EARLY NETHERLANDISH PAINTING

A fully illustrated survey of Early Netherlandish painting, featuring all of the major artists, and many lesser-known painters.

Early Netherlandish painting, also known as Flemish painting, is characterized by figurative realism, its incredible sense of domestic interiors and details, luminous light, its realist faces, and its fusions of a micro- and macro- cosmic vision.

We concentrate here on painters such as Rogier van der Weyden (1400-1464), Jan van Eyck (c. 1390-1441, commonly described as the founder of modern oil painting), Gerard David (c. 1460-1523), Hugo van der Goes (1440-1482), Hans Memling (1433-1494), Joos van Cleve (c. 1485-1540), Jan Gossaert, also called Mabuse (c. 1475/8-1532), Geertgen tot Sint Jans (fl. late 15th 1485/ 95), Quentin Massys (c. 1465-1530), Joachim Patinir (c. 1485-1524), Dieric Bouts (c. 1415-1475), Petrus Christus (fl. 1442-1473) and Bernard van Orley (c. 1488-1541).

One of the most celebrated aspects of Early Netherlandish or Flemish painting is its heartfelt, intense religious emotion. It is this aspect that interests us in this book. The new aesthetic vision of Early Netherlandish art was later applied to still life paintings, satires, landscapes, and portraits, but it is the religious works with which we are concentrating on here. Michelangelos famous statement about Early Netherlandish art pinpoints the depth of devout feeling found in so much of Northern European art:

Flemish painting will, generally speaking, please the devout better than any painting in Italy, which will never cause him to shed a tear, whereas that of Flanders will cause him to shed many...

The new vision of Northern European painting which flourished in the 15th century was a combination of a new aesthetic approach to reality, and an intensifying of religious fervour. The new vision aimed at sculptural accuracy, a naturalistic use of lighting, and three-dimensionality. Mixed with the new use of oil paint, the new vision gave the art of Philip the Goods reign a special flavour and style well suited to the circumscription of devout religious truths. The new painting inherited its jewel-like brilliancy partly because many painters were trained as goldsmiths. This skilled handling of metalwork and miniature illustration shows in Early Netherlandish art.

All Early Netherlandish paintings were made on wood panels, and painted from light to dark in thin glazes. It is partly this subtle glazing which gives Early Netherlandish painting its glorious luminescence. The Early Netherlandish artists exploited the effects of different hues and thicknesses of glazes of oil paint, controlling how the glazes reflected light.

"Muqarnas: An Annual on the Visual Cultures of the Islamic World" is sponsored by the Aga Khan Program for Islamic Architecture at Harvard University and the Massachusetts Institute of Technology, Cambridge, Massachusetts. "Muqarnas 29" features a subset of articles involving cross-cultural interactions between East and West as manifested in the visual culture of the region. Articles addressing this theme include Visual Cosmopolitanism and Creative Translation: Artistic Conversations with Renaissance Italy in Mehmed II s Constantinople, by G lru Necipo lu, and The Bride of Trebizond: Turks And Turkmens on a Florentine Wedding Chest, circa 1460, by Cristelle Baskins. The Notes and Sources section highlights new research on the medieval town of Hulbuk in Central Asia. Contributors include: G lru Necipo lu, Cristelle Baskins, Ana Pulido-Rull, Matt D. Saba, Jasmin Badr, Mustafa Tupev, nver Rustem, Ethem Eldem and Pierre Sim on.

This compendium of primary sources examines British architectural history from the accession of King George III in 1760 to the outbreak if the First World War in 1914. The collection of two volumes contains a mixture of architectural treatises, biographical material on architects, works on different types of building, and contemporary descriptions of individual buildings. This title will be of great interest to students of Art History and Architecture.

The Mediality of Sugar probes the potential of reading sugar as a mediator across some of the disciplinary distinctions in early twenty-first century research in the arts, literature, architecture, and popular culture. Selected artistic practices and material cultures of sugar across Europe and the Americas from the sixteenth to the twenty-first century are investigated and connected to the transcontinental and transoceanic history of the sugar plants cane and beet, their botanical and cultural dissemination, and global sugar capital and trade under colonialism and in decoloniality. The collection contributes to the vision of a Transnational and Postdisciplinary Sugar Studies.

'Anyone looking for the most readable survey of the history of art from the [sic] cave paintings to the 20th century should buy the new, beautifully produced pocket edition of The Story of Art, still one of the great classics of art criticism.' - Independent A cornerstone of art history - in a compact yet readable format and with a new preface by the author's granddaughter The Story of Art has been a global bestseller for over half a century - the finest and most popular introduction ever written, published globally in more than 30 languages. Attracted by the simplicity and clarity of his writing, readers of all ages and backgrounds have found in Professor Gombrich a true master, who combines knowledge and wisdom with a unique gift for communicating his deep love of the subject. Updated with a stunning new cover and a preface written specially by Professor Gombrich's granddaughter Leonie, this pocket format allows Gombrich's classic work to continue its triumphant progress for another generation, and to remain the title of first choice for all newcomers to art and its history.

AH-HA! I SEE IT NOW!

Everyone has experienced that joyful moment when the light flashes on -- the Ah-Ha! of creativity.

Creativity. It is the force that drives problem-solving, informs effective decision-making and opens new frontiers for ambition and intelligence. Those who succeed have learned to harness their creative power by keeping that light bulb turned on.

Now, Betty Edwards, author of Drawing on the Right Side of the Brain, the million-copy best-seller that proved all people can draw well just as they can read well, has decoded the secrets of the creative process to help you tap your full creative potential and apply that power to everyday problems. How does Betty Edwards do this? Through the power of drawing -- power you can harness to see problems in new ways.

Through simple step-by-step exercises that require no special artistic abilities, Betty Edwards will teach you how to take a new point of view, how to look at things from a different perspective, how to see the forest and the trees, in short, how to bring your visual, perceptual brainpower to bear on creative problem-solving.

You will learn how the creative process progresses from stage to stage and how to move your own problem-solving through these key steps:

* First insight
* Saturation
* Incubation
* Illumination (the Ah-Ha!)
* Verification

Whether you are a business manager, teacher, writer, technician, or student, you'll find Drawing on the Artist Within the most effective program ever created for tapping your creative powers. Profusely illustrated with hundreds of instructional drawings and the work of master artists, this book is written for people with no previous experience in art.