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Pittori Fiamminghi in Rome Tussen 1590 En 1663: Een Netwerkanalyse. - Een Onderzoek Naar De Toepasbaarheid Van Gephi Voor Digital Art History

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Pittori Fiamminghi in Rome Tussen 1590 En 1663: Een Netwerkanalyse. - Een Onderzoek Naar De Toepasbaarheid Van Gephi Voor Digital Art History Pittori Fiamminghi in Rome tussen 1590 en 1663: een netwerkanalyse. - Een onderzoek naar de toepasbaarheid van Gephi voor Digital Art History - 1 Scriptie: Master Kunstgeschiedenis: nieuwere tijd Aantal woorden. 40.787 Begeleider: dhr. dr. M.J. Bok Vincent Martens, 5741858. Tweede lezer: dhr. dr. M.A. Weststeijn [email protected] Frontispice: De nodes en edges, oftewel de schilders, verhuurders en onderlinge relaties, die zijn ingevoerd in Gephi 0.8.2beta. Weergegeven met ForceAtlas2 en Noverlap. 2 Inhoudsopgave 0 Overzicht van bijlagen, afbeeldingen, grafieken en tabellen 6 0.1 Bijlagen 6 0.2 Afbeeldingen van kunstwerken 6 0.3 Afbeeldingen in de scriptie 7 0.4 Grafieken 9 0.5 Tabellen 10 1 Inleiding 11 2 PAP-archief 12 2.1 Aanleiding en doel van het opzetten van het archief 12 2.2 Opzet van het archief 13 2.3 Omvang van het archief 15 2.4 Totstandkoming 16 3 Historiografie 16 3.1 Eugenio Sonnino – Romeinse geschiedschrijving 16 3.2 Antonino Bertolotti – grondlegger van Romeins archiefonderzoek 18 3.3 Godfried Hoogewerff – onderzoek naar Nederlandse en Vlaamse schilders 19 3.4 Rosella Vodret Adamo – horizontaal onderzoek 20 4 Methodologie 22 4.1 Stati delle Anime 22 4.2 Bronnenselectie 24 4.3 Digitaliseringsproces 24 4.4 Data-invoer in de pdf’s 27 4.5 Data-invoer in Timeglider 31 4.6 Lacunes van de Stati delle Anime 32 4.7 Definitieproblematiek aangaande pittori (schilders) en garzoni (leerjongens) 34 4.8 Lacunes in de gecreëerde database 35 5 Rome 1500 - 1660 36 5.1 Reis naar Rome 37 3 5.2 Stedelijke en politieke veranderingen in Rome tussen 1500 en 1630 37 5.3 Romeinse bevolkingsopbouw en immigratie 41 5.4 Hoe werd Rome door de fiamminghi ervaren? 43 6 Gephi 0.8.2beta als hulpmiddel bij de analyse van het PAP-archief 46 6.1 Keuze voor Gephi 0.8.2beta 46 6.2 Gephi verwerken van data 47 6.3 Samenwonende kunstenaars en verhuurders 48 6.4 Wiskundige formules 49 6.5 Gecreëerde variabelen 52 6.6 Tijdlijn 53 7 Analyse van het immigrantennetwerk 54 7.1 Omvang van de database 55 7.2 Vestigingsplaats van pittori fiamminghi op parochiaal niveau 60 7.3 Voordelen van de hoge concentratie pittori fiamminghi 64 7.4 Contactpersonen, Romeinse huisbezit en verhuur 66 7.5 Leeftijd 68 7.6 Afkomst 71 8 Onderzoek naar Noord- en Zuid-Nederlandse werkplaatsen 74 8.1 Onderzoek naar werkplaatsen tussen 1590 en 1600 75 8.2 Zuid-Nederlandse werkplaatsen tussen 1600 en 1610 77 8.3 Noord- en Zuid-Nederlandse werkplaatsen tussen 1610 en 1620 84 8.4 Omvang en sociale opbouw van de werkplaatsen tussen 1600 en 1620 86 8.5 Noord- en Zuid-Nederlandse werkplaatsen tussen 1620 en 1640 89 8.6 Verval en nabloei van de werkplaatsen van 1640 tot 1663 93 8.7 Invloed van de 80-jarige oorlog op de migratiestroom 96 9 Verblijfsduur in Rome 100 9.1 Groepsindeling 100 9.2 Verhouding tussen kort en langdurig verblijf 102 9.3 Uitstroom van kortdurende verblijven 104 4 9.4 Oorzaken van grote instroom aan pittori fiamminghi 107 9.5 Doel van de schilderreis 109 10 