Patronage and Painting in the Sixteenth-Century Dutch Low Countries Pubblico

Hollingsworth III, Lonnie Floyd (2014)

Permanent URL: https://etd.library.emory.edu/concern/etds/pz50gw71w?locale=it
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Abstract

For most of Western history, art was created not for its own sake, but as the finest of material commodities. In the Dutch Low Countries, as in the rest of Europe, groups of wealthy and powerful patrons commissioned and purchased paintings from the finest painters for a variety of reasons. While the painters themselves may have come from somewhat varied backgrounds, the patrons of most masterpieces of sixteenth-century Dutch painting were generally from one of three backgrounds: the nobility, the Catholic hierarchy, or artisanal guilds, especially the Guild of Saint Luke. By looking at a set of paintings by three artists, each from distinct regional and artistic backgrounds, and their work as viewed through the context of their relationship to the patron of the artwork, we can gauge the impact that patronage had on the style, subject matter and overall development of painting in the Dutch Low Countries during the first half of the sixteenth-century.

Table of Contents

Table of Contents Introduction ........................................................................................................1

1: Jan Gossart and the Guild of Saint Luke in Mechelen ...............................................6

2. The Malvagna Tripytch, Collaboration and Foreign Patrons ......................................22

3. Lucas van Leyden and Maarten van Heemskerck: An Interest in a Classical Heritage ....27

4. Conclusion .....................................................................................................37 List of Figures ....................................................................................................39 Bibliography .......................................................................................................41

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