737:
718:
149:, from the guild exist, cataloging when artists became masters, who the dean for each year was, what their specialities were, and the names of any students. In Bruges, however, which was the dominant city for artistic production in the Low Countries in the fifteenth century, the earliest known list of guild members dates to 1453, although the guild was certainly older than this. There all artists had to belong to the guild in order to practice in their own names or to sell their works, and the guild was very strict about which artistic activities could be practiced–distinctly forbidding an artisan to work in an area where another guild's members, such as tapestry weaving, were represented.
236:
134:, where these were in the same guild as painters on wood and cloth—in many cities they were joined with the scribes or "scriveners". In traditional guild structures, house-painters and decorators were often in the same guild. However, as artists formed under their own specific guild of St. Luke, particularly in the Netherlands, distinctions were increasingly made. In general, guilds also made judgments on disputes between artists and other artists or their clients. In such ways, it controlled the economic career of an artist working in a specific city, while in different cities they were wholly independent and often competitive against each other.
412:
493:
699:
296:. However, the town, which traditionally resisted guilds in general, only offered to help them from illegal imports. Not until 1648 was a loosely organized "quasi-guild" permitted in that city. The Guilds of the small but wealthy seat of government The Hague and its near neighbour, Delft, were constantly battling to stop the other's artists encroaching into their city, often without success. By the later part of the century a kind of balance was achieved, with The Hague's portraitists supplying both cities, whilst Delft's genre painters did the same.
54:
464:, were artists. The relationship between the two organizations, one for professionals practicing a trade and the other a literary and dramatist group, continued into the seventeenth century until the two groups formally merged in 1663 when the Antwerp Academy was founded a century after its Roman counterpart. Similar relationships between the Guild of St. Luke and chambers of rhetoric appear to have existed in Dutch cities in the seventeenth century.
195:
572:. When he joined the Guild there in 1653, he must have received six years training, according to the local rules. In addition, he had to pay a six guilders admission fee, despite the fact that his father was a Guild member (as an art dealer), which would normally have meant only a three guilder fee. This appears to mean that his training had not been received in Delft itself.
31:
262:, all founded guilds between 1609 and 1611. In each of those cases, panel painters removed themselves from their traditional guild structure that included other painters, such as those who worked in fresco and on houses, in favor of a specific "Guild of St. Luke". On the other hand, these distinctions did not take effect at that time in Amsterdam or Haarlem. In the
165:, and were therefore grouped as a sort of leatherworker. Perhaps because of this link, for a period they had a rule that all miniatures needed a tiny mark to identify the artist, which was registered with the Guild. Only under special privileges, such as court artist, could an artist effectively practice their craft without holding membership in the guild.
375:, with leading painters founding an "Academy", not always initially in direct competition with the local Guilds, but tending to eclipse and supplant it in time. This shift in artistic representation is generally associated with the modern conception of the visual arts as a liberal rather than mechanical art, and occurred in cities across Europe. In Antwerp
315:, did not exist. Painters belonged to the guild of the Doctors and Apothecaries ("Arte dei Medici e Speziali") as they bought their pigments from the apothecaries, while sculptors were members of the Masters of Stone and Wood ("Maestri di Pietra e Legname). They were also frequently members in the confraternity of St. Luke (
214:
began to reinvent themselves as cities there changed over to
Protestant rule, and there were dramatic movements in population. Many St. Luke guilds reissued charters to protect the interests of local painters from the influx of southern talent from places like Antwerp and Bruges. Many cities in the
591:
of his daughter. Some years later, in 1635, she brought a dispute to the Guild complaining that one of her three apprentices had left her workshop after only a few days, and had been accepted into Hals' shop, in breach of Guild rules. The Guild had the power to fine members, and after discovering
114:
and therefore most of its power. In most cities, including
Antwerp, the local government had given the Guild the power to regulate defined types of trade within the city. Guild membership, as a master, was therefore required for an artist to take on apprentices or to sell paintings to the public.
