66 - Annunciation Triptych (Merode Altarpiece)
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The Marian Philatelist, Whole No. 47
University of Dayton eCommons The Marian Philatelist Marian Library Special Collections 3-1-1970 The Marian Philatelist, Whole No. 47 A. S. Horn W. J. Hoffman Follow this and additional works at: https://ecommons.udayton.edu/imri_marian_philatelist Recommended Citation Horn, A. S. and Hoffman, W. J., "The Marian Philatelist, Whole No. 47" (1970). The Marian Philatelist. 47. https://ecommons.udayton.edu/imri_marian_philatelist/47 This Book is brought to you for free and open access by the Marian Library Special Collections at eCommons. It has been accepted for inclusion in The Marian Philatelist by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. &fie Marian Pfiilatelist PUBLISHED BY THE MARIAN PHILATELIC STUDY GROUP Business Address: Rev. A. S. Horn Chairman 424 West Crystal View Avenue W. J. Hoffman Editor Orange, California, 92667, U.S.A. Vol. 8 No. 2 Whole No. 47 MARCH 1, 1970 NEW ISSUES BRAZIL: (Class 1). A 10 centavos stamp iss ued for Christmas on December 8, 1969. De ANGUILLA: (Class 1). A 5-stamp Christmas sign depicts a CROWNED MADONNA AND CHILD set was issued October 27, 1969. We have bearing the title OUR LADY OF JOY. Illustra not been able to obtain the stamps, however tion with special first day cancellations the 40c value depicts a stylized MADONNA with article on page 23. AND CHILD with "Christ mas 19 69" in four lines. Independent Anguilla is not recog A sheet containing a 75 cts stamp also de nized by Scott but is listed by Michel and picts OUR LADY OF JOY; it was issued Decem Yvert. -
The Early Netherlandish Underdrawing Craze and the End of a Connoisseurship Era
Genius disrobed: The Early Netherlandish underdrawing craze and the end of a connoisseurship era Noa Turel In the 1970s, connoisseurship experienced a surprising revival in the study of Early Netherlandish painting. Overshadowed for decades by iconographic studies, traditional inquiries into attribution and quality received a boost from an unexpected source: the Ph.D. research of the Dutch physicist J. R. J. van Asperen de Boer.1 His contribution, summarized in the 1969 article 'Reflectography of Paintings Using an Infrared Vidicon Television System', was the development of a new method for capturing infrared images, which more effectively penetrated paint layers to expose the underdrawing.2 The system he designed, followed by a succession of improved analogue and later digital ones, led to what is nowadays almost unfettered access to the underdrawings of many paintings. Part of a constellation of established and emerging practices of the so-called 'technical investigation' of art, infrared reflectography (IRR) stood out in its rapid dissemination and impact; art historians, especially those charged with the custodianship of important collections of Early Netherlandish easel paintings, were quick to adopt it.3 The access to the underdrawings that IRR afforded was particularly welcome because it seems to somewhat offset the remarkable paucity of extant Netherlandish drawings from the first half of the fifteenth century. The IRR technique propelled rapidly and enhanced a flurry of connoisseurship-oriented scholarship on these Early Netherlandish panels, which, as the earliest extant realistic oil pictures of the Renaissance, are at the basis of Western canon of modern painting. This resulted in an impressive body of new literature in which the evidence of IRR played a significant role.4 In this article I explore the surprising 1 Johan R. -
From Patinir's Workshop to the Monastery of Pedralbes. a Virgin
https://doi.org/10.5565/rev/locus.323 LOCVS AMŒNVS 16, 2018 19 - 57 From Patinir’s Workshop to the Monastery of Pedralbes. A Virgin and Child in a Landscape Rafael Cornudella Universitat Autònoma de Barcelona [email protected] Reception: 05/04/2018, Acceptance: 23/06/2018, Publication: 04/12/2018 Abstract Among the paintings of netherlandish origin imported into Catalonia during the first half of the 16th century, preserved at the Monastery of Pedralbes, there is a small panel featuring the Madonna and Child in a landscape which is attributed here to Patinir’s workshop, not excluding the possibility of some autograph intervention by the master. Whatever the case, this article sets out to situate the piece both in the context of its production and in that of its reception, that is, the community of nuns of Saint Claire of Pedralbes. What is interesting about this apparently modest work is the fact that it combines a set of ingredients typical of Patinir in a composition that is otherwise atypical as regards his known output as a whole, above all in terms of the relationship between the figure and the landscape, although also of its presumed iconographic simplicity. The final section of the article examines the piece in relation to the ever-controver- sial issue –which still remains to be definitively resolved– of the authorship of the figures in the works of Patinir. Keywords: Joachim Patinir; 16th Century Netherlandish Painting; landscape painting; The Virgin suckling the Child; The Rest during the Flight into Egypt; Monastery of Santa Maria de Pedralbes Resum Del taller de Patinir al monestir de Pedralbes. -
