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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 They have not been peer-reviewed.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. -
Lucas Van Valckenborch in Wiener Sammlungen
Diplomarbeit Titel der Diplomarbeit Lucas van Valckenborch in Wiener Sammlungen Verfasserin Ulrike Schmidl angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, im November 2010 Matrikel-Nummer: A 0503817 Studienkennzahl: A 315 Studienrichtung: Kunstgeschichte Betreuerin : Ao. Univ.-Prof. Dr. Monika Dachs-Nickel Inhalt I. Einleitung .......................................................................................................... 2 II. Provenienz ........................................................................................................ 4 III. Kostümentwürfe .............................................................................................. 10 1. Entwicklung der Kostümstudie ...................................................................................12 2. Einordnung der Kostümdarstellungen Valckenborchs ................................................13 3. Modische Gewänder in den Gemälden Valckenborchs ..............................................14 IV. Porträts ........................................................................................................... 17 1. Der Stand des Hofmalers im 16. Jahrhundert ............................................................17 2. Entwicklung des höfischen Bildnistypus .....................................................................21 3. Die Porträtliebe des Erzherzogs Matthias ..................................................................28 V. Monatsdarstellungen ..................................................................................... -
The Genre of Calendar Illustrations from Origins to Lucas and Maarten Van Valckenborch
GHENT UNIVERSITY FACULTY OF ARTS AND PHILOSOPHY THE CYCLE OF THE YEAR: THE GENRE OF CALENDAR ILLUSTRATIONS FROM ORIGINS TO LUCAS AND MAARTEN VAN VALCKENBORCH. VOLUME I. A Thesis Submitted in 00902394 Partial Fulfillment of the Master in Art Science Requirements for the Degree Academic Year 2009- 2010. Of Master of Arts in Art Science at Ghent University Promoter: Prof. Dr. M. Martens By Nadya Lobkova Promoter: Prof. Dr. M. Martens CONTENTS VOLUME I: TEXT INTRODUCTION CHAPTER I: EMERGENCE AND FORMATION OF THE CALENDAR ICONOGRAPHY. 1. The vision of time and the year cycle in the medieval and Early Modern world picture. 2. Seasons and months in visual arts in antiquity: from allegory to the new concept. 3. Calendar illustrations in Early and High Middle Ages: 3.1. Early Middle Ages: formation of the iconography; 3.2. Moths in the High Middle Ages: regional variations; 3.3. The concept of labour in the Middle Ages. CHAPTER II: TRANSFORMATIONS OF THE GENRE BETWEEN THE LATE MIDDLE AGES AND PIETER BRUEGEL THE ELDER. 1. Calendar illustrations in Très Riches Heurs du Duc de Berry of the brothers Limbourg. 2. Calendar illustrations in XV-XVI centuries: 2.1. Page lay-out. 2.2. Iconography. 2.3. Nature and city. 3. Genre mass-produced: transition into new media. 4. Bruegel‘s Twelve Months: the crossbreeding of calendar and landscape: 5.1. The genre of landscape in the first half of the 16th century. 5.2. Bruegel‘s cycle Twelve Months: the problems of iconography. 5.3. Composition of the cycle. 5.4. Bruegel‘s drawings Spring and Summer. -
Jan Brueghel the Elder: the Entry of the Animals Into Noah's
GETTY MUSEUM STUDIES ON ART JAN BRUEGHEL THE ELDER The Entry of the Animals into Noah's Ark Arianne Faber Kolb THE J. PAUL GETTY MUSEUM, LOS ANGELES © 2005 J. Paul Getty Trust Library of Congress Cover and frontispiece: Cataloging-in-Publication Data Jan Brueghel the Elder (Flemish, Getty Publications 1568-1625), The Entry of the Animals 1200 Getty Center Drive, Suite 500 Kolb, Arianne Faber into Noah's Ark, 1613 [full painting Los Angeles, California 90049-1682 Jan Brueghel the Elder : The entry and detail]. Oil on panel, 54.6 x www.getty.edu of the animals into Noah's ark / 83.8 cm (21/2 x 33 in.). Los Angeles, Arianne Faber Kolb. J. Paul Getty Museum, 92.PB.82. Christopher Hudson, Publisher p. cm. — (Getty Museum Mark Greenberg, Editor in Chief studies on art) Page i: Includes bibliographical references Anthony van Dyck (Flemish, Mollie Holtman, Series Editor and index. 1599-1641) and an unknown Abby Sider, Copy Editor ISBN 0-89236-770-9 (pbk.) engraver, Portrait of Jan Brueghel Jeffrey Cohen, Designer 1. Brueghel, Jan 1568—1625. Noah's the Elder, before 1621. Etching and Suzanne Watson, Production ark (J. Paul Getty Museum) engraving, second state, 24.9 x Coordinator 2. Noah's ark in art. 3. Painting— 15.8 cm (9% x 6/4 in.). Amsterdam, Christopher Foster, Lou Meluso, California—Los Angeles. Rijksmuseum, Rijksprentenkabinet, Charles Passela, Jack Ross, 4. J. Paul Getty Museum. I. Title. RP-P-OP-II.II3. Photographers II. Series. ND673.B72A7 2004 Typesetting by Diane Franco 759.9493 dc22 Printed in China by Imago 2005014758 All photographs are copyrighted by the issuing institutions, unless other- wise indicated. -
