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Downloaded from Brill.Com09/28/2021 10:23:11PM Via Free Access Notes to Chapter 1 671 Notes 1 Introduction. Fall and Redemption: The Divine Artist 1 Émile Verhaeren, “La place de James Ensor Michelangelo, 3: 1386–98; Summers, Michelangelo dans l’art contemporain,” in Verhaeren, James and the Language of Art, 238–39. Ensor, 98: “À toutes les périodes de l’histoire, 11 Sulzberger, “Les modèles italiens,” 257–64. ces influences de peuple à peuple et d’école à 12 Siena, Church of the Carmines, oil on panel, école se sont produites. Jadis l’Italie dominait 348 × 225 cm; Sanminiatelli, Domenico profondément les Floris, les Vaenius et les de Vos. Beccafumi, 101–02, no. 43. Tous pourtant ont trouvé place chez nous, dans 13 E.g., Bhabha, Location of Culture; Burke, Cultural notre école septentrionale. Plus tard, Pierre- Hybridity; Burke, Hybrid Renaissance; Canclini, Paul Rubens s’en fut à son tour là-bas; il revint Hybrid Cultures; Spivak, An Aesthetic Education. italianisé, mais ce fut pour renouveler tout l’art See also the overview of Mabardi, “Encounters of flamand.” a Heterogeneous Kind,” 1–20. 2 For an overview of scholarship on the painting, 14 Kim, The Traveling Artist, 48, 133–35; Payne, see the entry by Carl Van de Velde in Fabri and “Mescolare,” 273–94. Van Hout, From Quinten Metsys, 99–104, no. 3. 15 In fact, Vasari also uses the term pejoratively to The church received cathedral status in 1559, as refer to German art (opera tedesca) and to “bar- discussed in Chapter Nine. barous” art that appears to be a bad assemblage 3 Silver, The Paintings of Quinten Massys, 204–05, of components; see Payne, “Mescolare,” 290–91. no. 11; Maximiliaan Martens in Fabri and Van 16 Bynum, Metamorphosis and Identity, 113–62. Hout, From Quinten Metsys, 77–81, no. 1. 17 Daston and Park, Wonders, 173–214; see also 4 Van de Velde, Frans Floris, 1: 211. Spinks, Monstrous Births; Céard, La nature et les 5 Important studies of civic identity in Antwerp prodiges. include: Duke, “The Elusive Netherlands,” 10–38; 18 Fromentin, Les Maîtres d’autrefois, 16: “Il y a Arnade, Beggars, Iconoclasts, and Civic Patriots; ceux que l’Italie retint et garda, ceux qu’elle Pollmann, Catholic Identity. renvoya, détendus, plus souples, plus nerveux, 6 The movements of this altarpiece in the decades trop enclins même aux attitudes qui remuent, after Floris’s death are discussed in Chapter comme Van Orley; d’autres qu’elle dirigea sur Twelve. For the deportation to Paris, see: Émile- l’Angleterre, l’Allemagne ou la France; d’autres Mâle and Le Brun, Inventaires et Restauration, 90. enfin qui revinrent méconnaissables, notam- 7 Van Mander, Het Schilder-Boeck, fol. 241r; ment Floris, dont la manière turbulente et translation in Van Mander, The Lives, 1: 222. froide, le style baroque, le travail mince, furent 8 Three important sources are: Faggin, La Pittura salués comme un événement dans l’école, et lui ad Anversa; Honig, Painting & the Market; Silver, valurent le dangereux honneur de former, dit-on, Peasant Scenes and Landscapes. 150 [sic] élèves.” 9 Van Mander writes that Floris studied the 19 The artist Michiel Coxcie (1499–1592) falls “nudes” of Michelangelo’s Sistine Ceiling and Last largely outside the scope of this study. The most Judgment in red chalk drawings (van Mander, thorough assessment of his work is Jonckheere, Het Schilder-Boeck, fol. 239v) although he does Michiel Coxcie. As I have argued elsewhere, not mention the work as explicit inspiration for Coxcie held a self-consciously anachronistic view Fall of the Rebel Angels. That association was of his profession, manifest in his failure to set up first articulated by Friedländer 13: 39; it has been a workshop to train artists, his constant search repeated frequently. On the topos of the divine for outmoded forms of courtly patronage, and artist, Emison, Creating the “Divine” Artist. his self-imposed exile from Antwerp’s vibrant 10 On Vasari’s use of these terms to describe artistic community. There is little evidence that the Last Judgment, see Vasari, La Vita di he and Floris interacted, although they clearly © koninklijke brill nv, leiden, ���8 | doi ��.��63/9789004343�5�_0�� Edward H. Wouk - 9789004343252 Downloaded from Brill.com09/28/2021 10:23:11PM via free access notes to chapter � 67� knew one another’s work. See Wouk, “Michiel seven-headed monster (Revelation 12: 1–3). At Coxcie,” 462–65. upper left angels carry her son toward heaven, 20 Gombrich, “The Renaissance Conception of where he is protected in a red-golden aureole Artistic Progress.” (Revelation 12: 4–5). 