By Ingrid Alexander-Skipnes
Desk of Contents: Preface. Diane Wolfthal, 'Florentine Bankers, Flemish Friars, and the Patronage of the Portinari Altarpiece'; Michael Rohlmann, 'The Annunciation by means of Joos Ammann in Genoa: Context, functionality and Metapictorial Quality'; Creighton Gilbert, 'Piero and Bouts'; Francis Ames-Lewis, 'Sources and records for using the Oil Medium in Fifteenth-Century Italian Painting'; Maria Clelia Galassi, 'Aspects of Antonello da Messina's strategy and dealing strategy within the 1470s: among Italian and Flemish Tradition'; Colin Eisler, 'Flying Pictorial Carpets - Tapestries' Transalpine Agendas'; Ingrid D. Rowland, 'Agostino Chigi's Flemish Connection'; Elizabeth Ross, 'Mainz on the Crossroads of Utrecht and Venice: Erhard Reuwich and the Peregrinatio in terram sanctam (1486)'; Ingrid Alexander-Skipnes, 'Northern Realism and Carthusian Devotion: Bergognone's Christ wearing the go for the Certosa of Pavia'; Marina Belozerskaya, 'Critical Mass: uploading luxurious Industries around the Alps'; Barbara G. Lane, 'Memling's effect at the Early Raphael'; Laura D. Gelfand, 'Regional types and Political goals: Margaret of Austria's Monastic beginning at Brou'; Yona Pinson, 'Moralized Triumphal Chariots - Metamorphosis of Petrarch's Trionfi in Northern paintings (c. 1530- c. 1560)'; Frits Scholten, 'Spiriti veramente divini: Sculptors from the Low nations in Italy, 1500-1600'; Nello Forti Grazzini, 'Brussels Tapestries for Italian shoppers: Cardinal Montalto's panorama with Animals Made via Jan II Raes and Catherine van den Eynde'. Bibliography.
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It is only in the second phase, in the early sixteenth century, that large works were dispatched to Genoa and erected above altars in public churches. It is thus all the more notable that at a time when the works of the great Netherlandish artists could only be admired in the private spaces of collectors and connoisseurs, the new realistic style was made accessible to a wider audience when Ammann was commissioned to execute a large wall painting for a relatively public location. This THE ANNUNCIATION BY JOOS AMMANN IN GENOA mac18_opgemaakt 10-08-2007 08:28 Pagina 27 Fig.
5: La Galerie Sabauda de Turin, (Antwerp, 1952), pp. 7, 13; Noël Geirnaert, Adornes, ‘Anselm’, in Nationaal Biografisch Woordenboek, 16 vols (Brussels, 1987), 12, columns 2-13; Rohlmann, Auftragskunst und Sammlerbild, pp. 105-17; Jan van Eyck: Two Paintings of ‘Saint Francis Receiving the Stigmata’ (Philadelphia, 1997); Jan van Eyck. Opere a confronto; Katherine Crawford Luber, ‘Recognizing Van Eyck’, Bulletin of the Philadelphia Museum of Art, 91 (1998); Lorne Campbell, The Fifteenth Century Netherlandish Schools, National Gallery Catalogues (London, 1998), p.
11. 4 Cfr. Stange, Deutsche Malerei, p. 7; Winkler, ‘Jos Ammann’, pp. 51-52; Romano, ‘Giusto di Ravensburg’, p. 33. 5 On this paragraph see Jacques Heers, Gênes au XVe siècle. Activité économique et problèmes sociaux (Paris, 1961), pp. 443, 547-49; Heers, ‘El Mediterráneo’, pp. 142-43. 6 Early Netherlandish painting in Genoa: Max J. Friedländer, ‘Drei niederländische Maler in Genua’, Zeitschrift für bildende Kunst, 61 (1927/28), pp. 273-79; Godefridus Joannes THE ANNUNCIATION BY JOOS AMMANN IN GENOA 37 mac18_opgemaakt 10-08-2007 08:28 Pagina 38 Hoogewerff, ‘Pittori Fiamminghi in Liguria nel Secolo XVI (Gherardo David, Giovanni Provost, Joos van der Beke, Giovanni Massys)’, Commentari, 12 (1961), pp.
Cultural Exchange between the Low Countries and Italy (1400-1600) by Ingrid Alexander-Skipnes