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  2. Antwerp Mannerism is the name given to the style of a group of largely anonymous painters active in the Southern Netherlands and principally in Antwerp in roughly the first three decades of the 16th century, a movement marking the tail end of Early Netherlandish painting, and an early phase within Dutch and Flemish Renaissance painting.

  3. Antwerp Mannerists, the unidentified group of painters working primarily in Antwerp (but also in other Flemish cities) in about 1520 whose works bear certain characteristic features. The paintings are instructive records of an unavailing attempt to combine the Gothic and Renaissance styles and to.

    • The Editors of Encyclopaedia Britannica
  4. Antwerps central place in this movement, which has led to the creation of the subterm “Antwerp Mannerism,” can be linked to its emergence as the economic capital of northern Europe at the beginning of the sixteenth century.

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  5. The Last Supper. Netherlandish (Antwerp Mannerist) Painters Netherlandish. 1515–20. On view at The Met Fifth Avenue in Gallery 636. This is a rare example of a completely intact triptych, well preserved and still in its original frame. Adam and Eve on the exterior are based on Albrecht Dürer’s 1504 engraving of the subject.

  6. Antwerp Mannerism emerged in the first quarter of the sixteenth century, and is characterized by its flamboyant and theatrical style. This painting is relatively subdued for an Antwerp Mannerist image.

  7. Apr 24, 2023 · Characteristic of Antwerp Mannerism are paintings that combine early Netherlandish and Northern Renaissance styles, and incorporate both Flemish and Italian traditions into the same compositions. Practitioners of the style frequently painted subjects such as the Adoration of the Magi and the Nativity, both of which are generally represented as ...

  8. The majority of scholars consider Antwerp Mannerism as a late Gothic style influenced by Italian Quattrocento. Its genesis, however, remains a subject of hot debates. If Hoogewerff argued on the German origins, Vandenbroeck attributed it to an inflow of provincial artists.

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