'A Man of Sorrows, and Acquainted with Grief'
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Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship
Georgia State University ScholarWorks @ Georgia State University Art and Design Faculty Publications Ernest G. Welch School of Art and Design 2016 More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship John Decker Georgia State University, [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/art_design_facpub Part of the Art and Design Commons Recommended Citation John R. Decker, “More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship,” JHNA 8:1 (Winter 2016) DOI: 10.5092/jhna.2016.8.1.2. This Article is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Faculty Publications by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Journal of Historians of Netherlandish Art Volume 8, Issue 1 (Winter 2016) More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship John R. Decker [email protected] Recommended Citation: John R. Decker, “More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kin- ship,” JHNA 8:1 (Winter 2016) DOI: 10.5092/jhna.2016.8.1.1 Available at http://www.jhna.org/index.php/vol-8-1-2016/322-john-r-decker Published by Historians of Netherlandish Art: http://www.hnanews.org/ Terms of Use: http://www.jhna.org/index.php/terms-of-use Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. -
The Institution of the Rosary. Establishing the Context for A
Klara H. Broekhuijsen The Institution of the Rosary. Establishing the context for a recently discovered copy after a lost panel by Geertgen tot Sint Jans in the Pommersfelden Book of Hours, Ms. 343* In the Museum der bildenden Künste in Leipzig there is a sixteenth-century panel depicting The Institution of the Rosary. The style of the figures and the way in which different moments from the story are distributed organically over the picture surface suggest that it is a copy after a lost work that Geertgen tot Sint Jans painted for the Haarlem Confraternity of the Rosary (fig. 1).1 The left half shows the Virgin appear- ing to the kneeling St Dominic, who is receiving the rosary from the Christ Child. The door in the left background opens onto a room in which the bare-chested St 1 Dominic is kneeling before a crucifix with a rosary in his hand. The right half of Copy after Geertgen tot Sint Jans, the painting shows the dissemination of the rosary. In the foreground, St Dominic The Institution of the Rosary, panel, 28 x 42 cm. Leipzig, Museum der accompanied by another friar is presenting a rosary to Queen Blanche of Castile. He bildenden Künste. Photo: Museum is preaching its use from a pulpit in the background. der bildenden Künste, Leipzig. 220 Oud Holland Jaargang/Volume 123 - 2010 Nr. 3/4 2 Copy after Geertgen tot Sint Jans, St Dominic Presenting a Rosary to Queen Blanche of Castile, panel. England, private collection. Photograph taken from Ring 1952 (note 2). There are two other sixteenth century copies after Geertgen’s Institution of the Rosary, but they reproduce only parts of the scenes in the Leipzig painting. -
Instructions and Techniques *
UvA-DARE (Digital Academic Repository) Discoloration in Renaissance and Baroque Oil Paintings. Instructions for Painters, theoretical Concepts, and Scientific Data van Eikema Hommes, M.H. Publication date 2002 Link to publication Citation for published version (APA): van Eikema Hommes, M. H. (2002). Discoloration in Renaissance and Baroque Oil Paintings. Instructions for Painters, theoretical Concepts, and Scientific Data. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 Verdigriss Glazes in Historical Oil Paintings: Instructions and Techniques * 'Lje'Lje verdegris distillépourglacer ne meurt point? Dee Mayerne (1620-46), BL MS Sloane 2052 'Vert'Vert de gris... ne dure pas & elk devient noire.' Dee la Hire, 1709 InterpretationInterpretation of green glares Greenn glazes were commonly used in oil paintings of the 15th to 17th centuries for the depiction of saturated greenn colours of drapery and foliage. -
The Man of Sorrows and Christ Blessing the Chalice As
193 The Man of Sorrows and Christ Blessing the Chalice: The Pre-Reformation and the Utraquist Viewpoints Zuzana Všetečková (Prague) At the start I wish to thank Dr. Milena Bartlová, who has made available for my examination her lecture, prepared for the Conference on Jan Hus, as well the recent article of the Hungarian scholar, Dóra Sallay, dealing with eucharistic Man of Sorrows, the development of the iconography of his depiction, its function and interpretation.1 Miri Rubin’s book Corpus Christi undoubtedly also belongs among these works.2 These researchers stressed, above all, the iconographic type of the Man of Sorrows, which derived from the Eastern depictions, and from the mosaic in the Church of Santa Croce in Jerusalem in Rome. The topos of the Man of Sorrows was often