attention not only to paintings of the Italian Renaissance, but to those of the Northern Renaissance as well (German and Flemish artists above all). Secondly, we should pay much greater attention than previously to Ivanov’s attitude towards Botticelli. And, finally, we should examine the broad historical context in which he perceived Renaissance painting.

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Trevisan, Sara. "The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*." Renaissance Quarterly 66, no. 3 (2013): 866–903. http://dx.doi.org/10.1086/673585.

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AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.

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Buta, Mircea Gelu. "Genetic diseases in religious painting." Medicine and Pharmacy Reports 94, no. 3 (July 30, 2021): 382–89. http://dx.doi.org/10.15386/mpr-1996.

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The attention paid to Trisomy 21, a genetic condition described by Langdon Down in 1866, is due to concerns about establishing the age of this pathology during evolution. Due to the synergy between medicine and art history, it is possible to reconstruct the diseases that have characterized the most a certain historical period as well as the perception of the population towards them. Using iconodiagnosis, namely studying works of art through medical imaging, it was found that in Europe, during the Renaissance, Trisomy 21 was represented by Italian and Flemish painters in religiously inspired paintings.

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Grasman, Edward. "De ontdekking van de Hollandse primitieven." Oud Holland - Quarterly for Dutch Art History 112, no. 2-3 (1998): 169–86. http://dx.doi.org/10.1163/187501798x00347.

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AbstractHistorian Pieter Geyl's opposition to a division in fifteenth-century painting in the Low Countries has been the subject of frequent discussion. This article presents the first examination of the motives of the two principal upholders of the theory repudiated by Geyl: Adriaan Pit and Willem Vogelsang. In 1894 Pit drew a sharper distinction than predecessors such as Bode and Moll between Dutch and Flemish fifteenth-century painting. Pit's position was based on his conception - which in turn was substantially influenced by Louis Courajod - of logic in art history. Pit's stance, which implied a division in the Netherlands prior to the Revolt, sparked off a debate that continues to this day and has been conducted by both historians and art historians. For most of his life Vogelsang presented himself as the foremost defender of the opinion that the division of the Netherlands was reflected in fifteenth-century painting. His loyalty to Pit was closely linked with his conviction that, in art history, the eye was superior to the document. In this case the difference between Dutch and Flemish painting was plain to see, and brooked no historical argument. For Vogelsang, the first professor in the field of art history in the Netherlands, the legitimacy of art history as an independent discipline was ultimately at stake in this debate.

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Demidova, Maria A. "The Wisdom of Bacchus: Emblematic, Iconographic and Literary Allusions in the Hermitage Painting by P. P. Rubens." Vestnik of Saint Petersburg University. Arts 14, no. 1 (2024): 97–121. http://dx.doi.org/10.21638/spbu15.2024.106.

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The painting “Bacchus” by Peter Paul Rubens (State Hermitage Museum, St Petersburg) has frequently attracted the attention of both local and foreign researchers. In this article, we question the interpretation of the painting as a simple allegory of the autumn grape harvest and the celebration of production of young wine. Bacchanalian subjects since Antiquity have been loaded with additional meanings associated with regeneration and creative potentials. The latter aspect was picked up and developed by Renaissance artists. Rubens followed often that tradition. L. D. Davis saw in the Hermitage painting a metaphor of the creative method of the Flemish painter, who trusted intuitive impulses more than rigid rules. We share partially this point of view, but we propose to consider the named work in a broader sense than that scholar did. It seems to us that Rubens presented in “Bacchus” his allegorical self-portrait, emphasizing his love of life and his philosophical emancipation. Thus, the Flemish artist expressed his opposition to moralizing and short-sighted opinions in contemporary culture and his desire to return to the breadth of the Renaissance vision. As a consequence, the allusions contained in his painting to “The Andrians” by Titian, some emblems by Andrea Alciato, as well as the new Rubens interpretation of Comus, an ancient character, which John Milton used in his didactic mask a few years before the creation of Hermitage work, — don’t seem accidental. The portly Bacchus in the painting is presented as the lord of earthly diversity and boundless abundance, at the same time he is a wise mentor-judge, indicating how to properly handle all this wealth open to human race. The concept of the boon as the right disposal of freedom and desires, reflected in iconographic system of the Hermitage painting, fits with the ideas of Plato’s dialogue “Feast”.

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Torras Tilló, Santi. "Rembrandt behind the scenes. Christ disputing with the doctors: An intriguing panel from seventeenth-century Barcelona." Matèria. Revista internacional d'Art, no. 23 (October 1, 2024): 61–80. http://dx.doi.org/10.1344/materia2024.23.5.

