Jan Gossaert, St. Luke Painting the Madonna, c. 1520-25). Kunsthistorisches Museum, Vienna

The Guild of Saint Luke was the commonest name for a city guild for painters and other artists in early modern Europe, especially in the Low Countries. They were named in honor of the Evangelist Luke, the patron saint of artists, who was identified by John of Damascus as having painted the Virgin's portrait.^[1] One of the most famous such organizations was founded in Antwerp.^[2] It continued to function until 1795, although by then it had lost its monopoly and therefore most of its power. In most cities, including Antwerp, the local government had given the Guild the power to regulate defined types of trade within the city. Guild membership, as a master, was therefore required for an artist to take on apprentices or to sell paintings to the public. Similar rules existed in Delft, where only members could sell paintings in the city or have a shop.^[3] The early guilds in Antwerp and Bruges, setting a model that would be followed in other cities, even had their own showroom or market stall from which members could sell their paintings directly to the public.^[4] The guild of Saint Luke not only represented painters, sculptors, and other visual artists, but also—especially in the seventeenth century—dealers, amateurs, and even art lovers (the so-called liefhebbers).^[5] In the medieval period most members in most places were probably manuscript illuminators, where these were in the same guild as painters on wood and cloth. In traditional guild structures, house-painters and decorators were often in the same guild. However, as artists formed under their own specific guild of St. Luke, particularly in the Netherlands, distinctions were increasingly made.^[6] In general, guilds also made judgments on disputes between artists and other artists or their clients.^[5] In such ways, it controlled the economic career of an artist working in a specific city, while in different cities they were wholly independent and often competitive against each other. Download high resolution version (652x880, 180 KB)St Luke Painting the Madonna by Jan Mabuse (1520-25) Wood, 109,5 x 82 cm Kunsthistorisches Museum, Vienna Source: http://www. ... Download high resolution version (652x880, 180 KB)St Luke Painting the Madonna by Jan Mabuse (1520-25) Wood, 109,5 x 82 cm Kunsthistorisches Museum, Vienna Source: http://www. ... A guild is an association of craftspeople in a particular trade. ... The early modern period is a term used by historians to refer to the period in Western Europe and its first colonies which spans the time between the Middle Ages and the Industrial Revolution that has created modern society. ... The Low Countries, the historical region of de Nederlanden, are the countries (see Country) on low-lying land around the delta of the Rhine, Scheldt, and Meuse (Maas) rivers. ... Evangelism is the proclaiming of the Christian Gospel. ... Luke the Evangelist (Greek Λουκας Loukas) is said by tradition to be the author of both the Gospel of Luke and the Acts of the Apostles, the third and fifth books of the New Testament. ... John of Damascus (Greek: Ιωάννης Δαμασκήνος/Ioannês Damaskinos; Arabic: Yaḥyā ibn Manṣūr; Latin: Iohannes Damascenus or Johannes Damascenus also known as John Damascene, Χρυσορρόας/Chrysorrhoas, streaming with gold—i. ... According to the New Testament, Mary (Judeo-Aramaic מרים, Maryām, from Hebrew Miriam) was the mother of Jesus of Nazareth; at the time of his conception she was betrothed (or engaged) to Joseph and was a virgin. ... For other uses, see Antwerp (disambiguation). ... A legal monopoly, statutory monopoly, or de jure monopoly is a monopoly that is protected by law from competition. ... Country Netherlands Province South Holland Coordinates Area 24. ... Geography Country Belgium Region Flemish Region Community Flemish Community Province West Flanders Arrondissement Bruges Coordinates Area 138. ... In the strictest definition of illuminated manuscript, only manuscripts decorated with gold or silver, like this miniature of Christ in Majesty from the Aberdeen Bestiary (folio 4v), would be considered illuminated. ...

