DOCSLIB.ORG

Etiquette, Architecture and Gardens of Love in Me Early Seventeenth-Century Netherlands

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Etiquette, Architecture and Gardens of Love in Me Early Seventeenth-Century Netherlands ARCHITECTüRAL PAINTING: ETIQUETTE, ARCHITECTURE AND GARDENS OF LOVE IN ME EARLY SEVENTEENTH-CENTURY NETHERLANDS by DIAMVA BEAUFORT A thesis submitted to the Depanment of An Histol in conformity with the requirements for the degree of Master of Arts Queen's University Kingston. Ontario. Canada April, 1997 copyright O Dianna Beaufort. 1997 National Library Bibliothèque nationale (*( of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue WeUington Otmwa ON KiA ON4 Ottawa ON KIA ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive Licence dowing the exclusive pennettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distriiute or sell reproduire, prêter, distri'buer ou copies of hidher thesis by any means vendre des copies de sa thèse de and in any fonn or formai, making quelque manière et sous quelque this thesis available to interested forme que ce soit pour mettre des persons. exemplaires de cette thèse à la disposition des personnes intéressées. The author retains ownership of the L'auteur conserve la propriété du copyright in hidher thesis. Neither droit d'auteur qui protège sa thèse. Ni the thesis nor substantial extracts la thèse ni des extraits substantiels de fiom it may be printed or otherwise celle-ci ne doivent être imprimés ou reproduced with the author's auirement reproduits sans son permission. autorisation. Abstract This study Ïnveaigates the manifestation of Italim arctutectural tom and mulaiai of French ashiaas wahm the genre of arduteciural pauiong. To adiieve th6 ta&, sewral pamtmgs (pnmanly of exterior courtyard scaies) by the most prolific art& in ths field were chosen. These amts mclude Dirck van Delen, whose oeuvre is key to this thesis, Banolorneus van Bassen, Hendnk Aerts, Hendnk van Steaiwijck the Elder and Yaunger, and Hans and Paul Vredeman de Vries. in order to understand the infiItratjan of foreign modes, chapter 1 discusses the groundwork lard by cuba1 circumstances, mcluding the mpaa of, f9r example, C~c~~tantijn Huygens and his love of thmgs French and ftalian. while chapter 2 focuses un the artists practlsing penpeaiw pamûng, outlming basic histoncal fia an4 bnefly, the tramg and ccmsequential infiuences on the art& productians. Chapter 3 concerns the use of theoreucal ûeaûses, particularly of Mian ongin. and contemporary architecture III the executm of architectural pamting. The strmg prewb set by buitenpkaatsen and their gardai, courtyard and structural make-up is also analyzed. Chapter 4 combmes the iconography of many perspectrve pamtmgs wrth thetr ardiltectural seümg. The ûequent presence of moralizing stories in hsgenre IS taken mto account, but the emulatm of French fàshions emerges as an equally importaut theme. While worldly sopbisû~on,exemplified by French eiiqueüe and âshiai may have been deerned a stgn of mperbia. the very afktatms of Fraidi wciety stood as syinbols of success. Fm& modes, mannen, leisure acûvities, and courtiy love &ames were therefbre represented m the collecbble gaice of penpectiw pamtmg. Gimthe suitab* of grand penpeciiw settmgs for the representation of statu, perspective paintmg also becamc a fônun fbr portraiture, as several portraits ofpersaaages m courtyards illustrate. Table of Contents Abstrad .................................. ................................................................... i Ackn<lwl- .................................... ......................................... + ..........iü List of 111ustlafjons ........................................................................................ .IV Chapter 1 . The Cultural Background ...................................................................1 Chapter 2: The Artists .................................................................................. -7 Hans VredaMn de Vries ................................................7 Paul Vredanan de Vries ....................................................8 hdnkvan Steaiwijck die Elder and the Yoimger ...................8 Hmdnk Aerts ........................................................... 9 Bartolomeu~van Bassai ................................................. 10 hrck van Del en ...................................................... 10 Grad Houckgeest and Daniel & Biieck ........................ 12 Samuel van Hoogsû&n ............................................. 13 C'3:The Adufemm...................................................................... 14 Theury and Sowce Books ............................................................ 14 Hans Vredanan de Vries .........................................15 SeriIo ...................................... .20 Marolots .................................. ..21 De Btay .....................................,,77 Rubais .............................. .24 Pélenn, Cousai and Du Cerceau ................... ...25 PalIadio, Scarom and Vignola ................................ 26 Philrps Viboais ............................................ 28 The Mure of My .....................................29 Cartemp~rar~- ................................... .........31 laab van Caqen................... ...33 Preter Post ........................... ..............35 hhpsVmgboans .......................................36 Bartolomeus van Bassen ......................................37 Biir tenplacrtsrn..................................................... .... .40 Gardai Art and Ardidecture ......................................................... 47 Chapter 4: Tbe Staffige and Thnies ................................................... .., C 7 Elemaits ofthe Gardai of love................................................. 54 Ccmtemporary ReWGaues: Buirenpart&w ....................................... 58 Dawd Vinckbcms ............................................ 59 Ekw mn de Velde ............................................. -62 Wilian Buytewech................................... 64 Moral hders..................................................................... 65 Games, Love, and Leisure Soctety ........................................................ 71 nie Figures: Thexr Sources and Sipficance ............................................ 76 Dtrck van Delen ......................................................78 Van bsseq krts, and Van Stemwjck ............................. 82 Portrads wdm Ardidectural Parnemg ........................................................83 A Caxûnuatim .......................................................................... 89 ERRATUM Pages 5 and 6 do no1 exist. Fint and foremost 1 want to express my smcerest thanks to my parents for their uowavermg support and always wantmg the besf for me, for cuxtnbuting to my educatiai and for keeping me an track m mes of despair. Also 1 wish to express sped th& to Wendy and Richard hr their mrts wd~Katie. for makmg me bu&, and for helping me through those cornputer dilemmas. I would Iike to thank Dr Volker Manuth for tahg me under his wmg and guidmg this thesis. His "kmd cnûcisrns" managed to a& changes hile dl allowing me to focus on the posrtive and fèel encouraged. 