interpreted in connection with the Good Friday hymns and with the text of Isaiah 53:3-5, which describes the suffering of a man who has taken on all human sorrows. The text is usually read at the liturgy on Good Friday. The above-mentioned researchers further noted that within the ambiance of Western Christendom this topos served as a visual image of Corpus Christi, and its theological content emphasized the real presence and transubstantiation. In addition, I am glad to thank Dr. Hana Vlhová for letting me study her article, dealing with mass chants for the feast of Corpus Christi in late medieval Bohemia.3 The study supports, from the viewpoint of liturgical song, my explanatory hypothesis of the Man of Sorrows from the late fourteenth through the fifteenth centuries. -
"MAN with a BEER KEG" ATTRIBUTED to FRANS HALS TECHNICAL EXAMINATION and SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian
Centre for Conservation and Technical Studies Fogg Art Museum Harvard University 1'1 Ii I "MAN WITH A BEER KEG" ATTRIBUTED TO FRANS HALS TECHNICAL EXAMINATION AND SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian July 1984 ___~.~J INDEX Abst act 3 In oduction 4 ans Hals, his school and circle 6 Writings of Carel van Mander Technical examination: A. visual examination 11 B ultra-violet 14 C infra-red 15 D IR-reflectography 15 E painting materials 16 F interpretatio of the X-radiograph 25 G remarks 28 Painting technique in the 17th c 29 Painting technique of the "Man with a Beer Keg" 30 General Observations 34 Comparison to other paintings by Hals 36 Cone usions 39 Appendix 40 Acknowl ement 41 Notes and References 42 Bibliog aphy 51 ---~ I ABSTRACT The "Man with a Beer Keg" attributed to Frans Hals came to the Centre for Conservation and Technical Studies for technical examination, pigment analysis and restoration. A series of samples was taken and cross-sections were prepared. The pigments and the binding medium were identified and compared to the materials readily available in 17th century Holland. Black and white, infra-red and ultra-violet photographs as well as X-radiographs were taken and are discussed. The results of this study were compared to 17th c. materials and techniques and to the literature. 3 INTRODUCTION The "Man with a Beer Keg" (oil on canvas 83cm x 66cm), painted around 1630 - 1633) appears in the literature in 1932. [1] It was discovered in London in 1930. It had been in private hands and was, at the time, celebrated as an example of an unsuspected and startling find of an old master. -
LACHLAN TURNBULL the Man of Sorrows and the King of Glory in Italy, C
Lachlan Turnbull, The Man of Sorrows and the King of Glory in Italy, c. 1250-c. 1350 LACHLAN TURNBULL The Man of Sorrows and the King of Glory in Italy, c. 1250- c. 1350 ABSTRACT The Man of Sorrows – an iconographic type of Jesus Christ following his Crucifixion – has received extensive analytical treatment in the art-historical literature. Following a model that draws scholarly attention to the dynamics of cross-cultural artistic exchange in the central Middle Ages, this article reconsiders recent advances in the scholarly literature and refocusses analysis upon the Man of Sorrows within the context of its ‘shared’ intercultural heritage, suspended between Byzantium and the West, as an image ultimately transformed from liturgical icon to iconographic device. Introduction The image of Jesus’ Crucifixion was originally believed to be either so scandalous, or considered so absurd, that the iconographic means by which to depict it constituted an almost reluctantly-developed theme in Christian art.1 Recent research indicates that Christian Crucifixion iconography emerged in the fourth century and emphasised the salvific – which is to imply, triumphal – aspect of Jesus’ death.2 ‘The Passion’, commencing with the betrayal of Jesus by his disciple Judas Iscariot, culminating in Jesus’ redemptive sacrifice by his Crucifixion and ending with his Resurrection, is a critical narrative in Christian faith.3 The reality of the Crucifixion, including the penetration of Jesus’ side and the issuing of blood and water,4 are pivotal mystic concepts linked to the key Christian doctrines of transubstantiation and sacrificial resurrection, and thus to the efficacy of the Eucharistic Mystery and Christian communion.5 The twinned natures of Jesus, his humanity and divinity, underpin the salvific significance of his death, and the image of his crucified body reinforces the memory of, identification with, and sympathy for Jesus whilst reinforcing the message of his ultimate return. -
|||GRATIS||| Geertgen Tot Sint Jans Ebook
