'Uno maestro solenne' Joos van Wassenhove in ltaly

'Uno maestro solenne' Joos van Wassenhove in ltaly 'Uno maestro solenne' Joos van Wassenhove in ltaly * Mark L. Evans Early Netherlandish painters and Italian art From Jean Pucelle's Hours ofJeanne d'Evreux of 1325-28 to the Limburg Brothers' Très Riches Heures of 1411-16, Trecento art furnished useful models for northern painters. 1 The Franco-Flemish miniaturists bequeathed an extensive Italianate repertory to the Early Netherlandish school. A few Trecento paintings were also imported to Northern Europe. The most celebrated is Simone Martini's Orsini polyptych, which was probably taken to the Chartreuse de Champmol and seems to have been studied by both Jacquemart de Hesdin and the Master of Flémalle. 2 A series of comparisons has been drawn between the paintings of Jan van Eyck and Italian works. Paduan analogies include the soaring architecture of Jan's Berlin Madonna in a Church, reminiscent of frescoes by Altichiero, Avanzo and Giusto de'Menabuoi, the Eyckian St. Jerome in Detroit, which recalls Altichiero's fresco of Petrarch in the Sala virorum illustrium from the palace of Francesco da Carrara, and the shadowy chambers in the background of the Ghent altarpiece Annunciation, which may reflect Giotto's 'Secret Chapels' from the east wall of the Arena Chapel. 3 The last comparison seems more compelling when http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online Brill

'Uno maestro solenne' Joos van Wassenhove in ltaly

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Publisher
BRILL
Copyright
Copyright 1993 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0169-6726
eISSN
2214-5966
D.O.I.
10.1163/22145966-90000637
Publisher site
See Article on Publisher Site

Abstract

'Uno maestro solenne' Joos van Wassenhove in ltaly * Mark L. Evans Early Netherlandish painters and Italian art From Jean Pucelle's Hours ofJeanne d'Evreux of 1325-28 to the Limburg Brothers' Très Riches Heures of 1411-16, Trecento art furnished useful models for northern painters. 1 The Franco-Flemish miniaturists bequeathed an extensive Italianate repertory to the Early Netherlandish school. A few Trecento paintings were also imported to Northern Europe. The most celebrated is Simone Martini's Orsini polyptych, which was probably taken to the Chartreuse de Champmol and seems to have been studied by both Jacquemart de Hesdin and the Master of Flémalle. 2 A series of comparisons has been drawn between the paintings of Jan van Eyck and Italian works. Paduan analogies include the soaring architecture of Jan's Berlin Madonna in a Church, reminiscent of frescoes by Altichiero, Avanzo and Giusto de'Menabuoi, the Eyckian St. Jerome in Detroit, which recalls Altichiero's fresco of Petrarch in the Sala virorum illustrium from the palace of Francesco da Carrara, and the shadowy chambers in the background of the Ghent altarpiece Annunciation, which may reflect Giotto's 'Secret Chapels' from the east wall of the Arena Chapel. 3 The last comparison seems more compelling when

Journal

Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineBrill

Published: Jan 1, 1993

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