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Between July 2012 and December 2013, the CRBMC (Centre de Restauració de Béns Mobles de Catalunya) restored two severely damaged works, painted probably around the middle of the seventeenth century by an anonymous and second-rate artist. The paintings were Christ Disputing with the Doctors and The Flight into Egypt. When the restoration was completed, it brought to light several interesting aspects: New painting had been applied over ancient panels from a sixteenth-century altarpiece, and the details in the new works, especially the first, did not follow the usual formula of Catalan baroque masters. The article analyses the clues that could point to the author’s being a Dutch or Flemish Rembrandtesque artist temporarily settled in Barcelona.

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Alice, Joan Hu. "Flower Garlands in the Flemish Painting of the XVII Century." Manuskript, no. 7 (July 2020): 180–84. http://dx.doi.org/10.30853/manuscript.2020.7.35.

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Amadori, Maria Letizia, Gianluca Poldi, Mara Camaiti, Fabio Frezzato, Antonella Casoli, Giulia Germinario, Elena Monni, Cecilia Pedulli, and Valeria Mengacci. "Giovanni Santi’s Late 15th-Century Paintings: Microscopic, Spectroscopic and Chromatographic Investigations on Pigments, Powdered Glass and Binding Media." Applied Sciences 13, no. 17 (August 28, 2023): 9739. http://dx.doi.org/10.3390/app13179739.

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After a huge non-invasive diagnostic campaign performed on the corpus of Giovanni Santi’s artworks, three paintings were selected and investigated: the Martyrdom of Saint Sebastian panel, the Visitation altarpiece and the canvas with Tobias and the Archangel Raphael (c. 1487 and 1494). Micro-invasive investigations including optical microscopy, ESEM-EDX, micro-Raman spectroscopy, FTIR and FTIR-ATR spectroscopy and GC-MS were carried out on selected micro samples. The results of the integrated analyses confirmed the use of a Renaissance palette with oil and, only in a few cases, tempera techniques. Some significant peculiarities emerged in Santi’s practice, as he used localized off-white priming and colorless powdered glass with a siccative oil—in red, flesh, pinkish and green hues—confirming the influence of the Flemish painters in Urbino and, possibly, also in western central Italy. This innovative technical expedient compared to the traditional Italian painting technique was identified also in red and bluish samples collected from the Communion of the Apostles panel painted by Justus of Ghent around 1473–1474 for Urbino Corpus Domini Confraternity. The Flemish master was called to the court of Duke Federico to paint in oil and his presence at the ‘Urbino workshop’ probably contributed to the diffusion of this technique. Both in Giovanni Santi’s paintings and the Communion of the Apostles, the glass particles are related to a soda-lime glass typical of the Italian area, widely detected in Italian paintings from the late 15th and 16th centuries.

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Arijčuk, Petr. "Daniel Gran und die Anfänge seines Schaffens in den böhmischen Ländern." Opuscula historiae artium, no. 1 (2023): 22–39. http://dx.doi.org/10.5817/oha2023-1-2.

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Paintings by François Roëttiers (1685–1742) delivered in 1732 for the side altars of the Church of St John of Nepomuk in Krahulčí near Telč, whose builders and patrons were Count Franz Anton of Liechtenstein-Kastelkorn and his wife Marie Anna of Halleweil, are the unique contribution in the Czech Lands of this painter of Flemish origin, who later settled in Vienna. However, the artist of the original image on the high altar of the same church, St John of Nepomuk adoring the crucifix, now missing, is not this painter. The original Baroque painting was replaced in 1890 by the current painting by the academic painter and restorer Čeněk Neumann. Contemporary records of his painting refer to it as a copy of the original Baroque painting. However, the distinctive visages of St John of Nepomuk and the attending angels evoke strikingly the work of the famous Viennese painter Daniel Gran (1694–1757), whose first contacts with clients in the Czech Lands are documented in the late 1720s. Apart from several indirect indications, Gran's presumed authorship is significantly supported by the finding of a Baroque graphic sheet with the figure of John of Nepomuk adoring the crucifix, whose very specific rendered face evidently corresponds to the matching part of Neumann's copy of the Baroque original. Johann Ernst Mansfeld (1739–1796), the creator of the graphic transcript, identified Daniel Gran as the author of the original which was used.

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Warner, Lyndan. "Kinship Riddles." Genealogy 6, no. 2 (May 12, 2022): 43. http://dx.doi.org/10.3390/genealogy6020043.

