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The children's book of art (1909) (14779257581)
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Identifier: childrensbookofa00conw (find matches)
Title: The children's book of art
Year: 1909 (1900s)
Authors: Conway, Agnes Ethel Conway, Martin, Sir
Subjects: Art
Publisher: London : Adam and Charles Black
Contributing Library: University of British Columbia Library
Digitizing Sponsor: University of British Columbia Library
Text Appearing Before Image:
hind is a pavedpassage leading into the house. All his subjectsare of the domestic Dutch life of the seventeenthcentury, but the arrangement in rooms, passages,courtyards, and enclosed gardens admitted of muchvariation. We never feel that the range of subjectsis limited, for the light transforms each into ascene of that poetic beauty which it was Peter deHooghs great gift to discern, enjoy, and record. The painting is delicate and finished, meant tobe seen from near at hand. It is always the roomthat interests him, as much as the people in it.The painting of the window with its little coats ofarms, transparent yet diffusing the light, is ex-quisitely done. A chair with the cushion upon it,just like that, occurs again and again in his pictures,the cushion being used as a welcome bit of colourin the scheme. Most of all, the floors, whetherpaved with stone as in this picture, or with brickas in the courtyards, are painted with the delight-ful precise care that the Van Eycks gave to their
Text Appearing After Image:
An Interior.From the picture by Pieter de Hoogh, in the Wallace Collection, London. PETER DE HOOGH AND CUYP 137 accessories. In Peter de Hooghs vision of theworld there is the same appreciation of the objectsof daily use as was displayed by the fifteenth-century Flemish painters whenever their sacredsubjects gave them opportunity. In the seven-teenth century it was more congenial to the Flemishand Dutch temperament to paint their own country,and domestic scenes from their own lives, thanpictures of devotion. Other artists besides Peter de Hoogh paintedpeople in their own houses. In the pictures ofTerborch ladies in satin dresses play the spinetand the guitar. Jan Steen depicted peasantsrevelling on their holidays or in taverns. Peterde Hoogh was the painter of middle-class life,and discovered in its circumstances, likewise,abounding romance. The Dutchman of the seventeenth centuryloved his house and his garden, and every inch ofthe country in which he lived, rescued as it hadbeen from
The term "Northern Renaissance" refers to the art development of c.1430-1580 in the Netherlands Low Countries and Germany. The Low Countries, particularly Flanders with cities Antwerp, Ghent, and Bruges, were, along with Florence, the most economically advanced region in Europe. As in Florence, urban culture peaked here. The common understanding of the Renaissance places the birth of the Renaissance in Florence, Italy. Rennaisance's ideas migrated to Germany from Italy because of the travels of Albrecht Dϋrer. Northern artists such as Jan van Eyck remained attached to Medieval traditions. In their paintings, Low Countries painters attempted to reproduce space, color, volume, and light as naturalistically as possible. They achieved the perfection of oil paint in the almost impossible representation of things and objects. Rather than draw upon Classical Greek and Roman aesthetics like their Italian counterparts, Northern European Renaissance artists retained a Gothic sensibility of woodblock printing and illuminated manuscripts which clearly distinguished Northern Rennaisance art from Italian. Unlike Italian artists, northern painters were not interested in rediscovering the spirit of ancient Greece. Instead, they sought to exploit the full potential of oil paint, and capture nature exactly as they found it. Unlike their Italian counterparts, who embraced a mathematically calculated linear perspective and constructed a picture from within, Dutch artists used an empirical perspective with precise observation and knowledge of the consistency of light and things. They painted as they saw and came very close to the effect of central perspective. Long before Leonardo, they invented aerial and color perspectives. More, as with real-world human vision, their far-away shapes lose contours, and the intensity of the colors fades to a bluish hue. Robert Campin (c.1378-1444), was noted for works like the Seilern Triptych (1410) and the Merode Altarpiece (1425); Jan van Eyck (1390-1441) was noted for the Ghent Altarpiece (1432) and The Arnolfini Marriage (1434); Jan Eyck's pupil Petrus Christus (c.1410-75), best known for his Portrait of a Young Girl (1470, Gemaldegalerie, Berlin); Roger Van der Weyden (1400-64) noted for his extraordinary realism as in his masterpiece Descent From the Cross (Deposition) (1435), for the Church of Notre Dame du Dehors (now in the Museo del Prado, Madrid); Dieric Bouts (1420-75) for his devotional pictures; Hugo Van Der Goes (1440-82) famous for The Portinari Altarpiece (1475) which influenced the Early Renaissance in Florence; Hieronymus Bosch (1450-1516) noted for The Garden of Earthly Delights (1510-15) and other moralizing works; Joachim Patenier (1485-1524) the pioneer landscape painter; and Pieter Bruegel the Elder (c.1525-1569) known for landscape narratives such as The Tower of Babel (1563).
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