GEERTGEN TOT SINT JANS GRATIS EBOOK Auteur: Aart Van Der Kuijl Aantal pagina's: 304 pagina's Verschijningsdatum: 2019-12-13 Uitgever: Uitgeverij Loutje Bv EAN: 9789491936227 Taal: nl Link: Download hier The Holy Kinship (Geertgen tot Sint Jans) - Wikipedia Geertgen tot Sint Jans ca. The principal source of knowledge concerning Geertgen tot Sint Jans, also called Geertgen van Haarlem, is the Dutch biographer Karel van Mander, who wrote about him in John as well as a pupil of Albert van Ouwater. Van Mander records that Geertgen died at the age of More recent discoveries, however, suggest that he was actually born in Leiden and that he served a portion of his apprenticeship in Flanders, probably at Bruges. In any case, his paintings display a marked Flemish influence, especially from the works of Hugo van der Goes. The earliest painting attributed to Geertgen is the Holy Kinship ca. Geertgen's Adoration of the Magi in Geertgen tot Sint Jans, from a few years later, reveals the added inspiration of Van der Goes for the composition and the quality of the continuous landscape recession. Geertgen's Geertgen tot Sint Jans works are characterized by feelings of intense devotion as well Geertgen tot Sint Jans increasing formal innovation. A small Nativity in London, for example, is not only profoundly emotive but highly original, representing as it does the first true nocturne in Western art. In much the same way, the famous St. John the Baptist in the Wilderness is expressive of deep religious sentiment yet also reveals the "most advanced conception of landscape to appear in 15th-century Flemish painting" Charles D. -
14, Arma Christi
Portland State University PDXScholar Kerver Book of Hours: 2018 Senior Capstone Special Collections: Rare Books & Manuscripts 2018 14, Arma Christi Bridget Eide Follow this and additional works at: https://pdxscholar.library.pdx.edu/kerverbook Part of the History of Religion Commons, and the Medieval History Commons Let us know how access to this document benefits ou.y Recommended Citation Eide, Bridget, "14, Arma Christi" (2018). Kerver Book of Hours: 2018 Senior Capstone. 1. https://pdxscholar.library.pdx.edu/kerverbook/1 This Book is brought to you for free and open access. It has been accepted for inclusion in Kerver Book of Hours: 2018 Senior Capstone by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Arma Christi Bridget Eide In this Kerver Book of Hours (c.1507), there are two Arma Christi pages and both include the Instruments of the Passion. The Arma Christi and the Instruments of the Passion images found within a medieval book of hours were used for purposes of prayer and reflection. As part of their spiritual discipline, daily prayer was a routine practice and was believed to bring the reader closer to God.1 Sensory stimulation from the images, either through visual or aural contact, was a way for the reader to gain indulgences for their sins.2 Indulgences were believed to be offered to the readers by their reciting of prayers, while either looking or touching the image, either touching it with their hand or placing a kiss on or just below the image.3 The two images in this book appear to have come from the same metalcut plate and include the same instruments. -
'Your Body Is Full of Wounds': References, Social Contexts And
Science Museum Group Journal ‘Your body is full of wounds’: references, social contexts and uses of the wounds of Christ in Late Medieval Europe Journal ISSN number: 2054-5770 This article was written by Johanna Pollick, Emily Poore, Sophie Sexon, Sara Stradal 04-13-2021 Cite as 10.15180; 211503 Research ‘Your body is full of wounds’: references, social contexts and uses of the wounds of Christ in Late Medieval Europe Published in Spring 2021, Issue 15 Article DOI: http://dx.doi.org/10.15180/211503 Abstract In this collaborative essay, the authors investigate the different ways in which representations of the wounds of Christ functioned in devotional practices as well as within a wider European context. The first section considers the wounds of Christ rendered as life-giving wells in Princeton MS Taylor 17, a fifteenth-century Middle English prayer book, focusing on their relationship to contemporary secular imagery as well as devotional literature about the heart. The second section focuses on the illustration on a Syphilisblätter, Dürer’s ‘Syphilitic Man’ (1496), and considers the visual referents relied on by the artist to communicate complex devotional ideas. This section also considers Dürer’s own relationship to philopassianism and positions this image within the artist’s oeuvre. The third section focuses on the Loftie Hours and the Hours of Bonne of Luxembourg, both produced for female patrons in the Later Medieval period. Through consideration of the patterns of wear and intervisual relationships with contemporary illustrations of vulvas, the potential of these manuscripts to express different gendered positions alongside pious and devotional practices is examined. -
In 1590, the Dutch Painter and Printmaker Hendrick Goltzius (Fig. 1)
