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Revue Belge D' Archéologie Et D'histoire De L'art Belgisch

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Revue Belge D' Archéologie Et D'histoire De L'art Belgisch REVUE BELGE D'ARCHÉOLOGIE ET D'HISTOIRE DE L'ART BELGISCH TIJDSCHRIFT VOOR OUDHEIDKUNDE EN KUNSTGESCHIEDENIS LXXVIII - 2009 BRUXELLES - BRUSSEL ACADÉMIE ROYALE D'ARCHÉOLOGIE DE BELGIQUE, A.S.B.L. KONINKLIJKE ACADEMIE VOOR OUDHEIDKUNDE VAN BELGIË, V.Z.W. COMMISSION DES PUBLICATIONS /COMMISSIE DER UITGAVEN Excrcicc 2008-2009 / Dicnsljaar 2008-2009 Président/ Voorziller: Mme Cl ai re Dumortier; Directeur des publicalions/ Directeur de uitgaven: Mme Claire DUi\lOHT!ER; Membres/Leden: Dhr. Guy DELi\IARCEL, Dhr. Raphaël DE s�rnDT, Mi\IE JACQUELINE Fo1.1E, M. Yvon LEBLICQ, Mw CLAUDINE LEMAIRE, Dlw. André MoERMAN, Dhr. Raf VAN LAERE. Conseil scienlifique international / lnlernalionale wetenschappelijke Raad: Thomas P. Campbell (U.S.A.), Lorne Campbell (G.B.), Thomas DaCosla Kaufmann (U.S.A.), Reinderl Falkenburg (Pays-Bas-Nederland), Jacques Foucart (France-Frankrij k), Jeffrey !.\1üller (lJ.S.A.). AVIS / BERICHT Les Iellres, livres pour comples rendus et Briefwisseling, werken ler recensie en manu­ manuscrits deslinés à la Revue doivent èlre scriplen beslemd voor hel Tijdschrift, moeten envoyés franco au Direcleur de la Revue el les franco ge ·Luurd worden aan de Direcleur van commandes adressées au Trésorier Général à hel Tijdschrifl en alle beslellingen dienen I'ad resse: gerichl aan de Algemeen Penningmeesler: Académie royale d'Archéologie Koninklijke Academie voor Oudheidkunde de Belgique van België Musées royaux d'Art et d'Histoire Koninklijke Musea voor Kunst en Pare du Cinquantenaire 10, Geschiedenis B 1000 Bruxelles Jubelpark 10, B 1000 Brussel [email protected] Les paiements se font au C.C.P. 000-0100,119- De belalingen dienen Le gebeuren op P.C.R. 24 de l'Académie royale d'Archéologie de Bel­ 000-0100419-24 van de Koninklijke Acade­ gique, ou au comple 310-0381725-19 de l'A­ mie voor Oudheidkunde van België of op de cadémic, Banque Bruxelles-Lamberl, Bruxelles. rekening 310-0381725-19 van de Academie, Chèques ou virements nets et sans frais Bank Brussel-Lamberl, Brussel. Checks of pour la bénéficiaire. overschrijvingen netto en zonder kosten voor de bestemmeling. Les auleurs de mémoires insérés dans la Revue De auleurs van artikels onlvangen gralis 25 reçoivenl gratuitement 25 exemplaires lirés à overd rukken die niel in de handel mogen parl hors-commerce. lis onl la facullé d'en faire gebrachl worden. Indien ze er meer wen en, lirer un plus grand nombre, à leurs frais, en krijgen zij deze op eigen koslen mits tijdige averlissanl, lors de la remise de la première verwittiging aan de direclie die hun aanvraag épreuve, la direclion, qui lransmellra leur aan de drukker overmaakl. Ook deze overdruk­ demande à l'imprimeur. Ces exemplaires son l ken mogen niet worden verkoch L. Alle over­ égalemenl hors-commerce. Tous porleronl obli­ drukken moeten voorzien worden van eenzelfde galoiremenl une couverlure semblable à celle de kafl als hel lijdschrift, mel als aanvullende aan­ Ia Revue avec, comme menlions supplémen­ duidingen de naam van de auleur en de litel Lai res, Ie nom de !'auteur el Ie lilre du