Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575 / Edition 2

Paperback (Print)
Rent
Rent from BN.com
$29.78
(Save 83%)
Est. Return Date: 06/17/2014
Buy Used
Buy Used from BN.com
$108.98
(Save 39%)
Item is in good condition but packaging may have signs of shelf wear/aging or torn packaging.
Condition: Used – Good details
Used and New from Other Sellers
Used and New from Other Sellers
from $69.05
Usually ships in 1-2 business days
(Save 61%)
Other sellers (Paperback)
  • All (15) from $69.05   
  • New (6) from $160.90   
  • Used (9) from $69.05   

Overview

Snyder's classic survey provides an authoritative and absorbing assessment of Northern achievements, ranging from Bohemian court art under Charles IV in Prague in the 1350s to the open sale of pictures as commodities on Antwerp's art market in the 1560s. In rich detail and with utter clarity, this book tells the stories of the artists and the patrons who created this extraordinary flowering of art.

Now sumptuously illustrated in fill color throughout, this new second edition has been carefully revised and updated by Larry Silver, Professor of Art History at University of Pennsylvania and Henry Luttikhuizen, Professor of Art History at Calvin College. Highlights of this second edition include a reorganization of the chapters around centers of production, expanded coverage of the sixteenth century, including the addition of more sculpture and tapestries, and a stronger focus on the careers of major artists. Silver and Luttikhuizen have placed greater emphasis on the reception of Northern Renaissance Art and consequently the new edition features a much stronger consideration of social function arid cultural context.

Almost 680 illustrations, more than 250 in full color, are each keyed to the text, providing superb visual documentation. The book also includes notes to the text, maps, a timetable of the major artistic; political, religious, and scientific achievements of the period, a genealogy of the house of Valois, and a freshly updated bibliography.

Read More Show Less

Product Details

  • ISBN-13: 9780131895645
  • Publisher: Pearson
  • Publication date: 9/28/2004
  • Edition description: REV
  • Edition number: 2
  • Pages: 592
  • Sales rank: 795,499
  • Product dimensions: 8.60 (w) x 11.46 (h) x 0.94 (d)

Read an Excerpt

In many respects the text before you is an act of homage, a tribute to how well James Snyder's original text, now two decades old, has held up since it was written. At the same time, however, items and images have been added to introduce students to material that has attracted scholarly attention in the intervening years. A new design and expanded color have enhanced both the value of Snyder's analyses and the results of more recent scholarship. The text has been trimmed in places where Snyder was perhaps over-dependent on a few older scholars (e.g. Fraenger on Bosch, Tolnay on Bruegel), whose views are no longer held to be either essential or well-founded. Where Snyder used his own scholarship and his keen interests, particularly in Netherlandish painting, Dutch painting in particular, his insights remain lasting and fundamental, as valid as ever for today's students.

James Snyder also had his biases, and they sometimes made his book unbalanced. His preoccupation with the chronology of Jan van Eyck has been tempered and his apologetic comparisons of Northern art to the prevailing canon of the Italian Renaissance toned down. Relatively thin sections on Germany have been expanded to restore balance. More attention has also been paid to manuscript traditions in France, Flanders, and Snyder's beloved Holland. His discussion of sculpture and tapestry has been expanded to highlight historical developments in those media. In addition, his treatment of sculpture and prints has been reorganized. Whereas he confined sculpture and prints to their own separate chapters, in this edition they have been unified to unveil the accomplishments of those more versatile artists who worked across media, such as Schongauer (engravings and paintings) and Pacher (sculpture and paintings). Another result of this reunification of parts means that Snyder's own fundamental insights into Dutch printmaking and printed book illustrations can now be seen together with the paintings that he did so much to elucidate.

The revised text has also been arranged according to centers, except for a few chapters that focus on single artists. In fact, Snyder's original idea of starting with Bohemia sets the tone for the future considerations of place that follow, including chapters on regions as well as cities (Ghent, Bruges, Augsburg, and Basel), which form the main topics of organization for the artists and their works.

In editing and revising this text, our hope has been to update (especially in the notes and bibliography) and to clarify the valuable, evergreen textbook of James Snyder from 1985. Attentive comparison will chiefly reveal integration of media within reorganization by centers of art production, while still capturing Snyder's excitement for the period and its artists. We offer it anew to the current generation of students.

