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 way 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 procedure and dealing process 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 sporting the move 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 kinds and Political goals: Margaret of Austria's Monastic origin 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 by way of Jan II Raes and Catherine van den Eynde'. Bibliography.
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Extra resources for Cultural Exchange between the Low Countries and Italy (1400-1600)
51 Hood, Fra Angelico, pp. 271-72. 52 Hood, Fra Angelico, p. 262. 53 Leon Battista Alberti, Über die Malkunst, ed. by Oskar Bätschmann and Sandra Gianfreda (Darmstadt, 2002), pp. 13, 92, 182-83. : Victor I. Stoichita, Das selbstbewußte Bild. Vom Ursprung der Metamalerei (Munich, 1996), pp. 61-74. 55 Wolfgang Kemp, Die Räume der Maler.
10314; Michael Rohlmann, Auftragskunst und Sammlerbild. Altniederländische Tafelmalerei im Florenz des Quattrocento (Ph. D. thesis, University of Cologne, 1990), (Alfter, 1994); Charles D. Cuttler, ‘Le rayonnement des Primitifs flamands’, in Les Primitifs flamands et leur temps, ed. by Brigitte de Patoul and Roger Van Schoute (Louvain-la-Neuve, 1994), pp. 584-619, esp. 606-12; Gabriella Befani Canfield, ‘The Reception of Flemish Art in Renaissance Florence and Naples’, in Petrus Christus in Renaissance Bruges.
51 Mary was seen as the abbess, the patroness of the Dominican houses, where she ruler over the friars. Mary signals her acquiescence at the moment of the announcement by the angel, and exactly such acceptance was expected of members of the Order. Mary shows herself to be completely at the will of God, and places her life totally in His service. This was also the aspiration of the Dominican Observantines, who pledged to serve God through humility, purity and chastity. At the entrance to the enclosure, Fra Angelico and Joos Ammann visualised this fundamental principle of the Order.