Northern Renaissance Artists Index
Altdorfer, Albrecht c.1480-1538
Beham, Barthel 1502-1540
Benson, Ambrosius c.1495-1550
Bosch, Hieronymus c.1450-1516
Bouts, Dieric c.1415-1475
Bruegel the Elder, Pieter c.1525-1569
Bruegel the Elder, Jan 1568-1625
Bruegel the Younger, Pieter c.1564-1638
Campin, Robert c.1375-1444
Clouet, Jean the Younger c.1485-1540/41
Clouet, Francois c.1510-1572
Cranach the Elder, Lucas 1472-1553
David, Gerard c.1455-1523
Durer, Albrecht 1471-1528
Eyck, Jan van b.1395-1441
Goes, Hugo van der c.1440-1482
Grien, Hans Baldung c.1484-1545
Holbein the Younger, Hans 1497-1543
Mandyn, Jan c.1500-1560
Massys, Quentin c.1465-1530
Memling, Hans c.1435-1494
Orley, Bernaert van c.1488-1541
Patinir, Joachim c.1485-1524
Savery, Roelandt 1576-1639
Scorel, Jan van 1495-1562
Weyden, Rogier van der c.1399/00-1464
Northern Renaissance - Art History Information
The Northern Renaissance is the term used to describe the Renaissance in northern Europe, or more broadly in Europe outside Italy. Before 1450 Italian Renaissance humanism had little influence outside Italy. From the late 15th century the ideas spread around Europe. The resulting German Renaissance, French Renaissance, English Renaissance, Renaissance in the Netherlands, Polish Renaissance and other national and localized movements had different characteristics and strengths, however.
In France, King Francis I imported Italian art, commissioned Italian artists (including Leonardo da Vinci), and built grand palaces at great expense, beginning the French Renaissance. Trade and commerce in cities like Bruges in the 15th century and Antwerp in the 16th increased cultural exchange between Italy and the Low Countries, however in art, and especially architecture, late Gothic influences remained present until the arrival of Baroque even as painters increasingly drew on Italian models.
Universities and the printed book helped spread the spirit of the age spread through France, the Low Countries and the Holy Roman Empire, and then to Scandinavia and finally Britain by the late 16th century. Writers and humanists such as Rabelais, Pierre de Ronsard and Desiderius Erasmus were greatly influenced by the Italian Renaissance model and were part of the same intellectual movement. During the English Renaissance (which overlapped with the Elizabethan era) writers such as William Shakespeare and Christopher Marlowe composed works of lasting influence. The Renaissance was brought to Poland directly from Italy by artists from Florence and the Low Countries, starting the Polish Renaissance.
In some areas the Northern Renaissance was distinct from the Italian Renaissance in its centralization of political power. While Italy and Germany were dominated by independent city-states, parts of central and western Europe began emerging as nation-states. The Northern Renaissance was also closely linked to the Protestant Reformation and the long series of internal and external conflicts between various Protestant groups and the Roman Catholic Church had lasting effects, such as the division of the Netherlands.
Western Europe was more uniformly under the embrace of feudalism than Northern Italy. This economic system had dominated western Europe for a thousand years, but was on the decline at the beginning of the Renaissance. The reasons for this decline include the post-plague environment, the increasing use of money rather than land as a medium of exchange, the growing number of serfs living as freedmen, the formation of nation-states with monarchies interested in reducing the power of feudal lords, the increasing uselessness of feudal armies in the face of new military technology (such as gunpowder), and a general increase in agricultural productivity due to improving farming technology and methods. As in Italy, the decline of feudalism opened the way for the cultural, social, and economic changes associated with the Renaissance in western Europe.
Finally, the Renaissance in western Europe would also be kindled by a weakening of the Roman Catholic Church. The seeming inability of the church to help with the devastating Black Plague and the Western Schism tore Europe apart. The slow demise of feudalism also weakened a long-established policy in which church officials helped keep the population of the manor under control in return for tribute. Consequently, the early 15th century saw the rise of many secular institutions and beliefs. Among the most significant of these, humanism, would lay the philosophical grounds for much of Renaissance art, music, and science. Desiderius Erasmus, for example, was important in spreading humanist ideas in the north, and was a central figure at the intersection of classical humanism and mounting religious questions. Forms of artistic expression which a century ago would have been banned by the church were now tolerated or even encouraged in certain circles.
The velocity of transmission of the Renaissance throughout Europe can also be ascribed to the invention of the printing press. Its power to disseminate knowledge enhanced scientific research, spread political ideas and generally impacted the course of the Renaissance in northern Europe. As in Italy, the printing press increased the availability of books written in both vernacular languages and the publication of new and ancient classical texts in Greek and Latin. Furthermore, the Bible became widely available in translation, a factor often attributed to the spread of the Protestant Reformation.
The detailed realism of Early Netherlandish painting, with masters such as Robert Campin, Jan van Eyck and Rogier van der Weyden, was greatly respected in Italy, but there was little reciprocal influence on the North until nearly the end of the 15th century. Despite frequent cultural and artistic exchange, the Antwerp Mannerists (1500-1530) chronologically overlapping with but unrelated to Italian Mannerism, were among the first artists in the Low Countries to clearly reflect Italian formal developments.
Around the same time, Albrecht Durer made his two trips to Italy, where he was greatly admired for his prints. Durer, in turn, was influenced the art he saw there. Other notable painters, such as Hans Holbein and Jean Fouquet, retained a Gothic influence that was still popular in the north, while highly individualistic artists such as Hieronymus Bosch and Pieter Bruegel the Elder developed styles that were imitated by many subsequent generations. Northern painters in the 16th century increasingly looked and travelled to Rome, becoming known as the Romanists. The High Renaissance art of Michelangelo and Raphael and the late Renaissance stylistic tendencies of Mannerism that were in vogue had a great impact on their work.
Renaissance humanism and the large number of surviving classical artworks and monuments encouraged many Italian painters to explore Greek and Roman themes more prominently than northern artists, and likewise the most famous 15th-century German and Netherlandish paintings tend to be religious. Especially common are winged polyptychs, from the monumental to the portable, that could be opened and closed on different days of the liturgical year. In the 16th century, mythological and other themes from history became more uniform amongst northern and Italian artists. Northern Renaissance painters, however, took the leading role in establishing new subject matter, such as landscape and genre painting.
As Renaissance art styles moved through northern Europe, they changed and were adapted to local circumstances. In England and the northern Netherlands the Reformation brought religious painting almost completely to an end. Despite several very talented Artists of the Tudor Court in England, portrait painting was slow to spread from the courts. In France the School of Fontainebleau was begun by Italians such as Rosso Fiorentino in the latest Mannerist style, but succeeded in establishing a durable national style. By the end of the 16th century, artists such as Karel van Mander and Hendrik Goltzius collected in Haarlem after studying in Italy and firmly established the Romanist tendencies of Mannerism there.