FRA ANGELICO     FRA ANGELICO, known by various names, including Fra Giovanni Beato Angelico da Fiesole (1399?-1455), is one of the very few painters of the Italian Renaissance who painted religious pictures exclusively. Almost all Angelico’s paintings are religious – he did not paint secular portraits, like, say, Giovanni Bellini or Ghirlandaio. It was Vasari who stressed Angelico’s purity, holiness, faith, humility and devout nature, and this description of Angelico as a holy monk-like painter persists throughout the centuries. John Ruskin called Angelico ‘an inspired saint’.        It is in San Marco in Florence that Angelico’s ‘saintly’ reputation was forged. He (with assistants) painted fifty frescoes at San Marco. The paintings reveal a traditional form of Christian worship: Angelico’s is a conventional kind of Christian theology and devotion. Some critics emphasize Angelico as a stylist. Of course, Angelico did not separate style from content in the way modern critics do. Clearly, they are part of the same thing. For the Renaissance religious painter, the aim is to come up with a style, colouration and technique which accords with one’s beliefs, as well as flattering the faith of one’s patrons. So Angelico’s ‘sweet style’ stems from his blending of painterly technique with religious understanding.       Fra Angelico stands at the transition between the mediæval and Renaissance worlds. Angelico’s ‘feelings are in the Middle Ages’, Bernard Berenson wrote, yet he was distinctly a Quattrocento, Renaissance painter. His art combines the timelessness and rigidity of icon painting, where figures are caught in bright, static, hieratic motions, with the new painterly explorations (in form, style and space) of the Quattrocento period.       Fra Angelico’s paintings seem simple, but their simplicity is deceptive: they are the products of training and skill. Giulio Carlo Argan reminds us that ‘[e]verything points to Fra Angelico’s being in touch with the most advanced artists of his early day’. The deep spiritual feeling and tenderness of Fra Angelico’s art seems ‘simple’ or ‘innocent’. It does not seem cynical and world-weary. Yes, but the simplicity is not so much childish as child-like, as a regaining of the freshness of the spirit of childhood. A reactivation of the maternal realm, perhaps, which Fra Angelico manages to accomplish with a directness most other painters are incapable of reproducing.

Fra Angelico: Art and Religion in the Renaissance (Painters)

Arts & Photography

Mutter, Rosalind

History & Criticism

Crescent Moon Pub

Early Netherlandish Painting (Painters)

EARLY NETHERLANDISH PAINTING 
 A fully illustrated survey of Early Netherlandish painting, featuring all of the major artists, and many lesser-known painters. Early Netherlandish painting, also known as Flemish painting, is characterized by figurative realism, its incredible sense of domestic interiors and details, luminous light, its ‘realist’ faces, and its fusions of a micro- and macro- cosmic vision. We concentrate here on painters such as Rogier van der Weyden (1400-1464), Jan van Eyck (c. 1390-1441, commonly described as the founder of modern oil painting), Gerard David (c. 1460-1523), Hugo van der Goes (1440-1482), Hans Memling (1433-1494), Joos van Cleve (c. 1485-1540), Jan Gossaert, also called Mabuse (c. 1475/8-1532), Geertgen tot Sint Jans (fl. late 15th 1485/ 95), Quentin Massys (c. 1465-1530), Joachim Patinir (c. 1485-1524), Dieric Bouts (c. 1415-1475), Petrus Christus (fl. 1442-1473) and Bernard van Orley (c. 1488-1541). One of the most celebrated aspects of Early Netherlandish or Flemish painting is its heartfelt, intense religious emotion. It is this aspect that interests us in this book. The new aesthetic vision of Early Netherlandish art was later applied to still life paintings, satires, landscapes, and portraits, but it is the religious works with which we are concentrating on here. Michelangelo’s famous statement about Early Netherlandish art pinpoints the depth of devout feeling found in so much of Northern European art: Flemish painting will, generally speaking, please the devout better than any painting in Italy, which will never cause him to shed a tear, whereas that of Flanders will cause him to shed many... The new vision of Northern European painting which flourished in the 15th century was a combination of a new aesthetic approach to reality, and an intensifying of religious fervour. The new vision aimed at sculptural accuracy, a naturalistic use of lighting, and three-dimensionality. Mixed with the new use of oil paint, the new vision gave the art of Philip the Good’s reign a special flavour and style well suited to the circumscription of devout religious truths. The new painting inherited its jewel-like brilliancy partly because many painters were trained as goldsmiths. This skilled handling of metalwork and miniature illustration shows in Early Netherlandish art. All Early Netherlandish paintings were made on wood panels, and painted from light to dark in thin glazes. It is partly this subtle glazing which gives Early Netherlandish painting its glorious luminescence. The Early Netherlandish artists exploited the effects of different hues and thicknesses of glazes of oil paint, controlling how the glazes reflected light.

