簡易檢索 / 詳目顯示

研究生: 涂景柏
TU, ELMER
論文名稱: Hans Memling’s Tanners’ Altarpiece Iconography, Pictorial Space and Narrative Structure
Hans Memling’s Tanners’ Altarpiece Iconography, Pictorial Space and Narrative Structure
指導教授: 辛蒂庫絲
Candida Syndikus
學位類別: 碩士
Master
系所名稱: 藝術史研究所
Graduate Institute of Art History
論文出版年: 2016
畢業學年度: 104
語文別: 英文
論文頁數: 120
中文關鍵詞: 基督教繪畫早期尼德蘭繪畫十五世紀布魯日祭壇畫三王朝拜聖母與子商人工會的宗教恭奉朝聖
英文關鍵詞: Hans Memling, Early Netherlandish Painting, 15th century Bruges, Simultanbild, Altarpiece, Adoration of the Magi, Lay Devotion
DOI URL: https://doi.org/10.6345/NTNU202204565
論文種類: 學術論文
相關次數: 點閱:235下載:55
分享至:
查詢本校圖書館目錄 查詢臺灣博碩士論文知識加值系統 勘誤回報
  • 本論文的研究對象為早期尼德蘭畫家Hans Memling(c. 1435–1490)作品中一種特有的祭壇畫。單屏的長方形尺幅上面有一系列有連續性之二十五個敘事故事被描繪統整在同一圖畫空間內。在Memling的所有作品中,有兩件相近此構圖類型的作品皆是祭壇畫。其中一件為1470年左右的作品,主題為耶穌基督受難,目前展示於義大利杜林市Galleria Sabauda美術館;另一件是1480年的作品,題名Seven Joys of the Virgin,描繪了聖母和耶穌基督的一生與三王朝拜(Adoration of the Magi)為主題的傳奇故事,目前展示在德國慕尼黑Alte Pinakothek(老繪畫美術館)。在1970年代,德國藝術史學家Ehrenfried Kluckert以德文「Simultanbild」指稱這典型的祭壇畫,學者對此類作品仍沿用這個名稱。

    本論文以研究作品Seven Joys of the Virgin為主軸,分析藝術家如何在作品中呈現其敘事模式,以期許更加了解這類作品在Hans Memling創作中的藝術成就。此件作品利用鳥瞰式的高視角,將基督教信仰中的聖經故事呈現、鋪陳在全景式的圖畫空間,故事人物的互動從近景到遠景皆有安排,建築物旁、山坡地間、村子裡、城市中、海水邊,比較不像是神聖化的宗教圖像,反而像是真實世界裡的風景和人物。這個作品最初受到身兼布魯日市府參事的皮革馬具商人Pieter Bultinc 委託,於1480年完成,陳列在布魯日聖母教堂內皮革馬具商人工會禮拜堂之祭壇供奉。

    近期學術研究將此祭壇畫與教堂內敬拜禮儀和中世紀晚期法蘭德斯地區重要慶典日裡的基督聖儀相作連結,並進一步指出這件祭壇畫與十五世紀一些重要的信仰讀本有關。例如當時廣泛流通由Ludolph of Saxony 所撰寫的Vita Christi (Life of Christ),這類相關讀本主張從個人開始直接祈禱,並影響力行朝聖的重要性。而Memling的這件作品便存在一種精神上想像性質的朝拜功能,信仰者在祭壇畫前依循所描繪的故事祈禱,拜訪了各個聖經事件和場景,有如感同身受的到遠方聖地完成朝聖的實踐。可是以上這些研究多以探討作品的類型和功能為主,尚未見得針對作品裡個別圖像和場景之研究。

    論文將以這點出發,專注於作品裡特定故事和場景進行研究。 在作品最前景的中間位置,三王朝拜聖母與子的場景尤其顯著,描繪面積也占相當比例,似乎有一種「特別的」重要性?此外Hans Memling有兩幅更早的三連屏祭壇畫同樣以三王朝拜聖母與子當作主題;本文將檢視兩件稍早的作品與本研究主軸作品在相同主題描繪上如何挪用、轉換,並分析其中差異。另外針對Hans Memling作品中三王朝拜主題的構圖,有學者指出此乃Memling曾停留布魯塞爾重要畫家Rogier van der Weyden工作室的見習證明。本文將會針對此課題進行檢視研究。此外,接續內容將會與德國科隆Stephan Lochner三王朝拜聖母與子的祭壇畫相連;此故事主題乃德國科隆大教堂的信仰核心,於西元1440年代,教堂裡Stephan Lochner的祭壇畫被科隆當地最有權力的市政組織The City Council of Cologne恭奉在該組織之禮拜堂內,該作品同樣描繪三王朝拜聖母與子的主題圖像,而Rogier van der Weyden 與Hans Memling 的作品也採用了如同該作品的中央對稱構圖。

    最後本研究同時將會探討作品,從Hans Memling於畫作中如何鋪陳、描繪敘事主題內容裡的種種細節在畫面中、以及這些細節如何對觀者傳達敘事內容,以至於如此敘事方式對觀者而言將達成什麼樣的效果與閱讀理解。進一步藉由探討畫面中物件細節的描繪,一方面期望更深入的理解這樣作品在基督教信仰中的意義;另一方面則呼應稍早的學術研究成果,以理解Hans Memling的此件作品,在世俗商業工會的禮拜堂禮祭壇上,如何達成其藝術贊助主的需求,與其所衍生的藝術和信仰功能。

    The present study is dedicated to a particular type of altarpiece in the work of the German-Dutch painter Hans Memling (c. 1435–1490), which combines a continuous series of representational scenes and narrative episodes in a unified picture space. Two of Memling’s works handed down to us follow this scheme: a panel representing scenes from the Passion of Christ in the Galleria Sabauda in Turin, which can be dated around 1470, and the so-called Seven Joys of the Virgin of 1480 with episodes of the life of Christ and the Virgin and scenes from the legend of the Magi, today in the Alte Pinakothek in Munich. In the early 1970s, the German art historian Ehrenfried Kluckert coined the term “Simultanbild” for this category of altarpiece, an expression which is still nowadays commonly used by scholars.

