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 files 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 influence at the Early Raphael'; Laura D. Gelfand, 'Regional types and Political pursuits: Margaret of Austria's Monastic starting place at Brou'; Yona Pinson, 'Moralized Triumphal Chariots - Metamorphosis of Petrarch's Trionfi in Northern artwork (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 consumers: Cardinal Montalto's panorama with Animals Made through Jan II Raes and Catherine van den Eynde'. Bibliography.
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6). 65 In both cases the artist sets the metaphor of reflection in the very centre of the painting, and so declares the painting to be a true reflection of a world that can be visually experienced. But there is another aspect to Ammann’s Annunciation that relates it to the history and development of art. 66 The message is clear: Joos does not just present merely shadows of things but rather promises a perfect reflection of the world. His proficiency in making dead objects – architectural decoration, stone sculptures, ceramics, intarsia, embroidery, etc – seem real 36 is obvious from his painting.
Andrea: presentazione del dipinto, in: San Lorenzo della Costa. Itinerario storico-artistico (Genoa, 1988), pp. 31-34; Algeri, ‘Testimonianze’, p. 54; Parma, ‘Genoa-Bruges’, pp. 90-93; 34 Scailliérez, Joos van Cleve au Louvre, pp. 45-76; Parma, ‘Rapporti artistici’, pp. 42-45; Hand, Joos van Cleve, pp. 7578, 159. 35 Carla Cavelli Traverso, ‘Osservazioni sul cosidetto trittico di San Colombano’, in Atti del convegno di studi sui Ceti Dirigenti nelle Istituzioni della Repubblica di Genova, 12 (1991), pp.
But there is another aspect to Ammann’s Annunciation that relates it to the history and development of art. 66 The message is clear: Joos does not just present merely shadows of things but rather promises a perfect reflection of the world. His proficiency in making dead objects – architectural decoration, stone sculptures, ceramics, intarsia, embroidery, etc – seem real 36 is obvious from his painting. But he can do more, for he has the ability to capture the living world of animals and humans as if reflected in a mirror.