Renaissance Gothic

This compelling book offers a new paradigm for the periodization of the arts, one that counters a prevailing Italianate bias among historians of northern Europe of this era. The years after 1500 brought the construction of several iconic Late Gothic monuments, including the transept facades of Beauvais cathedral in northern France, much of King's College in Cambridge, England, and the parish church at Annaberg in Saxony. Most designers and patrons preferred this elite Gothic style, which was considered fashionable and highly refined, to alternative Italianate styles. Ethan Matt Kavaler connects Gothic architecture to related developments in painting and other media, and considers the consequences of the breakdown of the Gothic system in the early 16th century. Late Gothic architecture is recognized for its sensuous and abundant ornament. Its visually rich surfaces signify wealth and magnificence, and its flamboyant geometric designs portray a system of perfect and essential forms that convey spiritual authority, while often serving as signs of personal or corporate identity. Renaissance Gothic presents a groundbreaking and detailed study of the Gothic architecture of the late 15th and 16th centuries across Europe.

This collection of essays by experts in Renaissance and Gothic studies tracks the lines of connection between Gothic sensibilities and the discursive network of the Renaissance. The texts covered encompass poetry, epic narratives, ghost stories, prose dialogues, political pamphlets and Shakespeare's texts, read alongside those of other playwrights. The authors show that the Gothic sensibility addresses subversive fantasies of transgression, be this in regard to gender (troubling stable notions of masculinity and femininity), in regard to social orders (challenging hegemonic, patriarchal or sovereign power), or in regard to disciplinary discourses (dictating what is deemed licit and what illicit or deviant). They relate these issues back to the early modern period as a moment of transition, in which categories of individual, gendered, racial and national identity began to emerge, and connect the religious and the pictorial turn within early modern textual production to a reassessment of Gothic culture.

Beasts of myth and legend, writhing foliage, dancing symbols of fate — this spectacular compendium of 15th- and 18th-century designs features 127 black-and-white illustrations from the far corners of the imagination.

The Antwerp painter Jan de Beer (c.1475-1527 /28) was highly esteemed in his lifetime and still famous forty years after his death, but then fell into oblivion until the early twentieth century. This monograph is the first published, comprehensive study of his art and career. Its biography is the result of a thorough search of the archives and includes a recently discovered teaching contract with Lieven van Male of Ghent. All documents are fully transcribed, including documents for the artist's painter-son, Aert de Beer (c.1508-1538/40). Results from technical studies of the artist's work, including underdrawings and dendrochronological dating, are incorporated throughout the book. The artist's surviving oeuvre consists of forty works, mainly devotional paintings and triptychs but also a dozen drawings and a stained glass window in Antwerp Cathedral after a lost design. De Beer's stylish, elegant art exerted a powerful appeal upon the buying public, churches abroad, and copyists. His lost Adoration of the Magi was the best-selling painting design in Antwerp at the time. De Beer is further important as one of only two Antwerp artists of his generation for whom a signficant body of drawings exist. The catalogue of paintings and drawings by the artist and his workshop, including the numerous copies and variants, comes to over 170 works. De Beer's art is typically associated with the work of the Antwerp Mannerists, a prominent group of painters active in the city during his lifetime. This study argues that De Beer's work, plus that of the Mannerists and the city's retable carvers, should be understood as a novel, modern expression of late Gothic art, a sixteenth-century renewal of the Gothic mode that was also manifested in contemporary architecture, calligraphy, music and poetry.

In the mid-15th century, when the tradition styles and techniques of the Middle Ages were yielding to the new influences of the Renaissance, the altarpieces of cathedrals and major churches reached a degree of elaboration never seen before. For a century or so altarpieces had been constructed so that they could be closed or open (for saints' days and festivals), often in three parts (triptychs), with two wings folding over the centre. This scheme was now expanded: panels were arranged sometimes in two tiers which could open separately. The three-part stucture could grow to five and even seven. In the most extreme case, Grunewald's Isenheim Altarpiece, there was an unprecedented number of possibilities - a sort of theological hierarchy, with panels opening to reveal deeper and deeper mysteries.

The Fascinating History of the First Significant Collection of Gothic Art in the United States.