Antwerp and Bruges

Although it did not become a major artistic center until the sixteenth century, Antwerp was one of, if not the first, city to found a guild of Saint Luke. It is first mentioned in 1382, and was given special privileges by the city in 1442.^[7] The registers from the guild exist, cataloging when artists became masters, who the dean for each year was, what their specialties were, and the names of any students.^[7] In Bruges, however, which was the dominant city for artistic production in the Low Countries in the fifteenth century, the earliest known list of guild members dates to 1453, although the guild was certainly older than this. There all artists had to belong to the guild in order to practice in their own names or to sell their works, and the guild was very strict about which artistic activities could be practiced–distinctly forbidding an artisan to work in an area where another guild's members, such as tapestry weaving, were represented.^[8] The Bruges guild, in a typically idiosyncratic medieval arrangement, also included the saddlemakers, probably because most members were painting illuminated manuscripts on vellum, and were therefore grouped as a sort of leatherworker. Perhaps because of this link, for a period they had a rule that all miniatures needed a tiny mark to identify the artist, which was registered with the Guild.^[9] Only under special privileges, such as court artist, could an artist effectively practice their craft without holding membership in the guild.^[8] Peter Paul Rubens had a similar situation in the seventeenth century, when he obtained special permission from the Archdukes Albert and Isabella to be both court artist in Brussels and an active member of the Guild of Saint Luke in Antwerp.^[10] Membership also allowed members to sell works at the guild-owned showroom. Antwerp, for example, opened a market stall for selling paintings in front of the cathedral in 1460, and Bruges followed in 1482.^[4] In the strictest definition of illuminated manuscript, only manuscripts decorated with gold or silver, like this miniature of Christ in Majesty from the Aberdeen Bestiary (folio 4v), would be considered illuminated. ... Vellum (from the Latin for wool or pelt) is a sort of parchment, a material for the pages of a book or codex, characterized by its thin, smooth, durable properties. ... Rubens and Isabella Brant in the Honeysuckle Bower, 1609-10. ... Albert and his wife Isabella Archduke Albert Ernst of Austria, Duke of Luxembourg etc (15 November 1559 – 13 July 1621) was appointed for the Spanish monarchy as Governor of the Low Countries in 1595, and from 1598 became joint sovereign of the Seventeen Provinces with his wife, Infanta Isabella Clara... Isabella Clara Eugenia, possibly around 1584 Isabella Clara Eugenia of Spain (Segovia 12 August 1566 – 1 December 1633) was Infanta of Spain, Archduchess of Austria and the joint sovereign of the Seventeen Provinces. ... Nickname: Map showing the location of Brussels in Belgium Coordinates: Country Belgium Region Brussels-Capital Region Founded 979 Founded (Region) June 18, 1989 Government  - Mayor (Municipality) Freddy Thielemans Area  - Region 162 km²  (62. ... Onze-Lieve-Vrouwekathedraal Onze-Lieve-Vrouwekathedraal, the Cathedral of Our Lady, Antwerp, was started in 1351 and completed in 1521. ...

Dutch Republic

The Governors of the Haarlem Guild of St Luke in 1675. Jan de Bray painted himself second from the left. Surprisingly, fewer such group portraits exist for painters than other Guild occupations.

