Thereafter, Netherlandish artists like Bernaert van Orley and his followers melded this Italian influence with their local traditions of tapestry design to produce a rich aesthetic that was ideally suited to the medium. During the 1510s, 1520s, and 1530s, commissions by Pope Leo X and other Italian patrons resulted in the dispatch of tapestry cartoons by Italian artists-notably Raphael and his assistants-to Brussels, the main center of high-quality production, thus introducing Roman High Renaissance aesthetics to Northern tapestry design. This study focuses on the stylistic evolution of tapestry design in the Netherlands beginning with the development by Netherlandish designers in the late fifteenth and early sixteenth centuries of an aesthetic that emphasized narrative and decorative qualities. Examples from many of the most important surviving set-which still dazzle today as they did five hundred years ago in the palaces and cathedrals of Europe-illustrate the contribution that the medium made to the art, liturgy, and propaganda of the time. It highlights the finest tapestry cycles of the age as one of the greatest achievements of Renaissance art. This sumptuously illustrated book presents the first major survey of tapestry production between 14, and it catalogues the first monographic loan exhibition of tapestries in the United States in twenty-five years. Tapestries were a principal aspect of the ostentatious "magnificence" used during the Renaissance by powerful religious and secular rulers to broadcast their wealth and their might.
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