Art after Iconoclasm
Painting in the Netherlands between 1566 and 1585
Edited by Koenraad Jonckheere Edited by Ruben Suykerbuyk
Rather than as a destructive moment in history, the Iconoclasm of 1566 in the Netherlands was the catalyst for a reevaluation of (religious) art in the Low Countries. It forced painters to question the very nature of the artistic tradition they grew up in. Is it merely a coincidence that the art markets changed so swiftly after the F
Rather than as a destructive moment in history, the Iconoclasm of 1566 in the Netherlands was the catalyst for a re-evaluation of (religious) art in the Low Countries. It forced painters to question the very nature of the artistic tradition they grew up in. Is it merely a coincidence that the art markets changed so swiftly after the Fall of Antwerp, that art theory in the Low Countries originated in the wake of Iconoclasm (De Heere, Lampsonius, …), or that painting in the second half of the sixteenth century saw the impetus of new styles, genres, specialisations (Aertsen, De Beuckelaer, …)? Iconoclasm forced people to think about art. The generation of painters active in the two decades between the Beeldenstorm and the fall of Antwerp did this by questioning the decorum of the work of their famous predecessors. This volume, with contributions by eminent specialists in the field, addresses some of these questions and by doing so marks the beginning of a re-assessment of one of the most fascinating and complex but also understudied periods in Netherlandish Art History.
- Edited by Koenraad Jonckheere
- Edited by Ruben Suykerbuyk
Other Titles in this Series
The Age of Rubens
Diplomacy, Dynastic Politics and the Visual Arts in Early Seventeenth-Century Europe
Volume 26
Recent Developments in the Technical Examination of Early Netherlandish Painting
Methodology, Limitations and Perspectives
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