EARLY NETHERLANDISH PAINTING REVISED AND UPDATED, WITH NEW ILLUSTRATIONS A fully illustrated survey of Early Netherlandish painting, featuring all of the major artists, and many lesser-known painters. Early Netherlandish painting, also known as Flemish painting, is characterized by figurative realism, its incredible sense of domestic interiors and details, luminous light, its 'realist' faces, and its fusions of a micro- and macro- cosmic vision. We concentrate here on painters such as Rogier van der Weyden (1400-1464), Jan van Eyck (c. 1390-1441, commonly described as the founder of modern oil painting), Gerard David (c. 1460-1523), Hugo van der Goes (1440-1482), Hans Memling (1433-1494), Joos van Cleve (c. 1485-1540), Jan Gossaert, also called Mabuse (c. 1475/8-1532), Geertgen tot Sint Jans (fl. late 15th 1485/ 95), Quentin Massys (c. 1465-1530), Joachim Patinir (c. 1485-1524), Dieric Bouts (c. 1415-1475), Petrus Christus (fl. 1442-1473) and Bernard van Orley (c. 1488-1541). One of the most celebrated aspects of Early Netherlandish or Flemish painting is its heartfelt, intense religious emotion. It is this aspect that interests us in this book. The new aesthetic vision of Early Netherlandish art was later applied to still life paintings, satires, landscapes, and portraits, but it is the religious works with which we are concentrating on here. Michelangelo's famous statement about Early Netherlandish art pinpoints the depth of devout feeling found in so much of Northern European art: Flemish painting will, generally speaking, please the devout better than any painting in Italy, which will never cause him to shed a tear, whereas that of Flanders will cause him to shed many... The new vision of Northern European painting which flourished in the 15th century was a combination of a new aesthetic approach to reality, and an intensifying of religious fervour. The new vision aimed at sculptural accuracy, a naturalistic use of lighting, and three-dimensionality. Mixed with the new use of oil paint, the new vision gave the art of Philip the Good's reign a special flavour and style well suited to the circumscription of devout religious truths. The new painting inherited its jewel-like brilliancy partly because many painters were trained as goldsmiths. This skilled handling of metalwork and miniature illustration shows in Early Netherlandish art. All Early Netherlandish paintings were made on wood panels, and painted from light to dark in thin glazes. It is partly this subtle glazing which gives Early Netherlandish painting its glorious luminescence. The Early Netherlandish artists exploited the effects of different hues and thicknesses of glazes of oil paint, controlling how the glazes reflected light. Fully illustrated, with a newly revised text for this edition. Bibliography and notes. ISBN 971861713971. 252 pages. www.crmoon.com

Crescent Moon Publishing

FRA ANGELICO REVISED AND UPDATED, WITH NEW ILLUSTRATIONS FRA ANGELICO, known by various names, including Fra Giovanni Beato Angelico da Fiesole (1399?-1455), is one of the very few painters of the Italian Renaissance who painted religious pictures exclusively. Almost all Angelico's paintings are religious - he did not paint secular portraits, like, say, Giovanni Bellini or Ghirlandaio. It was Vasari who stressed Angelico's purity, holiness, faith, humility and devout nature, and this description of Angelico as a holy monk-like painter persists throughout the centuries. John Ruskin called Angelico 'an inspired saint'. It is in San Marco in Florence that Angelico's 'saintly' reputation was forged. He (with assistants) painted fifty frescoes at San Marco. The paintings reveal a traditional form of Christian worship: Angelico's is a conventional kind of Christian theology and devotion. Some critics emphasize Angelico as a stylist. Of course, Angelico did not separate style from content in the way modern critics do. Clearly, they are part of the same thing. For the Renaissance religious painter, the aim is to come up with a style, coloration and technique which accords with one's beliefs, as well as flattering the faith of one's patrons. So Angelico's 'sweet style' stems from his blending of painterly technique with religious understanding. Fra Angelico stands at the transition between the mediaeval and Renaissance worlds. Angelico's 'feelings are in the Middle Ages', Bernard Berenson wrote, yet he was distinctly a Quattrocento, Renaissance painter. His art combines the timelessness and rigidity of icon painting, where figures are caught in bright, static, hieratic motions, with the new painterly explorations (in form, style and space) of the Quattrocento period. Fra Angelico's paintings seem simple, but their simplicity is deceptive: they are the products of training and skill. Giulio Carlo Argan reminds us that 'everything points to Fra Angelico's being in touch with the most advanced artists of his early day'. The deep spiritual feeling and tenderness of Fra Angelico's art seems 'simple' or 'innocent'. It does not seem cynical and world-weary. Yes, but the simplicity is not so much childish as child-like, as a regaining of the freshness of the spirit of childhood. A reactivation of the maternal realm, perhaps, which Fra Angelico manages to accomplish with a directness most other painters are incapable of reproducing. Fully illustrated, with new illustrations for this edition. ISBN 9781861714237. 136pp. www.crmoon.com

Fra Angelico: Art and Religion In the Renaissance (Painters)

