Chapter 1. in Search of Memling in Rogier's Workshop
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Reciprocal Desire in the Seventeenth Century
CHAPTER 8 The Painting Looks Back: Reciprocal Desire in the Seventeenth Century Thijs Weststeijn The ancients attributed the invention of painting to an act of love: Butades’s daughter tracing her lover’s shadow on a wall, according to Pliny.1 Likewise, the greatest works were deemed to spring from the artist’s infatuation with his model, from Apelles and Campaspe to Raphael and his Fornarina.2 Ever since Ovid’s Ars amatoria, the art of love had been seen as a discipline more refined than the art of painting, which the Romans did not discuss with similar sophistication. By the late sixteenth century, however, courtiers’ literature had become a conduit between poetic and artistic endeavours, ensuring that the nuanced vocabulary of amorous talk affected the theory of painting.3 In Italian and Dutch sources, both the making and the appreciation of art were described in terms of the lover’s interest in a woman: Dame Pictura. She was a vrijster met vele vrijers: a lady with a host of swains, in the words of the artists’ biographer Cornelis de Bie.4 True artists came to their trade by falling helplessly in love The research resulting in this article was sponsored by The Netherlands Organisation for Scientific Research. 1 Bie Cornelis de, Het gulden cabinet van de edel vry schilderconst (Antwerp, Meyssens van Monfort: 1661) 23. 2 Hoogstraten Samuel van, Inleyding tot de hooge schoole der schilderkonst (Rotterdam, Van Hoogstraten: 1678) 291: ‘Urbijn, toen hy verlieft was; Venus deede hem Venus op het schoonst ten toon brengen […] Het geen onmooglijk schijnt kan de liefde uitvoeren, want de geesten zijn wakkerst in verliefde zinnen’. -
WRAP THESIS Shilliam 1986.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/34806 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. FOREIGN INFLUENCES ON AND INNOVATION IN ENGLISH TOMB SCULPTURE IN THE FIRST HALF OF THE SIXTEENTH CENTURY by Nicola Jane Shilliam B.A. (Warwick) Ph.D. dissertation Warwick University History of Art September 1986 SUMMARY This study is an investigation of stylistic and iconographic innovation in English tomb sculpture from the accession of King Henry VIII through the first half of the sixteenth century, a period during which Tudor society and Tudor art were in transition as a result of greater interaction with continental Europe. The form of the tomb was moulded by contemporary cultural, temporal and spiritual innovations, as well as by the force of artistic personalities and the directives of patrons. Conversely, tomb sculpture is an inherently conservative art, and old traditions and practices were resistant to innovation. The early chapters examine different means of change as illustrated by a particular group of tombs. The most direct innovations were introduced by the royal tombs by Pietro Torrigiano in Westminster Abbey. The function of Italian merchants in England as intermediaries between Italian artists and English patrons is considered. Italian artists also introduced terracotta to England. -
Curriculum Vitae of Maryan Wynn Ainsworth
Curriculum Vitae of Maryan Wynn Ainsworth Department of European Paintings The Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028 Phone: (212) 396-5172 Fax: (212) 396-5052 e-mail: [email protected] EDUCATION Yale University, New Haven, Conn., Department of History of Art Ph.D., May 1982 M. Phil., May 1976 Doctoral dissertation, “Bernart van Orley as a Designer of Tapestry” Oberlin College, Oberlin, Ohio, Department of Art History M.A., May 1973 B.A., January 1972 Master’s thesis, “The Master of St. Gudule” Independent art-history studies in Vienna (1969), Mainz (1973–74), and Brussels (1976–77) PROFESSIONAL EXPERIENCE The Metropolitan Museum of Art, New York Department of European Paintings Curator of European Paintings, 2002–present Research on Northern Renaissance paintings at The Metropolitan Museum of Art, with emphasis on the integration of technical examination of paintings with art-historical information; curating exhibitions; cataloguing the fifteenth- and sixteenth-century Netherlandish and German paintings in the collection; teaching courses on connoisseurship and Northern Renaissance paintings topics for Barnard College and Columbia University; directing the Slifka Fellowship program for art historians at the graduate level; departmental liaison and coordinator, European Paintings volunteers (2008–16) Paintings Conservation, Conservation Department Senior Research Fellow, 1992–2001 Research Fellow, 1987–92 Senior Research Associate, 1982–87 Research Investigator, 1981–82 Interdisciplinary research -