mémoire. van hel arlikel. Tout arlicle est sou mis anonymement à lrois mem­ Elk arlikel wordt anoniem voorgelegd aan drie bres désignés par la Commi sion des Publications. leden van de Commissie der Cilgaven aangeduid. La Commission n'assume aucune responsabilité De Commissie neemt geen enkele veranlwoorde­ concernant les articles publiés el les photogra­ lijkheid op zich wat betrefl de gepubliceerde phies reprod uites. Elle n'acceple qu'une seule arlikels en foto's. Er wordl slechls één anl­ réponse à un article ou compte rendu cl qu'une woord aanvaard op elk arlikel of recensie, en seule réplique à cetle réponse. slech ls één repliek op dit anlwoord. L'adresse cl'un auteur non membre de I'Acadé­ Hel adres van een auteur die geen lid is van de mie peul èlre demandée au Direcleur des pu­ Academie kan aan de Direcleur van de publica­ blicaLions. ties gevraagd worden. ISS 0035-077X REVUE BELGE D'ARCHÉOLOGIE ET D'HISTOIRE DE L'ART PLJ BLi l�E SoL·s LE H.\LTT P.\T RO:\.\GE DE s.�I. LE ROi PAH L'ACADÉMIE ROYALE D'ARCHÉOLOGIE DE BELGIQUE AVEC LE CONCOLï�S DE LA FONDATION ü1\IVERSITAIRE DE BELGIQUE � . ET .\\'EC LE SOllTIE;-.; DE L.\ Hl�GIO:\ DE BIH XELLES-C,\PIT.\l .E, SERVICE DES nlü:\L.nl E:\TS ET DES SITES 2009 LXXVIII - BELGISCH TIJDSCHRIFT VOOR OUDHEIDKUNDE EN KUNSTGESCHIEDENIS L11Tf;EGE\'EN o;-.;LJEH IJE HOGE BESCllEH�ll:\C \',\'.\/ Z.nl. DE 1(0:\li'\G DOOH DE KONINKLIJKE ACADEMIE VOOR OUDHEIDKUNDE VAN BELGIË nl ET DE STEL.i'\ \'A N DE L:;-.;JVEHSITAIRE STICllTl'.'IG \',\:\ BEU;IË � E:\ MET DE STEU1\ VAN HET BHLTSSELS llOOFDSTEDELIJK GEWEST, DIE1\ST �lüi'\C�IE:-ITE:-1 E:\ L.\:\DSCll.\PPE-"i 13 F� CXEL Ll�S-BR llSSEL MEMORY AND WITNESS: 'TRANSLATED' IMAGES* Ingrid C1uusovÁ During their cxislence works of art can be compleLcly Lransformed. They change and are rcncwcd. To undersland Lhesc Lransformations one must go back Lo the originals. IL requires a scrious investigation to grasp Lhe rclaLionship beLween an original and its LransformaLion (1). Evcryone interested in the history of art should realize thaL in the course of time paintings and sculplures can expericnce changes in Lheir material subslance, function or even idcnLiLy. In the process of 'translaLion' cerlain public works or arL are quile often dissccled inLo Lheir componenls and subsequcnlly rcfurbishcd to fit into a vasL rc pcrlory of new dcmands. The Lransformed works of art thcn rcgisler not only personal dccisions and attitudes of paL rons and aul hors of the original work of art but also of those who in Lhe course of Lime modilïed and reused Lhem (2). The conlinucd lifc - 'aflerlife' - of such hybrid works or art Lherefore can be sccn as a parlicular manifeslation of various arLisLs' responses to the specific varicty of circumsLanccs offered by complex historica! situations. Unforlunately we usually know very little about Lhc biographies of such modified works of art. Our major source or informalion both about circumslances which allowcd Lhcir crea­ Lion and Lhcir later modifications oftcn remain Lhe works themselvcs. Since J share Lhc idea LhaL Lhe hislory of arL includcs nol only the works of art Lhcmsclves, but also Lheir hislory or personal biography, that is Lo say nol only originals thcmsclves bul also thcir aflcrlifc, 1 will focus my research on precisely such kind of 'translaled' works of art. I will examine Lhe afler­ lifc of selecled works of arL wilhin Lhe broader proccss of Lhcir modification and rc-configu­ ra Lion in order to sludy in de Lail posL-reforma tion sensibili Ly and religiosi ty. lnslilulc of Arl History, Slovak J\cadcmy of Sciences, Bratislava. * The firsl vcrsion of 1 his arliclc was delivered at the l INA conference 'From Jcon Lo Arl in Lhe Nclhcr­ lands' held in Baltimorc and Washington, November 8-12, 2006. 