{"id":173605,"date":"2024-07-11T14:45:11","date_gmt":"2024-07-11T12:45:11","guid":{"rendered":"https:\/\/us.edu.pl\/wydzial\/wh\/?page_id=173605"},"modified":"2024-10-31T11:21:08","modified_gmt":"2024-10-31T10:21:08","slug":"hetschilderboeck","status":"publish","type":"page","link":"https:\/\/us.edu.pl\/wydzial\/wh\/hetschilderboeck\/","title":{"rendered":"Re-thinking of \u201eHet Schilder-Boeck\u201d (The Book of Painting) and tracing the Migration of Flemish Masters (XV-XVI Centuries)"},"content":{"rendered":"

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Jan and Hubrecht van Eyck<\/div>\n
\u2026 and because art likes to be near wealth so as to be maintained with rich rewards, Johannes went to live in the town of Bruges where all manner of merchants abounded\u2026<\/div>\n <\/a>\n <\/div>\n <\/div>\n \n Jan and Hubrecht van Eyck \u2026 and because art likes to be near wealth so as to be maintained with rich rewards, Johannes went to live in the town of Bruges where all manner of merchants abounded\u2026<\/span>\n <\/a>\n <\/div>\n
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Pieter Coeck van Aalst<\/div>\n
\u2026He had been to Italy and attended the universal school of painters of Rome \u2013 where he displayed much diligence in drawing and painting with regard to figures as well as architecture<\/div>\n <\/a>\n <\/div>\n <\/div>\n \n Pieter Coeck van Aalst \u2026He had been to Italy and attended the universal school of painters of Rome \u2013 where he displayed much diligence in drawing and painting with regard to figures as well as architecture<\/span>\n <\/a>\n <\/div>\n
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Lambert Lombardus<\/div>\n
\u2026Lambert has been to various countries, firstly to different parts of the Netherlands, also Germany and France; (\u2026) he managed to seek out antiquities (\u2026) when in Italy\u2026<\/div>\n <\/a>\n <\/div>\n <\/div>\n \n Lambert Lombardus \u2026Lambert has been to various countries, firstly to different parts of the Netherlands, also Germany and France; (\u2026) he managed to seek out antiquities (\u2026) when in Italy\u2026<\/span>\n <\/a>\n <\/div>\n
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Jan Joest van Kalkar<\/div>\n
\u2026In Venice he was a worthy pupil of the great Titian whose manner of painting he not only followed but which he so closely imitated that eventually one was unable to distinguish their hands\u2026<\/div>\n <\/a>\n <\/div>\n <\/div>\n \n Jan Joest van Kalkar \u2026In Venice he was a worthy pupil of the great Titian whose manner of painting he not only followed but which he so closely imitated that eventually one was unable to distinguish their hands\u2026<\/span>\n <\/a>\n <\/div>\n
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Jan Cornelisz Vermeyen<\/div>\n
\u2026through his diligence and art he became the painter to the Serene Emperor whom he accompanied as a fellow-traveller to various countries, for example Tunis in Barbary in 1535; for the Emperor gave him many commissions to depict his wars, deeds and conquests, from which drawings beautiful tapestries were subsequently made\u2026<\/div>\n <\/a>\n <\/div>\n <\/div>\n \n Jan Cornelisz Vermeyen \u2026through his diligence and art he became the painter to the Serene Emperor whom he accompanied as a fellow-traveller to various countries, for example Tunis in Barbary in 1535; for the Emperor gave him many commissions to depict his wars, deeds and conquests, from which drawings beautiful tapestries were subsequently made\u2026<\/span>\n <\/a>\n <\/div>\n
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Jan Gossaert<\/div>\n
...the road to virtue is commonly rough or hard. He visited Italy and other countries and was at least one of the first to have brought the correct manner of composing and making pictures full of nudes and all kinds of allegories from Italy to Flanders\u2026<\/div>\n <\/a>\n <\/div>\n <\/div>\n \n Jan Gossaert ...the road to virtue is commonly rough or hard. He visited Italy and other countries and was at least one of the first to have brought the correct manner of composing and making pictures full of nudes and all kinds of allegories from Italy to Flanders\u2026<\/span>\n <\/a>\n <\/div>\n
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The migration issue is crucial for our contemporary society, facing the reality of internal and external migrations. The mobility of artists in the past left watermarks on the heritage of the migrant masters, which can be revealed and identified by displaying the results of different approaches.<\/p>\n

This study analyzes artistic migration from Flanders to other regions of Early Modern Europe, mainly explained as the influence, reception, or impact of the art schools of Bruges, Brussels, Ghent, or Antwerp on other territories. This problem was usually faced with the biographical approach to artists migrating from their native workshops to foreign countries. Still, few scholars have researched it as a transregional phenomenon in the past. The lack of a general vision of the entire phenomenon makes the Flemish artists’ contribution to the spread of the Renaissance as a pan-European cultural movement hardly understandable, even though scholars have suggested the need for clarification.<\/p>\n

Data on the journeys of artists mentioned in The Lives of the Illustrious Netherlandish and German painters<\/em> by Karel van Mander, the first biographer of Northern European artists, will be used as a starting point to create a digital database. Unifying traditional art history research methods and digital humanities, thanks to the Historical and Geographical Information System (H-GIS) and mapping. This match of methods allows the display the information about movements, artworks, and experiences of studied biographies and to face research questions:<\/p>\n