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Renaissance and Baroque Europe Author(S): Keith Christiansen, Nadine M Renaissance and Baroque Europe Author(s): Keith Christiansen, Nadine M. Orenstein, William M. Griswold, Suzanne Boorsch, Clare Vincent, Donald J. LaRocca, Helen B. Mules, Walter Liedrke, Alice Zrebiec, Stuart W. Phyrr and Olga Raggio Source: The Metropolitan Museum of Art Bulletin, New Series, Vol. 52, No. 2, Recent Acquisitions: A Selection 1993-1994 (Autumn, 1994), pp. 20-35 Published by: The Metropolitan Museum of Art Stable URL: http://www.jstor.org/stable/3258872 . Accessed: 02/06/2014 14:36 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Metropolitan Museum of Art is collaborating with JSTOR to digitize, preserve and extend access to The Metropolitan Museum of Art Bulletin. http://www.jstor.org This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions RENAISSANCE AND BAROQUE Agostino Carracci Among the most innovativeworks of the late seem to support an attribution to his brother Italian (Bologna),1557-1602 sixteenth century are a small group of infor- Agostino, and, indeed, a composition of this or Annibale Carracci mal easel paintings treatingeveryday themes subject attributed to Agostino is listed in a Italian (Bologna),I560o-609 produced in the academy of the Carracci I680 inventory of the Farnesecollections in Two Children Teasinga Cat family in Bologna. The authorshipof these is Parma.Whether by Annibale or Agostino, difficult to establish, since they were painted the picture may date to about I590, following Ca. 590o by relatedartists sometimes working from the one of Agostino'svisits to Venice. Oil on canvas same posed models. The theme of children teasing cats proba- 26 x 35 in. (66 x 88.9 cm) This captivatingpicture has traditionally bly carrieda moral lesson, but what gives the Purchase, Gwynne Andrews Fund, and been ascribedto the youngest of the Carracci, picture its enduring appeal is the way, by a Bequests of Collis P. Huntington and Annibale. However, the calligraphicbrush- fresh pictorial means, an apparentlycasual Ogden Mills, by exchange, 1994 work on the boy's collar and shirt-reminis- and insignificant action is made a fit subject 1994.142 cent of the work of Paolo Veronese-would for art. KC 20 This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions The MetropolitanMuseum of Art Bulletin Fall I994 , ,V "i, I This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions EUROPE Albrecht Altdorfer ; _. I~~s German, ca. I480-538 with a Double ----Z Landscape Spruce r Ca. I520-22 Etchingprintedin blackink on ivorylaid paper 438 x 638 in. (iI. x 6. cm) Purchase, Gift of Halston, by exchange, The Elisha Whittelsey Collection, The Elisha Whittelsey Fund, and Pfeiffer Fund, 1993 I993 I097 Inspiredby the dramaticscenery of the sur- rounding Danube Valley,characterized by high mountains, nestled villages, and ever- Although undoubtedly influenced by Pietro di Cristoforo Vannucci, called greensdraped with moss, Altdorferproduced Albrecht Diirer'scontemporary experiments Perugino in his hometown of Regensburgthe earliest in etching, a relativelynew medium at the Italian, ca. 1445-1523 examplesof pure landscapein painting and time, Altdorfer'slandscapes were etched with Landscape print. A prolific etcher and woodcutter, remarkablespontaneity and freedom of Altdorfercreated a mere nine landscape draftsmanship.They appearto have been Ca. 1489 prints during his career,all of which date to a originallyprinted in limited quantities and as Brushand brownink, heightenedwith white, relativelyshort span of time between about a result are now extremelyrare. The small on gray-brownpreparedpaper I518and I522. These nine etchings, however, scale of Landscapewith a Double Spruce 8 x in. (20.4 x28 cm) are of great significancefor the history of art emphasizesthe impression of vast space Purchase, Lila Acheso( Wallace Gift, 1993 as they were the first western Europeanprints Altdorfercreated within. It is one of only five 1993-327 to representlandscape as subject ratherthan landscapeetchings by the artist now in setting. American museums. NMO With the exception of Leonardoda Vinci's celebrated View of theArno River Valley (Gabinetto Disegni e Stampe degli Uffizi, Florence), scarcelyany pure landscapedraw- ings are datable before 15oo. The Museum's recentlyacquired Landscape by Perugino is thus of outstanding historicalas well as aes- thetic significance.The leading Umbrian artist of his generation, Perugino exercised considerableinfluence upon the development of central Italian painting through the work of his many pupils and followers, notably Raphael.The present sheet is the only known landscapedrawing by the artist, and it appearsto be preparatoryfor the background in his altarpiece The Visionof Saint Bernard (Alte Pinakothek, Munich), which he exe- cuted shortly after 1489 for the Florentine church of Santa Maria Maddalenadei Pazzi. The artist began by making a quick, compar- atively spontaneous pen-and-ink study of hills on the reverseof the sheet before turning it over to elaborateon the composition in the painterlysketch reproducedhere, which is drawn entirelywith the point of the brush. WMG 21 This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions Jan Cornelisz. Vermeyen scene.This print,probably one of Vermeyen's Netherlandish,100-I559 first,is his only engraving;his otherprints are An Oriental Banquet: Mulay Hasan and in the lesslaborious but alsoless certain His Retinue at a Repast mediumof etching.Some of Vermeyen's printsare known in uniqueimpressions; all Ca. I535 are rare. SB Engraving 13/8 x 2/8s in. (33.3x 53.8 cm) Purchase, The Elisha Whittelsey