    In order to intensify the view on Memling’s narrative mode and to obtain more results concerning the position of this genre of painting in the master’s complete œuvre, this survey will concentrate on one single work, the Seven Joys of the Virgin in Munich, which had been created for the altar of the tanners’ chapel in the Church of Our Lady in Bruges. Recent studies have connected this altarpiece with devotional practices performed on the occasion of the major Church festivals in late medieval Flanders. Scholars have moreover argued that the painting may have invited contemporary viewers to a spiritual pilgrimage in reference to 15th-century religious texts that helped readers to imagine the events of Christ’s life and passion in terms of undertaking an imaginary pilgrimage to the Holy Land. While recent studies on Memling’s Simultanbilder were mainly focused on the works’ religious function and thus considered the paintings in general, the complex microcosm of the single narrative scenes was rather neglected.

    It cannot pass unnoticed that the scene of the Adoration of the Magi in the central foreground holds a special position among the twenty-five episodes due to its scale, layout and formal isolation. Therefore, this paper first exam the relationship of the composition of Adoration scene to two Memling’s earlier triptychs that the subject of their central panel represents the same motif we have concerned. The core of the comparison, then, finds how Memling’s particular interest in geometric rendering works especially to the same ruined stable in two different events, Nativity and Adoration of the Magi. The centralized arrangement of figures is Stephan Lochner and Rogier van der Weyden’s major character in their famous work, which also represents Adoration of the Magi. Hence, this paper analyzes how Memling’s appropriation works on the same topic.

    Not only the prominence of the Adoration scene is noteworthy, but also the detailed description of the legend of the Magi is an exceptional feature, which must have been related to the painting’s original function. Special attention will, hence, be paid to this particular iconographic subject and the meticulous attention Hans Memling had addressed in the details of the narrative. A principal question will, therefore, be why the story of the Magi is rendered in such a detailed manner. The paper will further analyze what effects of these details have given to its viewer. It is the goal of this thesis to examine more closely Memling’s narrative mode by focusing on the legend of the Magi. The analysis of these scenes might lead to a better understanding of the work’s function in the context of a chapel used by a lay corporation.

    Table of Contents English Abstract 3 Chinese Abstract 5 1. Introduction 7 2. State of Research 10 3. History of the Painting 19 4. Formal Analysis 25 5. The Seven Joys of the Virgin and Memling’s Munich Painting 30 6. The Iconography of the Magi and its Sources 32 7. The Scene of the Adoration of the Magi 34 7.1. The Iconography of the Magi in Memling’s Œuvre 37 7.2. Models of Appropriation 42 8. The Journey of the Magi 53 8.1. Depiction of Pilgrimages to the Holy Land 54 8.2. Organization of Space 64 9. Conclusion 67 10. Bibliography 70 Appendix I: Illustrations 83 Appendix II: Iconographic Scheme 120

    Acres, Alfred, “The Columba Altarpiece and the Time of the World,” in: The Art Bulletin 80, 1998, pp. 423–451
    Ainsworth, Maryan W., “Implications of Revised Attributions in Netherlandish Painting,” Metropolitan Museum Journal 27 (1992), pp. 59–76
    ______, Gerard David: Purity of Vision in an Age of Transition, New York 1998
    ______ (ed.), Petrus Christus in Renaissance Bruges: An Interdisciplinary Approach, New York and Turnhout 1995
    ______ (ed.), Early Netherlandish painting at the crossroads: a critical look at current methodologies, New York 2001
    Ainsworth, Maryan W. and Keith Christiansen (eds.), From Van Eyck to Bruegel: early Netherlandish painting in the Metropolitan Museum of Art, New York 1998
    Alexander-Skipnes, Ingrid (ed.), Cultural Exchange between the Low Countries and Italy 1400-1600, Turnhout 2007
    Andrews, Lew, Story and Space in Renaissance Art: The Rebirth of Continuous Narrative, Cambridge 1998
    Armstrong, C. A. John, “The Piety of Cicely, Duchess of York: A Study in Late Medieval Culture,” in: Douglas Woodruff (ed.), For Hilaire Belloc: Essays in Honor of his 72nd Birthday, London 1942, pp. 73–94
    Ashley Kathleen, and Wim Hüsken, Moving subjects. Processional performance in the Middle ages and the Renaissance, Amsterdam 2001
    Asperen de Boer, J. R. J. van, “An Introduction to the Scientific Examination of Paintings,” in: J. R. J. van Asperen de Boer and J. P. Filedt Kok (eds.), Scientific Examination of Early Netherlandish Painting: Applications in Art History, Bussum 1976, pp. 1–40
    ––––––, “A Scientific Re-examination of the Ghent Altarpiece,” in: Oud Holland 93, 1979, pp. 141–214
    ______, “Infrared Reflectograms of Two Paintings by Jan van Eyck in Bruges,” in: H. Verougstraete and R. Van Schoute (eds.), Le dessin sous-jacent dans la peinture. Colloque 10, 1993: Le dessin sous-jacent dans le processus de création, Louvain-la Neuve 1995, pp. 81–84
    Asperen de Boer, J. R. J. van and Jeltje Dijkstra and Roger van Schoute, Underdrawing in Paintings of the Rogier van der Weyden and Master of Flémalle Groups, Zwolle 1992