1 am gratefiil fbr access to his knowledge and wtsdom. and for hs leadership in the mident-curated Wisdom. ffiowledge & Magie exhibition, whicb provideci many of us wrth mvaluable, praaical experience. Many thanks to the library staff, Nina Boyd and Rom Roberts, for their reliable assistance tn findmg jus the book 1 was lmkmg hr, and fbr those Off'our chats. To Drs Bernard Vermeâ fbr those delightfhi and msigtitfiil leüers, to Dr J. Douglas Stewart for tbgto ûme to a to my fellm midents m the department for their fnaicishrp, to my &end Lynne Needham for always beiievmg in me, and to the Heilig family for providmg me with a "rd home" m Amsterdam, 1 thank you. Finaiiy I want to express my appmiation to Dr Katheme Brush and Dr Comme Mandel for rnakmg Art History 040 at U.W .O. so fkbulous and inspirational. List of lllus trations (measurements in centimetres) 1. Jan van Eyck, Madonna m the Ch&, c. 1437-38. Berlrn, Gemaldegaiene, Staathche Museen. Panel, 31.1 x 13.3. 2. Jan Gossaert, Samt Luke drawinn the Vimin~c. 15 12- 15. Prague, National Gallery. Panel, 229.8 x 204.2. 3. Hans Vredeman de Vries. plate 1 3 from Perspective. .. (The Hague, 1605). 4. Sebastiano Serlio, 'Tragrc Scene" fiom The Second Booke of Architecture (London, 16 1 l), fbl. 25. 5. Hans Vredeman de Vries, ''The Five Senses" fiom Architectura ... (l'le Hague, 1606). a. Connthia/Gustus b . ionica/Odor c. DoricdAuditus 6. Dirck van Delen, Architectural View, s.d. 1625. Rodez, Musée Denis Puech. Panel. 58.5 x 33. 7. Attnbuted to Hendnk van Steenwjck the Elder, Permective, 1588. Dessau, Gemildegalene. (Support and size un)mown). 8. Hans Vreûeman de Vries. plate 14 liom Perspective... (?he Hague, 1 605). 9. Dtrck van Delen, Terrace of a Palace wrth Portrait gr ou^, s.d. 1642. Brussels, Museum of Fine Arts. (Support and size imknm). 10. Ham Vredeman de Vries, plate 43 hmPetspectzve . .. (The Hague, 1604). 1 1. Dirck van Delen, Garden of a Palace WI& Men ~laymnSiuüles. Gateshead, Shipky Art Gailcy. Panel. 67.5 x 82.3. 12. Hendnk Aerts, [ma- Renaissance Palace, s.d. 160- (2?). Merdam, Rijksmuseum. Canvas, 93 x 127.5. 13. Hendnk van Steenwijck the Younger, Cours d'un Palais Renaissance, s.d. 16 10. London, Nationai Gallery. Copper, 40.2 x 69.8. 14. Hendnk vaa Steaiwijck the Ymger, An lma- Town Sauare, s.d. 16 14. The Hague, Mauntshuis. Copper, 47 x 70. 15. Dirck van Delen,
Load more

Recommended publications
  • The Five Senses in Genre Paintings of the Dutch Golden Age
    The Five Senses in Genre Paintings of the Dutch Golden Age Kitsirin Kitisakon+ (Thailand) Abstract This article aims to study one of the most popular themes in 17th-Century Dutch genre paintings - the five senses - in its forms and religious interpretations. Firstly, while two means of representation were used to clearly illustrate the subject, some genre scenes could also be read on a subtle level; this effectively means that such five senses images can be interpreted somewhere between clarity and am- biguity. Secondly, three distinct religious meanings were identified in these genre paintings. Vanity was associated with the theme because the pursuit of pleasure is futile, while sin was believed to be committed via sensory organs. As for the Parable of the Prodigal Son, party scenes alluding to the five senses can be read as relating to the episode of the son having spent all his fortune. Keywords: Five Senses, Genre Painting, Dutch Golden Age, Prodigal Son + Dr. Kitsirin Kitisakon, Lecturer, Visual Arts Dept., Faculty of Fine and Applied Art, Chulalongkorn University, Thailand. The Five Senses… | 125 Introduction In the 16th and 17th Centuries, the five senses had never been more popular as subject matter for graphic art, especially in the Low Countries. Since Nordenfalk (1985), this theme has been occasionally discussed in monographs, catalogues of specific artists, or Dutch genre painting studies. Yet, an analysis of the modes of representation of the five senses seems to have been ignored, and there is a certain lack of fresh interest in their religious interpretations. From this observa- tion, this article aims to firstly examine how the five senses were represented in the Dutch genre paintings of the Golden Age, inspect how artists narrated them; secondly, reinvestigate how they can be religiously interpreted and propose deeper meanings which go beyond realistic appearance.