FRA ANGELICO: ART AND RELIGION IN THE RENAISSANCE     By Rosalind Muter      FRA ANGELICO, known by several names, including Fra Giovanni Beato Angelico da Fiesole (1399?-1455), is one of the very few painters of the Italian Renaissance who painted religious pictures exclusively. Almost all Angelico's paintings are religious - he did not paint secular portraits, like, say, Giovanni Bellini or Ghirlandaio. It was Vasari who stressed Angelico's purity, holiness, faith, humility and devout nature, and this description of Angelico as a holy monk-like painter persists throughout the centuries. John Ruskin called Angelico 'an inspired saint'.        It is in San Marco in Florence that Angelico's 'saintly' reputation was forged. He (with assistants) painted fifty frescoes at San Marco. The paintings reveal a traditional form of Christian worship: Angelico's is a conventional kind of Christian theology and devotion. Some critics emphasize Angelico as a stylist. Of course, Angelico did not separate style from content in the way modern critics do. Clearly, they are part of the same thing. For the Renaissance religious painter, the aim is to come up with a style, colouration and technique which accords with one's beliefs, as well as flattering the faith of one's patrons. So Angelico's 'sweet style' stems from his blending of painterly technique with religious understanding.        Fra Angelico stands at the transition between the mediaeval and Renaissance worlds. Angelico's 'feelings are in the Middle Ages', Bernard Berenson wrote, yet he was distinctly a Quattrocento, Renaissance painter. His art combines the timelessness and rigidity of icon painting, where figures are caught in bright, static, hieratic motions, with the new painterly explorations (in form, style and space) of the Quattrocento period.        Fra Angelico's paintings seem simple, but their simplicity is deceptive: they are the products of training and skill. Giulio Carlo Argan reminds us that '[e]verything points to Fra Angelico's being in touch with the most advanced artists of his early day'. The deep spiritual feeling and tenderness of Fra Angelico's art seems 'simple' or 'innocent'. It does not seem cynical and world-weary. Yes, but the simplicity is not so much childish as child-like, as a regaining of the freshness of the spirit of childhood. A reactivation of the maternal realm, perhaps, which Fra Angelico manages to accomplish with a directness most other painters are incapable of reproducing.         REVISED AND UPDATED, WITH NEW ILLUSTRATIONS.    The hardcover edition comes in a smart case laminate cover, with a matte finish, in full colour.     Fully illustrated, with new illustrations for this edition. ISBN 9781861715685. 136pp.     www.crmoon.com

FRA ANGELICO ART AND RELIGION IN THE RENAISSANCE By Rosalind Mutter FRA ANGELICO, known by several names, including Fra Giovanni Beato Angelico da Fiesole (1399?-1455), is one of the very few painters of the Italian Renaissance who painted religious pictures exclusively. Almost all Angelico's paintings are religious - he did not paint secular portraits, like, say, Giovanni Bellini or Ghirlandaio. It was Vasari who stressed Angelico's purity, holiness, faith, humility and devout nature, and this description of Angelico as a holy monk-like painter persists throughout the centuries. John Ruskin called Angelico 'an inspired saint'. It is in San Marco in Florence that Angelico's 'saintly' reputation was forged. He (with assistants) painted fifty frescoes at San Marco. The paintings reveal a traditional form of Christian worship: Angelico's is a conventional kind of Christian theology and devotion. Some critics emphasize Angelico as a stylist. Of course, Angelico did not separate style from content in the way modern critics do. Clearly, they are part of the same thing. For the Renaissance religious painter, the aim is to come up with a style, colouration and technique which accords with one's beliefs, as well as &#64258;attering the faith of one's patrons. So Angelico's 'sweet style' stems from his blending of painterly technique with religious understanding. Fra Angelico stands at the transition between the mediaeval and Renaissance worlds. Angelico's 'feelings are in the Middle Ages', Bernard Berenson wrote, yet he was distinctly a Quattrocento, Renaissance painter. His art combines the timelessness and rigidity of icon painting, where figures are caught in bright, static, hieratic motions, with the new painterly explorations (in form, style and space) of the Quattrocento period. Fra Angelico's paintings seem simple, but their simplicity is deceptive: they are the products of training and skill. Giulio Carlo Argan reminds us that '[e]verything points to Fra Angelico's being in touch with the most advanced artists of his early day'. The deep spiritual feeling and tenderness of Fra Angelico's art seems 'simple' or 'innocent'. It does not seem cynical and world-weary. Yes, but the simplicity is not so much childish as child-like, as a regaining of the freshness of the spirit of childhood. A reactivation of the maternal realm, perhaps, which Fra Angelico manages to accomplish with a directness most other painters are incapable of reproducing. REVISED AND UPDATED, WITH NEW ILLUSTRATIONS. The hardcover edition comes in a smart case laminate cover, with a matte finish, in full colour. Fully illustrated, with new illustrations for this edition. ISBN 9781861717566. 136pp. www.crmoon.com

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Books by Mutter, Rosalind

See the best price to sell, buy, or rent books by Mutter, Rosalind. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Fra Angelico: Art and Religion in the Renaissance (Painters)

Early Netherlandish Painting (Painters)

Early Netherlandish Painting (Painters)

Fra Angelico: Art and Religion In the Renaissance (Painters)

Fra Angelico: Art and Religion In the Renaissance (Painters)

Fra Angelico: Art and Religion In the Renaissance (Painters)

Fra Angelico: Art and Religion In the Renaissance (Painters)