625:
style schools for education, while sales could be generated from arranged viewings at local inns, estate sales, or open markets. In
Antwerp the Habsburg Governors eventually removed the Guild's monopoly, and by the end of the 18th century hardly any guild monopolies survived, even before
433:
The late sixteenth-century elevation of artist's status that occurred in Italy was echoed in the Low
Countries by increased participation by artists in literary and humanistic societies. The Antwerp Guild of St. Luke, in particular, was closely associated with one of the city's eminent
142:
Although it did not become a major artistic center until the sixteenth century, Antwerp was one of the first cities, if not the first, to found a guild of Saint Luke. It is first mentioned in 1382, and was given special privileges by the city in 1442. The registers, or
366:
in 1593, Rome's
Accademia reflects more clearly the "modern" notions of an artistic academy rather than perpetuating what has often been seen as the medieval nature of the guild system. Gradually other cities were to follow the example of Rome and the
717:
600:
All guild local monopolies came under general economic disapproval from the 17th century onwards; in the particular case of painters there was in many places a tension between the Guilds and artists imported as court painter by a ruler. When
319:)—which had been founded as early as 1349—although it was a separate entity from the guild system. There were similar confraternal organizations in other parts of Italy, such as Rome. By the 16th century a guild had even been established in
621:. By that time it was clear to all involved that the one-stop-shop concept of a guild was past its prime, and to ensure high quality and high prices, the education of artists needed to be separated from sales venues. Many towns set up
181:
and an active member of the Guild of Saint Luke in
Antwerp. Membership also allowed members to sell works at the guild-owned showroom. Antwerp, for example, opened a market stall for selling paintings in front of the
270:
guild, also founded in 1611, the break was with the saddlemakers, but in 1644 a further split created a new painters' guild, leaving the guild of Saint Luke with only the sculptors and woodcarvers. A similar move in
534:, for which Nuremberg was the largest German centre. Nonetheless, there were rules and for example only married men could operate a workshop. In most cities the women who were important members of workshops making
219:
was the first city to reissue a St. Luke's charter after the reformation in 1579, and it included painters, sculptors, engravers, and other trades dealing specifically in the visual arts. When trade between the
691:
in 1605. These paintings are frequently self-portraits with the artist as Luke, and often provide insight into artistic practices from the time when they were made since the subject is of an artist at work.
529:
painting, unlike say goldsmithing, was a "free trade" without a Guild and regulated directly by the city council; this was intended to encourage growth in a city where much art was becoming linked with book
1299:
Stabel, Peter, "Organisation corporative et production d'oeuvres d'art à Bruges à la fin du moyen âge et au début des temps modernes", in: Le Moyen Âge. Revue d'histoire et de philologie, 113, 1, 2007,
514:", free to work for any Guild member. Some artists began to sign and date paintings a year or two before they reached the next stage, which often involved a payment to the Guild, and was to become a "
736:
284:
Artists in other cities were not successful in setting up their own guilds of St. Luke, and remained part of the existing guild structure (or lack thereof). For example, an attempt was made in
126:
The guild of Saint Luke not only represented painters, sculptors, and other visual artists, but also—especially in the seventeenth century—dealers, amateurs, and even art lovers (the so-called
351:
in 1563, which was then formally incorporated into the city's guild system in 1572. The
Florence example, in fact, eventually acted more like a traditional guild structure than the
525:
In some places the maximum number of apprentices was specified (as for example two), especially in the earlier periods, and alternatively a minimum of one might be specified. In
565:
who did not paint as
Members, and others did not. In London painters on glass had their own separate guild with the glaziers; elsewhere they would be accepted by the painters.
809:
671:(illustrated, top right) revisits Van der Weyden's composition while presenting the scene as a visionary experience instead of a directly witnessed portrait sitting. Later,
123:, setting a model that would be followed in other cities, even had their own showroom or market stall from which members could sell their paintings directly to the public.