    [Show full text]
  • DALMI WORKING PAPERS on ART & MARKETS the Artistic Migration
    DALMI Working Paper No. 15231 DALMI WORKING PAPERS ON ART & MARKETS The Artistic Migration Between Mechelen and Delft (1550–1625) Fiene Leunissen Working Paper no. 15231 https://www.dukedalmi.org/wp-content/uploads/15231-Working-Paper.pdf DUKE ART, LAW & MARKETS INITIATIVE 114 S. Buchanan Blvd. Campus Box 90766 Durham, NC 27708 May 2015 DALMI working papers are circulated for discussion and comment purposes. They have not been peer-reviewed. © 2015 by Fiene Leunissen. All rights reserved. Leunissen May 2015 DALMI Working Paper No. 15231 The Artistic Migration Between Mechelen and Delft (1550–1625) Fiene Leunissen DALMI Working Paper No. 15231 May 2015 ABSTRACT Mechelen (Malines) is a small city in present-day Belgium, positioned between Antwerp and Brussels, along the river the Dijle. While most people today have never heard anything about this city or its history, this small town was once one of the most important cities in the Low Countries. It was also hub for the production of watercolor paintings. During the religious turmoil in the second half of the 16th century a large portion of artists fled the city to find a better life in other European cities. One of these places was Delft, were a group of 24 Mechelen artists settled. In this paper we look at the lives of these artists to better understand the knowledge circulation between the north and the south at the turn of the 17th century. Keywords: Art Markets, Mechelen, Delft, Seventeenth Century JEL: Z11 Leunissen May 2015 DALMI Working Paper No. 15231 Leunissen May 2015 DALMI Working Paper No.
    [Show full text]
  • Ontdek Schilder, Tekenaar, Prentkunstenaar Hans Vredeman
    82012 Hans Vredeman de Vries man / Noord-Nederlands, Zuid-Nederlands schilder, tekenaar, prentkunstenaar, stadsbouwmeester, vestingingenieur, kunsttheoreticus, planoloog, schrijnwerker, hofarchitect Naamvarianten In dit veld worden niet-voorkeursnamen zoals die in bronnen zijn aangetroffen, vastgelegd en toegankelijk gemaakt. Dit zijn bijvoorbeeld andere schrijfwijzen, bijnamen of namen van getrouwde vrouwen met of juist zonder de achternaam van een echtgenoot. Vredeman de Vries, Jan Vries, Hans Vredeman de Vries, Jan Vredeman de Kwalificaties schilder, tekenaar, prentkunstenaar, stadsbouwmeester, vestingingenieur, kunsttheoreticus, planoloog, schrijnwerker, hofarchitect in 1592-1593 city architect of Danzig Nationaliteit/school Noord-Nederlands, Zuid-Nederlands Geboren Leeuwarden 1525/1526 age mentioned as 34 in a deed from 1560 (Borggrefe/Fusenig/Uppenkamp 2002, p. 30, note 1) Overleden Hamburg 1609 Borggrefe/Fusenig/Uppenkamp 2002, p. 29 Familierelaties in dit veld wordt een familierelatie met één of meer andere kunstenaars vermeld. father of Paul (1567-before 1636) and Salomon Vredeman de Vries (1556-1604) Zie ook in dit veld vindt u verwijzingen naar een groepsnaam of naar de kunstenaars die deel uitma(a)k(t)en van de groep. Ook kunt u verwijzingen naar andere kunstenaars aantreffen als het gaat om samenwerking zonder dat er sprake is van een groep(snaam). Dit is bijvoorbeeld het geval bij kunstenaars die gedeelten in werken van een andere kunstenaar voor hun rekening hebben genomen (zoals bij P.P. Rubens en J. Brueghel I). Elsmaer,
    [Show full text]
  • Courant 7/December 2003
    codart Courant 7/December 2003 codartCourant contents Published by Stichting codart P.O. Box 76709 2 A word from the director 12 The influence and uses of Flemish painting nl-1070 ka Amsterdam 3 News and notes from around the world in colonial Peru The Netherlands 3 Australia, Melbourne, National Gallery 14 Preview of upcoming exhibitions [email protected] of Victoria 15 codartpublications: A window on www.codart.nl 3 Around Canada Dutch cultural organizations for Russian 4 France, Paris, Institut Néerlandais, art historians Managing editor: Rachel Esner Fondation Custodia 15 codartactivities in fall 2003 e [email protected] 4 Germany, Dresden, Staatliche Kunst- 15 Study trip to New England, sammlungen Dresden, Gemäldegalerie 29 October-3 November 2003 Editors: Wietske Donkersloot, Alte Meister 23 codartactivities in 2004 Gary Schwartz 5 Germany, Munich, Staatliche 23 codart zevencongress: Dutch t +31 (0)20 305 4515 Graphische Sammlung and Flemish art in Poland, Utrecht, f +31 (0)20 305 4500 6 Italy, Bert W. Meijer’s influential role in 7-9 March 2004 e [email protected] study and research projects on Dutch 23 Study trip to Gdan´sk, Warsaw and and Flemish art in Italy Kraków, 18-25 April 2004 codart board 8 Around Japan 32 Appointments Henk van der Walle, chairman 8 Romania, Sibiu, Brukenthal Museum 32 codartmembership news Wim Jacobs, controller of the Instituut 9 Around the United Kingdom and 33 Membership directory Collectie Nederland, secretary- Ireland 44 codartdates treasurer 10 A typical codartstory Rudi Ekkart, director of the Rijksbureau voor Kunsthistorische Documentatie Jan Houwert, director of the Wegener Publishing Company Paul Huvenne, director of the Koninklijk Museum voor Schone Kunsten, Antwerp Jeltje van Nieuwenhoven, member of the Dutch Labor Party faction codartis an international council for curators of Dutch and Flemish art.
