Francesco De Naro Papa

Recensione a: Adrian Bremenkamp, Ars nova translata. Altniederländische Malerei in Neapel und der Krone Aragon, München, Hirmer Verlag 2021, pp. 327

Introduction

Recensione a: adrian bremenkamp, ars nova translata. Altniederländische malerei in neapel und der krone aragon, münchen, hirmer verlag 2021, pp. 327. Leggi la recensione del libro 'Ars nova translata' di Adrian Bremenkamp, che esplora la pittura alt Niederlandese a Napoli e nella Corona d'Aragona.

Abstract

Review

Adrian Bremenkamp’s *Ars nova translata. Altniederländische Malerei in Neapel und der Krone Aragon* (Hirmer Verlag, 2021) presents a compelling new study focused on the reception and transformation of Early Netherlandish painting within the vibrant artistic centers of Naples and the Crown of Aragon. Spanning 327 pages, this work promises to be a significant contribution to our understanding of artistic exchange during the late medieval and early modern periods. The very title, *Ars nova translata*, suggests a nuanced exploration that moves beyond simple influence, instead considering the active processes of transmission, adaptation, and reinterpretation that shaped these distinct yet interconnected regional art traditions. The book’s geographical focus on the Kingdom of Naples and the Crown of Aragon is particularly insightful, as these regions served as crucial conduits for the movement of artists, artworks, and ideas between Northern and Southern Europe due to their strong political and cultural ties. One can infer that Bremenkamp likely delves into the multifaceted aspects of this artistic cross-pollination, including patterns of patronage, the intricate networks of artists and merchants, and the specific stylistic and iconographic transformations evident in local productions. The "translata" aspect implies a critical examination of how Netherlandish artistic innovations—such as pioneering oil painting techniques, realistic portraiture, and complex perspectival systems—were not merely imported but actively ‘translated’ into the local artistic vernacular, potentially leading to unique hybrid styles and syntheses tailored to the specific cultural contexts of Aragon and Naples. *Ars nova translata* stands to significantly enrich scholarship by offering a comprehensive analysis of how a "new art" from the North was not merely consumed but actively integrated and re-imagined in Southern European contexts. By concentrating on these specific regions, Bremenkamp likely sheds light on the agency of local patrons and artists in shaping the reception of foreign styles, challenging simplistic center-periphery models of artistic diffusion. This detailed investigation into the mechanisms and outcomes of cultural transfer will undoubtedly prove invaluable for art historians specializing in Early Netherlandish art, the Italian Renaissance, and Hispano-Flemish connections, providing a vital resource for understanding the complex interconnectedness of European artistic development in the fifteenth and early sixteenth centuries.

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