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In the medieval to early modern eras, legal manuals used visual cues to help teach the church laws of consanguinity and affinity as well as concepts of inheritance. Visual aids such as the trees of consanguinity or affinity helped the viewer such as a notary, law student or member of the clergy to do the ‘computation,’ or reckon how closely kin were related to each other by blood or by marriage and by lines of descent or collateral relations. Printed riddles in these early legal manuals were exercises to test how well the reader could calculate whether a marriage should be deemed incest. The riddles moved from legal textbooks into visual culture in the form of paintings and cheap broadside prints. This article examines a riddle painting ‘devoted’ to William Cecil when he was Elizabeth I’s principal secretary, before he became Lord Burghley and explores the painting’s links to the Dutch and Flemish kinship riddles circulating in the Low Countries in manuscript, print and painting. Cecil had a keen interest in genealogies and pedigrees as well as puzzles and ciphers. As a remarried widower with an eldest son from a first marriage and children from his longer second marriage, Cecil lived in a stepfamily typical of the sixteenth century in England and Europe. The visual kinship riddles in England and the Low Countries had a common root but branched into separate traditions. A shared element was the young woman at the centre of the images. To solve the riddle the viewer needed to determine how all the men in the painting were related to her as if she were the ego, or self, at the centre of a consanguinity tree. This article seeks to compare the elements that connect and diverge in the visual kinship riddle traditions of the sixteenth and seventeenth centuries in the Low Countries and England.

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Hodne, Lasse. "Light Symbolism in Gentile da Fabriano’s Vatican Annunciation." Eikon / Imago 3, no. 2 (September 20, 2014): 33–50. http://dx.doi.org/10.5209/eiko.73395.

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Gentile da Fabriano’s Annunciation in the Vatican Pinacoteca is one of the clearest and most interesting visualizations of a famous metaphor from Medieval hymn literature that compares Mary’s hymen to the glass of a window. The painting uniquely combines three elements: rays of light, a Gothic tracery window, and the shape of the window impressed on the Virgin’s body. Gentile’s painting is the culmination of a development in Tuscan art that can be traced back at least until about 1370. This makes it part of an Italian tradition of visualizing the so-called ut vitrum metaphor that must antedate analogous examples from Flemish art.

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Wolfthal, Diane, Thomas Kren, and Scot McKendrick. "Illuminating the Renaissance: The Triumph of Flemish Manuscript Painting in Europe." Sixteenth Century Journal 35, no. 4 (December 1, 2004): 1179. http://dx.doi.org/10.2307/20477186.

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Cadée, Gerhard C. "Sea heart and nickar nuts in a Flemish painting of 1617." Archives of Natural History 38, no. 2 (October 2011): 353–56. http://dx.doi.org/10.3366/anh.2011.0041.

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Goedde, Lawrence O. "Convention, Realism, and the Interpretation of Dutch and Flemish Tempest Painting." Simiolus: Netherlands Quarterly for the History of Art 16, no. 2/3 (1986): 139. http://dx.doi.org/10.2307/3780634.

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Uçar, Asya Sakine. "Rediscovering Bruegel: Art and History in Michael Frayn’s Headlong." Gaziantep University Journal of Social Sciences 23, no. 3 (July 30, 2024): 972–84. http://dx.doi.org/10.21547/jss.1395091.

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British playwright and novelist Michael Frayn’s 1999 novel Headlong centers on an art historian’s discovery of the lost sixth painting from the collection Months or Seasons that Flemish painter, Pieter Bruegel is believed to have painted in 1565. Throughout the novel, driven by a quest to authenticate and possess the painting, the protagonist Martin Clay is engrossed in a thoughtful and thorough examination of Bruegel’s art renowned for busy tableaus of peasants, harvesters, hunters engaged in daily and rural activities. From religious conflicts, biblical conventions to allegorical landscapes, labors of the months within the framework of changing seasons, Bruegel’s artistic milieu has been interpreted and elicited in diverse and opposite ways. For that reason, Clay’s speculations about the political, intellectual and symbolic history behind the painting are not only the substance of the book, but the lengthy and diligent research he takes on also provides historical backdrop of the Netherlands in early sixteenth century, a time of atrocity and oppression as a result of Spanish rule. In view of that, this study aims to examine and understand how Martin’s journey turns into a headlong venture carrying thematic elements found in Bruegel’s works delving into the complexities of human behavior. Frayn not only brings the missing masterpiece to life with relevant descriptions projecting Bruegel’s idiosyncratic style and legacy, he also explicates its iconography-iconology in a political, and art historical context showing affinity with the narrative and artistic traditions of Dutch genre paintings.

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Lomagina, Anastasia. "Jensens ekphrasis in “The King’s Fall” as “interference”." Scandinavian Philology 20, no. 2 (2022): 346–56. http://dx.doi.org/10.21638/11701/spbu21.2022.208.

