Art and migration: Netherlandish artists on the move, 1400 - 1750 : Nederlandse kunstenaars op drift, 1400 - 1750 = Kunst en migratie
Since the Middle Ages artists from the Low Countries were known to be fond of travelling, as Guicciardini in his "Descrittione di tutti i Paesi Bassi" (Antwerp, 1567) and Karel van Mander in his 1604 "Schilderboeck", already noticed. Much more mobile than their colleagues from ot...
| Subtitles: | Kunst en migratie |
|---|---|
| Contributors: | ; |
| Format: | Print Book |
| Language: | English Dutch |
| Subito Delivery Service: | Order now. |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Leiden [u.a.]
Brill
2014
|
| In: |
Nederlands kunsthistorisch jaarboek (63)
Year: 2014 |
| Reviews: | [Rezension von: Scholten, Frits, Art and Migration: Netherlandish Artists on the Move, 1400-1750] (2016) (Beranek, Saskia)
|
| Series/Journal: | Nederlands kunsthistorisch jaarboek
63 |
| Standardized Subjects / Keyword chains: | B
Dutchmen
/ Artist
/ Europe
/ Migration
/ Art
/ History 1400-1750
|
| Further subjects: | B
Collection of essays
B Art, German Dutch influences B Art, Dutch Influence B Art, Italian Dutch influences B Art, Dutch 17th century B Art, Dutch Travel (Europe) B Art, Dutch 16th century |
| Online Access: |
Inhaltsverzeichnis (Verlag) |
MARC
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| 245 | 1 | 0 | |a Art and migration |b Netherlandish artists on the move, 1400 - 1750 : Nederlandse kunstenaars op drift, 1400 - 1750 = Kunst en migratie |c ed.: Frits Scholten; Joanna Woodall ... |
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| 490 | 1 | |a Netherlands yearbook for history of art = Nederlands kunsthistorisch jaarboek |v 63 | |
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| 505 | 8 | 0 | |t Netherlandish artists on the move |r Frits Scholten and Joanna Woodall |
| 505 | 8 | 0 | |t Greener pastures? Capturing artists' migrations during the Dutch Revolt |r Filip Vermeylen |
| 505 | 8 | 0 | |t Netherlandish immigrant painters and the Dutch reformed church of London, Austin Friars, 1560-1580 |r Hope Walker |
| 505 | 8 | 0 | |t 'Una cosa non meno maravigliosa che honorata' The expansion of Netherlandish sculptors in sixteenth-century Europe |r Arjan de Koomen |
| 505 | 8 | 0 | |t Early-modern Netherlandish sculptors in Danzig and East-Central Europe. A study in dissemination through interrelation and workshop practice |r Franciszek Skibinski |
| 505 | 8 | 0 | |t Easter outpost. The sculptors Herman van Hutte and Hendrik Horst in Lviv c.1560-1610 |r Aleksandra Lipinska |
| 505 | 8 | 0 | |t Wisselend succes. De loopbanen van Nederlandse en Vlaamse kunstenaars in Florence, 1450-1600 |r Gert Jan van der Sman and Bouk Wierda |
| 505 | 8 | 0 | |t From itinerant to immigrant artist. Aert Mytens in Naples |r Marije Osnabrugge |
| 505 | 8 | 0 | |t Juan de la Corte: 'branding' Flanders abroad |r Abigail D. Newman |
| 505 | 8 | 0 | |t A fugitive's success story. Jacob van Loo in Paris (1661-1670) |r Judith Noorman |
| 505 | 8 | 0 | |t Carlo Helman, merchant, patron and collector, and the role of family ties in the Antwerp-Venice migrant network |r Isabella di Lenardo |
| 505 | 8 | 0 | |t Between painter and painter stands a tall mountain. Van Mander's Italian Lives as a source for instructing artists in the deelen der consten |r Saskia Cohen-Willner. |
| 520 | |a Since the Middle Ages artists from the Low Countries were known to be fond of travelling, as Guicciardini in his "Descrittione di tutti i Paesi Bassi" (Antwerp, 1567) and Karel van Mander in his 1604 "Schilderboeck", already noticed. Much more mobile than their colleagues from other European countries, many Netherlandish artists spread all over Europe; a remarkable number among them achieved great fame as court artists, as the careers of Claus Sluter in Burgundy, Anthonis Mor in Spain, Bartholomeus Spranger or Adriaen de Vries in Prague, Giambologna and Jacob Bijlevelt in Florence demonstrate. Moreover, they exerted considerable influence on the artistic production of their time. Nevertheless most of them sank into oblivion soon after they died. Dutch art history neglected them for a long time as they did not fit into the traditional canon of the Low Countries, nor were they adopted by the art histories of their new homelands. This new NKJ volume is an attempt to change this | ||
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