‎Snyder, James‎
‎Northern Renaissance Art ‎

‎In Detail, New Studies of Northern Renaissance Art. Essays in honour of Walter S. Gibson.‎

‎, Brepols, 1999 Paperback X+206 PAGES., + ill., 210 x 297 mm. ISBN 9782503507460.‎

‎The papers in this collection investigate the phenomenon of Northern Renaissance art from a variety of methodologies and viewpoints spanning five hundred years. J. Marrow; History, Historiography and Pictorial Invention in the Turin-Milan Hours L. Gelfand; Reading the Architecture in Jan Van Eyck's Rolin Madonna J. Chipps Smith; The Practical Logistics of Art: Thoughts on Commissioning, Displaying and Storing Art at the Burgundian Court R. Calkins; Gerard Horenbout and his Associates: Illuminating Activities in Ghent, 1480-1521 L. Dixon; An Occupational Hazard: Saint Jerome, Melancholia and the Scholarly Life D.G. Scillia; The Audiences for Israhel van Meckenem's Proverb Imagery, ca. 1500 L. Silver; Middle Class Morality: Love and Marriage in the Art of Lucas van Leyden M. Faries; Jan van Scorel's Jerusalem Landscapes C. B. Scallen; Rembrandt, Emulation and the Northern Print Tradition S. Goddard; Investigating and Celebrating the 'Golden Age' in Nineteenth-Century Antwerp: 1854-1894 J.P. Filedt-Kok; Flemish Primitives in the Rijksmuseum‎

‎Fools' Journey. A Myth of Obsession in Northern Renaissance Art,‎

‎Turnhout, Brepols, 2009 Hardback, XVII+226 p., 152 b/w ill. + 8 colour ill., 220 x 280 mm. ISBN 9782503526126.‎

‎Tracing the evolution of the newly emerging iconographical patterns of fools and folly, this book sheds light on the original and innovative invention that was an exclusive creation of northern Renaissance art and culture. The novel theme of the fools' journey, as expressed mainly through prints in Germany and later in the Netherlands in the sixteenth century is revealed as an ironical paraphrase, parodying the well established Christian topos, the Pilgrimage of Life or the Pilgrimage of the Human Soul, which offered the believer the opportunity to travel on the road toward redemption. The new mythical image of the fools' journey, however, confronts the contemporary reader/viewer with the image of the fool on his voyage that leads him, instead, to his doomed fate, thereby reflecting a pessimistic world-view. The newly emerging visual vocabulary is considered in relation to analogical contemporary didactic and satirical theatrical performances such as the rederijkers plays, the sotties, and also carnival processions. Proposing a new reading of Sebastian Brant's The Ship of Fools (Das Narrenschiff, Basel 1494), a landmark in the new iconography of the allegorical journey, this study recognizes as well the power of the visual image employed in the woodcuts-illustrations accompanying the treatise as a tool of moral teaching, used as a means of influencing the larger urban audience for whom word and image were sometimes interchangeable. Concomitantly, the divergence between verbal expression and visual language may be seen to define the inherent codes of the visual expressions. It is precisely the gap between literary sources and visualization, the very moment when visual vocabulary crystallizes, and image departs from word creating its own autonomous expression and language, that attracts our attention. The range and diversity of visual material related to the fools' journey topos, addresses a wide spectrum of audiences. This study also takes into consideration the strategies of communicating meanings and values to various publics. Addressing the wider urban public that was not necessarily lettered, notably women, illustrated-books and images were envisaged first of all as didactic tools. In accordance, the painters-engravers attended their public with rather simple visual elaborations that could be easily deciphered. Paintings, drawings, and prints intended for highly cultivated elite circles of urban society, among them works by Albrecht Durer and Hieronymus Bosch, demanded greater intellectual involvement on the part of the beholder, challenging the sophisticated viewer to re-create a meaningful ensemble out of the various scenes and motifs presented within complex compositions. Languages: English. ‎

‎Saintly Brides and Bridegrooms. The Mystic Marriage in Northern Renaissance Art.‎

‎, Brepols - Harvey Miller, 2012 Hardback , X 198 p., 100 b/w ill. 17 colour ill., 220 x 280 mm, Languages: English,. ISBN 9781905375875.‎

‎Building upon recent scholarly interest in mystics and mysticism in late medieval Europe, this book explores the visual representation of female and male saints depicted as brides or bridegrooms of Christ in northern European art from 1300 to 1550. The mystic marriage imagery of St. Catherine of Alexandria, St. Agnes of Rome, St. John the Evangelist, St. Bernard of Clairvaux, and the Blessed Henry Suso is studied through an analysis of a wide range of paintings, illuminated manuscripts, prints, and sculpture. From these case studies, Muir argues that different visual conventions were used in the art of this period to portray the male and female experiences of mystic marriage and suggests possible reasons for these differences. She further considers why comparatively few mystics were visually portrayed in a mystic marriage with Christ, despite the large number recorded as having had that experience. Providing insights into the meanings of the mystical experience when portrayed in visual terms, this book will appeal to art historians as well as to other medievalists with an interest in the intersections of art, religion, and gender, Studies in Medieval and Early Renaissance Art History (HMSAH 70) ‎

‎1.Proportion in Art 2.Expression in Art 3.What Makes a Masterpiece 4. The Pleasures of Painting 5. Form and Design 6. Abstraction in Art 7. Light and Color 8. The Northern Renaissance 9. Modern Art in Everyday Life 10. On Truth to Nature. 11. Religion adn Art 12. Forgers and Forgery 13. On Drawing and Drawings 14. Perspective Space and Depth.‎

‎Harry N. Abrams, New York 1953-1955. In-4o booklets around 20 p. from different experts with black-and- white illustrations. Each 8 euros ‎

‎Passion Iconography in Northern European art of the late middle ages and early renaissance‎

‎Kortrijk 1979 Van Ghemmert publishing co Hardcover Good ‎

‎Hardcover, Jacket: Good ( little damage ), Slipcase, 30 x 23 cm, 369 pp + 144 pl pp., English, Illustrations, book condition: Very Good. ‎