    [Show full text]
  • Ijspret - De Winters Van Hendrick Avercamp”, Rijksmuseum, 14-01-2010 Hendrick Avercamp (Amsterdam 1585-1634 Kampen) Was the Undoubted Master in Painting Ice Scenes
    1 Franz Ossing, GFZ German Research Centre for Geosciences Pieter Roelofs, Rijksmuseum Amsterdam Avercamp’s Skies Revised and extended contribution to the symposium “IJspret - De winters van Hendrick Avercamp”, Rijksmuseum, 14-01-2010 Hendrick Avercamp (Amsterdam 1585-1634 Kampen) was the undoubted master in painting ice scenes. His pictures set the standard for the depiction of life on ice in Dutch landscape painting of the 17th century. Winter landscape with skaters (Fig. 1) shown in a monographic exhibition at the Rijksmuseum in Amsterdam and the National Gallery of Art in Washington during the Winter of 2009-2010 is a wonderful example of his skills.1 Persons from all social strata are involved in all kinds of activities imaginable on ice: skaters zoom along, children throw snow balls, the inevitable colf players aim at their target, peasants look for additional food to fight the then commonplace hunger in winter by using bird traps, water is carried in buckets from a hole sawn or hacked into the ice .... Leisure and every day chores are found closely together and entangled intimately in the essence of a winter in the Netherlands during the Little Ice Age. Fig. 1: Hendrick Avercamp: "Winterlandschap met schaatsers (Winter landscape with skaters)", c.1608, oil on panel, 77.3 x 131.9 cm, Rijksmuseum Amsterdam (click to enlarge) The Little Ice Age covers a time period from the 16th to the 19th century where temperatures were considerably lower than today average. Winters were longer and harsher than during 1 Hendrik Avercamp: “Ijspret”, Rijksmuseum Amsterdam 20.11.2009 – 15.02.2010; Washington DC., National Gallery of Art 21.03.2010 – 05.07.2010.
