Abstract
In the middle ages and particularly during the 13th century a phenomenon which created a fairly general resemblance between the different European schools of painting, took place; it was the spreading of the Byzantine style which infiltrated everywhere and dominated almost every pictorial manifestation of this period.
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References
L. Courajod, La part de la France du Nord dans l’oeuvre de la Renaissance, Paris, 1890.
H. Bouchot, Les primitifs français, Paris, 1904, p. 225.
E. Durand-Gréville, Hubert et Jean van Eyck, Bruxelles. 1910, p. 6.
An almost complete bibliography on the question will be found in Fierens-Gevaert, La Renaissance septentrionale et les premiers maîtres des Flandres, Bruxelles, 1905, p. 216. Apart from those I have already mentioned, the following more recent publications might still be cited: W. H. J. Weale, Hubert and John van Eyck, London, 1907. J. Mesnil, L’art au Nord et au Sud des Alpes à l’époque de la Renaissance, Bruxelles-Paris, 1911, p. 1: Les Heures du Duc de Berry à Chantilly. B. Kurth, Der Adlerturm, Jahrbuch f. Denkmalpflege, V, 1911, p. 1. M. Dvorak, Die Anfänge der Holländische Malerei, Jahrb. der K. Preus. Kunstsamml., 1918, p. 51. The Same, Kunstgeschichte als Geistesgeschichte, Munich, 1924, p. 43. Idealismus und Naturalismus in der Gotischen Skulptur u Malerei (also in Historische Zeitschrift, 1918). The Same, Das Rätsel der Kunst der Brüder van Eyck, Munich 1925, Chap. IV, Die geschichtliche Stellung Huberts u. Jans u. das Geheimnis der neuen Kunst (an early and therefore somewhat out of date study of this great savant, taking into consideration chiefly French and Italian origins). M. J. Friedlander, Die alt Niederländische Malerei, I, Berlin, 1924, p. 12. L. Dimier, Histoire de la peinture française, I, Paris—Bruxelles, 1925, p. 20.
E. Mâle, L’iconographie française et l’art italien au X[Ve siècle et au commencement du XVe, Revue de l’Art Ancien et Moderne, 1920, pp. 5 and i9.
E. Mâle, L’art religieux de la fin du Moyen Age en France, Paris, 1908, Chap. I.
M. Conway, The van Eycks and their Followers, London. 1921, p. 24.
For other examples v. C. Habicht. Die Mittelalterliche Malerei Niedersachsens, I, Strasbourg, 1919.
v. the important chapter dedicated to this school in the Handbuch der Kunstwissenschaft, directed by F. Burger and A. E. Brinkmann. Die Deutsche Malerei, I., Berlin, 1913, p. 121. C. Glaser, Zwei Jahrhunderte deutscher Malerei, Munich, 1916, p. 6. W. Worringer, Die Anfänge der Tafel-malerei, Leipzig, 1924, p. 46. C. Glaser, Die Altdeutsche Malerei, Munich, 1924, p. 16.
W. R. Lethaby, A fourteenth century English triptych, The Burlington Magazine, 1922, p. 110. T. Borenius, English Primitives, Proceedings Brit. Ac., XI, 1924.
A. L. Mayer, Geschichte der Spanischen Malerei, I, Leipzig, 1913, p. 31. V. von Loga, Die Malerei in Spanien. Berlin, 1923, p 8. G. Richert, Mittelalterliche Malerei in Spanien, Berlin (1926), p. 33. I du not quite understand the enthusiasm about these mediocre paintings which M. E. Bertaux expresses in L’Histoire de l’art, directed by A. Michel, III, p. 745.
An interesting collection of realistic German heads has been published by R. Hamann, Deutsche Köpfe des Mittelalters. Marburg a. d. Lahn, 1922.
These miniatures which I have enumerated naturally form only a small part of the material which might be cited in support of my affirmation. They will be found reproduced in H. Marlin, La miniature française, Paris—Brussels, 1.923, pls. 44–65. Some other examples are published in W. Dexel, Untersuchungen über die Französischen illuminerten Hss. der Jenaer Universitätsbibliothek, Strasbourg, 1917.
The recently discovered frescoes in the Palazzo Nero at Coredo (Trentino) have a more German character, A. Illorassi, Un nuovo ciclo di pittura profana nel Trentino, Bollet. d’Arte del Minist. della Pubbl. Istr., 1926, p. 449.
P. d’Ancona, L’uomo e le sue opere nelle figurazione italiane del medioevo, Florence, 1923, p. 141.
R. André-Michel, Mélanges d’histoire et d’archéologie, Paris, 1920, p. 29.
E. Bertaux, Les primitifs espagnols, Revue de l’art ancien et moderne, 1908 and The Same, op. cit.
S. Sanpere y Miguel, Les Cuatrocentistas Catalanes, I, Barcelona,1906, p. 106.
S. Wallin, in Studier i Upplands Kyrkliga Konst, I, Stockholm, 1918, P. 84.
J. Gramm, Spätmittelalterliche Wandgemälde im Konstanzer Münster, Strasbourg, 1905.
C. Encart, Manuel d’Archéologie française, III: Le Costume, Paris, 1916, p. 85.
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van Marle, R. (1926). General Considerations. In: The Development of the Italian Schools of Painting. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-2794-1_1
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