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Fifteenth and Sixteenth Centuries
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CHARLES GUTTLER
D.
University ofIowa
HOLT, RINEHART AND WINSTON,
INC.
New York Chicago San Francisco Atlanta Dallas Montreal Toronto Loudon
; ;
PHOTOGRAPHIC SOURCES
ReferencesaretofigurenumbersunlessindicatedPI. (plate).
A.C.L. ©, Brussels (21,53, 55,61,92, 104, 440, 468, 489, 494); Castclli, Wilhelni, Gallery of Art, Washington, Rosenwald
106, 107, 108, 109. 113, 115, 119, 136, 137, Liibeck (222, 354); Cooper, A. C, Ltd., Collection(398,407,422);NewYorkPublic
147, 149 right, 153, 154,163, 165, 167, 168, London (604); DeutscheFotothck.Dresden Library, Astor, Lenox and Tilden Founda-
169, 170, 171, 174, 177, 179, 181, 182, 186. (l16,370);Dingjan,A.,TheHague(609.6l0, tions (458);Pfauder,Dresden (114); Photo-
187, 189, 190, 194, 195, 196, 208, 210, 212, 617,623,630);Edelmann, U.,FFM,Frank- haus Hirsch, Nordlingcn (365, 366); Photo
213, 214, 218, 219, 220, 221, 223,224, 233, furt (328); Frcquin, A., The Hague {102); Studios Limited, London (643); Radnicky,
234. 240,248,250,266right,288,492, 559, Fynian,Vladimir,Prague(60,62,63,64,445, Viktor, Prague, and SCALA, Florence (PL
560, 561, 562, 573, 579, 586, 591, 592, 593, 670); Germanisches Nationalmuscum, Nu- 5);RheinischcsBildarchiv,Cologne(73,327,
594. 595, 596,625, 626,628. 632, ft34, 636, remberg (67, 524);Giraudon, Paris (13,25, 329. 351. 352. 353. 585); SCALA, Florence
650,652,653,657,661,662,669):Alinari-Art 29.30,31,32.33.34.35.36.37.78,244,265, (PI.13);Scgalat,Roger-Jean,Paris(Pis.1,2);
ReferenceBureau,Ancram,N.Y. (188.209, 269,270,271,273,287,290,644);Giraudon, Service Photographiquc, Paris [Cliches des
292. 435, 498, 555. 575, 589, 637. 641, 646, Paris, and Scgalat,Roger-Jean,Paris (PI.3); MusecsNationau.x] (6,22,23, 110. 125,139,
656);Annan,Glasgow (191, 192); Archives Held, Andre,'Pans (20); Held, Louis, Wei- 140, 200, 242. 254, 264. 267, 274,289, 314,
Photographiques, Paris {10, 415, 418, 547, mar (499); Iinpnmcries Ucunies, Lausanne 410,557,567,642,647,649);Sibbelee,Hans,
582, 603, 629); Arlaud,Jean, Geneva (46, (PI.9);KleinhcmpclFotowerkstiitten,Ham- Utrecht (204);SoprintendenzaalleGalleric,
PI.21):ArtReferenceBureau(255,256,257, burg(69,70,71,80,81,82,83,84,414,537); Naples (682); StaatlichesAintfiirDenkmal-
258);Blauel,Joachim,Munich(Pis.6,10,22, Kunsthistorisches Museum, Vienna (346) pflege, Karlsruhe (367); Staailiche Graphi-
26, 27, 30); Blinkhorns, Banbury, 0-\on., Kunstverlag Wolfruin, Vienna (525); sche Saniinlung, Munich (374); Stearn &'
England (668); British Museum, London Library of Congress,Washington, Roscn- Sons(Cambridge)Ltd.,Cambridge,England
(383.384, 385.386,387, 388,389,390,391, waldCollection (408);Marburg-ArtRefer- (624); Stcinkopf, Walter, Berlin (130, 141,
392. 393. 395, 396. 397. 406, 416, 417, 420. enceBureau (56,57,58,74,75, 76, 77, 326, 142,144 148,156,184,193,261,266,left268,
421, 425,426,429, 430, 431, 432, 433. 443, 330, 331. 332. 334. 335. 344. 359. 3*0, 361, 333. 341. 342. 343. 375. 376, 377, 378, 379;
45'. 452. 453. 454. 455. 456, 459,461, 462, 369, 485, 514, 521, 552, 614, 622); MAS, 381,382,394.412, 428,439,497. 500,536);
463); Bruckniann-Art Reference Bureau Barcelona(88,89,97,128,162,229,249,259, Steinkopf, Walter & Staatliche Museen,
(363,466,471,472,473,474,475,476.477, 260, 296, 297, 299, 301, 303, 305, 306, 307, Berlin (511, 513, 518, 520, 522, 523, 538,
479,481,503,504,568);Brunei,Lugano(99) 308, 309, 311, 312. 313, 315, 316, 317, 318, 599, 600, 602); Vanhaclewyn, H., Bruges
BuUoz, Paris (24,43,44,90, 132, 134, 135. 320, 321, 323, 324, 325, 496, 569, 570, 572, (PI. 15); Verlag KarlAlbcr, Freiburg (357,
427881,,258'2>5,);28B6u,s2c9h1-,Ha29u3c,k,294G,ab3r3i8e,le3,56F,ra4n1k9,- 6N3e1w,64Y0o,r6k63()4;3M6e,t4r3o7p,o4l4i1t,a4n88M,u5s2e6u);mMoefyAerrt,, 480,515);Villani,A.,Bologna (246).