THE BEER OF BACCHUS VISUAL STRATEGIES AND MORAL VALUES IN HENDRICK GOLTzius’ REPRESENTATIONS OF SINE CERERE ET LIBERO FRIGET VENUS Ricardo De Mambro Santos n 1590, the Dutch painter and printmaker Hendrick Goltzius (Fig. 1) created a sim- Iple yet refined composition representing a motif directly borrowed from Terence’s Eunuchus, namely the sentence Sine Cerere et Libero friget Venus (« Without Ceres and 1 Bacchus, Venus would freeze »). Sixteen years later, around 1606, after having depicted several times the same subject in very different compositions, the master elaborated his last representation of this theme in a most monumental pen werck (‘pen work’), in which he included a self-portrait staring at the viewer and holding in both hands the 2 tools of his metamorphic art : the burins. Many scholarly publications have correctly identified the textual source of these works and, therefore, analysed Goltzius’ visual constructions in strict relation to Terence’s play, stressing that the sentence was used 3 « to describe wine and food as precondition for love ». In spite of such a systematic attention, however, no research has been undertaken in the attempt to historically interpret Goltzius’ works within their original context of production, in connection with the social, artistic and economic boundaries of their first ambient of reception, the towns of Haarlem and Amsterdam at the turn of the centuries. As I shall demonstrate in this paper, the creation of such a coherent corpus of prints, drawings and paintings is directly associated -
Ana Diéguez-Rodríguez the Artistic Relations Between Flanders and Spain in the 16Th Century: an Approach to the Flemish Painting Trade
ISSN: 2511–7602 Journal for Art Market Studies 2 (2019) Ana Diéguez-Rodríguez The artistic relations between Flanders and Spain in the 16th Century: an approach to the Flemish painting trade ABSTRACT Such commissions were received by important workshops and masters with a higher grade of This paper discusses different ways of trading quality. As the agent, the intermediary had to between Flanders and Spain in relation to take care of the commission from the outset to paintings in the sixteenth century. The impor- the arrival of the painting in Spain. Such duties tance of local fairs as markets providing luxury included the provision of detailed instructions objects is well known both in Flanders and and arrangement of shipping to a final destina- in the Spanish territories. Perhaps less well tion. These agents used to be Spanish natives known is the role of Flemish artists workshops long settled in Flanders, who were fluent in in transmitting new models and compositions, the language and knew the local trade. Unfor- and why these remained in use for longer than tunately, very little correspondence about the others. The article gives examples of strong commissions has been preserved, and it is only networks among painters and merchants the Flemish paintings and altarpieces pre- throughout the century. These agents could served in Spanish chapels and churches which also be artists, or Spanish merchants with ties provide information about their workshop or in Flanders. The artists become dealers; they patron. would typically sell works by their business Last, not least it is necessary to mention the partners not only on the art markets but also Iconoclasm revolt as a reason why many high in their own workshops. -
The Shroud and the Stone
Text © James F. Day 2020 2 The Shroud and the Stone The Turin Shroud and the Medieval Paschal Mystery James Day Orange County, California [email protected] Abstract The Shroud and the Stone proposes a new way of looking at the Shroud of Turin: as a way to deepen understanding of the Paschal Mystery, the mystery of suffering, the dignity of the Redemption, by rediscovering the beauty of medieval Paschal devotions and how these rich expressions of Christ’s Passion, Death and Resurrection can be reintroduced to today’s faithful. Doorway to a Lost World There is a telling line in the epitaph of Conrad I the Peaceful, king of Burgundy, who reigned until his death in AD 993, that summarizes the inherent worldview of the people we will meet in the pages ahead. The part of the inscription reads, in its English translation: “You who wear precious clothes and who endlessly accumulate wealth that will not benefit you, know that you will be satisfied with few possessions after your death. Sufficient the shroud and the stone.”1 What more is there to add about the world famous Shroud of Turin? It has been analyzed and argued over for centuries. But might it be able to unlock for us a door into how ancestors in the faith meditated upon the Paschal Mystery, the Passion, Death, and Resurrection of Jesus Christ? Indeed, so important was the physical death of Jesus, the burial of his crucified body, and ultimately the abandoned tomb — the central events of Christianity — it enraptured the medieval mind.