Flemish and Dutch Artists in Early Modern England
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€198.40
A01=Mary Bryan H. Curd
A01=MaryBryanH. Curd
art market dynamics
Author_Mary Bryan H. Curd
Author_MaryBryanH. Curd
British Library Board
Category=AFC
Category=AGA
cultural capital theory
early modern visual culture
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Ferdinand Bol
Flemish Weavers
foreign artist collaboration London
immigrant artist strategies
Jan De Baen
King Richard III
King's College Chapel
King's Glazier
King’s College Chapel
King’s Glazier
Lely's Portraits
Lely’s Portraits
Master Glaziers
Museum De Lakenhal
National Library
Netherlandish Artists
Netherlandish migration
patronage networks
Peter Lely
Richard III
Sheldon Tapestry
Sheldon Works
Sir Peter Lely
Sir Richard Newdigate
Stedelijk Museum De Lakenhal
Tapestry Maps
Tapestry Weavers
Van Schuppen
Wall Hangings
Willem Van De Velde
Young Man
Product details
- ISBN 9780754667124
- Weight: 793g
- Dimensions: 174 x 246mm
- Publication Date: 24 May 2010
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Hardback
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By examining their production practices in a variety of genres”including manuscript illustration, glass painting and staining, tapestry manufacture, portrait painting, and engraving”this book explores how Netherlandish artists migrating to England in the early modern period overcame difficulties raised by their outsider status. This study examines, for the first time in this context, the challenges of alien status to artistic production and the effectiveness of cooperation as a countermeasure. The author demonstrates that collaboration was chief among the strategies that these foreigners chose to secure a position in London's changing art market. Curd's exploration of these collaborations primarily follows Pierre Bourdieu's model of "establishment and challenger" in which dominance in a field of cultural production depends upon how much cultural, political, and economic capital can be accumulated and the effectiveness of the strategies used to confront competition. The analysis presented here challenges received opinion that a collaborative work is only a joint effort of artists working together on a single monument by demonstrating that the participation of patrons and middlemen can also shape the final appearance of a work of art. Furthermore, this book shows that the strategic use of collaboration served the goal of competition by helping to establish foreign artists in the London art market and suggests that their coping strategies have implications for the study of immigrant behaviors today.
Mary Bryan H. Curd is Tutor of Art History at Harrison Middleton University, USA.