232:
in 1609, immigration increased and many Dutch cities reissued guild charters as a form of protection against the great number of paintings that began to cross the border.
698:
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as the local guild was known. The new academies began to offer training in drawing and the early stages of painting to students, and artistic theory, including the
336:
727:
518:". After this the artist could sell his own works, set up his own workshop with apprentices of his own, and also sell the work of other artists.
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to set up a guild in 1610 specifically for painters to protect themselves against the sale of art from foreigners, especially those from areas of
174:
157:
The Bruges guild, in a typically idiosyncratic medieval arrangement, also included the saddlemakers, probably because most members were painting
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and others were members. As the
Christian title of the Guild suggested, Jews were excluded, at least from becoming masters, in most cities.
235:
1335:
380:
266:, however, a strict hierarchy was attempted in 1631 with panel painters at the top, though this hierarchy was eventually rejected. In the
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disbanded all guilds in territories he controlled. Guilds survived as societies or charitable organisations, or merged with the newer "
1350:
803:
392:
1226:
Hughes, Anthony."'An
Academy for Doing'. I: The Accademia del Disegno, the Guilds and the Principate in Sixteenth-Century Florence."
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in Haarlem. Leyster was the second woman in Haarlem to join the Guild, and probably trained with Hals – she was a witness at the
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634:" – as happened in Antwerp, but not in London or Paris. Guild monopoly had a brief 20th century revival in Eastern Europe under
1315:
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background and stayed in that guild. As that link weakened with the development of printmaking, some painters' guilds accepted
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on the other hand, as an immigrant to Delft, had to pay twelve guilders in 1655, which he could not afford to pay all at once.
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348:
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painted himself second from the left. Surprisingly, fewer such group portraits exist for painters than other Guild occupations.
170:
568:
The rules of the Delft guild have been much puzzled over by art historians seeking to illuminate the undocumented training of
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757:
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638:, where non-members of the official artist's union or guild found it very hard to work as painters – for example the Czech
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that the apprentice had not been registered with them, fined both artists, and made a ruling on the apprentice's position.
1254:
Montias, John Michael. "The Guild of St. Luke in 17th-Century Delft and the Economic Status of Artists and Artisans." In:
655:
1247:
Mather, Rufus Graves. "Documents Mostly New Relating to Florentine Painters and Sculptors of the Fifteenth Century." In:
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all belonged. These activities also manifested themselves in groups that developed outside of the guild like Antwerp's
1340:
660:
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In many cities the Guild of Saint Luke financed a chapel that was decorated with an altarpiece of their patron saint.
368:
61:
1285:
Smith, Pamela H. "Science and Taste: Painting, Passions, and the New Philosophy in Seventeenth-Century Leiden." In:
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388:
376:
263:
199:
1208:
Heppner, Albert. "The Popular Theatre of the Rederijkers in the Work of Jan Steen and His Contemporaries." In:
445:
53:
46:
1261:
Olds, Clifton. "Jan Gossaert's 'St. Luke Painting the Virgin': A Renaissance Artist's Cultural Literacy." In:
215:
young republic became more important artistic centres in the late sixteenth and early seventeenth centuries.
1220:
1181:
1173:
1240:
King, Catherine. "National Gallery 3902 and the Theme of Luke the Evangelist as Artist and Physician." In:
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had a similar situation in the seventeenth century, when he obtained special permission from the Archdukes
535:
229:
158:
131:
100:
663:), one of the earliest-known paintings, set up a tradition that was followed by many subsequent artists.
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651:
539:
352:
119:, where only members could sell paintings in the city or have a shop. The early guilds in Antwerp and
1330:
251:
1310:
606:
473:
444:, and, in fact, the two were often discussed as being the same. By the mid-sixteenth century, when
435:
416:
400:
221:
77:
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Guild rules varied greatly. In common with the Guilds for other trades, there would be an initial
1265:, vol. 24, no. 1, Special Issue: Cultural Literacy and Arts Education. (Spring, 1990), pp. 89–96.
