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Innerhalb der umfangreichen Gruppe anonymer, fruhniederlandischen Bildwerke zeichnet sich das New Yorker Diptychon ebenso wie die stilistisch verwandten Miniaturen des Turin-Mailander Stundenbuches durch besondere Nahe zum Spatwerk Jan van Eycks aus. Ausgehend von der Forschungsgeschichte zu diesen beiden Werken wird die These vertreten, dass beide Tafeln von Jan van Eyck konzipiert und auch grosstenteils von ihm selbst ausgefuhrt wurden. Die zeitliche Einordnung der beiden Tafeln zwischen den Eyckschen Miniaturen und den signierten Tafeln aus den 30er Jahren, erhalt durch einen allgemeineren Medienvergleich Gewicht, der die unterschiedlichen Ausdrucksformen von Buch- und Tafelmalerei untersucht und die transitorische Gestalt des Diptychons bestatigt. Die Nahe des Tafelbildes zur zeitgenossischen Buchmalerei wird nicht nur im Stil des Werkes fassbar, sondern liegt auch in der neuartigen Erzahlstruktur der beiden Darstellungen begrundet. Ikonographie und Bildaufbau weisen ebenfalls auf Innovationen im Bereich dieses Mediums hin. In diesem Zusammenhang wird die Darstellungstradition der Themen Kreuzigung, Jungstes Gericht und Holle, wie sie zu Beginn des Jahrhunderts nordlich der Alpen auftreten, in ihrer Entwicklung genauer untersucht. ... Read more

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This volume is produced from digital images created through the University of Michigan University Library's large-scale digitization efforts. The Library seeks to preserve the intellectual content of items in a manner that facilitates and promotes a variety of uses. The digital reformatting process results in an electronic version of the original text that can be both accessed online and used to create new print copies. The Library also understands and values the usefulness of print and makes reprints available to the public whenever possible. This book and hundreds of thousands of others can be found in the HathiTrust, an archive of the digitized collections of many great research libraries. For access to the University of Michigan Library's digital collections, please see http://www.lib.umich.edu and for information about the HathiTrust, please visit http://www.hathitrust.org ... Read more

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In Gratitude to Dania Sheldon DPhil Oxford ... Read more

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Volume 8 of the series 'Studies in Netherlandish Art and Cultural History'. ... Read more

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This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

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Chapters: People From Ghent, Charles V, Holy Roman Emperor, John of Gaunt, 1st Duke of Lancaster, Jan Van Eyck, Guy Verhofstadt, Jacques Rogge, Maurice Maeterlinck, Victor Horta, Suzanne Lilar, Bradley Wiggins, Théo Van Rysselberghe, Jacob Obrecht, Danzel, Leo Baekeland, Karel de Gucht, Xavier Henry, Pierre Louÿs, Jean-Paul Floru, René Jacobs, Danny Matthys, Pierre de Geyter, Pat Van Den Hauwe, Daniel Heinsius, Tom de Sutter, Theophile Meerschaert, Henry of Ghent, Jodocus Hondius, Charles John Seghers, Jan Frans Willems, Tom Dice, Jean Ray, Boudewijn Bouckaert, Wesley Sonck, Hugo Debaere, Eline Berings, Louis Pauwels, Hugo Van Der Goes, Filip Meirhaeghe, Iljo Keisse, Leo Apostel, Vanessa Chinitor, Princess Amalia of Saxe-Weimar-Eisenach, Eddy Wally, Hendrik Elias, Johan Vande Lanotte, Bob Benny, Henry Gabriels, Lily Castel, Corneille Heymans, Vadis Odjidja-Ofoe, Maarten Martens, Caspar de Crayer, Emly Starr, Dirk Van Braeckel, Juan de Tecto, Jean-Baptiste Loeillet of London, Jacob Van Artevelde, Matthew Gilmore, Jan Utenhove, Jacques Raymond, Aimé Dossche, Charles de La Croix, Fred de Bruyne, Wouter Weylandt, Jef François, Staf de Clercq, Tomas Van Den Spiegel, Free Souffriau, Kim Kay, Joannes Bunderius, Dieter Van Tornhout, Godfried-Willem Raes, Bavo Defurne, Jan Van Der Crabben, Frank Hoste, Louis Baert, Christine D'haen, Philip Van Artevelde, Davy de Fauw, Philip Claeys, Lucas de Heere, Frans de Potter, Lyndsey Pfaff, Reimond Tollenaere, Len Dolding, Lieven Bauwens, Daan Van Gijseghem, Frans Ackerman, Victor Leemans, Leon Van Loo, Charles Vandeweghe, Cédric Van Branteghem, Edouard-Christophe Pynaert, Linda Lepomme, Théo Lefèvre, Jean Paul Van Bendegem, Debby Pfaff, Cris Brodahl, Nathalie de Vos, Ferdinand Elbers, Charles Liedts, Lieven de Key, Frans Rens, Luc Roosen, Jan Goessens. Source: Wikipedia. Pages: 372. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a m... ... Read more