Hans Memling's Scenes from the Advent and Triumph of Christ And
Volume 5, Issue 1 (Winter 2013) Hans Memling’s Scenes from the Advent and Triumph of Christ and the Discourse of Revelation Sally Whitman Coleman Recommended Citation: Sally Whitman Coleman, “Hans Memling’s Scenes from the Advent and Triumph of Christ and the Discourse of Revelation,” JHNA 5:1 (Winter 2013), DOI: 10.5092/jhna.2013.5.1.1 Available at https://jhna.org/articles/hans-memlings-scenes-from-the-advent-and-triumph-of- christ-discourse-of-revelation/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This is a revised PDF that may contain different page numbers from the previous version. Use electronic searching to locate passages. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 5:1 (Winter 2013) 1 HANS MEMLING’S SCENES FROM THE ADVENT AND TRIUMPH OF CHRIST AND THE DISCOURSE OF REVELATION Sally Whitman Coleman Hans Memling’s Scenes from the Advent and Triumph of Christ (ca. 1480, Alte Pinakothek, Munich) has one of the most complex narrative structures found in painting from the fifteenth century. It is also one of the earliest panoramic landscape paintings in existence. This Simultanbild has perplexed art historians for many years. The key to understanding Memling’s narrative structure is a consideration of the audience that experienced the painting four different times over the course of a year while participating in the major Church festivals. -
Great Vespers on March 24 the Annunciation to the Annunciation To
Great Vespers on March 242424 The Annunciation to the MostMost----HolyHoly Theotokos Priest: Blessed is our God, always, now and ever, and unto ages of ages. Choir: Amen. Come, let us worship and fall down before God our King. Come, let us worship and fall down before Christ, our King and our God. Come, let us worship and fall down before Christ Himself, our King and our God. THE PSALM OF INTRODUCTION—PSALM 103 Reader: Bless the Lord, O my soul; O Lord my God, Thou hast been magnified exceedingly. Confession and majesty hast Thou put on, Who coverest Thyself with light as with a garment, Who stretchest out the heaven as it were a curtain; Who supporteth His chambers in the waters, Who appointeth the clouds for His ascent, Who walketh upon the wings of the winds, Who maketh His angels spirits, and His ministers a flame of fire. Who establisheth the earth in the sureness thereof; it shall not be turned back forever and ever. The abyss like a garment is His mantle; upon the mountains shall the waters stand. At Thy rebuke they will flee, at the voice of Thy thunder shall they be afraid. The mountains rise up and the plains sink down, unto the place where Thou hast established them. Thou appointedst a bound that they shall not pass, neither return to cover the earth. He sendeth forth springs in the valleys; between the mountains will the waters run. They shall give drink to all the beasts of the field; the wild asses will wait to quench their thirst. -
He Sanctuary Series
T S S HE ANCTUARY ERIES A Compilation of Saint U News Articles h ON THE g Saints Depicted in the Murals & Statuary of Saint Ursula Church OUR CHURCH, LIVE IN HRIST, A C LED BY THE APOSTLES O ver the main doors of St. Ursula Church, the large window pictures the Apostles looking upward to an ascending Jesus. Directly opposite facing the congregation is the wall with the new painting of the Apostles. The journey of faith we all make begins with the teaching of the Apostles, leads us through Baptism, toward altar and the Apostles guiding us by pulpit and altar to Christ himself pictured so clearly on the three-fold front of the Tabernacle. The lively multi-experiences of all those on the journey are reflected in the multi-colors of the pillars. W e are all connected by Christ with whom we journey, He the vine, we the branches, uniting us in faith, hope, and love connected to the Apostles and one another. O ur newly redone interior, rededicated on June 16, 2013, was the result of a collaboration between our many parishioners, the Intelligent Design Group (architect), the artistic designs of New Guild Studios, and the management and supervision of many craftsmen and technicians by Landau Building Company. I n March 2014, the Landau Building Company, in a category with four other projects, won a first place award from the Master Builders Association in the area of “Excellence in Craftsmanship by a General Contractor” for their work on the renovations at St. Ursula. A fter the extensive renovation to the church, our parish community began asking questions about the Apostles on the Sanctuary wall and wishing to know who they were. -
