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An illustrated scholarly analysis of the art and the cultural interpretations of the Flemish Primitives.
This is the first exhaustive catalogue of paintings with devotional portraits produced in the Low Countries between c. 1400 and 1550. This catalogue is an appendix to the book Devotional Portraiture and Spiritual Experience in Early Netherlandish Painting. The catalogue can be accessed and downloaded for free as well as be purchased in hardback.
First published in 1997. For this second edition of Art Books: A Basic Bibliography of Monographs on Artists, the vast number of new books published since 1985 was surveyed and evaluated. This has resulted in the selection of 3,395 additional titles. These selections, reflective of the increase in the monographic literature on artists during the last ten years, are evidence of the activities of a larger number of art historians in more countries worldwide, of the increasingly diverse and ambitious exhibition programs of museums whose number has also increased dramatically, and also of a lively international art market and the attendant gallery activities. The selections of the first edition have been reviewed, errors have been corrected and important new editions and reprints have been noted. The second edition contains 278 names of artists not represented in the first edition.
Examining innovations in Mary Magdalene imagery in northern art 1430 to 1550, Penny Jolly explores how the saint’s widespread popularity drew upon her ability to embody oppositions and embrace a range of paradoxical roles: sinner-prostitute and saint, erotic seductress and holy prophet. Analyzing paintings by Rogier van der Weyden, Quentin Massys, and others, Jolly investigates artists’ and audiences’ responses to increasing religious tensions, expanding art markets, and changing roles for women. Using cultural ideas concerning the gendered and pregnant body, Jolly reveals how dress confirms the Magdalene’s multivalent nature. In some paintings, her gown’s opening laces betray her wantonness yet simultaneously mark her as Christ’s spiritually pregnant Bride; elsewhere ’undress’ reconfirms her erotic nature while paradoxically marking her penitence; in still other works, exotic finery expresses her sanctity while celebrating Antwerp’s textile industry. New image types arise, as when the saint appears as a lovesick musician playing a lute or as a melancholic contemplative, longing for Christ. Some depictions emphasize her intercessory role through innovative pictorial strategies that invite performative viewing or relate her to the mythological Pandora and Italian Renaissance Neoplatonism. Throughout, the Magdalene’s ambiguities destabilize readings of her imagery while engaging audiences across a broad social and religious spectrum.