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Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Jan Van Eyck, Ashikaga Yoshinori, Blanche I of Navarre, Margaret of Burgundy, Duchess of Bavaria, Niccolò Iii D'este, Marquis of Ferrara, William Phelip, 6th Baron Bardolf, Srinatha, Ludovico Racaniello, Ludwik Iii of Oława, Akamatsu Mitsusuke, Paulus Castrensis, Corrado Iii Trinci, Robert Large, Iacopo Ii Appiani, Adolf, Duke of Bavaria, Paul Von Rusdorf, Al-Mu'tadid Ii. Source: Wikipedia. Free updates online. Not illustrated. Excerpt: Jan van Eyck or Johannes de Eyck (Dutch pronunciation: ; before c. 1395 before July 9, 1441) was a Flemish painter active in Bruges and considered one of the best Northern European painters of the 15th century. There is a common misconception, which dates back to the sixteenth-century Vite of the Tuscan artist and biographer Giorgio Vasari, that Jan van Eyck invented oil painting. Oil painting as a technique for painting wood statues and other objects is much older, and Theophilus (Roger of Helmarshausen?) clearly gives instructions for oil-based painting in his treatise, On Divers Arts, written in 1125. It is however true that the van Eyck brothers were among the earliest Early Netherlandish painters to use it for very detailed panel paintings, and that they achieved new and remarkable effects through the use of glazes, wet-on-wet and other techniques. Thus, because of his early mastery of the technique, he was traditionally known as the "father of oil painting." Jan van Eyck has often been linked as brother to painter and peer Hubert van Eyck, because both have been thought to originate from the same town, Maaseik in Limburg (Belgium). Another brother, Lambert van Eyck is mentioned in Burgundian court documents, and there is a conjecture that he too was a painter, and that he may have overseen the closing of Jan van Eyck's Bruges workshop. Anothe...More: http://booksllc.net/?id=46381 ... Read more

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Chapters: Jan Van Eyck Academie, Utrecht School of the Arts, Chamber of Rhetoric, Rijksakademie. Source: Wikipedia. Pages: 23. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: The Jan van Eyck Academie is a post-academic institute for research and production in the fields of fine art, design and theory, based in Maastricht in the south of The Netherlands. The academy offers individuals and institutes the opportunity to submit research or production proposals. 19471948: setting, principles, practice As early as August 1928, priest Leo W. Linssen, architect Alphons Boosten and artist Jan Engelman meet to discuss the state of art in the province of Limburg. Whatever arguments they adduce in favour of the establishment of a catholic art academy in the south of the country, their ideas never materialise and many years pass without any decisive action being undertaken. Nearly two decades later, in December 1947, a meeting is called that will engender the constitution of an academy for fine and applied art. In this meeting, the bishopric of Roermond, the local authorities of Maastricht, the Province of Limburg and the Ministry of Education, Culture and Science agree on its support. On 13 May 1948, the day of patron saint Servaas, the charter of foundation is executed. This day, ever since observed as the academy's Dies Natalis, the St. Bernulphus foundation officially establishes an institute for advanced education in fine art that is based on catholic principles. The academy in Maastricht is a catholic counterpart of the non-denominational Rijksacademie (State Academy) in Amsterdam, founded in 1870. The institute's main objectives are to further and expand art education in the broadest sense of the word. The academy is a private institute, subsidized by several authorities: the State, the provi...More: http://booksllc.net/?id=18756253 ... Read more

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This digital document is an article from Renaissance Quarterly, published by Renaissance Society of America on June 22, 1994. The length of the article is 972 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Jan van Eyck: The Play of Realism.
Author: Walter S. Melion
Publication: Renaissance Quarterly (Refereed)
Date: June 22, 1994
Publisher: Renaissance Society of America
Volume: v47Issue: n2Page: p457(3)

Article Type: Book Review

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Studienarbeit aus dem Jahr 2001 im Fachbereich Kunst - Malerei, Note: 2,3, Ruprecht-Karls-Universität Heidelberg (Kunsthistorisches Institut), Veranstaltung: Frühe niederländische Maler, 23 Quellen im Literaturverzeichnis, Sprache: Deutsch, Abstract: 1. Altniederländische MalereiFlandern, damals Teil des großen Herzogtums Burgund, gehörte neben Florenzzur reichsten und wirtschaftlich fortschrittlichsten Region Europas. Wie in Italienbildete sich auch hier eine städtische Kultur heraus, in der das Bürgertum an Einflussgewann.Trotz dieser allgemeinen gesellschaftlichen Übereinstimmung hat es im Nordenjedoch keine der italienischen Renaissance vergleichbare Aufbruchstimmung inden Künsten gegeben. Wesentlich länger blieb die Malerei mittelalterlichen Traditionenverhaftet. Nur langsam holte im Norden das Diesseits die sakralen Themenein. Die Maler verlegten religiöse Szenen in ein irdisches Ambiente und versuchten,Raum, Farbe, Körper und Licht möglichst naturalistisch wiederzugeben.Während der italienischen Kunst im 15. Jahrhundert die mathematisch errechneteLinearperspektive zugrunde lag, war für die Niederländer die sogenannte Erfahrungsperspektive bestimmend. Die Niederländer versuchten den Geheimnissender Welt durch den exakt beobachtenden Blick von außen, der jedes Detail erfasst,auf den Grund zu kommen. Lehrmeister waren den Malern die unmittelbare Anschauungsowie das Wissen um die Beschaffenheit der Dinge. Man malte, was man sah - und kam damit der zentralperspektivischen Wirkung sehr nahe.Trotz der akribischen Detailgenauigkeit, mit der van Eyck Dinge im Vordergrundwie im Hintergrund minutiös erfasst, bleibt die Einheit der Komposition durch eine alle Dinge gleichermaßen umspielende feine Farb- und Lichtmodulation gewahrt. Diese homogenisierende Malweise ist vor allem der im Norden früh verbreiteten Technik der Ölmalerei zu verdanken. Die geschmeidige, langsam trocknende Farbe erlaubte ein bedächtiges Arbeiten mit wiederholten Ein- und Überarbeit ... Read more