Conclusie 111 11 Discussie 114 11.1 Tekortkomingen 114 11.2 Digital humanities 115 12 Dankwoord 116 13 Bibliografie 118 14 Bijlage 126 14.1 Bijlage I 126 14.2 Bijlage II 127 14.3 Bijlage III 128 14.4 Bijlage IV 129 14.5 Bijlage V 130 14.6 Bijlage VI 131 14.7 Bijlage VII 132 14.8 Bijlage VIII 134 14.9 Bijlaeg IX 136 14.10 Bijlage X 137 14.11 Bijlage XI 138 14.12 Bijlage XII 139 14.13 Bijlage XIII 140 15 Afbeeldingen van kunstwerken 144 15.1 Afbeeldingen van kunstwerken I 144 15.2 Afbeeldingen van kunstwerken II 145 15.3 Afbeeldingen van kunstwerken III 146 15.4 Afbeeldingen van kunstwerken IV 147 15.5 Afbeeldingen van kunstwerken V 148 15.6 Afbeeldingen van kunstwerken VI 149 5 15.7 Afbeeldingen van kunstwerken VII 150 0 Overzicht van bijlagen, afbeeldingen, grafieken en tabellen 0.1 Bijlagen Bijlage I: De 90 parochies die in het PAP-archief zijn opgenomen en zijn doorzocht op pittori fiamminghi. Bijlage II: Overzicht van de acht parochies die niet in het PAP-archief zijn opgenomen. Bijlage III: Overzicht van de 35 parochies zijn gescand. Bijlage IV: De datastructuur van de gemaakte database die is gebaseerd op het PAP- archief. Bijlage V: Een getypte en gescande Stati delle Anime uit het PAP-archief. Afgebeeld pagina 7 van de Stati delle Anime uit de parochie Santa Maria del Popolo in 1603. Bijlage VI: Een overzicht van de 38 parochies die voor mijn onderzoek buiten beschouwing zijn gebleven. Bijlage VII: Tabel die de absolute en relatieve aantal gevonden schilders, verhuurders en onderlinge relaties per jaar weergeeft. Bijlage VIII: Tabel die de absolute en relatieve aantal gevonden schilders en onderlinge relaties per jaar weergeeft. Bijlage IX: Een overzicht van de opdeling van de clusters en modulariteitsklassen. Bijlage X: Een overzicht van de nodes met de daar bijhorende toebedeling van de gewichtsklassen die met het programma Gephi zijn berekend. Bijlage XI: Twee tabellen met relatieve waarden die weergeeft in welke parochies de Noord- en Zuid-Nederlandse schilders woonden. Bijlage XII: Twee tabellen met de absolute waarden die weergeeft in welke parochies de Noord- en Zuid-Nederlandse schilders woonden. Bijlage XIII: De toebedeelde persoonsnummers in Gephi. 0.2 Afbeeldingen van kunstwerken Afbeeldingen van kunstwerken I: Maarten van Heemskerck. De façade van de oude Sint-Pietersbasiliek. Circa 1533-1534. Pen en bruine inkt. 275 x 621 mm. Albertina collectie, Wenen, Oostenrijk. Afbeeldingen van kunstwerken II: Maarten van Heemskerck. Sint Pieters Basiliek in aanbouw in 1536. Circa 1536. Tekening. Staatliche Museen Zu Berlin, Berlijn, Duitsland. 6 Afbeeldingen van kunstwerken III: Willem van Nieulandt (II). Boog van Septimius Severus en het Capitool. 1606-1628. Ets. 213 x 279 mm. Rijksprentenkabinet, Rijksmuseum, Amsterdam. Afbeeldingen van kunstwerken IV: Willem van Nieulandt (II). Gezicht op Rome en de Trinità dei Monti. 1594-1635. Ets en gravure. 313 x 436 mm. Rijksprentenkabinet, Rijksmuseum, Amsterdam. Afbeeldingen van kunstwerken V: Gerard ter Borch (I). Gezicht op de Via Panisperna naar de Santa Maria Maggiore, Rome. 1609. Pen en bruine inkt. 274 × 197 mm. Rijksprentenkabinet, Rijksmuseum, Amsterdam. Afbeeldingen van kunstwerken VI: Michelangelo Buonarotti. Het laatste oordeel. 1535-1541. Fresco. 