furt (93,94,95,96, III. 138, 157, 178, 185, Erwin, Vienna (Pis. 19, 23, 31); National
Librar\'ofCongressCatalogueCardNumber:68-20103 EditorDanW.Wheeler
TradeISBN;0-03-072500-3 Designer:MarleneRothkinVine
CollegeISBN:0-03-089476-X
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thewrittenpermissionofthepublishers.Holt,RinehartandWinston.NewYork.
Compositiivi:LesPressesCentrales.Lausanne.Switzerland
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456-046-121111098
IV
PREFACE
It has been my purpose in writing Norlhcni chapter deals with Bruegcl's art, which brings
Painting to offer in English an historical survey the period to a brilliant close.
and analysis ofthe great artistic tradition that For each chapter I have cited a number of
developednorthofthe Alps fromthe 14th to the major bibliographical aids at the end ofthe text.
17thcentury. Theperiod isone ofextraordmary I have included significant articles yet to be
achievement in the history ofWestern art, and incorporated into catalogues, corpuses, and
no book on it can begin without the author's encyclopedias. The bibliographies are not inten-
immediate acknowledgment of the enormous dedtobecomplete;rather,myobjectivehasbeen
debt that all interested in the field owe to Max to provide the essential minimum for those
Fricdlandcr and Erwin Panofsky. Their interested to explore further. Within the biblio-
J.
important works have been solid foundations graphies I should like especially to direct the
for subsequent research and understanding of reader's attention to the many excellent exhibi-
the painting of this time. Within the limits tion catalogues that have been published in
of a more general work than theirs, I have recent years.
attempted to present the history of Nether- I should also like to point out certain usages
landish painting and assess recent contributions than I have adopted. When a city is named in
since the books of Friedliinder and Panofsky the text as the location ofa painting, it indicates
first appeared. In addition, I have considered that the work is in the chief art museum in
certain artistic expressions omitted by one or thatcity. Thus, Paris means the Louvre, London
both of these writers. I have, therefore, means the National Gallery ofArt, New York
commented on French, Spanish, Bohemian, means the Metropolitan Museum of Art, and
and German painting and illumination pre- soforth. Withreferencetomanuscript,drawing,
ceding or contemporaneous with the influ- and print collections, the name of the city
ential Flemish developments; on the rise indicates the major library or archive. Other-
of the graphic arts; as well as on the later wise, collections are identified by name as
rise of a powerful art in Germany, which well as by city. Full identification for the works
in part has been largely unavailable to those reproduced is given in the figure and plate
without a knowledge of the German lan- legends. References to left and right are in
guage. Then follows a study of 16th-century relation to the viewer.
Flemish and Dutch art and French art of the Dimensions to the nearest eighth ofan inch
sametime expressing a northernspirit. Thefinal are included in the legends whenever this
—
information has been available. The dimensions est importance for me and of the challenges
given are those ofthe area shown in the repro- in and out ofthe classroom from my students.