14 CH14 P468-503.Qxp 9/10/09 11:40 Page 468 14 CH14 P468-503.Qxp 9/10/09 11:40 Page 469 CHAPTER 14 Artistic Innovations in Fifteenth-Century Northern Europe
14_CH14_P468-503.qxp 9/10/09 11:40 Page 468 14_CH14_P468-503.qxp 9/10/09 11:40 Page 469 CHAPTER 14 Artistic Innovations in Fifteenth-Century Northern Europe HE GREAT CATHEDRALS OF EUROPE’S GOTHIC ERA—THE PRODUCTS of collaboration among church officials, rulers, and the laity—were mostly completed by 1400. As monuments of Christian faith, they T exemplify the medieval outlook. But cathedrals are also monuments of cities, where major social and economic changes would set the stage for the modern world. As the fourteenth century came to an end, the were emboldened to seek more autonomy from the traditional medieval agrarian economy was giving way to an economy based aristocracy, who sought to maintain the feudal status quo. on manufacturing and trade, activities that took place in urban Two of the most far-reaching changes concerned increased centers. A social shift accompanied this economic change. Many literacy and changes in religious expression. In the fourteenth city dwellers belonged to the middle classes, whose upper ranks century, the pope left Rome for Avignon, France, where his enjoyed literacy, leisure, and disposable income. With these successors resided until 1378. On the papacy’s return to Rome, advantages, the middle classes gained greater social and cultural however, a faction remained in France and elected their own pope. influence than they had wielded in the Middle Ages, when the This created a schism in the Church that only ended in 1417. But clergy and aristocracy had dominated. This transformation had a the damage to the integrity of the papacy had already been done. -
EARLY NETHERLANDISH PAINTING Part One
EARLY NETHERLANDISH PAINTING part one Early Netherlandish painting is the work of artists, sometimes known as the Flemish Primitives, active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance, especially in the flourishing cities of Bruges, Ghent, Mechelen, Leuven, Tounai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568. Early Netherlandish painting coincides with the Early and High Italian Renaissance but the early period (until about 1500) is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy; although beginning in the 1490s as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic. Robert Campin (c. 1375 – 1444), now usually identified with the Master of Flémalle (earlier the Master of the Merode Triptych), was the first great master of Flemish and Early Netherlandish painting. Campin's identity and the attribution of the paintings in both the "Campin" and "Master of Flémalle" groupings have been a matter of controversy for decades. Campin was highly successful during his lifetime, and thus his activities are relatively well documented, but he did not sign or date his works, and none can be confidently connected with him. -
Why Was Jan Van Eyck Here? the Subject, Sitters, and Significance of the Arnolfini Marriage Portrait
Venezia Arti [online] ISSN 2385-2720 Vol. 26 – Dicembre 2017 [print] ISSN 0394-4298 Why Was Jan van Eyck here? The Subject, Sitters, and Significance of The Arnolfini Marriage Portrait Benjamin Binstock (Cooper Union for the Advancement of Science and Art, New York City, USA) Abstract Jan van Eyck’s Arnolfini Marriage Portrait of 1434 still poses fundamental questions. An overlooked account explained the groom’s left hand holding his bride’s right hand as a secular, legal morganatic marriage with a bride of lower social rank and wealth. That would explain Van Eyck’s presence as witness in the mirror and through his inscription, and corresponds to the recent identification of the bride and groom as Giovanni di Arrigo Arnolfini and his previously unknown first wife Helene of unknown last name. Van Eyck’s scene can be called the first modern painting, as the earliest autonomous, illusionistic representation of secular reality, provided with the earliest artist’s signature of the modern type, framing his scene as perceived and represented by a particular individual. That is why Jan van Eyck was here. Summary 1 What is being disguised: religious symbolism or secular art? – 2 A morganatic, left-handed marriage. – 3 The sitters: Giovanni di Arrigo Arnolfini and his first wife Helene? – 4 Van Eyck’s Arnolfini Portrait as the first modern painting. – 5 Van Eyck’s Arnolfini Portrait within his oeuvre and tradition. – 6 Van Eyck’s Arnolfini Portrait and art historical method. Keywords Jan van Eyck. Signature. Arnolfini. Morganatic Marriage. Modern painting. For Marek Wieczorek What is the hardest of all? What you think is the easiest. -
April 2007 Newsletter