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The article analyzes an example of ekphrasis from the novel “The King’s Fall” (1901) by Danish Nobel prize-winner Johannes V. Jensen as a space of interaction between visualization strategy and rhythmic organization of prose. The idea of “interference” as a principle of mutual influence of waves in Physics is dear to the writer at this early stage of his career and is present in the title of the poem in prose from 1901. His turn-of-the-century poems and prose often combine high and low, emptiness and fullness, and different kinds of media. As a historical novel describing the epoch of the 16th century, “The King’s Fall” borrows the pictorial features and structural principles of Baroque painting as well as the essential ideas of the epoch’s memento mori, reflected in the paintings of H. Holbein, P. Bruegel the elder and still-lifes of Flemish and Dutch masters from the Vanitas series. The ekphrasis under consideration is presented as a piece of memory unfolding before the eyes of an observer, as a painting from the epoch with its frame, light, perspective, horizon line, colours and viewer. Furthermore, thanks to rhythmicity, repeated syntactic, lexical groups and alliteration, the focus shifts to the creative act, betraying the presence of the creator and the narrator.

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Baldwin, Robert, and Walter Gibson. ""Mirror of the Earth": The World Landscape in Sixteenth-Century Flemish Painting." Sixteenth Century Journal 23, no. 2 (1992): 362. http://dx.doi.org/10.2307/2541908.

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Demirel, Korkud, and Şefik Görkey. "Gingival inflammation in the Flemish painter Hendrick ter Brugghen's Unequal Couple painting." British Dental Journal 229, no. 6 (September 2020): 383–85. http://dx.doi.org/10.1038/s41415-020-2054-0.

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Levitas, Andrew S., and Cheryl S. Reid. "An angel with Down syndrome in a sixteenth century Flemish Nativity painting." American Journal of Medical Genetics 116A, no. 4 (January 9, 2003): 399–405. http://dx.doi.org/10.1002/ajmg.a.10043.

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Wiersma, Lisa. "‘Colouring’ — Material Depiction in Flemish and Dutch Baroque Art Theory." Art and Perception 8, no. 3-4 (October 28, 2020): 243–65. http://dx.doi.org/10.1163/22134913-bja10005.

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Seventeenth-century painters were masters at painting objects and beings that seem tangible. Most elaborate was painting translucent materials like skins and pulp: human flesh and grapes, for instance, require various surface effects and suggest the presence of mass below the upper layers. Thus, the viewer is more or less convinced that a volume or object is present in an illusionary space. In Dutch, the word ‘stofuitdrukking’ is used: expression or indication of material, perhaps better understood as rendering of material. In English, ‘material depiction’ probably captures this painterly means best: it includes rendering of surface effects, while revealing the underlying substance, and it implies that weight and mass are suggested. Simple strokes of paint add up to materials and things that are convincingly percieved. At first glance, material depiction hardly seems a topic in early-modern art theory, yet 17th-century painters are virtually unequalled as regards this elaborate skill. Therefore, 17th-century written sources were studied to define how these might discuss material depiction, if not distinctly. This study concerns one of many questions regarding the incredible convincingness of 17th-century material depiction: besides wondering why the illusions work (Di Cicco et al., this issue) and how these were achieved (Wiersma, in press), the question should be asked why this convincingness was sought after. Was it mere display of ability and skill? And how was material depiction perceived, valued and enjoyed? First, contemporary terminology is determined: the seemingly generic term ‘colouring’ signified the application of convincing material depiction especially — which is not as self-evident as it sounds. Second, and extensively, the reader will find that convincing or appealing material depiction was considered a reference to religion and natural philosophy.

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LI, Bingqing. "Modern Criticism of Rococo Chinoiserie: Visual Narrative and Their Written Variations of Singerie." Research On Frontiers 1, no. 2 (October 22, 2024): 50–60. http://dx.doi.org/10.62978/2410lbq5060.

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Chinoiserie (“ 中国风”) began to appear in Europe in the 13th century, and gradually exerted more and more influence on its art and culture. By the 19th century, it had become an academic term, specifically refers to European art trends influenced by Chinese or more broadly Far Eastern culture. Rococo Chinoiserie (“ 洛可可式中国风”) is a representative art form during the peak period of the development of Chinese style. Singerie(“ 猴戏画”)is a typical representative of Rococo Chinese style. As a humorous painting theme, Singerie depicts the imitation of human activities by apes. It originated from Flemish painting in the 16th century. It became famous with the popularity of French court culture in Europe in the 18th century, and is regarded as an important type of painting in Rococo art. This pattern is a typical representative of “Rococo Chinese style”. It is the result of the convergence of developments in art history, iconography, and biology. However, this result,this creation is based on a voyeuristic visual narrative and a written variation of allegorical painting. This type of drawing constructs space, controls timing, and guides sight in a specific painting form. The realization of its value and function depends on the writing variation of the allegorical painting from “appearance-concept-picture” to “appearance-idea-picture”.