772:
481:
1268:
Prak, Maarten. "Guilds and the Development of the Art Market during the Dutch Golden Age." In:
1161:
Farquhar, J.D. "Identity in an Anonymous Age: Bruges Manuscript Illuminators and their Signs."
1276:
1190:
1144:
1118:
618:
484:, for whom travel to Italy and appreciation of classical and humanist culture were essential.
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240:
166:
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of at least three, more often five years. Typically, the apprentice would then qualify as a "
1154:
Campbell, Lorne. "The Art Market in the Southern Netherlands in the Fifteenth Century." In:
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602:
519:
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289:
96:
85:
339:, and sculptors, who had previously been members of a confraternity dedicated to St. Paul (
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was finally enticed to come to England by King Charles I, he was provided with a house at
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were excluded from the Guild or from being masters; however not in Antwerp, where
502:, three years before she became the second woman to join the Haarlem Guild in 1633
281:
with all other kinds of visual artists, leaving the guild to the house-painters.
17:
783:
546:
305:
203:
1130:
Antwerp's Golden Age: the metropolis of the West in the 16th and 17th centuries
275:
in 1656 led to the painters leaving the Guild of Saint Luke to establish a new
1233:
Jack, Mary Ann. "The Accademia del Disegno in Late Renaissance Florence." In:
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88:
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327:, then a Venetian possession, by the very successful Greek artists of the
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Another aspect of the Guild rules is illustrated by the dispute between
110:. It continued to function until 1795, although by then it had lost its
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588:
569:
465:
384:
372:
293:
107:
1201:
Gibson,Walter S. "Artists and Rederijkers in the Age of Bruegel." In:
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achieved this at eighteen, but in the twenties would be more typical.
798:
562:
285:
162:
120:
130:). In the medieval period most members in most places were probably
762:
491:
468:"Liefde boven al" ("Love above all") is a prime example, to which
410:
324:
259:
234:
193:
116:
73:
52:
29:
356:
64:. This was the classic subject for paintings given to the guilds
27:
City guild for painters and other artists in early modern Europe
617:
with its Catholic court, split itself in two in 1656 with the
1212:, vol. 3, no. 1/2. (Oct., 1939 - Jan., 1940), pp. 22–48.
1275:
Slive, Seymour, Dutch Painting, 1600–1800, Yale UP, 1995,
683:
all represented the subject for the guild in Antwerp, and
1189:
Dutch Seventeenth-Century Genre Painting, Yale UP, 2004,
106:
One of the most famous such organizations was founded in
1270:
Simiolus: Netherlands Quarterly for the History of Art
1256:
Simiolus: Netherlands Quarterly for the History of Art
1158:, vol. 118, no. 877. (Apr., 1976), pp. 188–198.
810:
Worshipful Company of Glaziers and Painters of Glass
448:was active in the city, most of the members of the
239:1730s engraving of the Delft Guild of St. Luke, by
1289:, vol. 90, no. 3. (Sep., 1999), pp. 421–461.
1205:, vol. 63, no. 3. (Sep., 1981), pp. 426–446.
1168:Ford-Wille, Clare. "Antwerp, guild of S. Luke."
1251:, vol. 30, no. 1. (Mar., 1948), pp. 20–65.
1210:Journal of the Warburg and Courtauld Institutes
1128:Baudouin, Frans. "Metropolis of the Arts." In:
1311:Feature on the Delft Guild in the 17th century
1272:, vol. 30, no. 3/4. (2003), pp. 236–251.
1237:, vol. 7, no. 2. (Oct., 1976), pp. 3–20.
379:was both a dean of the Guild and founded the
8:
1244:, vol. 48., no. 2. (1985), pp. 249–255.
1026:
1024:
613:to avoid the monopoly of the London guild.
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992:
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944:
942:
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910:
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888:
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884:
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1258:, vol. 9, no. 2. (1977), pp. 93–105.
872:
870:
860:
858:
730:before he left Haarlem for Italy in 1532.