A Panoramic Mountain Landscape, with a City, Possibly Frankfurt, Beyond Oil on Canvas 53.5 X 81 Cm (21 X 31⅞ In)
Lucas van Valckenborch (Leuven c.1530 - Frankfurt am Main 1597) A Panoramic Mountain Landscape, with a City, possibly Frankfurt, beyond oil on canvas 53.5 x 81 cm (21 x 31⅞ in) This panoramic scene is typical of Lucas van Valckenborch’s mountainous landscape paintings. The left- hand side of the work is dominated by a bare crag, projecting into the sky. In its shadow lies a dense forest, a fiercely flowing river, and a mill. Beyond this precipitous foreground is vast river valley containing a large sprawling city. This painting is actually a larger version of a work in the Liechtenstein Princely Collections. Our work is painted on canvas, whereas the Liechtenstein version is on panel, although this change of support is not unusual for van Valckenborch, who also frequently used copper. The Liechtenstein version is dated 1595, towards the end of van Valckenborch’s career, and it therefore seems likely that ours is a similarly mature work. In a discussion of the Liechtenstein version, Walter Liedtke suggests that the city nestling in the river valley is probably based on Frankfurt.¹ Van Valckenborch certainly included faithful topographical depictions of other cities, such as Linz or Antwerp, in his work, and the Liechtenstein painting dates from his Frankfurt period. As Liedtke points out, ‘the long bridge that crossed the city’s wall between the town of Sachsenhausen and Frankfurt met the city’s walls at a square tower like the one seen here’.² Liedtke also points to the fact that many of the many details, such as the round and square towers, or the scale and style of the Cathedral, recall contemporary depictions of Frankfurt. -
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. -
Abstracts of Amsterdam 2010 Conference Papers
Abstracts of Amsterdam 2010 Conference Papers Thursday, May 27, 2010 PARAGONE, SYMBIOSIS: RELATIONS BETWEEN PAINTING AND SCULPTURE IN NETHERLANDISH ART Chair: Lynn F. Jacobs (University of Arkansas) Kim W. Woods, Open University, [email protected] Early Netherlandish Painting and Sculpture: A Paragone? Early Netherlandish painters faced an artistic world in which painting arguably occupied a less prestigious position than sculpture, metalwork, tapestry and embroidery. Despite his much vaunted position as painter and ‘varlet de chambre’ of Duke Philip the Good of Burgundy, there is no evidence that Jan van Eyck undertook a single large-scale commission from his employer, while the published ducal accounts record large sums spent on other artistic projects. In building their immense reputations, and putting early Netherlandish painting on the cultural map of north-west Europe, Van Eyck, the Master of Flemalle and Rogier van der Weyden all had to establish their art in relation to other media. This paper aims to gather together some visual and documentary threads relating to the relative importance of painting and sculpture up to the mid 15th century. For example, it seems no accident that one of Jan van Eyck’s most virtuoso works, the Annunciation diptych in the Museo Thyssen Bornemisza in Madrid, evokes alabaster statues at exactly the time that fellow Bruges sculptor and ducal employee Gilles de Backere was working on the alabaster tomb of Michelle of France for Philip the Good. What evidence is there for a visual competition with sculpture in early Netherlandish painting? Around the same time, Jacques Daret was commissioned to paint shutters for an alabaster altarpiece for the Abbot of St. -
The Small Landscape Prints and the Depiction of the Countryside in Early Modem Antwerp
Local Terrains: The Small Landscape Prints and the Depiction of the Countryside in Early Modem Antwerp Alexandra Kirkman Onuf Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2006 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3213572 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3213572 Copyright 2006 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©2006 Alexandra Kirkman Onuf All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Local Terrains: The Small Landscape Prints and the Depiction of the Countryside in Early Modem Antwerp Alexandra Kirkman Onuf This dissertation reexamines the Small Landscape prints, two series of views of the local landscape around Antwerp published by Hieronymus Cock in the middle of the sixteenth century. -
Spanish School, 17Th Century