    Bar-Efrat, Shimon, Narrative Art in the Bible, London and New York 2004
    Baldass, Ludwig von, Hans Memling, Vienna 1942
    Bautier, Pierre, “Hulin de Loo (1862–1945),” in: Revue belge d’archéologie et d’histoire de l’art / Belgisch Tijdschrift voor Oudheidkunde en Kunstgeschiedenis 16, 1946, pp. 88–90
    Baxandall, Michael, Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition, 1350-1450, Oxford 1971
    ______, Michael, Painting and Experience in Fifteenth-Century Italy, Oxford 1988
    Bazin, Germain, Memling, Paris 1939
    Bedaux, Jan Baptist, The Reality of Symbols: Studies in the Iconology of Netherlandish Art 1400-1800, The Hague, Maarssen 1990
    Behler, Ernst, “Friedrich Schlegel und die Brüder Boisserée: Die Anfänge der Sammlung und ihr philosophischer Ausgangspunkt,” in: Annemarie Gethmann-Siefert and Otto Pöggeler (eds.), Kunst als Kulturgut: Die Bildersammlung der Brüder Boisserée – ein Schritt in der Begründung des Museums, Bonn 1995, pp. 30–41
    Belting, Hans and Christiane Kruse, Die Erfindung des Gemäldes: das erste Jahrhundert der niederländischen Malerei, Munich 1994
    Benjamin, Lloyd, “Disguised Symbolism Exposed and the History of Early Netherlandish Painting,” in: Studies in Iconography 2, 1976, pp. 11–24
    Białostocki, Jan, “Les musées de Pologne (Gdańsk, Kraków, Warszawa),” in: Les Primitifs flamands, I. Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle 9, Brussels 1966
    ______, “Memlinc et Angelo Tani: Le Portrait du Musée des Offices No. 1102,” in: Miscellanea Jozef Duverger. Bijdragen tot de Kunstgeschiedenis der Nederlanden 1, Ghent 1968, pp. 102–109
    Billinge, Rachel and Marika Spring, “The Materials and Techniques of Five Paintings by Rogier van der Weyden and his Workshop,” in: National Gallery Technical Bulletin 18, 1997, pp. 68–86
    Blick, Sarah and Rita Tekippe (eds.), Art and architecture of late Medieval pilgrimage in northern Europe and the British isles, 2 vols., Leiden and Boston 2005
    Blockmans, Wim and Walter Prevenier, The promised lands: the Low Countries under Burgundian rule, 1369-1530, Amsterdam and Leuven 1997
    Blum, S. Neilsen, Early Netherlandish Triptychs: A Study on Patronage, Berkeley 1969
    ––––––, “Symbolic Invention in the Art of Roger van der Weyden,” in: Konsthistorisk Tidskrift 46, 1977, pp. 103–122
    ––––––, “Earthly Saints: The Concordance of Flemish and Florentine Art in the Fifteenth Century,” in: Konsthistorisk Tidskrift 65, 1996, pp. 151–178
    Bock, Franz, Memling Studien, Düsseldorf 1900
    Bode, Wilhelm von, “Ein männliches Bildnis von Hans Memling in der Berliner Galerie,” in: Jahrbuch der preussischen Kunstsammlungen 17, 1896, pp. 3–4
    Boisserée, Sulpiz, “G. F. Waagen, Ueber Hubert und Johann van Eyck,” in: Kunst-Blatt 4, 1823, pp. 213¬–216
    Borchert, Till-Holger, “Rogier’s St. Luke: The Case for the Corporate Identification,” in: Carol J. Purtle (ed.), The Museum of Fine Arts, Boston. Rogier van der Weyden, St. Luke Drawing the Virgin: Selected Essays in Context, Turnhout 1997, pp. 61–87
    ______, “A Moving Expression of Most Sincere Devotion and Piety: Aspects of Memling’s Rediscovery in Early 19th Century Germany,” in: Hélène Verougstraete, Roger van Schoute and Maurits Smeyers (eds.), Memling Studies, Louvain 1997, pp. 133–146
    ______, “Large-And Small-Scale Paintings and their Underdrawing in the Memling-Group,” in: Le Dessin Sous-Jacent et la Technologie dans la Peinture Colloque XI, Louvain-la-Neuve 1997
    ______, et al., De eeuw van Van Eyck, 1430-1530: De Vlaamse Primitieven en het Zuiden, Exh. cat., Groeningemuseum, Brugge, Ghent 2002
    ______, et al., Memling and the art of portraiture, New York 2005
    Botvinick, Matthew, “The Painting as Pilgrimage: Traces of a Subtext in the Work of Campin and his Contemporaries,” in: Art History 15, 1992, pp. 1–18
    Campbell, Lorne, “Robert Campin, the Master of Flémalle and the Master of Mérode,” in: The Burlington Magazine 116, 1974, pp. 634–646
    ______, “The Art Market in the Southern Netherlands in the Fifteenth Century,” in: The Burlington Magazine 118, 1976, pp. 188–198
    ______, “The Early Netherlandish Painters and their Workshops,” in: Dominique Hollanders-Favart and Roger Van Schoute (eds.), Le dessin sous-jacent dans la peinture. Colloque 3, 1979: Le problème Maître de Flémalle–Van der Weyden, Louvain-la-Neuve 1981, pp. 43–61
    ______, The Fifteenth Century Netherlandish Schools, National Gallery Catalogues, London 1998
    Campbell, Lorne and Jan Van Der Stock, Rogier Van Der Weyden 1400-1464: Master of Passions, Leuven 2009
    Catalogue of the Paintings in the Old Pinakothek Munich 1890, London 2013
    Chapuis, Julien (ed.), Invention: northern renaissance studies in honor of Molly Faries, Turnhout 2008
    Châtelet, Albert, “A Corpus of Flemish Primitives,” in: The Burlington Magazine 107, 1965, pp. 580–581
    Coleman, Sally Whitman, “Hans Memling’s Scenes from the Advent and Triumph of Christ and the Discourse of Revelation,” in: Journal of Historians of Netherlandish Art 5, 2013, only online publication from Journal of Historians of Netherlandish Art at http://www.jhna.org/index.php/past-issues/volume-5-issue-1/182-hans-memlings-scenes-from-the-advent-and-triumph-of-christ (accessed November 15, 2015).
