1 2 3 Janson, H.W. Janson's History of Art: Western Tradition. 7th rev. ed.,New York: Prentice Hall. 2006 ISBN 0-13-193455-4
↑ To Giorgio Vasari, for example, all northern painters were "fiamminghi", or "Flemmings".
↑ Hans Vlieghe ("Flemish Art, Does It Really Exist?," in Simiolus: Netherlands Quarterly for the History of Art, vol. 26, 1998, pp. 187-200) points to recent instances where institutions in the Wallonia French-speaking parts of Belgium have refused to loan painters to exhibitions labeled "Flemish".
1 2 The north to south-only direction of influence arose in the scholarship of Max Friedländer and was affirmed by Panofsky; see Lisa Deam, "Flemish versus Netherlandish: A Discourse of Nationalism," in Renaissance Quarterly, vol. 51, no. 1 (Spring, 1998), pp. 1-33. Also noted (pp. 28–29) is the increased interest by art historians in demonstrating the importance of Italian art on Early Netherlandish painters.
↑ Penny Howell Jolly, "Jan van Eyck's Italian Pilgrimage: A Miraculous Florentine Annunciation and the Ghent Altarpiece," Zeitschrift für Kunstgeschichte, vol. 61, no. 3 (1998), pp. 369-394.
↑ Brink, Peter van den, Kristin Lohse Belkin, and Nico van Hout. ExtravagAnt!: A Forgotten Chapter of Antwerp Painting, 1500-1538: Catalogue. Antwerp: Koninklijk Museum voor Schone Kunsten, 2005: This was the language of Mannerism popularised by Walter Friedlaender in his book Mannerism and anti-mannerism in Italian painting, one of the first attempts to define Mannerism.
