Dutch and Flemish Renaissance painting

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For fifteenth-century Dutch and Flemish painting, see Early Netherlandish painting.
The Fall of Icarus, now considered a copy of Pieter Bruegel the Elder

Dutch and Flemish Renaissance painting represents the

Hendrik Goltzius and Joachim Wtewael at the end. Artists drew on both the recent innovations of Italian painting and the local traditions of the Early Netherlandish artists
.

Pieter Brueghel the Elder
, with Bosch the only artist from the period to remain widely familiar, may seem atypical, but in fact his many innovations drew on the fertile artistic scene in Antwerp.

Dutch and Flemish painters were also instrumental in establishing new subjects such as

Anthonis Mor was the leading portraitist of the mid-century, in demand in courts all over Europe for his reliable portraits in a style that combined Netherlandish precision with the lessons of Titian
and other Italian painters.

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

Stylistic evolution

Italian Renaissance influences begin to show on Early Netherlandish painting around 1500, but in many ways the older style was remarkably persistent. Antwerp Mannerism is a term for painters showing some Italian influence, but mainly continuing the style and subjects of the older masters. Hieronymus Bosch is a highly individual artist, whose work is strange and full of seemingly irrational imagery, making it difficult to interpret.[2] Most of all it seems surprisingly modern, introducing a world of dreams that seems more related to Gothic art than the Italian Renaissance, although some Venetian prints of the same period show a comparable degree of fantasy. The Romanists were the next phase of influence, adopting Italian styles in a far more thorough way.

After 1550 the Flemish and Dutch painters begin to show more interest in nature and beauty "in itself", leading to a style that incorporates Renaissance elements, but remains far from the elegant lightness of Italian Renaissance art,[3] and directly leads to the themes of the great Flemish and Dutch Baroque painters: landscapes, still lifes and genre painting - scenes from everyday life.[2]

This evolution is seen in the works of

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.

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.[3]

Painters

Cornelis Aerentsz van der Dussen by Jan van Scorel (c. 1535) Panel, Weiss Gallery, London

See also

History of Dutch and Flemish painting
Periods
Lists

Notes

  1. ^ Snyder, 409–412, 432–445
  2. ^
    ISBN 0-8109-3442-6
    .
  3. ^
    ISBN 90-5035-222-7
    .

References

Further reading

External links
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