    Crowe, Joseph Archer and Giovanni Battista Cavalcaselle, The Early Flemish Painters: Notices of their Lives and Works, London 1857
    Davies, Martin, The Early Netherlandish School, National Gallery Catalogues, London 1945
    ______, The National Gallery London, 2 (Les Primitifs flamands, I. Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle, 3), Antwerp 1954
    ______, Rogier van der Weyden: An Essay, with a Critical Catalogue of Paintings Assigned to Him and to Robert Campin, London 1972
    De Roover, Raymond, “Portinari, Tommaso,” in: Nationaal Biografisch Woordenboek 2, Brussels 1966, pp. 690–698
    De Vos, Dirk, Stedelijke Musea Brugge: Catalogus schilderijen 15de en 16de eeuw, Bruges 1979
    ______, “Nogmaals ‘Als ich can’,” in: Oud Holland 97, 1983, pp. 1–3
    ______, “De constructie van Memlings Van Nieuwehoveportret: Een probleem van interpretatie van de voorbereidende tekening,” in: Oud Holland 100, 1986, pp. 165–170
    ______, Hans Memling, The Complete Works, London 1994
    ______, Rogier Van Der Weyden: The Complete Works, Antwerp 1999
    ______, The Flemish Primitives, the masterpieces, Princeton, N.J. 2002
    Deam, Lisa, “Flemish versus Netherlandish: A Discourse of Nationalism,” in: Renaissance Quarterly 51, 1998, pp. 1–33
    Delmarcel, Guy, Flemish Tapestry, London 1999
    Descamps, Jean Baptiste, La vie des peintres flamands, allemands et hollandais, 1, Paris 1753
    ______, Voyage pittoresque de la Flandre et du Brabant, avec des réflexions relativement aux arts et quelques gravures, Paris 1838 (first published 1769)
    Dvořák, Max, Idealism and Naturalism in Gothic Art, Notre Dame 1967
    Dunkerton, Jill, et al., Giotto to Dürer: early Renaissance painting in the National Gallery, New Haven and London 1991
    Eikemeier, Peter, “Die Erwerbungen altdeutscher und altniederländischer Gemälde,” in: Ihm, welcher der Andacht Tempel baut...: Ludwig I. und die Alte Pinakothek. Festschrift zum Jubiläumsjahr 1986, Bayerische Staatsgemäldesammlungen, Munich 1986, pp. 56–67
    Evers, Hans Gerhard, Dürer bei Memling, Munich 1972
    Faries, Molly, “Technical Studies of Early Netherlandish Painting: A Critical Overview of Recent Developments,” in: Molly Faries and Ron Spronk (eds.), Recent Developments in the Technical Examination of Early Netherlandish Painting: Methodology, Limitations & Perspectives, Cambridge and Turnhout 2003, pp. 1–37
    Feder, Theodore H., “A Reexamination through Documents of the First Fifty Years of Roger van der Weyden’s Life,” in: The Art Bulletin 48, 1966, pp. 416–430
    Firmenich-Richartz, Eduard, Die Brüder Boisserée. Sulpiz und Melchior Boisserée als Kunstsammler: Ein Beitrag zur Geschichte der Romantik, Jena 1916
    Foister, Susan and Susie Nash (eds.), Robert Campin: New Directions in Scholarship, London 1996
    Foister, Susan, Sue Jones and Delphine Cool (eds.), Investigating Jan Van Eyck, Turnhout 2000
    Freedberg, David, The Power of Images: Studies in the History and Theory of Response, Chicago 1989
    Friedländer, Max J., Meisterwerke der niederländischen Malerei des 15. und 16. Jahrhunderts auf der Ausstellung zu Brügge 1902, Munich 1903
    ______, Die altniederländische Malerei, 14 vols., Berlin an Leiden 1924–1937
    ______, On Art and Connoisseurship, London 1942
    ______, Early Netherlandish Painting, revised edition, 14 vols., Leiden and Brussels 1967–1976 (German original edition, Die altniederländische Malerei, 14 vols., Berlin and Leiden 1924–1937)
    ______, The Van Eycks, Petrus Christus (Early Netherlandish Painting, vol. 1), Leiden and Brussels 1967
    ______, Rogier van der Weyden and the Master of Flémalle (Early Netherlandish Painting, vol. 2), Leiden and Brussels 1967
    ______, Erinnerungen und Aufzeichnungen, ed. by Rudolf Moritz Heilbrunn, Mainz and Berlin 1967
    ______, Dieric Bouts and Joos van Gent (Early Netherlandish Painting, vol. 3), Leiden and Brussels 1968
    ______, Geertgen tot Sint Jans and Jerome Bosch (Early Netherlandish Painting, vol. 5), Leiden and Brussels 1969
    ______, Hans Memling and Gerard David (Early Netherlandish Painting, vol. 6, 2 parts), Leiden and Brussels 1971
    Frinta, Mojmír Svatopluk, The Genius of Robert Campin, Paris 1966
    Genaille, Robert, From Van Eyck to Brueghel, London 1954
    Gerth, Julia, Wirklichkeit und Wahrnehmung: Hans Memlings Turiner Passion und die Bildgruppe der Passionspanoramen, Berlin 2007
    Gethmann-Siefert, Annemarie and Otto Pöggeler (eds.), Kunst als Kulturgut: Die Bildersammlung der Brüder Boisserée ein Schritt in der Begründung des Museums, Bonn 1995
    Gilbert, Creighton, Italian Art 1400-1500: Sources and Documents, Englewood Cliffs 1980
    Goethe, Johann Wolfgang, Schriften zur Kunst, 2nd ed., ed. by Christian Beutler and Ernst Beutler, Zurich and Stuttgart 1965
    Gombrich, Ernst Hans, Symbolic Images: Studies in the art of the Renaissance, 2 vols., London 1972
    Goodman, Nelson, “Twisted Tales; or, Story, Study, and Symphony,” in: Critical Inquiry 7, special issue, no.1, 1980, pp. 103–119