    [Show full text]
  • The Design Practices of the Dutch Architectural Painter Bartholomeus Van Bassen
    National Gallery Technical Bulletin Volume 26, 2005 National Gallery Company London Distributed by Yale University Press Series editor Ashok Roy © National Gallery Company Limited 2005 All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without the prior permission in writing of the publisher. First published in Great Britain in 2005 by National Gallery Company Limited St Vincent House, 30 Orange Street London wc2h 7hh www.nationalgallery.co.uk British Library Cataloguing in Publication Data A catalogue record for this journal is available from the British Library isbn 1 85709 341 0 issn 0140 7430 525046 Publisher Kate Bell Project manager Jan Green Editor Diana Davies Designer Tim Harvey Picture research Xenia Corcoran and Kim Klehmet Production Jane Hyne and Penny Le Tissier Printed in Italy by Conti Tipocolor front cover Rubens, The Judgement of Paris (NG 194), detail of plate 1, page 4. title page Joachim Beuckelaer, The Four Elements: Air (NG 6587), detail of serving girl. The Design Practices of the Dutch Architectural Painter Bartholomeus van Bassen axel rüger and rachel billinge artholomeus van bassen (c.1590–1652) was Cunerakerk, Rhenen (plate 1) is the only painting Bthe first Dutch painter to specialise in the genre in the National Gallery that can be reliably attrib- of architectural painting. He is now principally uted to the artist.3 remembered for the pivotal role he played
    [Show full text]
  • Vp4923 David Vinckboons
    VP4923 DAVID VINCKBOONS (Mechelen 1576 – 1631 Amsterdam) A Quack Doctor selling Potions and Remedies in a Square Inscribed, on the portrait, upper centre: A[e]tatis 36/1606[?] Oil on panel, 12⅞ x 20⅝ ins. (32.8 x 52.4 cm) PROVENANCE Private Collection, The Netherlands, since at least 1950, until 2020 EXHIBITED On loan to The Noordbrabants Museum, ‘s-Hertogenbosch, The Netherlands, 16 October 1982 – 8 February 1987. The painter, draughtsman and printmaker David Vinckboons played a key role in the development of genre painting in the Northern Netherlands in the first decades of the seventeenth century. Born in Flanders in 1576, he was only fifteen years old when his family settled in Amsterdam. His father Philips Vinckboons (1545-c. 1601), a watercolour specialist, trained him in the Flemish tradition. David’s oeuvre comprises landscapes, genre scenes and history subjects. His Flemish origins are strongly reflected in his landscapes, which are indebted to the Flemish landscape painter Gillis van Coninxloo (1544-1607), who also settled in Amsterdam, and in his peasant scenes which are clearly descended from Pieter Bruegel the Elder (c. 1525-1567). He was also a pioneer of the fashionable subgenre of buitenpartijen, or outdoor Merry Companies. His influence was especially far reaching owing to the many prints made after his designs. A Quack Doctor selling Potions and Remedies is characteristic of the lively genre scenes painted by Vinckboons in the first decade of the seventeenth century. In a cobbled square, close to the harbour, a quack doctor has set up his stall. A flamboyant-looking character, with ginger hair and beard, he engages us with a direct gaze.
    [Show full text]
  • Źródła Alberti Leon Battista, O Malarstwie, Oprac. M. Rzepińska
    Źródła Alberti Leon Battista, O malarstwie, oprac. M. Rzepińska, tłum. L. Winniczuk, Wrocław–Warszawa– Kraków 1963. Aldrich K., Fehl Ph., Fehl R., The literature of classical art: Franciscus Junius, (I) The Painting of the Ancients, (II) A Lexicon of Artists and their Works, Berkeley 1991. Ampzing Samuel, Beschrijvinge ende Lof der Stadt Haerlem in Hollant, Amsterdam 1974 (reprint wydania Haarlem 1628). Armenini Giovanni Battista, De’ veri precetti della Pittura, oprac. M. Gorreri, Torino 1988. Baldinucci Filippo, Notizie de’ professori del disegno, (Firenze 1681), [w:] Opere, t. 10, Milano 1812. Bembo Pietro, Prose della volgar lingua (1513) i De imitazione (ok. 1513) [w:] Prosatori latini del Quattrocento, red. E. Garin, (Classici italiani, 13), Milano-Napoli 1952, s. 903–905 Białostocki J., Myśliciele, kronikarze i artyści o sztuce od starożytności do 1500 r., Warszawa 1978. Białostocki J., Teoretycy, pisarze i artyści o sztuce 1500–1600, Warszawa 1985. Białostocki J., Poprzęcka M., Ziemba A., Teoretycy, historiografowie i artyści o sztuce 1600–1700, Warszawa 1994. Braun Georg, Hogenberg Frans, Civitates Orbis Terrarum, wyd. facs., oprac. M. Schefold, I–VI, Stuttgart 1965–1970. Bray Salomon de, Architectura moderna, ofte Bouwinge van onsen tyt, Amsterdam 1631 (reprint: Soest 1971). Bredius A., Künstler-Inventare. Urkunden zur Geschichte der holländischen Kunst des XVIten, XVIIten und XVIIIten Jahrhunderts, t. 1–8, Haag 1915–1922. Brom G., Langeraad L.A. van, Diarium van Arend van Buchell, Amsterdam 1907. Campen J.W.C. van, Aernout van Buchell: Notae Quotidianae, Utrecht 1940. Cellini Benvenuto, Sopra l’arte del disegno, [w:] P. Barocchi, Scritti d’arte del Cinquecento, Milano- Napoli 1971–1977. Deutschland vor drei Jahrhunderten.
