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Early Netherlandish Painting, Its Origins and Character, is a 1953 book on art history by Erwin Panofsky, derived from the 1947–48 Charles Eliot Norton Lectures. The book had a wide impact on studies of Renaissance art and Early Netherlandish painting in particular, but also studies in iconography, art history, and intellectual history in general. The book is particularly well-known for its iconographic treatment of Van Eyck's Arnolfini Portrait as a kind of marriage contract, a hypothesis advanced by Panofsky as early as 1934. The book remains influential despite its reliance on black-and-white reproductions of paintings, which led to some errors of analysis.

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  • Early Netherlandish Painting (Panofsky book) (en)
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  • Early Netherlandish Painting, Its Origins and Character, is a 1953 book on art history by Erwin Panofsky, derived from the 1947–48 Charles Eliot Norton Lectures. The book had a wide impact on studies of Renaissance art and Early Netherlandish painting in particular, but also studies in iconography, art history, and intellectual history in general. The book is particularly well-known for its iconographic treatment of Van Eyck's Arnolfini Portrait as a kind of marriage contract, a hypothesis advanced by Panofsky as early as 1934. The book remains influential despite its reliance on black-and-white reproductions of paintings, which led to some errors of analysis. (en)
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  • Early Netherlandish Painting (en)
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  • Early Netherlandish Painting (en)
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  • http://commons.wikimedia.org/wiki/Special:FilePath/EarlyNetherlandishPainting.jpg
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  • Harvard University Press
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  • First edition, Volume one: Text, Volume two: Plates (en)
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  • United States (en)
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  • Volume two: The Virgin of the Annunciation, from the Portinari Triptych, c. 1479 by Hugo van der Goes (en)
  • Volume one: Madonna of Chancellor Rolin, c. 1435 by Jan van Eyck (en)
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  • English (en)
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  • Print (en)
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  • Early Netherlandish Painting, Its Origins and Character, is a 1953 book on art history by Erwin Panofsky, derived from the 1947–48 Charles Eliot Norton Lectures. The book had a wide impact on studies of Renaissance art and Early Netherlandish painting in particular, but also studies in iconography, art history, and intellectual history in general. The book is particularly well-known for its iconographic treatment of Van Eyck's Arnolfini Portrait as a kind of marriage contract, a hypothesis advanced by Panofsky as early as 1934. The book remains influential despite its reliance on black-and-white reproductions of paintings, which led to some errors of analysis. Early Netherlandish Painting shares its title with the comprehensive, 14-volume survey by Max J. Friedländer, a fact obliquely acknowledged at the beginning of the preface. (en)
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  • 978-0-06-436683-0
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