@mastersthesis {10969,
	title = {Raffaello fiammingo: The Graphic Work of Frans Floris de Vriendt (1519/20-1570)},
	year = {2010},
	school = {Harvard},
	abstract = {Frans Floris de Vriendt (1519/20-1570) transformed the art of his native Antwerp. He broke with local traditions in favor of an Italianate style with humanistic aspirations. The new visual vocabulary Floris championed cannot be separated from his awareness of contemporary Italian art theory, in which the artist{\textquoteright}s profession was elevated to the status of an intellectual endeavor. Rather than simply bringing an Italianate style to Northern art, Floris re-conceived the entire idea of Netherlandish artistic enterprise along Italian lines. This dissertation straddles two theses: the first is built on a set of images, Floris{\textquoteright}s prints, which were never the subject of a comprehensive study. The second, inextricably related argument, addresses the question of style, here articulated in terms of Floris{\textquoteright}s sustained attraction to Italian art throughout his career. In the two main genres that he cultivated, the multi-figure istoria and the allegorical print cycle, Floris eschewed detail in favor of a classicizing art in which the nude played a prominent role. The first chapter draws upon new visual and archival evidence to analyze Floris{\textquoteright}s Italian experience in the context of Netherlandish humanism and pertinent currents in contemporary Italian art. The second chapter explores how Floris{\textquoteright}s close relationship to the publisher Hieronymus Cock enabled the artist to incorporate the print in his larger artistic concern. Questions of patronage and networks of production are also addressed. The third chapter examines the social and political overtones of Floris{\textquoteright}s Italianate style and considers the artist{\textquoteright}s hands-on experience with etching. The final two chapters deal with the changes in Floris{\textquoteright}s art after 1560, in particular, his decision to devote some of his energies to designing prints independently from his paintings. It was Floris{\textquoteright}s involvement in printmaking that made him an international figure and triggered a controversy about prints between the Bruges-born humanist Domenicus Lampsonius and Giorgio Vasari. Their debate opened a double paragone between Northern and Italian art on the one hand, and between painting and engraving on the other.},
	keywords = {Renaissance/Baroque Art},
	author = {Wouk, Edward H.}
}