    [Show full text]
  • Hendrick Avercamp a Scene on The
    Hendrick Avercamp 1585-1634 HENDRICK AVERCAMP, born in Amsterdam in a (1585/1586-1635), and Dirck Hardenstein II (1620- house next to the Nieuwe Kerk, was baptized in the after 1674). Oude Kerk on 27 January 1585. In 1586 the family moved to Kampen, where Avercamp's father set up Notes an apothecary's business that continued to be run 1. Avercamp, however, must have occasionally returned to Amsterdam, as is suggested by a drawing he made of the after his death by his son Lambert. Another son also Haarlemmerpoort in Amsterdam, which was constructed studied medicine, and the members of this well-edu­ between 1615 and 1618. See Amsterdam 1993a: 56, no. 23, cated family were for many years prominent citizens repro. of Kampen. Bibliography For his artistic training, Hendrick went to Am­ Welcker 1933/1979. sterdam to study with the Danish portrait painter Amsterdam 1982a. Pieter Isaacks (1569-1625). In 1607, King Christiaan Blankert 1982a. IV recalled Isaacks to Denmark, and Avercamp ap­ Wiersma 1985. Amsterdam 1987: 254-261. pears among the list of buyers at the auction of his Brown/MacLaren 1992: 3. teacher's effects as "de stom tot Pieter Isacqs" [Pieter Isaacks' mute]. Various other records testify to Aver- camp's disability: in 1622, a document refers to him as "Hendrick Avercamp de Stomme," and his 1967.3.1 (2315) mother's will, drawn up in 1633, instructs that her unmarried, "mute and miserable" son Hendrick A Scene on the Ice should receive, in addition to his portion of the in­ heritance, an extra allowance of one hundred guild­ c.
    [Show full text]
  • Hans Vredeman De Vries Und Die Renaissance Im Norden Die
    Forschungsberichte lungen mit Adelsprovenienz oder aus dem der romischen Graphik am meisten pragende Kontext der alten Kunstakademien nicht - ein Studium der erhaltenen gedruckten untypische Akzentsetzung auf Vollstandigkeit Lagerlisten steht aus, ware jedoch fur die im Sinne einer Bestandsvertretung des Kiinst- Geschmacksgeschichte des spateren 18. Jh.s lers und seiner bekanntesten Reproduzenten. hochst ertragreich). Erst die in den i95oer Weitaus weniger Augenmerk wurde an- Jahren hinzugekommenen Geschenke der scheinend auf friihe Abziige und damit auf Max-Kade-Foundation New York sowie erstklassige Druckqualitat gelegt; wahrschein- einige rezente Ankaufe haben das Qualitats- lich waren solche Stiicke fur viele der im Fun­ niveau der Sammlung in der Staatsgalerie dus zusammengeflossenen alten Sammlungen nachhaltig verbessert. kaum noch greifbar oder bezahlbar. Was Rai­ Unter den deutschen graphischen Sammlun­ mondi und seinen Kreis angeht, bestimmen gen ist Stuttgart sicher nicht das wichtigste Abziige des spateren 17. und 18. Jh.s das Bild, Repositorium von Raffael-Reproduktionen, also Drucke mit den Verlegeradressen der de kann aber wegen der Schwerfalligkeit der Rossi und des kurz vor der franzdsischen Re­ meisten anderen Institute wieder einmal punk- volution tatigen Carlo Losi (letzterer verdient ten: Eine solche Ubersicht uber Verbreitung iibrigens mehr Beachtung; sein Sortiment war und EinfluE der Inventionen Raffaels im neben dem der Calcografia camerale das wohl europaischen Bilddruck fehlte bisher in umfangreichste und den historischen Kanon deutscher Sprache. Eckhard Leuschner Hans Vredeman de Vries Hans Vredeman de Vries und die Renaissance im Norden Exhibition catalogue Weserrenaissance-Museum, Lemgo, edited by Heiner Borggreve, Vera Lupkes, Paul Huvenne, and Ben van Beneden. With Thomas Fusenig and Barbara Uppenkamp. Munchen, Hirmer Verlag 2002.
