Flemish Painting

Fülszöveg

FLEMISH PAINTING
By Anthea Peppin and William Vaughan
With 48 colour plates
The great age of Flemish painting spanned the years between 1420 and 1640. It flourished first around the prosperous cities of Bruges and Ghent, and later on in the rising commercial centres of Brussels and Antwerp. The founders of the Flemish school perfected the technique of oil painting, and as a result were able to reproduce the surface appearance of things, from the nearest detail to the most ethereal distance, with unprecedented fidelity. Two hundred years later, when they had absorbed what classical and Italian Renaissance art had to offer them, Flemish artists came to be among the undisputed masters of the Baroque style.
In this book the story of Flemish painting is vividly charted in an illuminating essay, and works by twenty-five of the foremost artists are reproduced with informative notes. The illustrations include such favourites as the Arnolfini marriage portrait and the Ghent... Tovább

Fülszöveg

FLEMISH PAINTING
By Anthea Peppin and William Vaughan
With 48 colour plates
The great age of Flemish painting spanned the years between 1420 and 1640. It flourished first around the prosperous cities of Bruges and Ghent, and later on in the rising commercial centres of Brussels and Antwerp. The founders of the Flemish school perfected the technique of oil painting, and as a result were able to reproduce the surface appearance of things, from the nearest detail to the most ethereal distance, with unprecedented fidelity. Two hundred years later, when they had absorbed what classical and Italian Renaissance art had to offer them, Flemish artists came to be among the undisputed masters of the Baroque style.
In this book the story of Flemish painting is vividly charted in an illuminating essay, and works by twenty-five of the foremost artists are reproduced with informative notes. The illustrations include such favourites as the Arnolfini marriage portrait and the Ghent altarpiece by Jan van Eyck, the Adoration of the Shepherds by Hugo van der Goes, the Haywain and the Garden of Earthly Delights by Hieronymus Bosch, Pieter Bruegel's Peasant Dance and Hunters in the Snow, Rubens's delightful portraits of his two young wives, and the grand equestrian portrait of King Charles I by Sir Anthony van Dyck. Many other fine devotional pictures, portraits, genre scenes, landscapes and still-lifes complete this impressive survey of one of the great schools of European painting.
Anthea Peppin is a freelance lecturer on art history, and William Vaughan teaches at University College, London.

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Jacket: Portrait of a Lady by Rogier van der Weyden (London, National Gallery)
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