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Mazzinghi, Anna, Chiara Ruberto, Lisa Castelli, Caroline Czelusniak, Lorenzo Giuntini, Pier Andrea Mandò, and Francesco Taccetti. "MA-XRF for the Characterisation of the Painting Materials and Technique of the Entombment of Christ by Rogier van der Weyden." Applied Sciences 11, no. 13 (July 2, 2021): 6151. http://dx.doi.org/10.3390/app11136151.

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At present, macro X-ray fluorescence (MA-XRF) is one of the most essential analytical methods exploited by heritage science. By providing spatial distribution elemental maps, not only does it allow for material characterisation but also to understand, or at least to have a likely idea of, the production techniques of an analysed object. INFN-CHNet, the Cultural Heritage Network of the Italian National Institute of Nuclear Physics, designed and developed a MA-XRF scanner aiming to be a lightweight, easy to transport piece of equipment for use in in situ measurements. In this study, the INFN-CHNet MA-XRF scanner was employed for the analysis of a painting by the Flemish artist Rogier van der Weyden. The painting belongs to the collection of the Uffizi gallery in Florence and was analysed during conservation treatments at the Opificio delle Pietre Dure, one of the main conservation centres in Italy. The research aims were to characterise the materials employed by the artist and to possibly understand his painting technique. Although MA-XRF alone cannot provide a comprehensive characterisation, it nonetheless proved to be an invaluable tool for providing an initial overview or hypothesis of the painting materials and techniques used.

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Prikladova, Mariia A. "NEW SPAIN’S BAROQUE PAINTING: THE WORK OF CRISTÓBAL DE VILLALPANDO." Articult, no. 3 (2020): 73–80. http://dx.doi.org/10.28995/2227-6165-2020-3-73-80.

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The author of the paper investigates the work of Cristóbal de Villalpando (c.1649-1714). His paintings are analyzed in historical, cultural and social context. The author pays attention to the links and relationships between the art world of Europe and the Viceroyalty of New Spain. A significant part of his paintings belongs to the religious genre. Villalpando had been strongly influenced by works of Spanish and Flemish artists. Villalpando’s paintings demonstrate his penchant for narrative, monumentality and incorporation of many figures and details in his compositions. At the same time Villalpando acts as a distinctive painter, originally interpreting biblical scenes and signing himself as “inventor”. The relevance of the article is due to the lack of knowledge of the Baroque colonial artists’ heritage.

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Pavlovich, Kristina K. "Literary ‘Daguerreotypes’ of the Maikov Family: The Story ‘Evil Illness’ by Ivan Goncharov and a Friendly Caricature ‘So They Rented a Dacha!’ by Vladimir Solonitsyn." Вестник Пермского университета. Российская и зарубежная филология 16, no. 2 (2024): 99–109. http://dx.doi.org/10.17072/2073-6681-2024-2-99-109.

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The article is devoted to the study of two parody literary texts – Evil Illness by Ivan Goncharov and So They Rented a Dacha! by Vladimir Solonitsyn. Both texts relate to the creation of the image of the Maikov family and its members. Both Goncharov and Solonitsyn were closely connected with a family where advanced aesthetic problems of the transitional period of the 1840s, these reflecting the struggle between romanticism and realism, were discussed and embodied in works of art and literature. The friendly parodies by Goncharov and Solonitsyn are united by focus on the romantic worldview of the heroes, the prototypes of which were the members of the Maikov family (Ekaterina Maikova, Nikolai Maikov, etc.). In his first story, Goncharov addressed the main aesthetic conflict of the era using the aesthetics of the Flemish school of painting, since ‘Flemishism’, along with the traditions of High Italian painting, embodies the essence of Goncharov’s aesthetic category zhivopisaniye (which can be translated as depiction, vivid depiction). Goncharov’s ‘Flemishism’ as his style feature manifested itself already at the beginning of his literary path (Evil Illness) in the form of extreme penchant for details, attention to the beauty of everyday life, humorous elements in the description of everyday scenes. Sketches of everyday life in Goncharov’s first story are consonant with the theme of the painting by Adriaen van Ostade Tavern Scene. In addition to the parodic, ironic content, Goncharov’s story is associated with the synthesis of the ‘sophisticated’ and the ‘everyday’, and not a one-sided manifestation of life in art. In this regard, Flemish painters were extremely important for the novice writer Goncharov, who later became close to the ‘natural school’ of Vissarion Belinsky that proclaimed depiction of ‘the beautiful in the ordinary’ to be the main task of Russian literature.