Guilds of St. Luke began to appear in the Dutch Republic as cities there became more important artistic centers in the late sixteenth and early seventeenth centuries. Amsterdam's was founded in 1579, and included painters, sculptors, engravers, and other trades dealing specifically in the visual arts.^[11] When trade between the Spanish Netherlands and the Dutch Republic resumed with the Twelve Years' Truce in 1609, many Dutch cities founded guilds as a form of protection against the great number of paintings that began to cross the border.^[11] For example, Gouda, Rotterdam, Delft, and Utrecht all founded guilds between 1609 and 1611.^[11] In each of those cases, panel painters removed themselves from their traditional guild structure that included other painters, such as those who worked in fresco and on houses, in favor of a specific "Guild of St. Luke".^[6] On the other hand, these distinctions did not take effect at that time in Amsterdam or Haarlem.^[6] In Haarlem, however, a strict hierarchy was imposed in 1631 with panel painters at the top.^[6] Artists in other cities were not successful in setting up their own guilds of St. Luke, and remained part of the existing guild structure (or lack thereof). For example, an attempt was made in Leiden to set up a guild in 1610 specifically for painters to protect themselves against the sale of art from foreigners, especially those from areas of Brabant and the area around Antwerp. However, the town, which traditionally resisted guilds in general, only offered to help them from illegal imports.^[12] Not until 1648 was a loosely-organized "quasi-guild" permitted in that city.^[13] Jan de Bray (1627 - 1697) was a Dutch painter. ... Map of Dutch Republic by Joannes Janssonius United Netherlands redirects here. ... Nickname: Motto: Heldhaftig, Vastberaden, Barmhartig (Valiant, Determined, Compassionate) Location of Amsterdam Coordinates: Country Netherlands Province North Holland Government  - Mayor Job Cohen (PvdA)  - Aldermen Lodewijk Asscher Hennah Buyne Carolien Gehrels Tjeerd Herrema Maarten van Poelgeest Marijke Vos  - Secretary Erik Gerritsen Area [1][2]  - City 219 km²  (84. ... This article or section should be merged with Seventeen Provinces The Spanish Netherlands was a portion of the Low Countries controlled by Spain from the sixteenth to the eighteenth century. ... Map of Dutch Republic by Joannes Janssonius United Netherlands redirects here. ... A cease fire made at the end of the Dutch revolt war that lasted for twelve years. ... Goudas 15th Century Town Hall Flag of Gouda Goudas Cheese Market Gouda (population 71,797 in 2004) is a city in the western Netherlands, in the province of South Holland. ... Nickname: Motto: Sterker door strijd (Stronger through Struggle) Location of Rotterdam Coordinates: Country Netherlands Province South Holland Government  - Mayor Ivo Opstelten  - Aldermen Jeannette Baljeu Hamit Karakus Orhan Kaya Lucas Bolsius Jantine Kriens Dominic Schrijer Roelf de Boer Leonard Geluk Area [1]  - City 319 km²  (123. ... Country Netherlands Province South Holland Coordinates Area 24. ... Utrecht refers to various cities and areas: Utrecht (province), of the Netherlands Utrecht (city), Netherlands, and capital of the province of the same name Utrecht (municipality), includes the city of Utrecht and two neighbouring villages (Vleuten / de Meern) Utrecht (agglomeration), in the Netherlands, includes the city of Utrecht Diocese of... Leyden redirects here. ... Historically, Brabant has been the name of several administrative entities in the Low Countries with quite different geographical extent: as Carolingian shire (pagus Bracbatensis), located between the rivers Scheldt and Dijle (between 9th-11th century); as landgraviat: the part of the shire between the rivers Dender and Dijle (from 1085... For other uses, see Antwerp (disambiguation). ...

