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The beeldenstorm, or the Iconoclastic Fury, that raged throughout the Low Countries in 1566 is a key concept in Netherlandish history. This popular uprising, which was partially grafted on Protestant ideas, has traditionally and unquestioningly been considered a turning point in the history of the Low Countries. It is all the more striking, therefore, that this occurrence has received scant attention in art history and that there has been little interest in the development of painting just after the beeldenstorm and before the advent of the great Baroque masters.Featuring previously unpublished materials, "Antwerp Art after Iconoclasm" investigates how the esteemed painters of the period - including Adriaen Thomasz Key, Maarten de Vos, Frans Pourbus the Elder, and Michiel Coxcie - sought a new visual idiom. This study explains why this period of Netherlandish history should be considered an important turning point in the broader context of art history. It demonstrates that the era's paintings represent a subtle but nonetheless important reinterpretation of the traditional, religious iconography and style, which served as the starting point of Netherlandish Baroque style.

History of Antwerp --- Art --- anno 1500-1599 --- History of civilization --- Painting, Flemish --- Counter-Reformation in art. --- Peinture flamande --- Contre-Réforme dans l'art --- Peinture --- Iconoclasme --- Contre-Réforme dans l'art --- Counter-Reformation in art --- Painting, Netherlandish --- Netherlandish painting --- Flemish painting --- beeldenstorm --- geschiedenis --- cultuurgeschiedenis --- religieuze geschiedenis --- christelijke iconografie --- 1566 - 1585 --- 16de eeuw --- Antwerpen --- Zuidelijke Nederlanden --- Painting, Netherlandish. --- Contre-Réforme dans l'art. --- Painting, Flemish. --- 1500-1599. --- Belgium

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Rubens was mesmerised by faces. He studied physiognomy, the pseudo-science that began making headway in the sixteenth century, which postulated that a person's character could be read from their facial features. He made geometrical analyses of the faces of ancient emperors and heroes. He invested a great deal of time in detailed anatomical studies, sometimes based on nature, and equally often on antique busts and coins. At times it seems as though the master wanted to know and understand every nook and cranny of the human face. To this end he studied man himself and the way in which the ancients dealt with nature. His best portrait copies, thus, are not strictly copies but rather studies in which art history, craftsmanship, literature and theory merge into an emulation of art and nature. They are works in which the artist was looking for what ultimately captivated him the most: man in all of his myriad facets, and the perspectives art afforded to better understand man.

Rubens, Peter Paul --- Portraits --- portraits --- Corpus Rubenianum Ludwig Burchard --- Rubens, Petrus Paulus, --- Rubens, Peter Paul, --- Bruegel, Jan I, --- Bruegel, Jan II, --- portretten --- Catalogs --- Painting --- easel paintings [paintings by form] --- Rubens, Petrus Paulus, - 1577-1640 --- Rubens, Petrus Paulus, - 1577-1640 - Catalogs --- portretten. --- Rubens, Peter Paul.

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Painting --- Painting --- Christian art and symbolism

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Art --- History --- Laatste Avondmaal --- Key, Adriaen Thomasz.

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auctions [sales events] --- art market --- art collections --- Orange-Nassau [Dynasty] --- William III Henry [Stadtholder of Holland]