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Giometti, Cristiano, and Loredana Lorizzo. "Rondinini paintings rediscovered: A self-portrait by Paul Bril and a ‘witchcraft’ by Pieter van Laer." Journal of the History of Collections 31, no. 2 (September 13, 2018): 333–41. http://dx.doi.org/10.1093/jhc/fhy031.

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Abstract The Rondinini family is important for having developed a well-defined taste in collecting during the fifteenth to eighteenth centuries, with an interest in ancient sculpture and painting staged in their palaces and villas in Rome and its surroundings. The most eminent artists active in seventeenth-century Rome worked for them. The paintings presented here are the most relevant examples of a great number of works that have re-emerged during a collaborative research project conducted by the universities of Florence and Salerno on the family’s contributions to the history of collecting. The first is a signed self-portrait by the Flemish artist Paul Bril, a pioneer amongst the landscape painters active in Rome between the late 1500s and early 1600s – a work of large size for the artist (110.0 x 81.5 cm); the second is a ‘witchcraft crowded with figures’ painted by Pieter van Laer, an eminent Dutch painter and leader of the group of masters called the ‘Bamboccianti’.

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Fajardo de Rueda, Marta. "Del Grabado Europeo a la Pintura Americana. La serie El Credo del pintor quiteño Miguel de Santiago." HiSTOReLo. Revista de Historia Regional y Local 3, no. 5 (January 1, 2011): 191. http://dx.doi.org/10.15446/historelo.v3n5.20655.

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El hallazgo de dos series de grabados flamencos del siglo XVII sobre el tema El Credo, de los artistas Adrian Collaert (1560-1618) y Johan Sadeler (1550-1600), permiten confirmar la importante presencia de los grabados europeos en los talleres de pintura de la América Hispana y su influencia decisiva en la formación de nuestros artistas. Se analizan entonces bajo esta perspectiva, las once pinturas al óleo que conforman la Serie de los Artículos de El Credo, obra del pintor quiteño Miguel de Santiago (1603-1706) que se encuentran en la Catedral Primada de Bogotá desde la época colonial.Palabras clave: Grabados europeos, pintores coloniales, Miguel de Santiago, Quito, Santafé de Bogotá. From European Engraving to American Painting. El Credo Series From The Painter From Quito Miguel de Santiago AbstractThe discovery of two engraving Flemish series from 17th century about El Credo, from the artists Adrian Collaert (1560-1618) and Johan Sadeler (1550-1600), allows proving the presence of European engravings within the painting works in the Hispanic America and the great influence on our artists’ formation. Thus based on this, are analyzed the eleven oil paintings that constitute the Series of Goods from El Credo, from the painter from Quito Miguel de Santiago (1603-1706) that are from the colonial time in the Catedral Primada de Bogotá.KeywordsEuropean engravings, colonial painters, Miguel de Santiago, Quito, Santafé de Bogotá

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Vandekerckhove, Joséphine. "Quatre Peintres Belges au Travail: Paul Haesaerts’s Film on Edgar Tytgat, Albert Dasnoy, Jean Brusselmans and Paul Delvaux (1952)." Arts 11, no. 1 (February 18, 2022): 36. http://dx.doi.org/10.3390/arts11010036.

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Belgian art historian and filmmaker Paul Haesaerts (1901–1974) made a significant contribution to the promotion of modern Flemish art. In the late 1940s, he started experimenting with the medium of film to practice a new form of lens-based art criticism. The understudied documentary Quatre peintres belges au travail (1952) presents Belgian artists Edgar Tytgat, Albert Dasnoy, Jean Brusselmans and Paul Delvaux at work in their studio. On a large sheet of glass placed in front of the camera, they each paint one of the seasons that also represent a stage in a person’s life. A close reading of this Kodachrome color film sheds light on the context of mid-century art reproductions, mass media and post-war Flemish culture. It also examines in what way this film operates as Haesaerts’s concept of cinéma critique, while raising questions as to the way Haesaerts attempted to reconcile the spatial art of painting with the temporal medium of film.

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Clancy, Stephen. "Morrison, Elizabeth and Thomas Kren, eds. Flemish Manuscript Painting in Context: Recent Research." Manuscripta 51, no. 2 (January 2007): 271–79. http://dx.doi.org/10.1484/j.mss.1.100107.