Italy

In Renaissance Florence the Guild of St. Luke, per se, did not exist. Painters were represented by the guild of the Doctors and Apothecaries ("Arte dei Medici e Speziali"), while sculptors were members of the Masters of Stone and Wood ("Maestri di Pietri e Legname).^[14] They were also frequently members in the confraternity of St. Luke (Compagnia di San Luca)—which had been founded as early as 1349—although it was a separate entity from the guild system.^[15] There were similar confraternal organizations in other parts of Italy, such as Rome. In the sixteenth century, the Compagnia di San Luca began to meet at SS. Annunziata, and sculptors, who had previously been members of a confraternity dedicated to St. Paul (Compagnia di San Paolo), also joined.^[16] This form of the compagnia developed into the Florentine Accademia del Disegno in 1563, which was then formally incorporated into the city's guild system in 1572.^[14] The Florence example, in fact, eventually acted more like a traditional guild structure than the Accademia di San Luca in Rome.^[14] Founded by Federico Zuccaro in 1593, Rome's Accademia reflects more clearly the "modern" notions of an artistic academy rather than perpetuating what has often been seen as the medieval nature of the guild system.^[14] Gradually other cities were to follow the example of Rome and the Carracci in Bologna, with leading painters founding an "Academy", not always initially in direct competition with the local Guilds, but tending to eclipse and supplant it in time. This shift in artistic representation is generally associated with the modern conception of the visual arts as a liberal rather than mechanical art, and occurred in cities across Europe. In Antwerp David Teniers the Younger was both a dean of the Guild and founded the Academy, while in Venice Pittoni and Tiepolo led a breakaway Accademia from the old Fraglia dei Pittori as the local guild was known. The new academies began to offer training in drawing and the early stages of painting to students, and artistic theory, including the hierarchy of genres, increased in importance. The Renaissance (French for rebirth, or Rinascimento in Italian), was a cultural movement in Italy (and in Europe in general) that began in the late Middle Ages, and spanned roughly the 14th through the 17th century. ... Florence (Italian: ) is the capital city of the region of Tuscany, Italy. ... Santa Annunziata di Firenze The Basilica della Santissima Annunziata (Basilica of the Most Holy Annunciation) is a Roman Catholic minor basilica in Florence and the mother church of the Servite order. ... Michelangelos David in the Tribuna that was built especially to house it. ... Accademia di San Luca, the painting academy of Rome, named for the Evangelist Saint Luke, reputed to have made a portrait of the Virgin Mary, who was patron of many painters guilds in the Low Countries and in Italy, was founded in 1593. ... Nickname: Motto: SPQR: Senatus Populusque Romanus Location of the city of Rome (yellow) within the Province of Rome (red) and region of Lazio (grey) Coordinates: Region Lazio Province Province of Rome Founded 21 April 753 BC Government  - Mayor Walter Veltroni Area  - City 1,285 km²  (580 sq mi)  - Urban 5... There are several people with the name Carracci. ... Bologna (IPA , from Latin Bononia, BulÃ¥ggna in Emiliano-Romagnolo) is the capital city of Emilia-Romagna in northern Italy, in the Pianura Padana, between the Po River and the Apennines, exactly between the Reno River and the Sàvena River. ... David Teniers the Younger (December 15, 1610 - April 25, 1690), Flemish artist was the more celebrated son of David Teniers the Elder, almost ranking in celebrity with Rubens and Van Dyck, was born in Antwerp. ... The Death of Hyacinth Giovanni Battista Tiepolo (March 5, 1696 - March 27, 1770) was a Venetian painter. ... The Accademia di Belle Arti is Venice’s school of art and is uniformly known throughout Venice as the Accademia. ... A hierarchy of genres is any formalization which ranks different types of genres in an art-form in terms of their value. ...

Guilds and intellectual pursuits

The late sixteenth-century elevation of artist's status that occurred in Italy was echoed in the Low Countries by increased participation by artists in literary and humanistic societies. The Antwerp Guild of St. Luke, in particular, was closely associated with one of the city's eminent chambers of rhetoric, the Violieren, and, in fact, the two were often discussed as being one in the same.^[17] By the mid-sixteenth century, when Pieter Bruegel the Elder was active in the city, most of the members of the Violieren, including Frans Floris, Cornelis Floris, and Hieronymus Cock, were artists.^[17] The relationship between the two organizations, one for professionals practicing a trade and the other a literary and dramatist group, continued into the seventeenth century until the two groups formally merged in 1663 when the Antwerp Academy was founded a century after its Roman counterpart. Similar relationships between the Guild of St. Luke and chambers of rhetoric appear to have existed in Dutch cities in the seventeenth century. Haarlem's "Liefde boven al" ("Love above all") is a prime example, to which Frans Hals, Esaias van de Velde, and Adriaen Brouwer all belonged.^[18] These activities also manifested themselves in groups that developed outside of the guild like Antwerp's Romanists, for whom travel to Italy and appreciation of classical and humanist culture were essential. Chambers of rhetoric (Dutch: rederijkerskamers) were dramatic societies in the Low Countries. ... Bruegels The Painter and The Connoisseur drawn c. ... Head of a Woman by Frans Floris (1554) Oil on wood, 45 x 32,5 cm The Hermitage, St. ... Antwerp city hall Cornelis Floris de Vriendt (1514–1575) was a Flemish Renaissance architect and sculptor. ... Coordinates: Country Netherlands Province North Holland Area (2006)  - Municipality 32. ... Frans Hals (c. ... Esaias van de Velde, A Winter Landscape (1623) Esaias van de Velde (c. ... Peasants Brawling over Cards by Adriaen Brouwer Adriaen Brouwer (1605 - 1638) was a Flemish painter. ...