(Thalamus) in Images of the Annunciation of the 14Th-15Th Centuries in the Light of Latin Patristics
International Journal of History and Cultural Studies (IJHCS) Volume 5, Issue 4, 2019, PP 49-70 ISSN 2454-7646 (Print) & ISSN 2454-7654 (Online) DOI: http://dx.doi.org/10.20431/2454-7654.0504005 www.arcjournals.org The Symbol of Bed (Thalamus) in Images of the Annunciation of the 14th-15th Centuries in the Light of Latin Patristics José María Salvador-González* Professor of Art History, Faculty of Geography and History, Complutense University of Madrid, Spain *Corresponding Author: José María Salvador-González, Professor of Art History, Faculty of Geography and History, Complutense University of Madrid, Spain Abstract: This article attempts to interpret the doctrinal meanings hidden under the bed symbol in some images of the Annunciation of the 14th and 15th centuries. For this purpose, thirteen Annunciations of this period which include that piece of furniture are analyzed, and in passing some inadequate interpretations that have been given about any of these pictorial images are evidenced. To justify our interpretations, we rely on an abundant corpus of texts through which many Fathers and theologians of the Latin Church consider the thalamus concept as an eloquent metaphor for the incarnation of the Son of God as a man in the Virgin Mary’s womb, as well as for her virginal divine maternity. Keywords: Christian Iconography – Medieval Art – Annunciation – Christ’s Incarnation. The increasingly complex and detailed images of the Annunciation of the 14th and 15th centuries include almost always some narrative details –such as a stem of lilies,1 a book of prayers, a house in the form of a temple,2 the divine ray of light descending, with the dove of the Holy Spirit, towards the Mary‘s ear,3 or the submissive and demure attitude of the Virgin Mary4—, whose respective symbolism has been highlighted, with greater or lesser success, by numerous experts. -
Rogier Van Der Weyden and Raphael
Rogier van der Weyden / Raphael Rogier van der Weyden, Saint George and the Dragon, c. 1432 / 1435, oil on panel, National Gallery of Art, Ailsa Mellon Bruce Fund This painting is only 5 F/i by 4 B/i inches in size! George’s Story 1 The knight in each of these paintings is Saint George, a Roman soldier who lived during the third century in Asia Minor (modern-day Turkey). According to a popular legend from the Middle Ages, Saint George rescued a Masterful Miniatures princess and her town from a terrible dragon. The best- known account of this heroic tale was written in The 2 Saint George was a favorite subject of artists during the Golden Legend, a medieval best seller from the year 1260. Middle Ages and the Renaissance. These small paintings Its stories from the Bible and tales of the lives of saints of Saint George, created in different parts of Europe, were inspired many artists. For early Christians, Saint George made by two of the leading artists of their times: Rogier became a symbol of courage, valor, and selflessness. van der Weyden (c. 1399 / 1400 – 1464) in northern According to The Golden Legend, the citizens of Silene, Europe, and Raffaello Sanzio, known as Raphael (1483 – a city in Libya, were threatened by a fierce and terrible 1520), in Italy. Despite their diminutive size, each paint- dragon. People saved themselves by feeding their sheep ing is full of incredible details that were meant to be to the hungry monster. When their supply of animals viewed closely. -
Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic. -
The Early Netherlandish Underdrawing Craze and the End of a Connoisseurship Era
Genius disrobed: The Early Netherlandish underdrawing craze and the end of a connoisseurship era Noa Turel In the 1970s, connoisseurship experienced a surprising revival in the study of Early Netherlandish painting. Overshadowed for decades by iconographic studies, traditional inquiries into attribution and quality received a boost from an unexpected source: the Ph.D. research of the Dutch physicist J. R. J. van Asperen de Boer.1 His contribution, summarized in the 1969 article 'Reflectography of Paintings Using an Infrared Vidicon Television System', was the development of a new method for capturing infrared images, which more effectively penetrated paint layers to expose the underdrawing.2 The system he designed, followed