21 There is a vast body of scholarship on imita- 27 For Scribanius’s text and the translation tion in the Renaissance, much of it relating quoted here, see Held, “Carolus Scribanius’s to literature and poetry. Important studies Observations,” 198, 201. The original Latin text, include: Pigman, “Versions of imitation in the “Ars Pictoria,” was first published in Carolus Renaissance,” 1–32; Greene, The Light in Troy; Scribanius, Antwerpia (Antwerp: Plantin, 1610). Quint, Origin and Originality. On imitation in the Pliny the Elder, Natural History, 301–03 (XXV.55), visual arts, see, among others, Pochat, “Imitatio describes Bularchos’s Battle of the Magnetes, for und Superatio,” 317–35; Reckermann, “Das which King Candaules of Lydia paid its weight Konzept kreativer imitatio,” 98–132; Ackerman, in gold. Origins, Imitation, Conventions, 125–42; Cropper, 28 Oil on panel, 117 × 162 cm, Brussels, Musées roy- The Domenichino Affair; Mayernick, The aux des Beaux-Arts de Belgique. For a summary Challenge of Emulation. The literature on imita- of this view see most recently Roberts-Jones, tion in Netherlandish art is considerably smaller, Pieter Bruegel the Elder, 104–14. but important studies include: Muller, “Rubens’s 29 Ibid., citing an illumination of the same subject Theory and Practice,” 229–47; Meadow, “Bruegel’s in the Mayer van de Berg Breviary of c. 1510, Procession to Calvary,” 181–205; Melion, “The attributed to Simon Bening. Meditative Function,” 376–426; Ilsink, Bosch en 30 Sullivan, Bruegel and the Creative Process, 184. Bruegel. 31 Although Bruegel never painted an altarpiece 22 Bakhtin, The Dialogic Imagination, 368–61. – one of Floris’s most important lines of work – Walter Melion has used the concept distinctio to he did collaborate with Pieter Baltens on a lost describe a similar mode of constitutive imitation altarpiece for the Mechelen Glover’s Guild in in the later work of Hendrick Goltius (1558–1617); 1551; see Monballieu, “P. Bruegel en het altaar,” see Melion, “The Meditative Function,” 409–25. 92–110. Yet where Goltzius’s work derives theological sig- 32 See Chapter Seven and Chapter Eight. See also nificance from the “product of its ordered parts,” Meganck, Pieter Bruegel the Elder, esp. 132–61. Floris’s art invites constant negotiation between 33 See most recently Ilsink, Bosch en Bruegel; Van the recognizability of sources and the novelty Grieken, Luijten, and Van der Stock, Hieronymus and even strangeness of their reappropriation. Cock, 243–61; Bass and Wyckoff, Beyond Bosch. 23 My understanding of horror as operative in 34 Letter of 6 November 1576; Hessels, Abrahami this context is informed by Kim, “The Horror of Ortelii … Epistulae, 142–44, no. 63: “… hebbe Mimesis,” 335–53. dicwils op v.L. gedocht, om dies wille dat hier 24 On the restricted access to this fresco, see Barnes, over all de aerdichste hulselen oft tophuijuen Michelangelo’s Last Judgment, 39–70. On the syn dan die my dunct Frans Flors oft Jeronimus circulation of prints made after the ceiling, see Bos souden oijt moghen versiert hebben, soo sy note 25, below. hier eertyts nyet gheweest hebben moeten ten 25 Bartsch 14: 363, no. 488, after Michelangelo’s minsten van dit fatsoen ghedroomt hebben.” Cascine Cartoon. Floris had quoted this figure 35 See Meganck, Erudite Eyes. On Bosch’s ingenium, extensively in his decoration for the Arch of see Moxey, “Hieronymus Bosch,” 104–40; Bass, the Genoese Nation, as discussed in Chapter “Hieronymus Bosch,” 11–34. Four. Prints were vital to the reception of 36 For an overview of social, economic, and artistic Michelangelo’s art in the North. Details of the changes in Antwerp in this period, see the essays Last Judgment began to appear in prints from and entries in Van der Stock, ed., Antwerp: Story about 1543, with Bonasone’s single-sheet engrav- of a Metropolis. ing of the entire wall generally dated c. 1546; see 37 Philippot, Pittura fiamminga, 104. Barnes, Michelangelo in Print, 99–119. 38 The long shadow Vasari’s work has cast over 26 The Virgin of the Apocalypse, clothed with the the historiography of Netherlandish art is moon, sun, and twelve stars, is attacked by the questioned by Belozerskaya, Rethinking the Edward H. Wouk - 9789004343252 Downloaded from Brill.com09/28/2021 10:23:11PM via free access 67� notes to chapter � Renaissance, 7–46, and in the work of Walter 56 Van de Velde, Frans Floris, 1: 209. Melion, esp., Melion, Shaping the Netherlandish 57 Woollett, “The Altarpiece in Antwerp,” 23–24, Canon; Melion, “Hendrick Goltzius’s Project.” n. 2. 39 The best introduction to Lampsonius’s life and 58 Van Berchem referred to himself as a “Ridder” or work remains Puraye, Dominique Lampson, knight, using a title inherited from his great- Humaniste. See also Becker, “Domenicus grandfather Constantin van Berchem, although Lampsonius,” 45–61; Melion, Shaping the his seat was located in the city and was not tied Netherlandish Canon, 143–59. to an estate in the manner usually associated 40 See Melion, “Hendrick Goltzius’s Project,” 458–89. with such a noble rank. See Vegiano d’Hovel, 41 See Chapter Two. Nobilaire, 1: 138. 42 The fundamental studies remain Denhaene, 59 Woollett, “The Altarpiece in Antwerp,” 29–30.
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