Collec- tion, The Elisha Whittelsey Fund, and Leonard Limosin Arthur Ross Foundation Gift, I994 French,active i532-ca. i576 1994. I2 Henry II, King of France A typical peripateticcourt artist of the French(Limoges), probably ca. i555-60 Northern Renaissance,Vermeyen was a painter Enamel,painted andpartlygilded, on copper and printmakerwho worked for Margaretof 3/2 X 258 in. (9 x 6.7 cm) Austria, governorof the Netherlands, in Purchase, Ruth Blumka Gift, in honor of Malines, then for her nephew, the Holy Kimberly Nasatir, and Rogers Fund, 1994 Roman Emperor CharlesV, and finally for 1994.73 Mary of Hungary, the subsequent governor of the Netherlands. CharlesV, who like King Henry II (I519-I559), one of the great Vermeyenwas born with the century, inherit- royal patrons of Renaissanceart in France, anda fur-trimmedjacket for the royalrobes ed vast territoriesfrom each of his four commissioned two painted enamel altarpieces wornby the kingin the Sainte-Chapelle grandparents,and by mid-century he nomi- from Limosin in 1552 for the Sainte-Chapelle altarpiece. nally ruled most of western Europe except in Paris.Now in the Musee du Louvre, they A nativeof Limoges,Limosin held an France,parts of North Africa, and much of depict the Crucifixion and Resurrectionof appointment to FrancoisI as early as I545, the recently discoveredNew World. In I535 Christ, and they incorporateportraits of and a document of I559 refersto him as both Vermeyenaccompanied Charles on an expe- Henry II, his father, Francois I (1494-1547), enamelerand painter to the lateking, Henry dition to rescueTunis, capturedin I534by and their queens kneeling in prayer.The vig- II. WhileLimosin is knownas an etcheras the Ottoman Turks.This print recordsan orously delineated profile of Henry II in the well,his reputationrests upon his enamels, actual scene with the Moorish king of Tunis, Sainte-Chapellelikeness can be recognized as andsome of his enameledportraits rank with Mulay Hasan, whom Charles reinstatedas his the prototype for the Museum'sportrait, but thosepainted by Jean Clouet (1486-5I40) and vassal.The image has the added interest of the painter here has substituted a small Corneille de Lyon (before I500-1574) as the being an early example of a candlelit night plumed beret, a doublet embroideredin gold, bestof the FrenchRenaissance. cv 22 This content downloaded from 137.140.1.131 on Mon, 2 Jun 2014 14:36:29 PM All use subject to JSTOR Terms and Conditions -''.-:*-^ , .' .. ' ^^^g^~~~~~~~~~~~~~-''- , ' ' --r, ' l :"; -;* ^ tS - C ^S, L '' '"S'' '" 0' '? 0 '' ?; Design for a Saddle Plate of Parmaand Piacenza.The complete armor designs for the various parts of the Farnese for man and horse is in the Hofjagd- und armor,of which this drawing is among the Italian (Milan), ca. 1575-80 Riistkammer(Court Hunting Cabinet and finest, are now dispersedamong public and Pen and coloredwashes on paper Armory) of the KunsthistorischesMuseum, privatecollections in the United States and I9/2X I53/ in. (49.5 x 39.2 cm) Vienna. It was made by the Milanese armorer Europe. Preparatorydrawings for armor are Purchase, Fletcher Fund and Gift of and goldsmith Lucio Piccinino about 1580. exceptionallyrare. The only examples compa- William H. Riggs, by exchange, 1993 The exuberantlydetailed Manneristorna- rable to the Farnesegroup in scope and quali- I993.234 ment representedin the drawingwas ren- ty are the sketches by Albrecht Diirer for a dered on the armorby low-reliefembossing, silveredarmor commissioned by Emperor This lifesize preparatorydrawing depicts the with the principal figuressilvered, the orna- Maximilian I and a seriesby -tienne Delaune front saddle steel of one of the most lavishly mental enframementsgilt, and the back- made for Henry II, king of France. DJL decoratedarmor garnitures of the sixteenth ground blued to createan overallspatial and century, made for AlessandroFarnese, duke coloristic effect of amazing richness.
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  • Mlincoln Thesis Formatted
    ABSTRACT Title of Document: HENDRICK GOLTZIUS’S PROTEAN ICONOGRAPHY: 1582-1590 Matthew David Lincoln, Master of Arts, 2012 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archaeology Karel van Mander famously characterized Goltzius as a “Proteus or Vertumnus of art”, a turn of phrase that has been taken to refer to his virtuosic skill at engraving in the styles of all the best masters. Often overlooked is the fact that Goltzius also conspicuously exercised his abilities as an iconographer in his early career as a print publisher. Between 1582, when he started his Haarlem print studio, and 1590, when he departed for Italy, Goltzius used classical rhetorical methods to construct innovative compositions. He thus promoted not only his skillful hand, but also his inventive and resourceful mind. This thesis considers Goltzius’s intellectual circles in Haarlem during this critical professional period, presents several case studies of his inventive iconographies, and concludes with two new interpretations of mythological artworks based on the artist’s rarely-acknowledged use of iconographic manuals and emblem books. HENDRICK GOLTZIUS’S PROTEAN ICONOGRAPHY: 1582-1590 By Matthew David Lincoln Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2012 Advisory Committee: Professor Arthur K. Wheelock, Jr., Chair Professor Anthony Colantuono Professor Meredith Gill © Copyright by Matthew David Lincoln 2012 DISCLAIMER The thesis document that follows has had referenced material removed in respect for the owner’s copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland College Park’s library collection.
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