    [Show full text]
  • Art at Auction in Th Century Amsterdam
    JOHN MICHAEL MONTIAS This book exploits a trove of original documents that have survived on the auctions organized by the Orphan Chamber of Amsterdam in the first half of the seventeenth century. For the first time, the names of some 2000 buyers of works of art at auction in the 29 extant notebooks of the Chamber have been systematically analyzed. On the basis of archival research, data have been assembled on the occupation of these buyers (most of whom were merchants), their origin (Southern Netherlands, Holland, and other), their religion, their year of birth, their date of marriage, the taxes they paid and other indicators of their wealth. Buyers were found to cluster in groups, not only by extended family but by occupation, religion (Remonstrants, Counter-Remonstrants) and avocation (amateurs of tulips and of porcelain, members of Chambers Art at Auction in of Rhetoricians, and so forth). The subjects of the works of art they bought and the artists to which they were attributed are also analyzed. The second part of the book on “Selected Buyers”, is devoted to art dealers who bought at auction and four to buyers who had special connections with artists, including principally Rembrandt. As a whole, the book offers a penetrating insight into the culture of the Amsterdam elite in the seventeenth century. In Art at Auction in 17th Century Amsterdam Montias has created a richly patterned panorama of the interactions between artists, art lovers and art dealers who were active in one of Europe’s most JOHN MICHAEL th Century Amsterdam important art scenes of the 17th century.
    [Show full text]
  • The Merchants of Light Art, Science, and Culture at the Court of Rudolph II
    The Merchants of Light Art, science, and culture at the court of Rudolph II This guide was meant to accompany the exhibition Rudolph II and Prague The Imperial Court and the Residential City as Cultural and Spiritual Centre of Central Europe organised by the Prague Castle Administration, the Office of the President of the Czech Republic, the Ministry of Culture of the Czech Republic, and the City of Prague Curator-in-chief, Dr. Eliska Fuciková Senior curators, Duna Panenková, Ivana Quilezová, James M. Bradburne, et al. Prague, 30 May - 7 September 1997 1 The Merchants of Light James M. Bradburne The Habsburg court in the late Renaissance, in Vienna under Ferdinand I and Maximilian II, and later under Rudolph II in Prague, has excited the interest of scholars and the general public alike. Whether it is through the astronomical observations of the silver-nosed Tycho Brahe, or through tales of the golem who haunted the street s of Prague at the behest of the Rabbi Löw, the period is known to have been one of intense intellectual, artistic and political ferment. On the other hand, compared to the same period in other European countries such as France, Spain or Italy, little is known about Rudolph's court in Prague, which for over three decades was a wellspring of neo-platonic studies in alchemy, astrology, allegorical painting and technology, and attracted such scholars and artists as Arcimboldo, Savery, Bruno and Kepler. Certainly what we do know is tantalising. For instance, we know that there were close ties between the Protestant court of England and the imperial court of Prague.
    [Show full text]