    Grosshans, Rainald, “Treasures in the Staatliche Museen Berlin: Early Netherlandish Painting. Notes on the History of the Collection,” in: Apollo 102, 1975, pp. 424–431
    Hall, Edwin, The Arnolfini Betrothal: Medieval Marriage and the Enigma of Van Eyck’s Double Portrait, Berkeley 1994
    Hand, John Oliver, and Martha Wolff, Early Netherlandish Painting: Collections of the National Gallery of Art, Washington D.C. 1986
    Harbison, Craig, “Realism and Symbolism in Early Flemish Painting,” in: The Art Bulletin 66, 1984, pp. 588–602
    ______, “Visions and Meditations in Early Flemish Painting,” in: Simiolus 15, 1985, pp. 87–118
    ______, Jan van Eyck: The Play of Realism, London 1991
    ______, The mirror of the artist: northern Renaissance art in its historical context, London 1995
    Hardison, Osborne Bennett Jr., Christian Rite and Christian Drama in the Middle Ages. Baltimore 1965
    Harper, John, The Forms and Orders of Western Liturgy from the Tenth to the Eighteenth Century, Oxford 1991
    Harrington, Daniel J., The Gospel of Matthew, Collegeville, Minnesota 1991
    Haskell, Francis, History and its Images: Art and the Interpretation of the Past, New Haven and London 1993
    Heinz, Günther, Die Gemäldegalerie im Kunsthistorischen Museum Wien, Munich 1967
    Huizinga, Johan, The Autumn of the Middle Ages, Chicago 1996 (Original edition Herfsttij der Middeleeuwen, Haarlem 1919)
    Hulin de Loo, Georges, Bruges 1902–Exposition de tableaux flamands des XIVe, XVe et XVIe siècles. Catalogue critique–précédé d’une introduction sur l’identité de certains maîtres anonymes, Ghent 1902
    ______, “An Authentic Work by Jacques Daret, Painted in 1434,” in: The Burlington Magazine 15, 1909, pp. 202–208
    ______, Georges, Heures de Milan, Brussels 1910
    ______, “Jacques Daret’s Nativity of Our Lord,” in: The Burlington Magazine 19, 1911, pp. 218–225
    Hull, Vida J., Hans Memling’s Paintings for the Hospital of Saint John in Bruges, New York and London 1981
    Hymans, Henri, L’exposition des Primitifs flamands à Bruges, Paris 1902
    Jacobs, Lynn F., “The Marketing and Standardization of South Netherlandish Carved Altarpieces: Limits on the Role of the Patron,” in: The Art Bulletin 71, 1989, pp. 208–229
    ______, The Commissioning of Early Netherlandish Carved Altarpieces: Some Documentary Evidence in A Tribute to Robert A. Koch: Studies in the Northern Renaissance, Princeton, N.J. 1994, pp. 83–114
    ______, Opening Doors: The Early Netherlandish Triptych Reinterpreted, University Park 2012
    James, Montague Rhodes, The Apocryphal New Testament, Oxford 1924
    Janssens de Bisthoven, Aquilin and R.A. Parmentier, Le Musée communal de Bruges (Les Primitifs flamands. Corpus de la peinture des anciens Pays-Bas méridionaux au quinzième siècle. Fascicules 1-4), Antwerp 1951
    Jones, Susan Frances, Van Eyck to Gossaert: towards a Northern Renaissance, London 2011
    Jonsson, Ritva, “The Liturgical Function of the Tropes,” in: Alejandro Enrique Planchart (ed.), Embellishing the Liturgy: Tropes and Polyphony, Burlington 2009, pp. 141-166
    Kemperdick, Stephan, Der Meister von Flémalle: Die Werkstatt Robert Campins und Rogier van der Weyden, Turnhout 1997
    Kieckhefer, Richard, “Major Currents in Late Medieval Devotion,” in Bernard McGinn et al (eds.), Christian Spirituality: High Middle Ages and Reformation, New York 1987, pp. 89–93
    Kier, Hiltrud and Frank Günter Zehnder (eds.), Lust und Verlust: Kölner Sammler zwischen Trikolore und Preussenadler, Köln 1995
    Kirkland-Ives, Mitzi, In the Footsteps of Christ: Hans Memling’s Passion Narratives and the Devotional Imagination in the Early Modern Netherlands, Turnhout 2013
    Kleinbauer, W. Eugene, Modern Perspectives in Western Art History, New York 1971
    Klucker, Ehrenfried, Die Erzählformen des spatmittelalterlichen Simultanbildes, Phil. Diss. Tübingen 1974
    ______, “Die Simultanbilder Memlings, ihre Wurzeln und Wirkungen,” in: Das Münster 27, 1974, pp. 284–295
    Koch, Robert A., “Flower Symbolism in the Portinari Altarpiece,” in: The Art Bulletin 46 1964, pp. 70–77
    Köhler, Wilhelm H., “Die Sammlung Solly: Merkmale und Kennzeichen ihrer Bilder,” in: Miklos Boskovits (ed.), Frühe Italienische Malerei (Gemäldegalerie Berlin, Katalog der Gemälde), Berlin 1988, pp. 185–186
    Koslow, Susan, “The Impact of Hugo van der Goes’s Mental Illness and Late-Medieval Religious Attitudes on the Death of the Virgin,” in: Charles E. Rosenberg (ed.), Healing and History: Essays for George Rosen, Folkestone, NY. 1979, pp. 27–50
    ______, “The Curtain-Sack: A Newly Discovered Incarnation Motif in Rogier van der Weyden’s Columba Annunciation,” in: Artibus et Historiae 13, 1986, pp. 9–34
    Koster, Margaret L., “New documentation for the Portinari altar-piece,” in: The Burlington Magazine 145, 2003, pp. 164–179
    Kris, Ernst and Otto Kurz, Legend, Myth, and Magic in the Image of the Artist, New Haven and London 1979
    Labuda, Adam S., “Jan van Eyck, Realist and Narrator,” in: Artibus et Historiae 14, no. 27, 1993, pp. 9–30
