Early Netherlandish in the context of "Hugo van der Goes"

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⭐ Core Definition: Early Netherlandish

Early Netherlandish painting is the body of work by artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance period, once known as the Flemish Primitives. It flourished especially in the cities of Bruges, Ghent, Mechelen, Leuven, Tournai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the beginning of the Dutch Revolt in 1566 or 1568 – Max J. Friedländer's acclaimed surveys run through Pieter Bruegel the Elder. Early Netherlandish painting coincides with the Early and High Italian Renaissance, but the early period (until about 1500) is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy. Beginning in the 1490s, as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic.

The major Netherlandish painters include Campin, van Eyck, Rogier van der Weyden, Dieric Bouts, Petrus Christus, Hans Memling, Hugo van der Goes and Hieronymus Bosch. These artists made significant advances in natural representation and illusionism, and their work typically features complex iconography. Their subjects are usually religious scenes or small portraits, with narrative painting or mythological subjects being relatively rare. Landscape is often richly described but relegated as a background detail before the early 16th century. The painted works are generally oil on panel, either as single works or more complex portable or fixed altarpieces in the form of diptychs, triptychs or polyptychs. The period is also noted for its sculpture, tapestries, illuminated manuscripts, stained glass and carved retables.

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👉 Early Netherlandish in the context of Hugo van der Goes

Hugo van der Goes (c. 1430/1440 – 1482) was a Flemish painter who was one of the most significant and original Early Netherlandish painters of the late 15th century. Van der Goes was an important painter of altarpieces as well as portraits. He introduced important innovations in painting through his monumental style, use of a specific colour range and individualistic manner of portraiture. From 1483 onwards, the presence of his masterpiece, the Portinari Triptych, in Florence played a role in the development of realism and the use of colour in Italian Renaissance art.

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Early Netherlandish in the context of Quentin Matsys

Quentin Matsys (UK: /ˈmætss/ MAT-sysse, US: /ˈmɑːtss/ MAHT-sysse; also Massys or Metsys; Flemish: Quinten Matsijs [ˈkʋɪntə ˈmɑtsɛis]; 1466–1530) was a Flemish painter in the Early Netherlandish tradition. He was born in Leuven. According to tradition, he trained as an ironsmith before becoming a painter. Matsys was active in Antwerp for over 20 years, creating numerous works with religious roots and satirical tendencies. He is regarded as the founder of the Antwerp school of painting, which became the leading school of painting in Flanders in the 16th century. He introduced new techniques and motifs as well as moralising subjects without completely breaking with tradition.

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Early Netherlandish in the context of Hubert van Eyck

Hubert van Eyck (Dutch pronunciation: [ˈɦybərt fɑn ˈɛik]; c. 1385/90 – 18 September 1426) was an Early Netherlandish painter and older brother of the renowned Jan van Eyck, as well as Lambert and Margareta, also painters. The absence of any single work that he can clearly be said to have completed continues to make an assessment of his achievement highly uncertain, although for centuries he had the reputation of being an outstanding founding artist of Early Netherlandish painting.

Today he is attributed to having at least begun the Ghent Altarpiece and The Three Marys at the Tomb, although both were likely completed by his brother Jan.

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Early Netherlandish in the context of The Cloisters

The Cloisters (also known as the Met Cloisters) is a museum in Fort Tryon Park, straddling the neighborhoods of Washington Heights and Inwood, in Upper Manhattan, New York City. The museum specializes in European medieval art and architecture, with a focus on the Romanesque and Gothic periods. Governed by the Metropolitan Museum of Art, it contains a large collection of medieval artworks shown in the architectural settings of French monasteries and abbeys. Its buildings are centered around four cloisters—the Cuxa, Saint-Guilhem, Bonnefont, and Trie-sur-Baïse—that were acquired by American sculptor and art dealer George Grey Barnard in France before 1913 and moved to New York. Barnard's collection was bought for the museum by financier and philanthropist John D. Rockefeller Jr. Other major sources of objects were the collections of J. P. Morgan and Joseph Brummer.

The museum's building was designed by the architect Charles Collens, on a site on a steep hill, with upper and lower levels. It contains medieval gardens and a series of chapels and themed galleries, including the Romanesque, Fuentidueña, Unicorn, Spanish, and Gothic rooms. The design, layout, and ambiance of the building are intended to evoke a sense of medieval European monastic life. It holds about 5,000 works of art and architecture, all European and mostly dating from the Byzantine to the early Renaissance periods, mainly during the 12th through 15th centuries. The objects include stone and wood sculptures, tapestries, illuminated manuscripts, and panel paintings, of which the best known include the c. 1422 Early Netherlandish Mérode Altarpiece and the c. 1495–1505 Flemish The Unicorn Tapestries.

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Early Netherlandish in the context of Simon Marmion

Simon Marmion (c. 1425 – 24 or 25 December 1489) was a French and Burgundian Early Netherlandish painter of panels and illuminated manuscripts. Marmion lived and worked in what is now France but for most of his lifetime was part of the Duchy of Burgundy in the Southern Netherlands.

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Early Netherlandish in the context of The Haywain Triptych

The Haywain Triptych is a panel painting by the Early Netherlandish painter Hieronymus Bosch, now in the Museo del Prado, Madrid, Spain. A date of around 1516 has been established by means of dendrochronological research. The central panel, signed "Jheronimus Bosch", measures 135 cm × 200 cm (53 in × 79 in) and the wings measure 147 cm × 66 cm (58 in × 26 in). The outside shutters feature a full color version of Bosch's The Wayfarer.

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