Guild rules

Guild rules varied greatly. In common with the Guilds for other trades, there would be an initial apprenticeship of at least three, more often five years. Typically, the apprentice would then qualify as a "journeyman", free to work for any Guild member. The next stage, often involving a payment to the Guild, was to become a "free Master" after which the artist could sell his own works, and set up his own workshop with apprentices of his own. Anthony van Dyck achieved this at eighteen, but in the twenties would be more typical. In some places the maximum number of apprentices was specified (as for example two), especially in the earlier periods. In Nuremberg painting, unlike say goldsmithing, was a "free trade" without a Guild and regulated directly by the city council; this was intended to encourage growth in a city where much art was becoming linked with book publishing, for which Nuremberg was the largest German centre. Nonetheless there were rules and for example only married men could operate a workshop.^[19] In most cities the women who were important members of workshops making illuminated manuscripts were excluded from the Guild or from being masters; however not in Antwerp, where Caterina van Hemessen and others were members. As the Christian title of the Guild suggested, Jews were excluded, at least from becoming masters, in most cities. If youre looking for the TV show, see The Apprentice. ... This article is about the tradesperson. ... // A master craftsman (sometimes called only master or grandmaster) was a member of a guild. ... Self Portrait With a Sunflower Sir Anthony (Anton) van Dyck (22 March 1599 – 9 December 1641) was a Flemish artist who became the leading court painter in England. ... Nuremberg (German: Nürnberg, Polish: Norymberga) is a city in the German state of Bavaria, in the administrative region of Middle Franconia. ... This article is concerned with the production of books, magazines, and other literary material (whether in printed or electronic formats). ... In the strictest definition of illuminated manuscript, only manuscripts decorated with gold or silver, like this miniature of Christ in Majesty from the Aberdeen Bestiary (folio 4v), would be considered illuminated. ...

When printmaking arrived, many engravers were from a goldsmithing background and stayed in that guild. As that link weakened with the development of pintmaking, some painter' guilds accepted engravers or etchers who did not paint as Members, and others did not. In London painters on glass had their own seperate guild with the glaziers; elsewhere they would be accepted by the painters. Printmaking is the process of making artworks by printing, normally on paper. ... Engraving is the practice of incising a design onto a hard, flat surface, by cutting grooves into it. ... A goldsmith creating a new ring A goldsmith is a metalworker who specializes in working with precious metals, usually to make jewelry. ... Engraving is the practice of incising a design onto a hard, flat surface, by cutting grooves into it. ... Etching is an intaglio method of printmaking in which the image is incised into the surface of a metal plate using an acid. ...

Decline of the guilds

All Guild local monopolies came under general economic disapproval from the 17th century onwards; in the particular case of painters there was in many places a tension between the Guilds and artists imported as court painter by a ruler. When Anthony van Dyck was finally enticed to come to England by King Charles I, he was provided with a house at Blackfriars, then just outside the boundary of the City of London to avoid the monopoly of the London Guild. In Antwerp the Habsburg Governors eventually removed the Guild's monopoly, and by the end of the 18th century hardly any monopolies survived. Guilds survived as societies or charitable organisations, or merged with the newer "Academies" - as happened in Antwerp, but not in London or Paris. Guild monopoly had a brief 20th century revival in Eastern Europe under Communism, where non-members of the official artist's union or guild found it very hard to work as painters - for example the Czech Josef Váchal. Self Portrait With a Sunflower Sir Anthony (Anton) van Dyck (22 March 1599 – 9 December 1641) was a Flemish artist who became the leading court painter in England. ... Categories: City of London | Districts of London | London geography stubs ... The City of London is a geographically-small city within Greater London, England. ... Communism is an ideology that seeks to establish a classless, stateless social organization based on common ownership of the means of production. ... Josef Váchal (September 29, 1884 in Milavče near Domažlice – May 10, 1969 in Studeňany) was a Czech writer, painter, graphic designer and book-printer. ...