    Landau, David and Peter Parshall, The Renaissance Print 1470-1550, New Haven 1994
    Lane, Barbara G., The Altar and the Altarpiece: Sacramental Themes in Early Netherlandish Painting, New York 1984
    ______, “Sacred and Profane in Early Netherlandish Painting,” in: Simiolus 18, 1988, pp. 106–115
    ______, Hans Memling: Master painter in Fifteenth-Century Bruges, Turnhout 2009
    Langmuir, Erika, A closer look: saints, London 2009
    Lavin, Marilyn Aronberg, The Place of Narrative: Mural Decoration in Italian Churches, 431-1600, Chicago and London 1994
    Leff, Gordon, “The Fourteenth Century and the Decline of Scholasticism,” in: Past and Present 9, 1956, pp. 30–41
    LeZotte, Annette, The Home Setting in Early Netherlandish Paintings: A Statistical and Iconographical Analysis of Fifteenth- And Early Sixteenth-Century Domestic Imagery, Lewiston 2008
    Lobelle-Caluwé, Hilde, Memlingmuseum, Brugge – Sint-Janshospitaal, Bruges 1985
    ______, Hilde, “Beknopte historiek van de Brugse O.C.M.W. collecties,” in: Jaarboek 1989/1990, Stedelijke Musea Stad Brugge 5, pp. 265–284
    Lorentz, Philippe, Hans Memling au Louvre, Paris 1995
    Löhneysen, Hans Wolfgang von, Die ältere niederländische Malerei: Künstler und Kritiker, Eisenach and Kassel 1956
    Mâle, Émile, “Les rois mages et le drame liturgique,” in: Gazette des beaux-arts 4, no. 4, 1910, pp. 261–270
    Mâle, Émile, Religious Art in France: The Late Middle Ages, ed. Harry Bober, Princeton N.J. 1986
    Mander, Carel van, Het Schilder-boeck, Haarlem 1604
    Marette, Jacqueline, Connaissance des Primitifs par l’étude du bois du XIIe au XVIe siècle, Paris 1961
    Markham Schulz, Anne, “The Columba Altarpiece and Roger van der Weyden’s Stylistic Development,” in: Münchner Jahrbuch der Bildenden Kunst 3, 1971, pp. 63–116
    Marrow, James H., Passion Iconography in Northern European Art of the Late Middle Ages and Early Renaissance, Kortrijk 1979
    ______, “Symbol and Meaning in Northern European Art of the Late Middle Ages and the Early Renaissance,” in: Simiolus 16, 1986, pp. 150–169
    Martens, Maximilian P. J., “Hans Memling and his patrons: a cliometrical approach,” in: Hélène Verougstraete, Roger van Schoute, and Maurits Smeyers (eds.), Memling Studies: Proceedings of the International Colloquium, Bruges, 10–12 November 1994, Leuven 1997, pp. 35–42
    ______ (ed.), Bruges and the Renaissance: Memling to Pourbus, 2 vols., Bruges 1998
    Martin, Wilhelm, De Vlaamsche Primitieven op de tentoonstelling te Brugge, Amsterdam 1903
    McFarlane, K. Bruce, Hans Memling, Oxford 1972
    McNamee, Maurice B., “The Medieval Latin Liturgical Drama and the Annunciation Triptych of the Master of the Aix-en-Provence Annunciation,” in: Gazette des Beaux-Arts 6me pér., 83, 1974, pp. 37–40
    ______, Vested Angels: Eucharistic Allusions in Early Netherlandish Painting. Leuven 1998
    Meiss, Millard, “Light as Form and Symbol in Some Fifteenth-Century Paintings,” in: The Art Bulletin 37, 1945, pp. 175–181
    ______, The Painter’s Choice: Problems in the Interpretation of Renaissance Art, New York 1976
    Meyer, Johann Heinrich, “Neu-deutsche religiös-patriotische Kunst,” in: Johann Heinrich Meyer and Paul Weizsäcker (eds.), Kleine Schriften zur Kunst, Heilbronn 1886, pp. 97–120
    Michiels, Alfred, Histoire de la peinture flamande, 10 vols., Paris 1865–1876
    Miedema, Hessel (ed.), Karel van Mander: The Lives of the Illustrious Netherlandish and German Painters, from the first edition of the Schilder-boeck (1603–1604), 1. The Text, Doornspijk 1994
    Miedema, Hessel (ed.), Karel van Mander: The Lives of the Illustrious Netherlandish and German Painters, 2. Commentary on Biography and Lives, Doornspijk 1995
    Miller, Julia I, “Miraculous Childbirth and the Portinari Altarpiece,” in: The Art Bulletin 77, 1995, pp. 249–261
    Montgomery, Scott B., St. Ursula and the Eleven Thousand Virgins of Cologne: Relics, Reliquaries and the Visual Culture of Group Sanctity in Late Medieval Europe, Bern 2010
    Morand, Kathleen, Claus Sluter: Artist at the Court of Burgundy, Austin 1991
    Morris, Bridget, St. Birgitta of Sweden, Woodbridge 1999
    Morrison, Elizabeth and Thomas Kren, (eds.), Flemish manuscript painting in context: recent research, Los Angeles 2006
    Moxey, Keith, “Art History’s Hegelian Unconscious: Naturalism as Nationalism in the Study of Early Netherlandish Painting,” in: Mark A. Cheetham, Michael Ann Holly and Keith Moxey (eds.), The Subjects of Art History: Historical Objects in Contemporary Perspective, Cambridge 1998, pp. 25–51
    ______, The Practice of Persuasion: Paradox and Power in Art History, Ithaca N.Y. 2001
    Muir, Lynette R., The Biblical Drama of Medieval Europe, New York 1995
    Mund, Hélène, and Cyriel Stroo, Early Netherlandish Painting (1400–1500): A Bibliography (1984–1998), Brussels 1998
    Nilgen, Ursula, “The Epiphany and the Eucharist: on the Interpretation of Eucharistic Motifs in Medieval Epiphany Scenes,” in: Art Bulletin 49, 1967, pp. 311–316
    Ninane, Lucie, Musées royaux des Beaux-Arts de Bruxelles: Art Ancien, Brussels 1958
