<p>The complexity and variety of sixteenth-century Netherlandish art endow it with a particular dynamism. It was in the sixteenth century that drawing attained an independent status as an art in itself, distinct from painting; landscape increasingly became a separate genre; and artists consciously referred to the great masters of the past, showing the tremendous influence of Italian art in their own works. This volume documents the unique qualities of the art of drawing during the age of Bruegel. Designed to accompany an exhibition at the National Gallery of Art and The Pierpont Morgan Library, the book is also an invaluable scholarly record. In addition to 123 catalogue entries and more than 350 reproductions of rarely-seen drawings, three in-depth essays contain discussions of the art of the period. Its development is traced from a late medieval style at the end of the fifteenth century to the influence of the Italian Renaissance and mannerism in the 1500s, and ultimately to the beginning of the baroque period in the early 1600s. The detailed entries encompass works by sixty-two artists, including Hieronymus Bosch, Jan Gossaert, Lucas van Leyden, Pieter Bruegel the Elder, Jan Brueghel the Elder, Karel van Mander, and others. The book will interest specialists and also general readers attracted by the warmth of Netherlandish art.</p>

The Age of Bruegel: Netherlandish Drawings in the Sixteenth Century

Arts & Photography

Robinson, William W.

Hand, John Oliver

Wolff, Martha

Judson, J. Richard

History & Criticism

Cambridge University Press

Jacob de Gheyn is one of the few trulygreat draughtsmen of the Renaissance and of the Baroque in northern Europe.  With his illustrious predecessor, Albrecht Durer, he shares a quest for knowledge of the visible world, with his younger compatriot Rembrandt a deep understanding for the human side of man.  He has left numerous spontaneous sketches and finished drawings of a great variety of subjects, ranging from studies of nature to witchcraft scenes and religious subjects.  The author places De Gheyn at the top rank and relates him to the intellectual trends of the time.

The drawings of Jacob de Gheyn II,

Grossman Publishers

Book illustrations and title-pages (Corpus Rubenianum Ludwig Burchard)

Heyden

<p>Rubens was well placed to take advantage of the increasing demand for scenes of Christ's Passion in the Southern Netherlands at the beginning of the 17th Century. He had developed a reputation for his religious paintings in Italy, and his return to Antwerp coincided with the efforts of the Catholic Church to restore and replace altarpieces damaged by the Calvinists. The influence of classical sculpture and of Titian, Michelangelo and Caravaggio is evident in the monumental quality of his compositions, which at the same time evoke his deeply held religious beliefs and his determination to give his viewers the sense of witnessing a moment in history.</p>

The Passion of Christ. (Corpus Rubenianum Ludwig Burchard)

Harvey Miller

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