This book is the first to explore the origins and nature of the demand for painting in Bruges over the course of the fifteenth century and its subsequent effect on the community of painters and their workshop and marketing practices. The evolution of Bruges was fundamentally linked with commerce, and as a result of the city's thriving international trade and rising merchant class, it was to become one of the most affluent and cosmopolitan centers in late medieval Europe. However, only after the Duke of Burgundy moved his ...
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This book is the first to explore the origins and nature of the demand for painting in Bruges over the course of the fifteenth century and its subsequent effect on the community of painters and their workshop and marketing practices. The evolution of Bruges was fundamentally linked with commerce, and as a result of the city's thriving international trade and rising merchant class, it was to become one of the most affluent and cosmopolitan centers in late medieval Europe. However, only after the Duke of Burgundy moved his court to Bruges in the early decades of the fifteenth century would it begin to be a major center for the production of panel painting. This study examines the coming together of the opulent Burgundian court, an affluent urban bourgeoisie, and an increasingly expanding community of painters, and the effects of this dynamic social configuration on the newly emerging art of oil painting. Specifically, Wilson argues that while the nobility were not particularly active as patrons of paintings, members of the urban patriciate who hoped to enter into the circle of the court were nevertheless influenced by the nobility's culture of display and found that paintings effectively served their needs for representations of their aspirations for social advancement. She further suggests that, in commissioning altarpieces for ecclesiastical interiors, patrons were also concerned to include their portraits and coats of arms in an effort to promote the status and prestige associated with their families. The demand for paintings was therefore to escalate throughout the fifteenth century, resulting in painters' increasing involvement in the reproduction of popular compositions and the eventual emergence of a mass market for their art.
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Add this copy of Painting in Bruges at the Close of the Middle Ages to cart. $202.00, very good condition, Sold by Michener & Rutledge Bookseller rated 5.0 out of 5 stars, ships from Baldwin City, KS, UNITED STATES, published 1998 by Penn State University Press.
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Very Good+ in Very Good dust jacket. 9780271016535. Text clean and tight; NOTE: additional postage may be necessary for international shipping; 8vo 8"-9" tall; 272 pages.
Add this copy of Painting in Bruges at the Close of the Middle Ages: to cart. $101.50, good condition, Sold by Mullen Books, Inc. ABAA / ILAB rated 4.0 out of 5 stars, ships from Marietta, PA, UNITED STATES, published 1998 by The Pennsylvania State University Press.
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VG-/VG-(ex-library with labels and stamps on spine, block, inside front and rear covers and title page verso. Pages are clean and clear. Binding is tight. ) Black cloth with gilt lettering; black dust jacket with illustration, mylar cover; xvi, 256 pp. 79 bw plates. "This book is the first to explore the origins and nature of the demand for painting in Bruges over the course of the fifteenth century and its subsequent effect on the community of painters and their workshop and marketing practices. The evolution of Bruges was fundamentally linked with commerce, and as a result of the city's thriving international trade and rising merchant class, it was to become one of the most affluent and cosmopolitan centers in late medieval Europe. However, only after the Duke of Burgundy moved his court to Bruges in the early decades of the fifteenth century would it begin to be a major center for the production of panel painting. This study examines the coming together of the opulent Burgundian court, an affluent urban bourgeoisie, and an increasingly expanding community of painters, and the effects of this dynamic social configuration on the newly emerging art of oil painting."-dust jacket. Contents include: pt. I. The desire for painting. Vivre noblement in late medieval Bruges; Painting and the popularization of vivre noblement. --pt. II. From representation to replication. The production of replications: the visual evidence; Documentary evidence of painters' workshop practices and methods of reproduction. --pt. III. The marketplace. The rise of a mass market for painting. --Appendix I. Constituents of model groupings. --Appendix II. The number of stalls rented by painters at the Bruges fairs, 1513-1550. --Appendix III. Stall rental fee paid by painters as compared with other participants in the pandt market.