    Nuttall, Paula, From Flanders to Florence: The Impact of Netherlandish Painting, 1400–1500, New Haven and London 2004
    Oberman, Heiko, “Fourteenth Century Religious Thought: A Premature Profile,” in: Speculum 53, 1978, pp. 80–93
    O’Connell, Michael, “The Civic Theater of Suffering: Hans Memlings’s Passion and Late Medieval Drama,” in: György E. Szönyi (ed.), European Iconography: East and West, Leiden 1996, pp. 22–34
    Ogden, Dunbar H., The Staging of Drama in the Medieval Church, Newark 2002
    Ozment, Steven, The Age of Reform, 1250-1550: An Intellectual and Religious History of Late Medieval and Reformation Europe, New Haven 1980
    Pächt, Otto, Early Netherlandish painting: from Rogier Van Der Weyden to Gerard David, London 2010
    Panofsky, Erwin, Studies in Iconology: Humanistic Themes in the Art of the Renaissance, New York 1939
    ______, Early Netherlandish Painting: Its Origins and Character, 2 vols., Cambridge, Mass. 1953
    ______, Meaning in the Visual Arts, Garden City, N.Y. 1955
    ______, Perspective as Symbolic Form, New York 1991
    Pauwels, Henri, Catalogue Musée Groeninge, Bruges 1963
    Reynolds, Catherine, “Reality and Image: Interpreting Three Paintings of the Virgin and Child in an Interior Associated with Campin,” in: Susan Foister and Susie Nash (eds.), Robert Campin: New Directions in Scholarship, Turnhout 1996, pp. 183–191
    Richard, Edgar and Paul Coremans, Flanders in the Fifteenth Century: Art and Civilization, xxh. cat., The Detroit Institute of Arts, Detroit 1960
    Ricoeur, Paul, “The Narrative Function,” in: John B. Thompson (ed.), Hermeneutics and the Human Sciences, Cambridge 1981, pp. 274–305
    Ridderbos, Bernhard, Anne Van Buren and Henk Van Veen (eds.), Early Netherlandish paintings: rediscovery, reception, and research, Los Angeles 2005
    Ring, Grete, Beiträge zur Geschichte der niederländischen Bildnismalerei im 15. und 16. Jahrhundert, Leipzig 1913
    Ringbom, Sixten, Icon to Narrative: The Rise of the Dramatic Close-up in Fifteenth-Century Devotional Painting, 2nd rev. edition, Doornspijk 1984 (1st edition Åbo 1965)
    Rohlmann, Michael, “Memling’s Pagagnotti Triptych,” in: The Burlington Magazine 137, 1995, pp. 438–445
    Rothstein, Bret Louis, Sight and spirituality in early Netherlandish painting, New York 2005
    Sander, Jochen, Hugo van der Goes: Stilentwicklung und Chronologie, Mainz am Rhein 1992
    ______, Niederländische Gemälde im Städel 1400-1550, Mainz am Rhein 1993
    Sanderus, Antonius (Sanders, Antoon), Flandria Illustrata sive Descriptio comitatus istius […], 2 vols., Cologne 1641–1644
    Schneider, Norbert, “Zur Ikonographie von Memlings Gemälde Die sieben Freuden Mariens,” in: Münchener Jahrbuch der bildenden Kunst 24, 1973, pp. 21–32.
    Schulz, Anne Markham, “The Columba Altarpiece and Roger van der Weyden’s Stylistic Development,” in: Münchner Jahrbuch der Bildenden Kunst 3, 1971, pp. 63–116
    Schwartz, Heinrich, “The Mirror of the Artist and the Mirror of the Devout: Observations on Some Paintings, Drawings and Prints of the Fifteenth Century,” in: Studies in the History of Art Dedicated to William E. Suida on his Eightieth Birthday, London 1959, pp. 99–105
    Smeyers, Maurits, “Analecta Memlingiana: From Hemling to Memling from Panoramic View to Compartmented Representation,” in: Giuseppina Angelantoni Malfatti et al., Memling Studies: Proceedings of the International Colloquium, Leuven 1997, pp. 171–194
    Smith, Jeffrey Chipps, The Northern Renaissance, London and New York 2006
    Snyder, James, Northern Renaissance Art, Upper Saddle River 2005
    Sosson, Jean-Pierre, Les Primitifs flamands de Bruges: Apports des archives contemporaine (1815–1917), Brussels 1966
    Sperling, Harry G., Catalogue of a Loan Exhibition of Flemish Primitives in Aid of the Free Milk Fund for Babies, Inc., New York 1929
    Stechow, Wolfgang, Northern Renaissance Art 1400–1600: Sources and Documents. Evanston 1966
    Steingräber, Erich, The Alte Pinakothek Munich, London 1985
    Stevens, Martin, “The Intertextuality of Late Medieval Art and Drama,” in: New Literary History 22, 1991, pp. 317–337
    Strohm, Reinhard, Music in late Medieval Bruges, Oxford 1983
    Stroo, Cyriel and Pascale Syfer-d’Olne, The Flemish Primitives, 3 vols., The Master of Flémalle and Rogier van der Weyden Groups, The Dirk Bouts, Petrus Christus, Hans Memling and Hugo van der Goes Groups, The Hieronymus Bosch, Albrecht Bouts, Gerard David, Colijn de Coter and Goossen van der Weyden Groups, Brussels 1996–2001
    Strubbe, Egied, and Léon Voet, De chronologie van de middeleeuwen en de moderne tijden in de Nederlanden, Antwerp and Amsterdam 1960
    Tolnay, Charles de, “Flemish Paintings in The National Gallery of Art,” in: Magazine of Art 34, 1941, pp. 174–200
    Trzeciak, Przemysław, Hans Memling, Berlin and Warsaw1977
    Upton, Joel M., Petrus Christus: His Place in Fifteenth-Century Flemish Painting, University Park and London 1990
    Uzanne, Octave, “The Exhibition of Primitive Art at Bruges,” in: The Connoisseur 4, 1902, pp. 172–180
