Dutch and Flemish Renaissance painting

From Wikipedia, the free encyclopedia

You have new messages (last change).
History of Dutch and Flemish painting
Early Netherlandish  (1400 – 1500)
Renaissance painting  (1500 – 1584)
Dutch "Golden Age" painting  (1584 – 1702)
List of Dutch painters
List of Flemish painters

For 15th century Dutch and Flemish painting, see Early Netherlandish painting.

Hell, the right panel from the triptych The Garden of Earthly Delights by Hieronymus Bosch
Hell, the right panel from the triptych The Garden of Earthly Delights by Hieronymus Bosch

Contents

[edit] Stylistic evolution

In the late 15th century, when Italian Renaissance influences begin to show, the influence of the Early Netherlandish masters, such as Van Eyck, Rogier van der Weyden, and Memling, leads to a largely religious and narrative style of painting.

The first painter showing the marks of the new era is Hieronymus Bosch. His work is strange and full of seemingly irrational imagery, making it difficult to interpret[1]. Most of all it seems surprisingly modern, introducing a world of dreams that highly contrasts with the traditional style of the Flemish masters of his day.

After 1550 the Flemish and Dutch painters begin to show more interest in nature and in beauty an sich, leading to a style that incorporates Renaissance elements, but remains far from the elegant lightness of Italian Renaissance art, [2] and directly leads to the themes of the great Flemish and Dutch Baroque painters: landscapes, still lifes and genre painting - scenes from everyday life[1].

The Fall of Icarus by Pieter Bruegel the Elder
The Fall of Icarus by Pieter Bruegel the Elder

This evolution is seen in the works of Joachim Patinir and Pieter Aertsen, but the true genius among these painters was Pieter Brueghel the Elder, well known for his depictions of nature and everyday life, showing a preference for the natural condition of man, choosing to depict the peasant instead of the prince.

The Fall of Icarus painting combines several elements of Northern Renaissance painting. It hints at the renewed interest for antiquity (the Icarus legend), but the hero Icarus is hidden away in the background. The main actors in the painting are nature itself and, most prominently, the peasant, who does not even look up from his plough when Icarus falls. Brueghel shows man as an anti-hero, comical and sometimes grotesque[2].

[edit] Painters

[edit] See also

[edit] References

  1. ^ a b Janson, H.W.; Janson, Anthony F. (1997). History of Art, 5th, rev., New York: Harry N. Abrams, Inc.. ISBN 0-8109-3442-6. 
  2. ^ a b Heughebaert, H.; Defoort, A., Van Der Donck, R. (1998). Artistieke opvoeding. Wommelgem, Belgium: Den Gulden Engel bvba.. ISBN 90-5035-222-7. 
Please help improve this article or section by expanding it.
Further information might be found on the talk page or at requests for expansion.
This article has been tagged since January 2007.
Retrieved from "http://en.wikipedia.org../../../d/u/t/Dutch_and_Flemish_Renaissance_painting_4314.html"