1370 x 1200 cm. Sixtijnse Kapel, Vaticaanstad. Afbeeldingen van kunstwerken VII: François Duquesnoy. Cenotaaf van Jacob de Hase. Circa 1634. Marmer. Santa Maria della Pietà in Campo Santo Teutonico, Rome. 0.3 Afbeeldingen in de scriptie Afbeelding 1: Een Stati delle Anime uit de parochie van de Sant’Andrea delle Fratte uit het jaar 1673, folio 16. Afbeelding 2: Een getranscribeerde en getypte Stati delle Anime van de Santa Maria del Popolo in 1603, pagina 7 (zie Bijlage V). Afbeelding 3: Een fiche in de kaartenbak met daarop verwijzingen naar Andrea da Bruselle (links) en Alessandro (rechts) met zijn Nederlandse naam Alexander Nieuwerveen. Afbeelding 4: Een detailopname van de bladwijzerbalk in Adobe Reader XI met de entry van Jacob de Hase in de parochie van de Santa Maria del Popolo in 1604. Afbeelding 5: Een pdf van een Stati delle Anime van de San Lorenzo in Lucina uit 1607, pagina 3-4 geopend in Adobe Reader XI. Links is de gemaakte bladwijzerbalk. Rechts is de gescande Stati delle Anime afgebeeld. Afbeelding 6: De geüploade bestanden op Google drive met de bestandsnamen van de S. Andrea delle Fratte, S. Biagio dell’Anello, S. Biagio in Montecitovio en de S. Cecilia in Monte Giordano. Afbeelding 7: Detailopname van de Stati delle Anime van de parochie Santa Maria del Popolo uit 1604, pagina. 9. Zichtbaar is het veld zichtbaar van Jacob de Hase waar de volgende bladwijzer op is gebaseerd: maestro GIACOMO DE ASE [jacob DE HASE], d'Antverpia, pittore, d'anni 30. - see SMP: 1601-1607, SAdF: 1613-1625. Afbeelding 8: Een detailopname van de getypte Stati delle Anime van de Santa Maria del Popolo in 1601, pagina 1-2. Te zien zijn enkele pittori fiamminghi waaronder Jacob De Hase. Tevens zijn de annotaties e più, of e più [nella stessa casa] te lezen bij volgnummer 2 en 3. Afbeelding 9: De tijdlijn gecreëerd in Timeglider. Onderin is er een tijdbalk met de exacte datum afgebeeld. Daarboven zijn via verschillende kleuren de verscheidene schilders uit het PAP-archief weergegeven. Rechtsonder is het vergrootglas zichtbaar 7 waarmee men op de verscheidene variabelen binnen Timeglider kan zoeken. Afbeelding 10: Een detailopname van de Timeglider applicatie met de pop-up van Tyman Cracht. Afbeelding 11: Een detailopname van de Timeglider applicatie met de pop-up van Stefano de Cortes. Afbeelding 12: De eerste uitkomsten na het invoeren van de nodes in Gephi. Alleen de nodes van de schilders zijn ingevoerd. De plaatsbepalingen van de nodes zijn door Gephi willekeurig toegekend. Afbeelding 13: De eerste uitkomsten na het invoeren van de nodes en edges van alleen de schilders. De plaatsbepalingen van de nodes zijn door Gephi willekeurig toegekend. Afbeelding 14: Het resultaat na het invoeren van de 346 nodes in Gephi die de schilders en verhuurders representeren. Afbeelding 15: De uitkomst van de het in kaart brengen van de 346 nodes en de daar bijhorende 447 edges van de schilders en verhuurders. De lijnen geven de onderlinge relaties weer. De nodes zijn nog niet gestructureerd op basis van clustervorming. Afbeelding 16: De clustervorming zichbaar gemaakt met behulp van Gephi. De nodes van de verhuurders en schilders zijn aan elkaar gekoppeld door middel van lijntjes. De clusters zijn gecrëerd met het algoritme ForceAtlas2. Afbeelding 17: De grote van de nodes is, voor elke node afzonderlijk, veranderd op basis van het aantal gevonden onderlinge relaties.
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