The Old Blackhorse, Blackhorse Road, Skeyton, Norwich, Norfolk, NR10 5DJ, England www.riley-smith.com Mobile: + 44 (0)7771 552509 [email protected] Hans Bol (Mechelen 1534-1593 Amsterdam) The Crucifixion Signed and dated in brush [centre] ‘H Bol/ 1573’ and inscribed in the left corner ‘H.A.S. Bol/ 1573’, inscribed on the verso in pen and brown ink ‘Hans Bohl’ and numbered ‘1936’ Pen and brown ink and brown wash and two shades of grey wash heightened with white, incised for transfer on laid paper 273 x 198 mm. (10¾ x 7¾ in.) Provenance: Alister Mathews, Poole, catalogue 65 (autumn 1964), no.148; Dr J.A. van Dongen; Paul Russell, The Netherlands; Bob Haboldt & Co., New York and Paris, 1989; Jacobus A. Klaver, his mark (not in Lugt); his sale, Amsterdam, Sotheby’s 10 May 1994, lot 29; Private European collection till now. Exhibited: Amsterdam, Museum Willet-Holthuysen, Schilderijn, tekeningen en beeldhouwwerken 16e-20e eeuw uit de verzameling van Dr J.A. van Dongen, 1968, no.29. Amsterdam, Rijksmuseum, Tekeningen van Oude Meesters, De Verzameling Jacobus A. Klaver, 1993, cat. no.3. Literature: T.Gerszi, Netherlandish Drawings in the Budapest Museum: Sixteenth Century Drawings, Amsterdam/ New York, 1971, vol.I, under no.17. D.J. Johnson, Old Master Drawings from the Budapest Museum of Art, Rhode Island School of Design, Providence, Rhode Island, 1983, p.212, under no.74, note 6. K.G. Boon, The Netherlandish and German Drawings of the XVth and XVIth Centuries of the Frits Lugt Collection, Paris, 1992, vol. I, p.41, under no.22, p.42 notes 13 and 15, vol. -
Fulltext.Pdf
The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England Author(s): Sara Trevisan Source: Renaissance Quarterly, Vol. 66, No. 3 (Fall 2013), pp. 866-903 Published by: The University of Chicago Press on behalf of the Renaissance Society of America Stable URL: http://www.jstor.org/stable/10.1086/673585 . Accessed: 18/11/2013 09:51 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 University of Chicago Press and Renaissance Society of America are collaborating with JSTOR to digitize, preserve and extend access to Renaissance Quarterly. http://www.jstor.org This content downloaded from 134.83.1.242 on Mon, 18 Nov 2013 09:51:37 AM All use subject to JSTOR Terms and Conditions The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England* by S ARA T REVISAN The relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563 –1631). -
ABEL GRIMMER 1570 – Antwerp – 1618/19
VP4629 ABEL GRIMMER 1570 – Antwerp – 1618/19 The Tower of Babel Dated lower left: 1604 Oil on panel: 20 1/8 x 26 1/8 in (51.1 x 66.3 cm) PROVENANCE ACquired in the 1830s by Sir Edward Blackett, 6th Bt. (1803-1885), for Matfen Hall, Northumberland By desCent to the previous owner Private ColleCtion, England, until 2013 LITERATURE H Minkowski, Aus dem Nebel der Vergangenheit steigt der Turm zu Babel, Berlin 1960, pp.71, no. 235, as by LuCas van ValCkenborCh. H Minkowski, Der Turm zu Babel, Berlin 1991, p.207, erroneously as signed and dated L 604 and attributed to LuCas van ValCkenborCh R de Bertier de Sauvigny, Jacob et Abel Grimmer, Brussels 1991, p.303, no.2; p.294, under no.1; p.189, under no.I EXHIBITED NewCastle, The Hatton Gallery King’s College, Pictures from Collections in Northumberland, 8th May-15th June 1951, no.42, as LuCas van ValCkenborCh (lent by Sir Hugh Blackett) This exquisite landsCape is one of Abel Grimmer’s finest works, Combining miniaturist preCision with an almost surreal inventiveness and sense of breadth. Abel, the son of Jacob Grimmer (1525-before May 1590), like his father speCialised in landsCapes whiCh often inCorporate a BibliCal sCene. He spent his whole Career in Antwerp, the major port of the Spanish Netherlands and a Centre of learning and publishing. The Tower of Babel appears in medieval miniatures and was a popular theme in sixteenth- and early seventeenth-Century Netherlandish art, depiCted by Pieter Bruegel the Elder, LuCas van ValCkenborCh, Pieter Brueghel the Younger, HendriCk van Cleve III and Roelant Saveryi, among others. -
April 2008 Cover
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. 25, No. 1 www.hnanews.org April 2008 The National Gallery of Art acquired its first Salomon van Ruysdael Salomon van Ruysdael, River Landscape with Ferry. Oil on panel. Washington DC, National Gallery of Art, Patrons’ Permanent Fund and the Lee and Juliet Folger Fund The acquisition was made possible through the generosity of the family of Jacques Goudstikker in his memory. Image: Courtesy of the Board of Trustees, National Gallery of Art 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 - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Ann Jensen Adams Obituaries ................................................................................ 2 Dagmar Eichberger HNA News .............................................................................. 4 Matt Kavaler Personalia ...............................................................................