609:, then just outside the boundary of the
1230:, vol. 9, no. 1. (1986), pp. 3–10.
1085:
1083:
1081:
827:
694:
687:painted an altarpiece for the guild in
816:Worshipful Company of Painter-Stainers
186:in 1460, and Bruges followed in 1482.
7:
1316:Article on Dutch Guilds, from Codart
1009:Mather (1948): 20; Jack (1976): 5–6.
72:was the most common name for a city
1170:The Oxford Companion to Western Art
804:Royal Academy of Fine Arts Antwerp
95:of artists, who was identified by
84:. They were named in honor of the
76:for painters and other artists in
25:
1165:, vol 11 (1980), pp. 371–83.
343:), also joined. This form of the
60:, c. 1435–1440. 137.5 x 110.8cm.
1132:, Antwerp, 1973, pp. 23–33.
1030:Gibson (1981): 431 (also n. 37).
735:
716:
697:
669:Kunsthistorisches Museum, Vienna
407:Guilds and intellectual pursuits
331:. In the sixteenth century, the
1242:Zeitschrift fĂĽr Kunstgeschichte
1117:. British Museum Press (2002).
429:event, lasting 19 days, in 1561
1263:Journal of Aesthetic Education
1057:Franits, pp. 166, 285n60, 160,
758:Saint Luke painting the Virgin
709:Saint Luke Painting the Virgin
347:developed into the Florentine
1:
1115:Albrecht DĂĽrer and His Legacy
656:Saint Luke Drawing the Virgin
58:Saint Luke Drawing the Virgin
42:
39:St. Luke Painting the Madonna
794:Painter's Guild in New Spain
775:Club in 17th century Antwerp
415:Printed invitation to other
243:. Today the location of the
1336:Arts and media trade groups
1215:Howe, Eunice D. "Luke, St"
661:Museum of Fine Arts, Boston
403:, increased in importance.
177:to be both court artist in
62:Museum of Fine Arts, Boston
1367:
210:Guilds of St. Luke in the
1351:Guilds in the Netherlands
1235:Sixteenth Century Journal
925:Farquhar (1980): 371–383.
377:David Teniers the Younger
264:Haarlem Guild of St. Luke
200:Haarlem Guild of St. Luke
115:Similar rules existed in
646:Paintings for the guilds
446:Pieter Bruegel the Elder
47:Kunsthistorisches Museum
1221:Oxford University Press
1182:Oxford University Press
1174:Oxford University Press
1172:. Ed. Hugh Brigstocke.
1156:The Burlington Magazine
1135:Belkin, Kristin Lohse.
904:Baudouin (1973): 23–27.
652:Rogier van der Weyden's
536:illuminated manuscripts
311:the Guild of St. Luke,
159:illuminated manuscripts
132:manuscript illuminators
1048:Bartrum (2002): 105-6.
957:Franits, p.66 & 85
503:
430:
341:Compagnia di San Paolo
247:
207:
99:as having painted the
65:
50:
1098:King (1985): 254–255.
916:Campbell (1976): 191.
724:Maarten van Heemskerk
596:Decline of the guilds
540:Caterina van Hemessen
495:
414:
353:Accademia di San Luca
349:Accademia del Disegno
333:Compagnia di San Luca
317:Compagnia di San Luca
238:
198:The Governors of the
197:
56:
33:
436:chambers of rhetoric
417:chambers of rhetoric
292:and the area around
80:, especially in the
1089:Olds (1990): 89–96.
1039:Heppner (1939): 23.
1000:Hughes (1986): 3–5.
966:Montias (1977): 93.
852:Montias (1977): 98.
500:self-portrait at 20
474:Esaias van de Velde
401:hierarchy of genres
397:Fraglia dei Pittori
230:Twelve Years' Truce
222:Spanish Netherlands
78:early modern Europe
70:Guild of Saint Luke
1341:History of Antwerp
1228:Oxford Art Journal
1018:Mather (1948): 20.