Paintings for the guilds

In many cities the Guild of Saint Luke financed a chapel that was decorated with an altarpiece of their patron saint.^[20] Rogier van der Weyden's St. Luke Drawing the Virgin (Museum of Fine Arts, Boston), one of the earliest-known paintings, set up a tradition that was followed by many subsequent artists.^[20] Jan Gossaert's work in the Kunsthistorisches Museum, Vienna (illustrated, top right) revisits Van der Weyden's composition while presenting the scene as a visionary experience instead of a directly-witnessed portrait sitting.^[20] Later, Frans Floris (1556), Marten de Vos (1602) and Otto van Veen all represented the subject for the guild in Antwerp, and Abraham Janssens painted an altarpiece for the guild in Mechelen in 1605.^[21] These paintings are frequently self-portraits with the artist as Luke, and often provide insight into artistic practices from the time when they were made since the subject is of an artist at work. Deposition by Roger van der Weyden (c. ... Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going? (Doù venons-nous? Que faisons-nous? Où allons-nous?) (1897). ... St Luke Painting the Madonna by Jan Mabuse (1520-25) Wood, 109,5 x 82 cm Kunsthistorisches Museum, Vienna Jan Mabuse (d. ... Kunsthistorisches Museum at Maria-Theresien-Platz, Vienna Madonna im Grünen by Raffaello Tower of Babel by Pieter Brueghel Infanta Margarita Teresa in a Blue Dress by Velázquez Schloss Belvedere, Vienna by Canaletto The Kunsthistorisches Museum (en: Museum of Art History) in Vienna, is located on Ringstraße. ... Head of a Woman by Frans Floris (1554) Oil on wood, 45 x 32,5 cm The Hermitage, St. ... Otto van Veen, Christ in the House of Martha and Mary, c. ... Scaldis and Antwerpia, 1609 Abraham Janssens (or Jansens) van Nuyssen (ca. ... Mechelen: Grote Markt square, with St. ...

See also

• Worshipful Company of Painter-Stainers London
• Worshipful Company of Glaziers and Painters of Glass London
• Guild of Romanists Club in C17th century Antwerp
• Koninklijke Academie voor Schone Kunsten Antwerpen The Antwerp Academy

The Worshipful Company of Painter-Stainers is one of the Livery Companies of the City of London. ... The Worshipful Company of Glaziers and Painters of Glass is one of the Livery Companies of the City of London. ... The Koninklijke Academie voor Schone Kunsten van Antwerpen (the Antwerp Royal Academy of Fine Arts) is one of the oldest of its kind in Europe. ...

External links

• Feature on the Delft Guild in the 17th century
• Article on Dutch Guilds, from Codart

Notes

1. ^ Howe.
2. ^ Ford-Wille.
3. ^ Montias (1977): 98.
4. ^ ^{a b} Prak (2003): 241.
5. ^ ^{a b} Prak (2004): 249.
6. ^ ^{a b c d} Smith (1999): 432.
7. ^ ^{a b} Baudouin (1973): 23–27.
8. ^ ^{a b} Campbell (1976): 191.
9. ^ Farquhar (1980): 371–383.
10. ^ Belkin (1998): 96.
11. ^ ^{a b c} Prak (2003): 241.
12. ^ Montias (1977): 93.
13. ^ Prak (2003): 242.
14. ^ ^{a b c d} Hughes (1986): 3–5.
15. ^ Mather (1948): 20; Jack (1976): 5–6.
16. ^ Mather (1948): 20.
17. ^ ^{a b} Gibson (1981): 431 (also n. 37).
18. ^ Heppner (1939): 23.
19. ^ Bartrum (2002): 105-6.
20. ^ ^{a b c} Olds (1990): 89–96.
21. ^ King (1985): 254–255.

