PANOFSKY Erwin.
Panofsky: The Flemish Primitives.
Hazan
Regular price
€18,00
| N° d'inventaire | 29571 |
| Format | 13.5 x 20 |
| Détails | 880 p., paperback. |
| Publication | Paris, 2010 |
| Etat | Nine |
| ISBN | 9782754104524 |
The Flemish Primitives , one of Panofsky's (German-born art historian and theorist (1892-1968)) flagship works, developed from a series of lectures. It retains a remarkable clarity from this origin and constitutes what is commonly called a compendium. Published in 1953, it was translated by Hazan for its first French edition in 1992. Panofsky's study follows the chronological course, going back a long way: the question of the origins of this northern art, which would only reach its peak in the middle of the 15th century, occupies a very important place.
And it is a fascinating investigation into poorly explored lands: Franco-Flemish miniatures, the International Gothic style, the art of the Burgundian court, the local schools of the North before the ars nova revolution that appeared with the Master of Flémalle. Then come the chapters on the Golden Age, on Van Eyck and Van der Weyden, which constitute so many monographs. The book ends with a study of the immediate heirs of this age: Petrus Christus, Dirk Bouts, Hugo Van der Goes, Gérard David, Juste de Gand, etc. Here Panofsky's iconological approach bends to become a stylistic history and gradually uncovers the emergence of an entire cultural continent. Beyond the meticulousness of the approach, veritable little epics of thought emerge throughout the pages, and one wonders how the author manages to master his erudition to always be so useful and meaningful. From the identification of a musician in a portrait of Van Eyck (and the ensuing discourse on painting and music) to the definition of Van der Weyden's angular style, from the almost tactile study of the Hours of illuminated manuscripts of the 14th and 15th centuries to the characterization of the difficulties of a follower like Petrus Christus, the reader is led to connect the innumerable threads of a continuity that Panofsky traces with his usual elegance.
And it is a fascinating investigation into poorly explored lands: Franco-Flemish miniatures, the International Gothic style, the art of the Burgundian court, the local schools of the North before the ars nova revolution that appeared with the Master of Flémalle. Then come the chapters on the Golden Age, on Van Eyck and Van der Weyden, which constitute so many monographs. The book ends with a study of the immediate heirs of this age: Petrus Christus, Dirk Bouts, Hugo Van der Goes, Gérard David, Juste de Gand, etc. Here Panofsky's iconological approach bends to become a stylistic history and gradually uncovers the emergence of an entire cultural continent. Beyond the meticulousness of the approach, veritable little epics of thought emerge throughout the pages, and one wonders how the author manages to master his erudition to always be so useful and meaningful. From the identification of a musician in a portrait of Van Eyck (and the ensuing discourse on painting and music) to the definition of Van der Weyden's angular style, from the almost tactile study of the Hours of illuminated manuscripts of the 14th and 15th centuries to the characterization of the difficulties of a follower like Petrus Christus, the reader is led to connect the innumerable threads of a continuity that Panofsky traces with his usual elegance.
And it is a fascinating investigation into poorly explored lands: Franco-Flemish miniatures, the International Gothic style, the art of the Burgundian court, the local schools of the North before the ars nova revolution that appeared with the Master of Flémalle. Then come the chapters on the Golden Age, on Van Eyck and Van der Weyden, which constitute so many monographs. The book ends with a study of the immediate heirs of this age: Petrus Christus, Dirk Bouts, Hugo Van der Goes, Gérard David, Juste de Gand, etc. Here Panofsky's iconological approach bends to become a stylistic history and gradually uncovers the emergence of an entire cultural continent. Beyond the meticulousness of the approach, veritable little epics of thought emerge throughout the pages, and one wonders how the author manages to master his erudition to always be so useful and meaningful. From the identification of a musician in a portrait of Van Eyck (and the ensuing discourse on painting and music) to the definition of Van der Weyden's angular style, from the almost tactile study of the Hours of illuminated manuscripts of the 14th and 15th centuries to the characterization of the difficulties of a follower like Petrus Christus, the reader is led to connect the innumerable threads of a continuity that Panofsky traces with his usual elegance.