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Berle, E. J. "‘MIRACULOUS CANCER SURGERY’ ICONOGRAPHY OF A PAINTING BY THE FLEMISH PAINTER AMBROSIUS FRANCKEN." International Journal of Gynecologic Cancer 13, Suppl 1 (March 2003): 115.2–116. http://dx.doi.org/10.1136/ijgc-00009577-200303001-00430.

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Antunes, Serrão, Valadas, Candeias, Mirão, Cardoso, Manso, and Carvalho. "A Painter in the Shadow: Unveiling Conservation, Materials and Techniques of the Unknown Luso-Flemish Master of Lourinhã." Heritage 2, no. 4 (October 24, 2019): 2725–44. http://dx.doi.org/10.3390/heritage2040169.

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The painting collection of Santa Casa da Misericórdia da Lourinhã is amongst Portugal’s most notable and scarcely best-known cultural heritage. The artistic interest of this pictorial group, besides the advanced state of degradation of a number of the paintings, together with the ruined circumstances of the building accommodating the collection, today in reconstruction, were the key reasons for this study. Thermo-hygrometric measurements were carried out. A multianalytical methodology incorporating micro-X-ray diffraction (µ-XRD), energy-dispersive X-ray fluorescence spectroscopy (EDXRF), scanning electron microscopy–energy dispersive spectroscopy (SEM–EDS), micro-Raman spectroscopy (µ-Raman), micro-Fourier transform infrared spectroscopy (µ-FTIR) has been followed for the study. These analyses were complemented by infrared photography (IRP) and reflectography (IRR), allowing the study of the underdrawing technique. The results of this study were compared with previous ones of the painter’s workshop and important distinctions and similarities were found within the materials and techniques used. This analysis methodology on materials contributes to safeguarding and the ensuing community awareness of this cultural heritage in danger.

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Antunes, Vanessa, M. José Oliveira, Helena Vargas, Vitor Serrão, António Candeias, Maria Luísa Carvalho, João Coroado, et al. "Characterization of glue sizing under calcium carbonate ground layers in Flemish and Luso-Flemish painting – analysis by SEM-EDS, μ-XRD and μ-Raman spectroscopy." Anal. Methods 6, no. 3 (2014): 710–17. http://dx.doi.org/10.1039/c3ay41327f.

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Domínguez-Delmás, Marta, Francien G. Bossema, Jan Dorscheid, Sophia Bethany Coban, Moorea Hall-Aquitania, K. Joost Batenburg, and Erma Hermens. "X-ray computed tomography for non-invasive dendrochronology reveals a concealed double panelling on a painting from Rubens’ studio." PLOS ONE 16, no. 8 (August 27, 2021): e0255792. http://dx.doi.org/10.1371/journal.pone.0255792.

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Dating the wood from historical art objects is a crucial step to ascertain their production time, and support or refute attribution to an artist or a workshop. Dendrochronology is commonly used for this purpose but requires access to the tree-ring pattern in the wood, which can be hindered by preparatory layers, polychromy, wax, or integrated frames. Here we implemented non-invasive dendrochronology based on X-ray computed tomography (CT) to examine a painting on panel attributed to Rubens’ studio and its presumed dating around 1636 CE. The CT images achieved a resolution of 37.3 micron and revealed a double panelling, which was concealed by oak strips covering all four edges. The back (visible) board is made of deciduous oak (Quercus subg. Quercus), the most common type of wood used in 17th-century Netherlandish workshops, and was dated terminus post quem after 1557 CE. However, the front (original) board used for the painting has been identified through examination of the wood anatomy as a tropical wood, probably Swietenia sp., a species seldom used in Netherlandish paintings, and remains undated. Its very presence attests the global character of 17th-century trade, and demonstrates the use of exotic species in Flemish studios. The date of the oak board refutes previous results and suggests that this board was trimmed to meet the size of the tropical one, having been glued to it for conservation purposes or with deceiving intentions to pretend that the painting was made on an oak panel. These revelations have opened new lines of art historical inquiry and highlight the potential of X-ray CT as a powerful tool for non-invasive study of historical art objects to retrieve their full history.

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Winstanley, Adam. "A ‘Whispered Disfazione’: Maurice Blanchot, Leonardo da Vinci and Three Dialogues with Georges Duthuit." Journal of Beckett Studies 22, no. 2 (September 2013): 135–60. http://dx.doi.org/10.3366/jobs.2013.0069.

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This piece examines the audacious dismissal of Leonardo da Vinci in Samuel Beckett's Three Dialogues with George Dialogue alongside the Parisian re-evaluation of Leonardo's work in the 1940s; a re-evaluation partly prompted by Gallimard's publication of Les carnets de Léonard de Vinci (1942). It argues that B's critique of Leonardo and the Italian masters is imbricated in contemporary debates on the relationship between painting and the impossible that emerged between the Flemish painter and writer, Jean de Boschère, and the French literary critic, Maurice Blanchot; a debate which Beckett himself appears to have encountered in Blanchot's Faux Pas (1943).

