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Painting in Bruges at the Close of the Middle Ages : Studies in Society and Visual Culture by Jean Wilson (1998, Hardcover)
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- Buy it nowPainting in Bruges at the Close of the Middle Ages : Studies in... Jean Wilson
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About this product
Product Identifiers
PublisherPennsylvania STATE University Press
ISBN-100271016531
ISBN-139780271016535
eBay Product ID (ePID)502907
Product Key Features
Number of Pages272 Pages
LanguageEnglish
Publication NamePainting in Bruges at the Close of the Middle Ages : Studies in Society and Visual Culture
Publication Year1998
SubjectGeneral, History / Medieval, European, History / General
TypeTextbook
AuthorJean Wilson
Subject AreaArt
FormatHardcover
Dimensions
Item Height0.8 in
Item Weight44.1 Oz
Item Length11.3 in
Item Width8.8 in
Additional Product Features
Intended AudienceScholarly & Professional
LCCN96-031024
Dewey Edition20
Reviews"There is nothing in any language that offers as useful a survey of the mechanics of the Bruges school of painting, which was long Northern Europe's most important. . . . This study is an extremely useful contribution to the field." --Jeffrey Chipps Smith, University of Texas at Austin, "There is nothing in any language that offers as useful a survey of the mechanics of the Bruges school of painting, which was long Northern Europe's most important. . . . This study is an extremely useful contribution to the field." -Jeffrey Chipps Smith, University of Texas at Austin
IllustratedYes
Dewey Decimal759.9493/122
SynopsisThis book is the first to explore the origins and nature of the demand for painting in Bruges over the course of the fifteenth century and its subsequent effect on the community of painters and their workshop and marketing practices. The evolution of Bruges was fundamentally linked with commerce, and as a result of the city's thriving international trade and rising merchant class, it was to become one of the most affluent and cosmopolitan centers in late medieval Europe. However, only after the Duke of Burgundy moved his court to Bruges in the early decades of the fifteenth century would it begin to be a major center for the production of panel painting. This study examines the coming together of the opulent Burgundian court, an affluent urban bourgeoisie, and an increasingly expanding community of painters, and the effects of this dynamic social configuration on the newly emerging art of oil painting. Specifically, Wilson argues that while the nobility were not particularly active as patrons of paintings, members of the urban patriciate who hoped to enter into the circle of the court were nevertheless influenced by the nobility's culture of display and found that paintings effectively served their needs for representations of their aspirations for social advancement. She further suggests that, in commissioning altarpieces for ecclesiastical interiors, patrons were also concerned to include their portraits and coats of arms in an effort to promote the status and prestige associated with their families. The demand for paintings was therefore to escalate throughout the fifteenth century, resulting in painters' increasing involvement in the reproduction of popular compositions and the eventual emergence of a mass market for their art., This book is the first to explore the origins and nature of the demand for painting in Bruges over the course of the fifteenth century and its subsequent effect on the community of painters and their workshop and marketing practices. The evolution of Bruges was fundamentally linked with commerce, and as a result of the city s thriving international trade and rising merchant class, it was to become one of the most affluent and cosmopolitan centers in late medieval Europe. However, only after the Duke of Burgundy moved his court to Bruges in the early decades of the fifteenth century would it begin to be a major center for the production of panel painting. This study examines the coming together of the opulent Burgundian court, an affluent urban bourgeoisie, and an increasingly expanding community of painters, and the effects of this dynamic social configuration on the newly emerging art of oil painting. Specifically, Wilson argues that while the nobility were not particularly active as patrons of paintings, members of the urban patriciate who hoped to enter into the circle of the court were nevertheless influenced by the nobility's culture of display and found that paintings effectively served their needs for representations of their aspirations for social advancement. She further suggests that, in commissioning altarpieces for ecclesiastical interiors, patrons were also concerned to include their portraits and coats of arms in an effort to promote the status and prestige associated with their families. The demand for paintings was therefore to escalate throughout the fifteenth century, resulting in painters' increasing involvement in the reproduction of popular compositions and the eventual emergence of a mass market for their art."
LC Classification NumberND671.B7W55 1998
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