This publication is only available on line and in PDF format. It is the continuation of Early Netherlandish Painting (1400-1500). A Bibliography (1984-1998), assembled by Hélène Mund and Cyriel Stroo and edited by the Centre for Study of the Flemish Primitives in 1998. In recent years the access to bibliographical references has been facilitated by multiple on line resources, databases and catalogues. Nevertheless during the past ten years the Study Centre continued its systematical excerption of publications and its classification of bibliographical references following a well-established method. Although we are now considering new formula for our bibliographical database, it would be a shame to lose the time consuming work that has been done over the past ten years, classifying multiple references into different rubrics and lists of art works. Therefore it has been decided to publish the bibliography as a pdf document assembling all bibliographical references assembled in the period from 1999 to 2009.
In the Notes to the Reader of the 1998 edition the principle guidelines help to understand the way in which the bibliography is assembled and presented. Hereby we remember the principle ideas from these notes to the reader:
The bibliography relates to 15th-century panel painting in the Southern Netherlands and consequently includes the œuvre of the « Flemish Primitives », who were active between 1400 and 1500. The list of artists, as published by N. Verhaeghen (Le cadre chronologique et géographique du Corpus des Primitifs flamands, in Institut royal du Patriminoine artistique. Koninklijk Instituut voor het Kunstpatrimonium, Bulletin, 3, 1960, pp. 191-194), was taken as the starting point. A number of new names, drawn from archival sources or attributed in the light of the revised grouping of certain works, together with some borderline cases have been added.
The work begins with the customary general sections in which overarching art-history studies are classified alphabetically by name of author. The sections headed General Works, Museums and Collections, Sources, Technique, Iconography and Drawings are presented in that order. Next, under the title of Painters, comes the list of publications, arranged alphabetically by artist. Pride of place is given to the identified Masters, who are followed by the Masters with provisional names and lastly the anonymous works. For each artist publications are grouped in accordance with general studies, then alphabetically by the name of town or city, the collection and the standard titles of the various works of art. This arrangement is based on the Group concept, which also underlies the presentation of works of art in the Corpus. In consequence, paintings which have been assembled under the name of a specific artist not only relate to « safe » attributions but also include works which originated in his workshop, whether or not with his cooperation, as well as works from other workshops, in some cases created much later but undoubtedly inspired by him. For the most part this section conforms to the classification of the Centre for the Study of the Flemish Primitives and/or the most usual attributions in the literature. Publications in which a different attribution is preferred are wherever possible followed by (« attributed to…. »).
With regard to the titles of works, a certain uniformity was sought but this was not always feasible and in places even undesirable. The title is in most cases derived from the iconographic subject, which itself cannot invariably be clearly interpreted. Where there is a more usual title which is wholly unrelated to the iconography, as with the Merode Triptych, this is shown as a second designation.
In cases of fragments of ensembles spread over a number of collections, the enquirerer is, wherever possible, referred to the work as a whole (fragment/wing/ centre panel from….) and to the places where the various components are located. In such cases the title of the work of art is followed by (« see also … »). This cross-referencing is also employed in cases of works on which several artists have cooperated, and similarly of works which have been loaned (“on loan to”… “on loan from”….).
In the composition of this bibliography, every effort has been made to achieve completeness, certainly in the recording of all fundamental studies, but in order to keep the overview practical and manageable a number of selection criteria had to be built in. These governed both the choice of publications and the degree to which the studies referred to were excerpted. For instance, publications which appeared to be intended more for the general public but in many cases were enhanced with excellent illustration material were not included. The same also holds good for auction catalogues and unpublished master’s degree dissertations, however interesting some of the latter may be.
Our concern to ensure that this reference work would be of practical use and to refrain from burdening the enquirer needlessly with entries which were of little or no relevance, and hence superfluous, was the decisive factor governing each of the selection criteria described above. On the other hand, we have endeavoured to spare the enquirer as much fruitless, time-consuming searching as possible and in the final analysis we feel we can rely on his or her common sense.
The bibliography was finalized on 31 December 2009.
Informations pratiques :
Dominique Deneffe, Bart Fransen, Valentine Henderiks et Hélène Mund, Early Netherlandish Painting : a Bibliography (1999-2009), Bruxelles, Institut royal du patrimoine artistique, 2011 (Contributions to the Study of the Flemish Primitives, 11).
Accès : ici
Source de l’information : KIK-IRPA
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