In closing, the authors would like to acknowledge the meticulous assistance of their students, Freyda Spira, Rebecca Merz, and David Malda, and the job-like patience of both their venerated teachers and long-suffering family members.

Larry Silver, University of Pennsylvania Henry Luttikhuizen, Calvin College

Read More Show Less

Table of Contents

I. INTERNATIONAL CURRENTS IN THE FOURTEENTH CENTURY.

1. Bohemia.

2. The Valois Court and the Low Countries.

3. Germany.

II. FIFTEENTH-CENTURY INNOVATIONS.

4. The Rhineland.

5. Jan van Eyck.

6. Robert Campin and Rogier van der Weyden.

7. Flanders at Midcentury.

8. Ghent.

9. The Northern Netherlands.

10. Bruges.

11. French Art.

12. German Art of the Later Fifteenth Century.

III. RENAISSANCE AND REFORMATION IN THE SIXTEENTH CENTURY.

13. Albrecht Dürer.

14. Responses to Albrecht Dürer.

15. Augsburg and Basel.

Excursus: Visitors to England.

16. Hieronymus Bosch.

17. The Northern Netherlands.

18. Antwerp.

19. Flemish Renaissance Courts.

20. Later Trends in Antwerp.

21. Netherlandish Renaissance.

22. Pieter Bruegel the Elder.

Read More Show Less

Preface

In many respects the text before you is an act of homage, a tribute to how well James Snyder's original text, now two decades old, has held up since it was written. At the same time, however, items and images have been added to introduce students to material that has attracted scholarly attention in the intervening years. A new design and expanded color have enhanced both the value of Snyder's analyses and the results of more recent scholarship. The text has been trimmed in places where Snyder was perhaps over-dependent on a few older scholars (e.g. Fraenger on Bosch, Tolnay on Bruegel), whose views are no longer held to be either essential or well-founded. Where Snyder used his own scholarship and his keen interests, particularly in Netherlandish painting, Dutch painting in particular, his insights remain lasting and fundamental, as valid as ever for today's students.

James Snyder also had his biases, and they sometimes made his book unbalanced. His preoccupation with the chronology of Jan van Eyck has been tempered and his apologetic comparisons of Northern art to the prevailing canon of the Italian Renaissance toned down. Relatively thin sections on Germany have been expanded to restore balance. More attention has also been paid to manuscript traditions in France, Flanders, and Snyder's beloved Holland. His discussion of sculpture and tapestry has been expanded to highlight historical developments in those media. In addition, his treatment of sculpture and prints has been reorganized. Whereas he confined sculpture and prints to their own separate chapters, in this edition they have been unified to unveil the accomplishments of those more versatile artists who worked across media, such as Schongauer (engravings and paintings) and Pacher (sculpture and paintings). Another result of this reunification of parts means that Snyder's own fundamental insights into Dutch printmaking and printed book illustrations can now be seen together with the paintings that he did so much to elucidate.

The revised text has also been arranged according to centers, except for a few chapters that focus on single artists. In fact, Snyder's original idea of starting with Bohemia sets the tone for the future considerations of place that follow, including chapters on regions as well as cities (Ghent, Bruges, Augsburg, and Basel), which form the main topics of organization for the artists and their works.

In editing and revising this text, our hope has been to update (especially in the notes and bibliography) and to clarify the valuable, evergreen textbook of James Snyder from 1985. Attentive comparison will chiefly reveal integration of media within reorganization by centers of art production, while still capturing Snyder's excitement for the period and its artists. We offer it anew to the current generation of students.

In closing, the authors would like to acknowledge the meticulous assistance of their students, Freyda Spira, Rebecca Merz, and David Malda, and the job-like patience of both their venerated teachers and long-suffering family members.

Larry Silver, University of Pennsylvania
Henry Luttikhuizen, Calvin College

Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star

(0)

4 Star

(0)

3 Star

(0)

2 Star

(0)

1 Star

(0)

Your Rating:

Your Name: Create a Pen Name or

Barnes & Noble.com Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & Noble.com that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & Noble.com does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at BN.com or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation

Reminder:

  • - By submitting a review, you grant to Barnes & Noble.com and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Noble.com Terms of Use.
  • - Barnes & Noble.com reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & Noble.com also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on BN.com. It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

 
Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)