    Van Biervliet, Lori, Leven en werk van W.H. James Weale: Een Engels kunsthistoricus in Vlaanderen in de 19de eeuw (Verhandelingen van de Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van België, Klasse der Schone Kunsten 53, nr. 55), Brussels 1991
    ______, “De roem van Memling,” in: Dirk De Vos (ed.), Hans Memling: Essays, Bruges 1994, pp. 109–124
    Von Bode, Wilhelm von, “Ein männliches Bildnis von Hans Memling in der Berliner Galerie,” in: Jahrbuch der preussischen Kunstsammlungen 17, 1896, pp. 3–4
    Van Buren, Anne H., “The Canonical Office in Renaissance Painting, Part 2: More About the Rolin Madonna,” in: The Art Bulletin 60, 1978, pp. 617–633
    Van Buren, Anne H., “Thoughts, Old and New, on the Sources of early Netherlandish Painting,” in: Simiolus 16, 1986, pp. 93–112
    Vandewalle, André, Beknopte Inventaris van het Stadsarchief van Brugge, vol. 1: Oud Archief, Bruges 1979
    Van Engen, John, Devotio Moderna: Basic Writings, New York and Mahwah 1998
    Vasari, Giorgio, Le vite de’ più eccellenti pittori scultori e architettori: nelle redazioni del 1550 e 1568, ed. by Rosanna Bettarini and Paola Barocchi, 6 vols., Florence 1966–1987
    ______, Vasari on technique: being the introduction to the three arts of design, architecture, sculpture and painting, prefixed to the Lives of the most excellent painters, sculptors, and architects, ed. by Gerard Baldwin Brown, New York 1960
    Verhaegen, Nicole, “Le cadre chronologique et géographique du Corpus des Primitifs flamands,” in: Bulletin Institut royal du Patrimoine artistique / Koninklijk Instituut voor het Kunstpatrimonium 3, 1960, pp. 191–194
    Vermeersch, Valentin, Grafmonumenten te Brugge voor 1578, 3 vols., Bruges 1976
    Verougstraete, Hélène, Roger van Schoute, and Maurits Smeyers, Memling studies: proceedings of the international colloquium, Bruges, 10–12 november 1994, Leuven 1997
    Voll, Karl, Die altniederländische Malerei von Jan van Eyck bis Memling: Ein entwicklungsgeschichtlicher Versuch, Leipzig 1906
    ______, Memling: Des Meisters Gemailde, Stuttgart and Leipzig 1909
    Voragine, Jacobus de, The Golden Legend, 2 vols., Princeton 1993
    Waagen, Gustav Friedrich, Ueber Hubert und Johann van Eyck, Breslau 1822
    ______, “Ueber das von den Brüdern Hubert und Johann van Eyck zu Gent ausgeführte Altargemälde,” in: Kunstblatt 5, 1824, pp. 89–108
    ______, Kunstwerke und Künstler in England und Paris, vol. 1, 2: Kunstwerke und Künstler in England, Berlin 1837–1838
    ______, “Nachträge zur Kenntniss der altniederländischen Malerschulen des 15ten und 16ten Jahrhunderts,” in: Kunstblatt 28, 1847, pp. 161–162
    ______, Handbuch der deutschen und niederländischen Malerschulen, vol. 1, Stuttgart 1862
    Waldman, Louis A., “New Documents for Memling’s Portinari Portraits in the Metropolitan Museum of Art,” in: Apollo 153, 2001, pp. 28–33
    Warburg, Aby, “Flandrische Kunst und florentinische Frührenaissance Studien (1902),” in: Aby Warburg, Gesammelte Schriften, vol. 1, Leipzig and Berlin 1932, pp. 185–206
    Ward, John L., “Hidden Symbolism in Jan van Eyck’s Annunciations,” in: The Art Bulletin 57, 1975, pp. 196–220
    ______, “Disguised Symbolism as Enactive Symbolism in van Eyck’s Paintings,” in: Artibus et Historiae 29, 1994, pp. 9–53
    Weale, William Henry James, Hans Memlinc: A Notice of His Life and Works, London 1850–1851
    ______, Catalogue du musée de l’Académie de Bruges: Notices et descriptions avec monogrammes, etc. Bruges and London 1861
    ______, “Inventaire du mobilier de la corporation des tanneurs de Bruges,” in: Le Beffroi 2, 1864–1865, pp. 264–274
    ______, Hans Memlinc: Biographie, tableaux conservés à Bruges, Bruges 1901
    ______, Hans Memling, London 1901
    ______, “The Early Painters of the Netherlandish School as Illustrated by the Bruges Exhibition of 1902,” in: The Burlington Magazine 1, 1903, pp. 41–52, 202–217, 329–336
    Wilhelmy, Winfried, Der altniederländische Realismus und seine Funktionen: Studien zur kirchlichen Bildpropaganda des 15 Jahrhunderts, Münster and Hamburg 1993
    Wilson, Adrian, and Joyce Lancaster Wilson, A Medieval Mirror: Speculum humanae salvationis 1324–1500, Berkeley and London 1984
    Winston-Allen, Anne, Stories of the Rose: The Making of the Rosary in the Middle Ages, University Park 1997
    Winkler, Friedrich, Die altniederländische Malerei: die Malerei in Belgien und Holland von 1400–1600, Berlin 1924
    Winkler, Friedrich, “Max J. Friedländer, 5.6.1867–11.10.1958,” in: Jahrbuch der Berliner Museen 1, 1959, pp. 161–167
    Woestijne, Karel van de, “De Vlaamsche Primitieven: Hoe ze waren te Brugge,” in: Karel van de Woestijne, Verzameld werk, 4, Bussum 1949, pp. 7–130
    Wölfflin, Jahre Heinrich, Kunstgeschichtliche Grundbegriffe: Das Problem der Stilentwicklung in der neueren Kunst, Basel and Stuttgart 1963
    Wolfthal, Diane, The Beginnings of Netherlandish Canvas Painting: 1400–1530, Cambridge and New York 1989
    Young, Karl, The Drama of the Medieval Church, 2 vols., Oxford 1962

    下載圖示
    QR CODE