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Haks, Donald. "Military Painting in Flux. Flemish, French, Dutch, and British Pictures Glorifying Kings, c. 1700." Dutch Crossing 35, no. 2 (July 2011): 162–76. http://dx.doi.org/10.1179/155909011x13033128278678.

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Zell, Michael. ":Michaelina Wautier and “The Five Senses”: Innovation in 17th-Century Flemish Painting." Early Modern Women: An Interdisciplinary Journal 18, no. 2 (March 1, 2024): 333–36. http://dx.doi.org/10.1086/728618.

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Walter, Philippe. "Chemical Analysis and Painted Colours: the Mystery of Leonardo's Sfumato." European Review 21, no. 2 (April 30, 2013): 175–89. http://dx.doi.org/10.1017/s1062798712000348.

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At the end of the 15th century, Italian painters explored the new effects made possible by the use of the oil medium. They created a sense of depth and relief by following the Flemish technique of glazes, which allowed the spreading of very thin and translucent layers, rich in medium and with low pigment content. A striking example is given by the realization of the shadows in the paintings of Leonardo da Vinci: the Master used the so-called ‘sfumato’ technique based on the use of glazes to obtain a ‘smoky’ aspect for the creation of flesh tones, with very subtle contours that seem to have no hard edges. Since the 16th century, his technique was famous due to the perfection of the works of art that glazes have allowed artists to reach. Analytical characterizations of painting materials have helped us to improve our knowledge about this technique. X-ray fluorescence measurements were carried out on seven paintings by Leonardo da Vinci preserved in the Louvre museum. This technique is widely used for qualitative determination of the pigments but it is very difficult to interpret the data quantitatively in the case of layered structures such as easel paintings. As well as the characterization of the palette, we obtain in-depth information on how Leonardo modelled his shadows. Comparisons between the different paintings of Leonardo highlight the specific features in the Leonardo technique.

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Sobecka, Anna. "Świat zwierząt Daniela Schultza." Porta Aurea, no. 17 (November 27, 2018): 33–61. http://dx.doi.org/10.26881/porta.2018.17.02.

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Daniel Schultz (1615–1683) was one of the most important painters of his time, highly regarded among the Polish nobility and patricians of his native city of Gdańsk. Schultz’s game and animal pieces resemble works of Flemish artists. His earliest animal picture Trophies in the Pantry is perhaps most Southern Netherlandish in character. Fred G. Meijer attributed to Schultz a painting on the subject of hunting, bearing the monogram “DS” and dated 1649. Schultz also executed a smaller painting, which is a depiction of a fox (or rather a dog) head shown in profile and a bunch of grapes, with some killed birds. Furthermore, two other animal paintings by Schultz are known from the National Museum in Gdańsk. In 2014, a pair of pendant paintings of dead birds appeared on the art market. Their similarity to the Medicean Trophies led the experts of the Artcurial auction house to ascribe them to Schultz. As one compares them with some other works by the Gdańsk artist, the resemblance is even more pronounced. Both paintings are now in a Polish private collection. In the Museum of Fine Arts in Gent there are two other paintings attributed to Frans Snyders and Jan Fyt which could have been painted by Daniel Schultz. The focus on perfectly studied animals, framing of the composition, and a summary treatment of the background are characteristic of him. The ‘Ds 16__’ monogram bears the painting from the Kuscovo Palace (Moscow), which depicts A Heron, a Bittern and a Rabbit. Schultz was the first artist in the territories associated with the Polish-Lithuanian Commonwealth to create independent animal and still life paintings. Possibly a pupil of Elias Vonck, the Amsterdam master active in Prussia, Schultz was also influenced by Antwerp masters such as Frans Snyders and Johannes Spruyt. Schultz’s interest for animal themes and still life may have been connected with characteristic features of the culture of Gdańsk, such as, for instance, a penchant for hunting, viewed both as a pastime and a subject for art. Gdańsk citizens enjoyed the right to hunt as of 1588, earlier than any other European bourgeoisie. Most signed works by Schultz are his depictions of animals. Tis could be an indirect suggestion about the identity of the recipients of Schultz’s depictions of the animal world. As stated above, the Gdańsk citizens had a predilection for hunting pieces; they also cared more than courtiers about the fact that such representations were authored by a Gdańsk artist.

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Journal articles on the topic 'Flemish Painting'

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