Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2008)
ANNUAL REPORT • A 2008. ÉV - ZSUZSANNA GILA: Renaissance and Mannerism in the Netherlands
12 I AN I. BREUGHEL, WINTER LANDSCAPE depiction of the movements of the plastic human figure in Maarten van Heemskerck's Last Judgement on the other hand already reflects the artist's experiences gained during his study trip to Rome. The bold forms of the splendid portrait of a woman fall of character by Jan Cornelisz. Vermeyen, who worked at the royal court as a portrait painter, attest to Italian influence as well. A bigger group consisted of works by Italianising Flemish masters; tapestry designs by Bernard van Orley, Pieter Coecke van Aelst and their students. Van Orley is represented here by the preparatory drawing he made for the November scene of his twelve-piece masterwork; the tapestry series entitled Hunts of Maximilian. The series by the "Flemish Raphael", Coxcie, was also made for tapestry cartoons and w r as inspired by Petrarch's Triumphs. The exhibition displayed three allegories of the five-sheet series. Deviating from Petrarch, the closing allegory, entitled The Triumph of Time, is devoid of any Christian content, showing the end of the world as the natural endpoint of history. Frans I Fdoris' ironic masterpiece, Apollo and the Muses, as well as Van den Broeck's aforementioned drawing and Hans I Collaert's Plate Design are all