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 24, No. 1 www.hnanews.org April 2007 Have a Drink at the Airport! Jan Pieter van Baurscheit (1669–1728), Fellow Drinkers, c. 1700. Rijksmuseum, Amsterdam. Exhibited Schiphol Airport, March 1–June 5, 2007 HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Officers President - Wayne Franits Professor of Fine Arts Syracuse University Syracuse NY 13244-1200 Vice President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Treasurer - Leopoldine Prosperetti Johns Hopkins University North Charles Street Baltimore MD 21218 European Treasurer and Liaison - Fiona Healy Marc-Chagall-Str. 68 D-55127 Mainz Germany Board Members Contents Ann Jensen Adams Krista De Jonge HNA News .............................................................................. 1 Christine Göttler Personalia ................................................................................ 2 Julie Hochstrasser Exhibitions ............................................................................... 2 Alison Kettering Ron Spronk Museum News ......................................................................... 5 Marjorie E. Wieseman Scholarly Activities Conferences: To Attend .......................................................... -
Flemish, Netherlandish and Dutch Painting in The
THEMATIC ROUTES Flemish, The Thyssen-Bornemisza Collection offers a step by step history of the evolution of painting in the Low Countries from the 15th to the 20th centuries, Netherlandish including an outstanding group of works from the 17th century, which is a and Dutch school of painting poorly represented in other Spanish collections. In order to pursue this subject, the present route will introduce the artists Painting in in question through fourteen selected paintings. It starts with works from the 15th century when the spread of the use of the oil technique offered the Thyssen- painters a new way of representing reality and one in which detail and Bornemisza precision were fundamental. This is evident in the works by Jan van Eyck, Collection Rogier van der Weyden, Hans Memling, Joachim Patinir and others. From the late 16th century and throughout the 17 th century a range of Almudena Rodríguez Guridi subjects began to be depicted by artists working in both the Southern Provinces (Flanders) and the Northern Provinces. The Thyssen-Bornemisza Collection has paintings by the leading Flemish artists of this period — Rubens, Van Dyck and Anthonis Mor — as well as a notably compre- hensive collection of paintings by Dutch artists — Frans Hals, Rembrandt, Nicolas Maes, Jacob van Ruisdael and Willem Kalf — who worked in genres such as portraiture, scenes of daily life, landscape and still life. These themes were all particularly popular with middle-class mercantile clients who were interested in decorating their houses with works of this type, resulting in a flourishing art market in Dutch cities. -
A New Reading of the Prado Annunciation by Robert Campin
A New Reading of the Prado Annunciation by Robert Campin Michaela Merryday The Annunciation panel in the Prado, executed by work and from then on dominated the Flemish icon the Master of Flemalle and his workshop between 1430 ography. Remarkably, the Prado Annwicia1ion combines and 1438. has been generally neglected in the literature elements from all three types: it contains implications of an dealing with early Flemish painting, It depicts the Annun exterior. an ecclesiastical interior, and domestic objects ciation in an ecclesiastical setting, which is unusual in the such as the pillow and the majolica vase which recall bour context of the Flcmalle's work and led some scholars to geois settings.• doubt Flemalle's authorship.' It is the intention of this The New Testament source for the Annunciation in the essay to address unanswered questions of the iconography Gospel of Luke does not specify the setting of the Annuncia and articulate the panel's relation to the Merode Annwici tion.' Nevertheless, some scholars have interpreted the words a1ion of ca. 1425 to 1430. The Prado Annwiciation is an "the angel came in unto her" lo mean that the Annunciation announcement of Salvation to mankind through Christ's occurred within an architectural setting, and during the coming and through his death on the cross. The narrative Middle Ages the indefinite space of the Annunciation was of the Incarnation contains references to the offerings of transfonmed into the chamber of the Virgin in the teachings the Mass (Figure I). of the ecclesiastics and the Fathers of the Church.• In the The Annunciation is shown in the setting of a Gothic Hisiory of the Blessed Virgin Mary, however, the Virgin church,' which can be viewed simultaneously from the out "was sitting by herself in the great house of God" when the side and the inside. -
The Ultimate Guide to the More Than Five Famous Belgians a Journey