1 would likc Lo Lhank Marlen .Jan Bok, Shellcy Perlove, Ron Spronk and Susan Urbach for Lhcir kind help and suggcslions. 1 am also gralcful Lo Noël Gcirnaerl from Lhc municipal archivcs of Bruges (Stadsarchief Brugge) for his kind assislancc con­ cerning Lhe hislory of Lhe Maldcghcm fa mily. (1) \N. BENJAMIN, The Task of /he Translalor (inlroduclion Lo Charles Bauclelaire, Tableau.t Parisiens, 1923). The Lcxl Lranslatecl by l larry Zohn, in W. BEN.JMA:-JIN, 11/uminalions, (London : Collins (Fonlana), 197:3), 69-82. (2) In my arlicle 1 will be conslanlly refer Lo Lhe book of M. BAXANDALL, The Li111ewood Sculplors of" Henais­ sanre German (New 1-lavcn-Lonclon : Vale llniversi ly Press, 1980). 3 INGRID CIULISOVÁ Fig. 1. Sainl John Lhe BapLisL, Sa inl Barbara and Lwo Donors, Bratislava, Sainl-1\·larlin Ca l hcdral. © Courlcsy of Lhe archbishopric, pholo: Anna i\liélichová The painting Two Donors with Si John lhe Baptist, SI Barbara associaLed with Colijn de CoLer (c. 1450/1455 Brussels? - c. 1539/1540 Brussels?) from Lhe SL MarL in parish church in Bralislava (Slovakia ) offers an inLeresting example of the Lransformation of a work of arL (3) (fig. 1). lt is a hybrid single piece composed of Lhe remnanLs of a lager unil. The painting was sludied for Lhe JïrsL Lime by Gizela Weyde, a curator of the Bratislava Municipal Museum in 1927. She examined its iconogra phy and attributed the work Lo an unknown NeLherlandish painler of the fifLeenLh century. Moreover, she was Lhe firsl to recognize Lhat the large panel was composed of Lwo former allar wings Lo which was added a new cenlral panel of differenl piclorial quality ( ' ). l lowever, il was OtLo Benesch who atLribuLed the la leral boards of Lhe painling to Bru ssels' painLer Colij n de Coter. Benesch believed that, while Lhe panel wilh the donalrix and St Barbara was executed by Colij n de CoLer, the panel wiLh the donor and SL (3) Two donors wilh St John the Baptist and SI Barbara, oak, 90 x 75 cm, Bratislava, SL l\lartinparish church. The painLing in iLs present form is a junclion of Lwo side panels: 90 x 28 cm, and Lhe additional ccnlral panel : 90 x 19 cm. ("I) G. WE YDE, "Die Tie{P11wegkapelle", Crenzbo/e, 23.x.1927 : 2. 4 ' "'E"IOB\" AND \V ITNESS: 'TBANSLATED l"IAGl�S .John Lhc Baplisl mighL have been sla rlcd by l lugo van der Goes and la lcr compleled by Colijn de Coler ('). Nevcrlheless, his hypol hesis has nol been accepted by laler scholars and the side panels of Lhe painl ing are confirmed to be Lhe works or Colijn de Coler of a rou nel 1500 (6). Despi Le long-Lerm se hola rly discussions no serious attcn Lion however has been paid Lo Lhe cenlral pa rl of Lhe pa inling and Lo Lhc piclorial concep t of Lhe whole panel in ils presenl shape.
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