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Northern Renaissance Art
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Northern Renaissance Art Susie Nash Oxford History of Art A wide-ranging introduction to the art of the northern Renaissance--from panel paintings to carved altarpieces Draws on a rich range of sources, from inventories and guild regulations to poetry and chronicles, to show how art was made, valued, and viewed by the people of the time Discusses both lesser known gems, as well as classics such as the paintings of Jan van Eyck, Rogier van der Weyden, and Hans Memling Challenges the common perception of Italian artistic supremacy in this period, showing how northern art dominated the world of visual culture at this time.
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- Northern Renaissance Art | Susie Nash | | Oxford University Press Canada.
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Oxford History of Art: Northern Renaissance Art by Susie Nash (2009, Paperback)
The patronage of wealthy Burgundian dukes, aristocrats, and merchants provided a model for their peers throughout Europe and was highly regarded in Italy. In addition to the developments in the Burgundian domains, Nash discusses printmaking in Southern Germany and the Rhineland as well as the works of South German sculptors. In order to present such a wealth of artistic production, the book is organised in thematic chapters.
- Northern Renaissance Art - Susie Nash - Oxford University Press.
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Nash systematically explores both the potential and the limitations of various contemporary sources i. Burgundian Arts across Europe , , by establishing that, contrary to twentieth- and twenty-first-century conceptions, painting was not valued as highly as works of art in other media like metalwork, stained glass, and especially tapestries 6, , These terms suggest artificial fissures that disrupt continuities. The author discusses the popularity of Netherlandish paintings with Italian artists and patrons i.
- Northern Renaissance Art - Paperback - Susie Nash - Oxford University Press.
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Such questions remain, as yet, unanswered. It features numerous excellent reproductions that also show details of the works of art and illustrate the discussions of the technical examination methods. However, since the book is mostly aimed at those readers in need of an introduction to Northern Renaissance art, it would have benefitted from the inclusion of a glossary.
Nevertheless, this well-written study can be recommended without reservation.