Late Gothic Europe 1400 1500
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Late Gothic Europe 1400 1500
Author | : Margaret Scott |
Publsiher | : London ; Toronto : Mills & Boon ; Atlantic Highlands, N.J. : Humanities Press |
Total Pages | : 282 |
Release | : 1980 |
Genre | : Design |
ISBN | : IND:30000042791214 |
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Late Gothic Europe 1400 1500
Author | : Margarett Scott |
Publsiher | : Unknown |
Total Pages | : 0 |
Release | : 1980 |
Genre | : Electronic Book |
ISBN | : OCLC:959000554 |
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Gothic and Renaissance Art in Nuremberg 1300 1550
Author | : Metropolitan Museum of Art (New York, N.Y.) |
Publsiher | : Metropolitan Museum of Art |
Total Pages | : 501 |
Release | : 1986 |
Genre | : Art, German |
ISBN | : 9780870994661 |
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The Art and Science of the Church Screen in Medieval Europe
Author | : Spike Bucklow,Richard Marks,Lucy Wrapson |
Publsiher | : Boydell & Brewer |
Total Pages | : 362 |
Release | : 2017 |
Genre | : Architecture |
ISBN | : 9781783271238 |
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Fresh examinations of one of the most important church furnishings of the middle ages.
Between France and Flanders
Author | : Susie Nash,British Library |
Publsiher | : University of Toronto Press |
Total Pages | : 430 |
Release | : 1999-01-01 |
Genre | : Language Arts & Disciplines |
ISBN | : 0802041140 |
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Examining manuscript illumination in Amiens in its historical and socio-economic context, the author pinpoints the artistic interchange between France and Flanders.
Late Gothic Architecture
Author | : Robert Odell Bork |
Publsiher | : Brepols Publishers |
Total Pages | : 0 |
Release | : 2018 |
Genre | : Architecture, Gothic |
ISBN | : 2503568947 |
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In this book, Robert Bork offers a sweeping reassessment of late Gothic architecture and its fate in the Renaissance. In a chronologically organized narrative covering the whole of western and central Europe, he demonstrates that the Gothic design tradition remained inherently vital throughout the fourteenth and fifteenth centuries, creating spectacular monuments in a wide variety of national and regional styles. Bork argues that the displacement of this Gothic tradition from its long-standing position of artistic leadership in the years around 1500 reflected the impact of three main external forces: the rise of a rival architectural culture that championed the use of classical forms with a new theoretical sophistication; the appropriation of that architectural language by patrons who wished to associate themselves with papal and imperial Rome; and the chaos of the Reformation, which disrupted the circumstances of church construction on which the Gothic tradition had formerly depended. Bork further argues that art historians have much to gain from considering the character and fate of late Gothic architecture, not only because the monuments in question are intrinsically fascinating, but also because examination of the way their story has been told-and left untold, in many accounts of the Northern Renaissance-can reveal a great deal about schemes of categorization and prioritization that continue to shape the discipline even in the twenty-first century.
Myth Montage Visuality in Late Medieval Manuscript Culture
Author | : Marilynn Desmond,Pamela Sheingorn |
Publsiher | : University of Michigan Press |
Total Pages | : 372 |
Release | : 2006 |
Genre | : History |
ISBN | : 047203183X |
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A broad multidisciplinary study that uses the Epistre Othea to examine the visual presentation of knowledge
Northern Renaissance Art
Author | : Susie Nash |
Publsiher | : OUP Oxford |
Total Pages | : 384 |
Release | : 2008-11-27 |
Genre | : Art |
ISBN | : 9780191540028 |
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This book offers a wide-ranging introduction to the way that art was made, valued, and viewed in northern Europe in the age of the Renaissance, from the late fourteenth to the early years of the sixteenth century. Drawing on a rich range of sources, from inventories and guild regulations to poetry and chronicles, it examines everything from panel paintings to carved altarpieces. While many little-known works are foregrounded, Susie Nash also presents new ways of viewing and understanding the more familiar, such as the paintings of Jan van Eyck, Rogier van der Weyden, and Hans Memling, by considering the social and economic context of their creation and reception. Throughout, Nash challenges the perception that Italy was the European leader in artistic innovation at this time, demonstrating forcefully that Northern art, and particularly that of the Southern Netherlands, dominated visual culture throughout Europe in this crucial period.