by a succession of improved analogue and later digital ones, led to what is nowadays almost unfettered access to the underdrawings of many paintings. Part of a constellation of established and emerging practices of the so-called 'technical investigation' of art, infrared reflectography (IRR) stood out in its rapid dissemination and impact; art historians, especially those charged with the custodianship of important collections of Early Netherlandish easel paintings, were quick to adopt it.3 The access to the underdrawings that IRR afforded was particularly welcome because it seems to somewhat offset the remarkable paucity of extant Netherlandish drawings from the first half of the fifteenth century. The IRR technique propelled rapidly and enhanced a flurry of connoisseurship-oriented scholarship on these Early Netherlandish panels, which, as the earliest extant realistic oil pictures of the Renaissance, are at the basis of Western canon of modern painting. This resulted in an impressive body of new literature in which the evidence of IRR played a significant role.4 In this article I explore the surprising 1 Johan R. -
'Van Eyck: an Optical Revolution' in Ghent
Wonderful introduction to Flanders in all its variety Exhibition visit to ‘Van Eyck: an Optical Revolution’ in Ghent included Visit led by renowned expert on Flemish painting & consultant on the exhibition Itinerary focuses on Van Eyck, Memling & other major Flemish renaissance masters Gentle pace with time for independent exploration Good hotel, wonderfully located & excellent Jan van Eyck, The Mystic Lamb, Ghent Altarpiece, food Ghent, St Bavo’s Cathedral Flanders was home to some of the greatest painters of the late medieval and renaissance periods. One of the most economically developed and culturally rich areas of Europe, it was ruled by the Dukes of Burgundy and subsequently by the Habsburgs, its wealth founded on the manufacture of high quality textiles and international trade. Cosmopolitan and enterprising, the great Flemish cities of Bruges and Ghent fostered developments that shaped the course of history, from international banking and the rise of printing to the Protestant Reformation. These cities were also centres of artistic innovation. It was here that in the early fifteenth century Jan van Eyck, through the meticulous observation of reality and the skilful manipulation of oil paint – an ‘optical revolution’, no less – developed a naturalistic pictorial language that was to influence artists as far afield as Italy. A second, parallel, approach was pioneered by Roger van der Weyden, based largely in Brussels, whose work, no less technically accomplished, strove for a more spiritual presentation of sacred narratives. Both men came to influence subsequent generations with Hugo van der Goes in Ghent and above all, Hans Memling in Bruges, at the forefront of later developments. -
From Patinir's Workshop to the Monastery of Pedralbes. a Virgin
https://doi.org/10.5565/rev/locus.323 LOCVS AMŒNVS 16, 2018 19 - 57 From Patinir’s Workshop to the Monastery of Pedralbes. A Virgin and Child in a Landscape Rafael Cornudella Universitat Autònoma de Barcelona [email protected] Reception: 05/04/2018, Acceptance: 23/06/2018, Publication: 04/12/2018 Abstract Among the paintings of netherlandish origin imported into Catalonia during the first half of the 16th century, preserved at the Monastery of Pedralbes, there is a small panel featuring the Madonna and Child in a landscape which is attributed here to Patinir’s workshop, not excluding the possibility of some autograph intervention by the master. Whatever the case, this article sets out to situate the piece both in the context of its production and in that of its reception, that is, the community of nuns of Saint Claire of Pedralbes. What is interesting about this apparently modest work is the fact that it combines a set of ingredients typical of Patinir in a composition that is otherwise atypical as regards his known output as a whole, above all in terms of the relationship between the figure and the landscape, although also of its presumed iconographic simplicity. The final section of the article examines the piece in relation to the ever-controver- sial issue –which still remains to be definitively resolved– of the authorship of the figures in the works of Patinir. Keywords: Joachim Patinir; 16th Century Netherlandish Painting; landscape painting; The Virgin suckling the Child; The Rest during the Flight into Egypt; Monastery of Santa Maria de Pedralbes Resum Del taller de Patinir al monestir de Pedralbes.