934:Belkin (1998): 96.
892:Smith (1999): 432.
773:Guild of Romanists
504:
431:
383:, while in Venice
248:
208:
66:
51:
1346:Guilds in Belgium
975:Prak (2003): 242.
948:Prak (2003): 241.
876:Prak (2004): 249.
864:Prak (2003): 248.
619:Confrerie Pictura
335:began to meet at
278:Confrerie Pictura
241:Abraham Rademaker
228:resumed with the
167:Peter Paul Rubens
18:Guild of St. Luke
16:(Redirected from
1358:
1300:pp. 91–134.
1249:The Art Bulletin
1217:Grove Art Online
1203:The Art Bulletin
1187:Franits, Wayne,
1178:Grove Art Online
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603:Anthony van Dyck
520:Anthony van Dyck
391:led a breakaway
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1149:0-7148-3412-2
1146:
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1141:Phaidon Press
1138:
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1127:
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1123:0-7141-2633-0
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1066:Franits, p.49
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681:Otto van Veen
678:
677:Marten de Vos
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395:from the old
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329:Cretan School
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250:For example,
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82:Low Countries
79:
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63:
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55:
48:
40:
36:
32:
19:
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1269:
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1075:Slive, p.129
1071:
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1005:
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971:
962:
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921:
848:
839:
830:
708:
673:Frans Floris
667:work in the
654:
649:
640:Josef Váchal
622:
599:
578:
567:
555:goldsmithing
553:were from a
544:
524:
505:
454:Frans Floris
452:, including
449:
439:
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144:
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127:
125:
105:
93:patron saint
69:
67:
57:
45:1520–1525),
38:
35:Jan Gossaert
1331:Art history
843:Ford-Wille.
784:Marketplace
679:(1602) and
607:Blackfriars
547:printmaking
516:free Master
488:Guild rules
362:Founded by
306:Renaissance
204:Jan de Bray
128:liefhebbers
1325:Categories
1105:References
581:Frans Hals
532:publishing
512:journeyman
470:Frans Hals
427:landjuweel
103:portrait.
86:Evangelist
711:, c. 1470
636:Communism
632:Academies
615:The Hague
559:engravers
551:engravers
527:Nuremberg
482:Romanists
466:Haarlem's
450:Violieren
441:Violieren
422:Violieren
393:Accademia
345:compagnia
273:The Hague
256:Rotterdam
217:Amsterdam
202:in 1675.
184:cathedral
49:, Vienna.
1184:, 2005.
1176:, 2001.
1143:, 1998.
789:Merchant
752:See also
726:painted
689:Mechelen
675:(1556),
628:Napoleon
425:, for a
369:Carracci
309:Florence
224:and the
179:Brussels
175:Isabella
146:Liggeren
112:monopoly
101:Virgin's
623:academy
589:baptism
570:Vermeer
563:etchers
389:Tiepolo
385:Pittoni
381:Academy
373:Bologna
294:Antwerp
290:Brabant
268:Utrecht
138:Antwerp
108:Antwerp
1279:
1193:
1163:Viator
1147:
1137:Rubens
1121:
818:London
812:London
799:Retail
476:, and
460:, and
438:, the
321:Candia
313:per se
286:Leiden
258:, and
171:Albert
163:vellum
153:Bruges
121:Bruges
91:, the
834:Howe.
823:Notes
763:Guild
545:When
325:Crete
300:Italy
260:Delft
252:Gouda
117:Delft
74:guild
1287:Isis
1277:ISBN
1191:ISBN
1145:ISBN
1119:ISBN
583:and
387:and
357:Rome
173:and
89:Luke
68:The
561:or
371:in
355:in
323:in
304:In
161:on
1327::
1223:,
1219:.
1180:.
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1113:.
1080:^
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989:^
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909:^
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857:^
707:,
642:.
472:,
456:,
359:.
254:,
43:c.
37:,
1197:.
1151:.
1125:.
746:.
41:(
20:)
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