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Tables of Contents for Van Eyck and the Founders of Early Netherlandish Painting
Chapter/Section Title
Page #
Page Count
Foreword
7
4
Professor Artur Rosenauer
Introduction
11
24
Netherlandish artists as exponents of French art, c. 1400
11
1
Ars nova
12
1
Revolutionary uses of colour, light and shade
13
2
The Master of Flemalle
15
1
On the Flemalle / Campin question
16
4
The revolutionary innovations of Eyckian art
20
1
Comparison between the Lucca Madonna and a Madonna by Jacquemart de Hesdin
21
3
`Jan's stilled gaze'
24
1
The primacy of painting
24
1
Authentic reflections of past styles
25
1
Heterogeneous nature of the Ghent Altarpiece
26
1
Mirrors bring the observer into the painting
27
2
Empirical perspective
29
1
Early Netherlandish art and its topographical and historical background
30
1
The still-life quality of Jan van Eyck's art
31
4
The Master of Flemalle
35
44
The Werl Altarpiece of 1438 as a chronological reference point
35
1
Malouel's Pitie de Notre Seigneur
35
3
Images of the Trinity by the Master of Flemalle: Louvain, Frankfurt, St Petersburg
38
3
On the stylistic roots of the Master of Flemalle
41
1
Sluter
41
1
Thirteenth-century sculpture
42
1
The Seilern Triptych of the Entombment
43
1
The Saint-Sepulcre tradition
43
3
Devotional quality in narrative painting
46
1
The Master of Flemalle's lost Deposition and its Italian antecedents
47
3
The late medieval interior: Lorenzetti, Giovanni da Milano
50
3
St Jerome in his cell: the scholar's study as an interior
53
1
The Merode Altarpiece
54
2
Secularization of religious themes or sanctification of nature?
56
1
Conflict between surface and depth
56
4
Light and colour
60
1
Departure from traditional colour symbolism
60
2
Iconographic antecedents of the Merode Altarpiece
62
1
Neutralization of expressiveness
63
1
Realism as a disguise for symbolic content?
64
2
Immediacy and presence in the evocation of biblical facts
66
1
The Dijon Nativity
67
1
The Vision of St Bridget
68
5
The midwife episode
73
1
Significance of the observation of nature
74
1
The fourteenth-century beginnings of portraiture
75
1
The portrait in the work of the Master of Flemalle
76
3
Jan van Eyck
79
40
Problems of the Ghent Altarpiece
79
1
Jan van Eyck: biographical details
80
1
Hubert: `than whom no greater has been found'?
80
1
Madonna of Canon van der Paele
81
1
A chronology of Madonnas
82
2
Madonna of Chancellor Rolin
84
1
A new kind of interior
84
2
Discontinuity of pictorial space
86
1
Breaks in spatial depth
86
1
St Barbara: anticipations of the seventeenth-century landscape
87
1
Ince Hall Madonna: problems of sequence
87
18
The Arnolfini double portrait
105
1
Still-life qualities
106
1
Intimations of inner life
106
1
Portraits
107
2
Importance of the frame
109
1
Differences between Jan's portraits and those of the Master of Flemalle
110
2
Man with a Pink
112
1
The issue of Jan's early work
113
1
Fete-champetre
114
2
Fishing Party
116
3
The Ghent Altarpiece
119
52
Difficulties in distinguishing between hands
119
1
The Ghent Altarpiece over the centuries
120
1
Results of laboratory examination
120
1
Problems of interpretation of scientific evidence
121
2
Changes of plan as work proceeded
123
1
Descriptive outline of the work
124
2
Impression of lack of unity
126
1
Iconography of the Communion of Saints
127
1
The Deesis and its antecedents
128
2
Evolution of the imagery of All Saints
130
2
The Fountain of Life in Madrid
132
3
Changes made in successive layers of paint
135
1
Spatial discrepancies
136
1
The Adoration of the Lamb: the picture plane hinges upwards
136
2
Differences in treatment of landscape on lateral panels
138
2
In plant forms
140
1
In figure rendering
141
3
In facial types
144
1
Conclusions from the foregoing
144
2
Paradise as earthly landscape
146
1
Italian nature studies
147
1
Shifts of spatial vision within the upper tier
148
1
On the style of the Deesis
149
1
Jan's Salvator mundi portrait
150
1
Angels Playing Musical Instruments
151
11
Adam and Eve
162
2
Original design of the exterior panels
164
1
Stylistic discrepancies between Mary and the Angel
164
1
The Annunciation interior
165
2
Prophets and Sibyls
167
1
The lower tier: donors and grisaille figures
168
2
Conclusions
170
1
The Hubert van Eyck Problem and the Hours of Turin
171
43
The Three Women at the Sepulchre in Rotterdam
171
3
Annunciation in New York
174
1
Crucifixion in Berlin
174
3
Colour in the Berlin Crucifixion
177
1
The Hours of Turin
177
2
The Cavalcade on the Seashore and questions of dating
179
1
Hand G
180
2
Two miniatures by Hand G with large figures: Mystic Marriage of St Catherine and Discovery of the True Cross
182
4
Night scene of the Betrayal of Christ
186
1
Bas-de-page landscapes; Baptism of Christ
187
1
Birth of St John the Baptist
188
1
Requiem Mass
189
1
Anticipations of seventeenth-century Dutch painting
190
1
The New York Diptych of the Crucifixion and Last Judgement
190
5
Carrying of the Cross in Budapest
195
2
The relation between the Master of the Hours of Turin and Eyckian art
197
1
Mystic Marriage of St Catherine drawing in Nuremberg
198
1
Epiphany drawings in Amsterdam and Berlin
199
1
`Dutch' quality of the work of the Master of the Hours of Turin
199
2
Betrayal of Christ drawing in London
201
1
Affinities with Lower Rhenish painting
201
1
Differences between Jan's art and that of the Master of the Hours of Turin
202
1
Differences in the treatment of space
202
2
Differences in colour
204
1
Comparisons with the Madonna in a Church in Berlin and with the St Barbara in Antwerp
205
1
Tower of Babel
205
1
Was Hubert van Eyck the Master of the Hours of Turin?
205
2
The achievement of Jan van Eyck
207
7
Editorial Note
214
1
Acknowledgements
214
1
Notes
215
3
Select Bibliography
218
2
List of Works
220
2
Index
222
2
Photo Credits
224