The ultimate guide to the more than five famous Belgians A journey across Brussels & the South of Belgium – Episode 1 Rue St André, Brussels © Jeanmart.eu/belgiumtheplaceto.be When a Belgian arrives in the UK for the delighted to complete in the near future first time, he or she does not necessarily (hence Episode I in the title). We Belgians expect the usual reaction of the British when are a colourful, slightly surreal people. they realise they are dealing with a Belgian: We invented a literary genre (the Belgian “You’re Belgian? Really?... Ha! Can you name strip cartoon) whose heroes are brilliant more than five famous Belgians?.” When we ambassadors of our vivid imaginations and then start enthusiastically listing some of of who we really are. So, with this Episode 1 our favourite national icons, we are again of Did you say Famous Belgians!? and, by surprised by the disbelieving looks on the presenting our national icons in the context faces of our new British friends.... and we of the places they are from, or that better usually end up being invited to the next illustrate their achievements, we hope to game of Trivial Pursuit they play with their arouse your curiosity about one of Belgium’s friends and relatives! greatest assets – apart, of course, from our beautiful unspoilt countryside and towns, We have decided to develop from what riveting lifestyle, great events, delicious food appears to be a very British joke a means and drink, and world-famous chocolate and of introducing you to our lovely homeland. beer - : our people! We hope that the booklet Belgium can boast not only really fascinating will help you to become the ultimate well- famous characters, but also genius inventors informed visitor, since.. -
Dr. Molly Ann Faries Curriculum Vitae Professor Emerita VI. 2015
Dr. Molly Ann Faries Curriculum Vitae Professor Emerita VI. 2015 EDUCATION 1962 AB College of Wooster, Wooster, Ohio 1963 AM University of Michigan, Ann Arbor, Michigan 1972 PhD Bryn Mawr College (thesis on Jan van Scorel; advisor: Prof. James Snyder) RESEARCH TRAINING 1966-68 Amsterdam, Art History Institute of the State University of Amsterdam (studied with J. Bruyn, J.Q. van Regteren Altena, H. Jaffé) 1973-74 Amsterdam, Central Research Laboratory for Works of Art and Science (with support of National Endowment for the Humanities Post-doc Younger Humanist Grant) EMPLOYMENT 1969-71 Instructor, Swarthmore College, Swarthmore, Pa. 1972-73 Lecturer, Goucher College, Towson, Md. 1975, spring Guest curator, Centraal Museum, Utrecht, The Netherlands 1975-78 Assistant Professor,Indiana University 1978-85 Associate Professor, Indiana University 1985-2004 Professor, Indiana University 1998-2005 Professor and Chair, Technical Studies in Art History, University of Groningen, The Netherlands 2006- Professor Emerita, Indiana University and University of Groningen GRANTS, FELLOWSHIPS, AND AWARDS 1995 College Art Association/National Institute for Conservation Joint Award for Distinction in Scholarship and Conservation 2001 American Institute for Conservation Caroline and Sheldon Keck Award for Excellence in Education 2010 Wayne G. Basler Chair of Excellence for the Integration of the Arts, Rhetoric, and Science 1966-67 Fulbright-Hays Grant 1967-68 Fels Foundation Dissertation Grant 1 1973-74 NEH Fellowship (ACLS declined) 1975- Indiana University Grants-in-Aid (1975, 1976, 1977, 1982, 1983, 1987, 1988); Indiana University Summer Faculty Fellowships (1976, 1978, 1987, 1997, 1979-80 ACLS Fellowship (Chester A. Dale Fellowship declined) 1981-82 Senior Fellow, Center for Advanced Study in the Visual Arts, Washington, D.C. -
Codart Courant 17
in this issue about codart 2 Bringing back the muse 3 curator’s news & notes A special session on attribution: A partnership between codart and the rkd 4 Jan Provoost in Genoa and Florence 6 Drawings xl 7 17 codart collections Dutch and Flemish art at Glasgow University 8 Deaccession of an “orphaned” collection in Maastricht 10 Flemish silver in the Galleria Nazionale di Palazzo Spinola in Genoa 12 curator’s case codart, let’s get modern! 14 friend’s interview A codart Maecenas: Benefactor and partner 16 curator’s interview Hanna Benesz, interviewed by Ruud Priem 18 codart activities 20 faits divers 22 codart members and news 23 upcoming exhibitions 24 Winter 2008 Winter Courant codart 2 codart is the international council for codart Maecenases and Hoekema has been mayor of Wassenaar curators of Dutch and Flemish art. Its aim is corporate sponsors since July 2007. He was previously director to further the study, the care, the accessibility The European Fine Arts Fair (tefaf), Helvoirt of research, education and culture and and the display of art from the Low Countries Hoogsteder & Hoogsteder, The Hague ambassador for international cooperation at in museums worldwide. codart serves as new The Leiden Gallery, New York the Dutch Ministry of Foreign Affairs (2003-07), a platform for exchange and cooperation The Metropolitan Museum of Art, New York and a member of parliament for the d66 party between curators from different parts of the Rijksbureau voor Kunsthistorische (1994-2002). Hoekema serves as a board or world, with different levels of experience and Documentatie (rkd), The Hague committee member for various cultural from different types and sizes of institutions.