ductions unless otherwise noted. The first To a number of friends and colleagues I owe a
dimension is for height, the second for width. debt of gratitude I am happy to acknowledge
Northern Painting originated in lectures I have here; in particular, to Robert L. and Margaret
given and discussions I have had with students A. Alexander, Richard A. Braddock, and Frank
at the School ofArt ofthe University ofIowa. A. Sciberling, of the University of Iowa, and
My hope is that the material presented here will John H. B. Knowlton of the Connecticut
beusefultothosewhohavefollowedthelectures College for Women. To the Belgian-American
in the past and to students of art everywhere Educational Foundation, under the direction of
who followcomparable lecturesanddiscussions. Pcrrin C. Galpin and E. Clark Stillman, and to
I should also like to think that the text and its the University of Iowa, my debt is also large,
illustrations will excite amateurs ofart about a and I am grateful to be able to record it here.
field that has been difficult of access from the ToJulius S. Held, Barnard College, and Robert
standpoint ofthe written word in English but A. Koch, Princeton University, I extend my
easily assimilated by the eye and the spirit. great thanks for their constructive comments on
The aim ofthe book is to provide knowledge the manuscript. To Theresa Brakeley goes my
of the governing concepts and art-historical warm gratitude for the many and good editorial
developments of the period and to aid under- suggestions to smooth the reader's path, and to
standingofanddelightinthe individualachieve- the staffofHolt, RinehartandWinston I offer a
ments ofits artists. like expression of appreciation. The extensive
In my mind's eye I have conceived the order search for the best possible photographs to
of presentation as journeys to the centers of illustrate thetext, although not always crovwied
artistic creation in the period under consider- with the desired success, has been immeasurably
ation. At the many repositories of the artistic aided by the efforts oi the staffs ofmany organi-
monuments, the amicable and obliging sacris- zations and institutions, particularly that ofthe
—
tans, curators, and librarians too numerous to Archives Centrales Iconographiques in Brussels.
—
mention by name have been most kind in I also wish to thank Harlan Siftord for his aid
aiding me, and thereby the reader, to know the in preparing the Index.
splendid works ofart under their care. Finally, my largest debt ofgratitude is to my
In preparing this book, I have been constantly wife. She has typedand retyped andhasendured
reminded of the intellectual stimulation and with patience innumerable discussions of con-
training I have been privileged to receive from tent, style, and organization.
such outstanding teachers andscholars as the late No one mentioned above can be blamed for
Walter W. S. Cook, Ralph S. Fanning, the late any statement or omission from this book. Its
RichardOffiicr, thelateErwinPanofsky,andthe shortcomings are my own; its good points are
—
lateMartinWeinberger tonamethoseofgreat- indebted to many.
Iowa City, Iowa C. D. C.
June, ig6S
VI
CONTENTS
Preface v
Introduction ix
PART THE FOURTEENTH CENTURY AND THE INTERNATIONAL
I
STYLE: Exploitation and Discovery i
1 France and the Netherlands 6
2 Bohemia 44
3 Austria and Germany 51
PART THE FIFTEENTH CENTURY:
II
Observation and Exposition 65
4 The Master ofFlemalle 70
5 The Van Eycks 83
6 Rogier van der Weyden 108
7 The Second Generation: Ouwater, Bouts and His Followers 128
8 The Second Generation:Joos van Ghent and Hugo van der Goes 147
9 Geertgen tot SintJans and the Master ofthe Virgo inter Virgines 161
10 Hans Mcmlinc 168
11 The Minor Masters and Manuscript Illumination in Flanders 181
12 Gerard David 190
VII
13 Hieronymus Bosch 198
14 The Painters ofFrance 212
15 Spain and Hispano-Flemish Painting 237
16 Painting in Germany and Austria: The First Halfofthe Century 261
17 Painting in Germany and Austria: The Second Halfofthe Century 277
18 Prmting and Prints 293
PART THE SIXTEENTH CENTURY:
III
Confrontation and Conflict 317
19 Albrecht Durer 321
20 Griinewald 358
21 Lucas Cranach the Elder 372
22 Albrecht Altdorfer 381
23 Hans Baldung Grien 388
24 The Diircr School, Danube-Style Followers, and Swiss Painting 395
25 Paintingin Augsburg HansHolbeintheElder, HansBurgkmair, andHansHolbein
:
the Younger 401
26 The Netherlands Metsys and Patinir 416
:
27 Flemish Mannerists and Early Romanists Jan Gossart, Joos van Cleve, and
:
Bernard van Orley 427
28 Dutch Mannerists and Early Romanists: Mostacrt, Van Oostsancn, Engelbrechtsz.,
Lucas van Leyden, andJan van Scorel 438
29 Later Romanists and the Rise ofGenres 453
30 Pieter Bruegel the Elder 469
Selected Bibliography and Notes 486
Index 491
vni
