Le terme de renaissance flamande désigne la réponse apportée au XVIe siècle dans les Pays-Bas belgiques au renouveau pictural amené par la renaissance italienne.

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  • Le terme de renaissance flamande désigne la réponse apportée au XVIe siècle dans les Pays-Bas belgiques au renouveau pictural amené par la renaissance italienne. Ces artistes, qui s’étendent des maniéristes anversois et de Jérôme Bosch au début du siècle jusqu’aux maniéristes du Nord tardifs tels Hendrik Goltzius et Joachim Wtewael à l’autre extrémité du siècle, créent en se basant à la fois sur les récentes innovations de la peinture italienne et sur les traditions locales issues des primitifs flamands. Anvers est alors le plus important centre artistique de la région. De nombreux artistes travaillent au services des diverses cours européennes, y compris Bosch, dont les images peintes fantastiques ont marqué l’Histoire de l'art. Jan Mabuse, Maarten van Heemskerck et Frans Floris ont joué un rôle central dans l’adoption des modèles italiens pour mieux les incorporer dans leur propre langage artistique. Les peintres flamands et hollandais ont aussi joué un rôle marquant dans l’apparition de nouveaux sujets picturaux comme la peinture de paysages et la peinture de genre. Joachim Patinir, par exemple, joue un rôle important dans le développement de la peinture paysagère, quand Pieter Brueghel l'Ancien et Pieter Aertsen s’illustrent surtout dans la peinture de genre...
  • No norte da Europa, a Renascença se materializou em torno da visão do realismo intenso da obra de Albrecht Dürer. Nos Países Baixos, os pintores seguiram o impulso setentrional para a observação precisa e para o naturalismo, no âmbito das paisagens e retratos. Assim como na Itália, a Renascença setentrional terminou com o Maneirismo, que durou uma geração a mais que na Itália.
  • Dutch and Flemish Renaissance painting represents the 16th century response to Italian Renaissance art in the Low Countries. These artists, who span from the Antwerp Mannerists and Hieronymus Bosch at the start of the 16th century to the late Northern Mannerists such as Hendrik Goltzius and Joachim Wtewael at the end, drew on both the recent innovations of Italian painting and the local traditions of the Early Netherlandish artists. Antwerp was the most important artistic centre in the region. Many artists worked for European courts, including Bosch, whose fantastic painted images left a long legacy. Jan Mabuse, Maarten van Heemskerck and Frans Floris were all instrumental in adopting Italian models and incorporating them into their own artistic language. Pieter Brueghel the Elder, with Bosch the only artist from the period to remain widely familiar, may seem atypical, but in fact his many innovations drew on the fertile artistic scene in Antwerp.Dutch and Flemish painters were also instrumental in establishing new subjects such as landscape painting and genre painting. Joachim Patinir, for example, played an important role in developing landscape painting, inventing the compositional type of the world landscape, which was perfected by Pieter Bruegel the Elder who, followed by Pieter Aertsen, also helped popularise genre painting. From the mid-century Pieter Aertsen, later followed by his nephew Joachim Beuckelaer, established a type of "monumental still life" featuring large spreads of food with genre figures, and in the background small religious of moral scenes. Like the world landscapes, these represented a typically "Mannerist inversion" of the normal decorum of the hierarchy of genres, giving the "lower" subject matter more space than the "higher". Anthonis Mor was the leading portraitist of the mid-century, in demand in courts all over Europe for his reliable portraits in a style that combined Netherlandish precision with the lessons of Titian and other Italian painters.
  • Il pieno Rinascimento fiammingo e olandese è una fase dell'arte europea databile essenzialmente tra la fine del XV e il XVI secolo. In questo periodo l'area fiamminga, che proprio in seguito alla Riforma protestante iniziò a distinguersi tra la parte cattolica (futuro Belgio) e quella protestante (futura Olanda), era ancora attraversata da una straordinaria ricchezza economica e culturale, ma mentre alcuni centri si avviavano al declino, come Bruges e Gand, altri sorsero come nuove città cosmopolite, quali soprattutto Anversa, mentre altri ancora confermarono la loro importanza, come Bruxelles. In questo periodo si registrò un'influenza più che mai forte dell'arte e della cultura italiana, che portò all'umanesimo nordico di Erasmo da Rotterdam e a prodotti artistici legati all'esempio dei maestri italici. Altri artisti invece trovarono ispirazione nella tradizione locale e in altre aree del Nord Europa, arrivando a risultati di estrema originalità, quali Hieronymus Bosch e Pieter Brueghel il Vecchio.
  • La Pintura del Renaixement flamenca i dels Països Baixos representa la resposta al segle XVI dels artístes del nord al Renaixement italià. Aquests artistes, que van des dels manieristes d'Anvers i Hieronymus Bosch de començament del segle, fins als manieristes del nord de final del XVI com Hendrick Goltzius i Joachim Wtewael, bevien tant de les innovacions recents de la pintura italiana com de les tradicions locals dels primitius flamencs. Anvers era el centre artístic més important de la regió. Molts artistes treballaven per les corts europees, com el Bosch, les imatges fantàstiques del qual varen deixar un ampli llegat. Jan Mabuse, Maarten van Heemskerck i Frans Floris varen adoptar els models italians per a incorporar-los al seu propi llenguatge artístic. Els pintors holandesos i flamencs també varen incorporar temes nous com el paisatge i la pintura de gènere. Joachim Patinir, per exemple, va jugar un rol important desenvolupant els paisatges, mentre que Pieter Brueghel el Vell i Pieter Aertsen varen contribuir a popularitzar la pintura de gènere.
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  • Le terme de renaissance flamande désigne la réponse apportée au XVIe siècle dans les Pays-Bas belgiques au renouveau pictural amené par la renaissance italienne.
  • No norte da Europa, a Renascença se materializou em torno da visão do realismo intenso da obra de Albrecht Dürer. Nos Países Baixos, os pintores seguiram o impulso setentrional para a observação precisa e para o naturalismo, no âmbito das paisagens e retratos. Assim como na Itália, a Renascença setentrional terminou com o Maneirismo, que durou uma geração a mais que na Itália.
  • La Pintura del Renaixement flamenca i dels Països Baixos representa la resposta al segle XVI dels artístes del nord al Renaixement italià. Aquests artistes, que van des dels manieristes d'Anvers i Hieronymus Bosch de començament del segle, fins als manieristes del nord de final del XVI com Hendrick Goltzius i Joachim Wtewael, bevien tant de les innovacions recents de la pintura italiana com de les tradicions locals dels primitius flamencs.
  • Dutch and Flemish Renaissance painting represents the 16th century response to Italian Renaissance art in the Low Countries. These artists, who span from the Antwerp Mannerists and Hieronymus Bosch at the start of the 16th century to the late Northern Mannerists such as Hendrik Goltzius and Joachim Wtewael at the end, drew on both the recent innovations of Italian painting and the local traditions of the Early Netherlandish artists. Antwerp was the most important artistic centre in the region.
  • Il pieno Rinascimento fiammingo e olandese è una fase dell'arte europea databile essenzialmente tra la fine del XV e il XVI secolo.
rdfs:label
  • Renaissance flamande
  • Dutch and Flemish Renaissance painting
  • Pieno Rinascimento fiammingo e olandese
  • Renaixement flamenc
  • Renascimento flamengo
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