References

• Bartrum, Giulia. Albrecht Dürer and his Legacy. British Museum Press (2002). ISBN 0714126330
• Baudouin, Frans. "Metropolis of the Arts." In: Antwerp's Golden Age: the metropolis of the West in the 16th and 17th centuries, Antwerp, 1973, pp. 23–33.
• Belkin, Kristin Lohse. Rubens. Phaidon Press, 1998. ISBN 0-7148-3412-2.
• Campbell, Lorne. "The Art Market in the Southern Netherlands in the Fifteenth Century." In: The Burlington Magazine, vol. 118, no. 877. (Apr., 1976), pp. 188-198.
• Farquhar, J.D. "Identity in an Anonymous Age: Bruges Manuscript Illuminators and their Signs." Viator, vol 11 (1980), pp. 371-83.
• Ford-Wille, Clare. "Antwerp, guild of S. Luke." The Oxford Companion to Western Art. Ed. Hugh Brigstocke. Oxford University Press, 2001. Grove Art Online. Oxford University Press, 2005. [accessed May 18, 2007]
• Gibson,Walter S. "Artists and Rederijkers in the Age of Bruegel." In: The Art Bulletin, vol. 63, no. 3. (Sep., 1981), pp. 426-446.
• Heppner, Albert. "The Popular Theatre of the Rederijkers in the Work of Jan Steen and His Contemporaries." In: Journal of the Warburg and Courtauld Institutes, vol. 3, no. 1/2. (Oct., 1939 - Jan., 1940), pp. 22-48.
• Howe, Eunice D. "Luke, St" Grove Art Online. Oxford University Press, [accessed May 18, 2007]
• Hughes, Anthony."'An Academy for Doing'. I: The Accademia del Disegno, the Guilds and the Principate in Sixteenth-Century Florence." Oxford Art Journal, vol. 9, no. 1. (1986), pp. 3-10.
• Jack, Mary Ann. "The Accademia del Disegno in Late Renaissance Florence." In: Sixteenth Century Journal, vol. 7, no. 2. (Oct., 1976), pp. 3-20.
• King, Catherine. "National Gallery 3902 and the Theme of Luke the Evangelist as Artist and Physician." In: Zeitschrift für Kunstgeschichte, vol. 48., no. 2. (1985), pp. 249-255.
• Mather, Rufus Graves. "Documents Mostly New Relating to Florentine Painters and Sculptors of the Fifteenth Century." In: The Art Bulletin, vol. 30, no. 1. (Mar., 1948), pp. 20-65.
• Montias, John Michael. "The Guild of St. Luke in 17th-Century Delft and the Economic Status of Artists and Artisans." In: Simiolus: Netherlands Quarterly for the History of Art, vol. 9, no. 2. (1977), pp. 93-105.
• Olds, Clifton. "Jan Gossaert's "St. Luke Painting the Virgin": A Renaissance Artist's Cultural Literacy." In: Journal of Aesthetic Education, vol. 24, no. 1, Special Issue: Cultural Literacy and Arts Education. (Spring, 1990), pp. 89-96.
• Prak, Maarten. "Guilds and the Development of the Art Market during the Dutch Golden Age." In: Simiolus: Netherlands Quarterly for the History of Art, vol. 30, no. 3/4. (2003), pp. 236-251.
• Smith, Pamela H. "Science and Taste: Painting, Passions, and the New Philosophy in Seventeenth-Century Leiden." In: Isis, vol. 90, no. 3. (Sep., 1999), pp. 421-461.