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Geest en gratie

Essays Presented to Ildikó Ember on Her Seventieth Birthday

SZÉPM űVÉSZETI MÚZEUM

MUSEUM OF FINE ARTS

BUDAPEST 2012 ildikokoszonto_Layout 1 2012.12.16. 20:48 Page 4

Editor-in-Chief: ORSOLYA RADVÁNYI

Co-Editors: JÚLIA TÁTRAI, ÁGOTA VARGA

Reproduction rights: ANDREA BRENNER

Bibliography compiled by: ILONA BALOGH, ESZTER ILLÉS

Translation: SZILVIA BODNÁR, KATALIN CZOTTNER, ZOLTÁN KÁRPÁTI,

STEVE KANE, DÓRA SALLAY, ANJA K. ŠEV čIK, AXEL VÉCSEY

Language revison: ANJA BRUG, ELIZABETH SZÁSZ

Proof-reading: ESZTER FÁBRY

Designed by GÁBOR KIRÁLY

Printed in Hungary by Elektroproduct Nyomdaipari Kft.

Cover illustration: attributed to Matthias Withoos: Flowers in a Landscape (detail), Szépm űvészeti Múzeum, inv. no. 63.3

©Published by the Szépm űvészeti Múzeum, Budapest 2012, dr. László Baán General Director The Szépm űvészeti Múzeum is supported by the Ministry of Human Resources

We would like to thank our supporters, Prof. dr. Alfred Bader – American Jewish Joint Distribution Committee and the Rijksbureau voor Kunsthistorische Documentatie, for their generous sponsorship. ildikokoszonto_Layout 1 2012.12.16. 20:49 Page 6

CONTENTS

8 IN HONOUR OF ILDIKÓ EMBER

11 ILDIKÓ EMBER’S BIBLIOGRAPHY

QUENTIN BUVELOT 16 ON COORTE’S WITH TWO WALNUTS

FRED G. MEIJER 20 A PARTRIDGE BY ABRAHAM VAN CALRAET (1642–1722) IN BUDAPEST

JÚLIA TÁTRAI THE BEATIFIED MARTYRS OF GORCUM: 26 A SERIES OF PAINTINGS BY DAVID TENIERS THE YOUNGER AND WOUTER GYSAERTS

URSULA HÄRTING BLUMENBUKETTS IN PRUNKVASEN. 34 FRANS FRANCKEN II. – ANDRIES DANIELS – PHILIPS DE MARLIER

ISTVÁN NÉMETH 40 STILL LIFES BY ABRAHAM VAN BEIJEREN IN THE FORMER COLLECTION OF MARCELL NEMES

JÁNOS JERNYEI KISS “... NACH DEM TEGST GERICHTET, OHNE DAS KUNST MESIGE FALLEN ZU LASEN”: STILL LIFE AND 44 TROMPE-L’OEIL ELEMENTS IN LATE CEILING PAINTING

RUDI EKKART 52 HARMEN DE BYE

PETER VAN DEN BRINK 56 NOT GOVAERT FLINCK, BUT JACOB BACKER: THE RESURFACED PORTRAIT OF CORNELIS DE GRAEFF

INGRID CIULISOVÁ 62 PORTRAIT OF AN ORIENTAL AND ITS STORY: A SHORT REPORT

GÖREL CAVALLI-BJÖRKMAN 66 THE ART OF PAINTING BY MARTIN MIJTENS THE ELDER

HARALD MARX »DASS MAN WAHRE NATUR ZU ERBLICKEN GLAUBTE«. ANTON GRAFF – EIN BILDNISMALER ZWISCHEN ABBILD UND VORBILD. ZU DREI SELBSTBILDNISSEN 70 IN DER DRESDENER GEMÄLDEGALERIE

HANA SEIFERTOVÁ

BEMERKUNGEN ZU JOACHIM VON SANDRARTS BILDNIS DES OTTAVIO PICCOLOMINI MIT SEINEM 76 ADJUTANTEN HANS CHRISTOPH RANFFT

ANNAMÁRIA GOSZTOLA 80 A PORTRAIT OF CHRISTIAN WERMUTH IN THE SZÉPM űVÉSZETI MÚZEUM ildikokoszonto_Layout 1 2012.12.16. 20:49 Page 7

GARY SCHWARTZ 84 WITH EMANUEL DE WITTE IN THE OUDE KERK IN

GEORGE S. KEYES 92 A PANORAMIC VIEW OF AMERSFOORT ATTRIBUTED TO JOOST DE VOLDER

KARIN SIDÉN 94 DUTCH ART AND ARTISTS IN SEVENTEENTH-CENTURY SWEDEN

DÓRA SALLAY 104 THE AVIGNON TYPE OF THE VIRGIN OF HUMILITY: EXAMPLES IN SIENA

ANNA EÖRSI 112 CUPID, SALOMON AND SHEBA (PIERO DELLA FRANCESCA, AREZZO)

VILMOS TÁTRAI 118 A NEWLY FOUND PONTORMO INVENTION AND THE OLD QUESTIONS

AXEL VÉCSEY APPENDIX: SOME REMARKS ON THE PROVENANCE OF THE MADONNA DISCUSSED IN VILMOS 128 TÁTRAI’S ARTICLE

SZILVIA BODNÁR 130 GERMAN DRAWINGS WITH THE INSCRIPTION “ROMA 1591”

AXEL VÉCSEY 138 A ROYAL PICTURE: THE PROVENANCE OF GIROLAMO BEDOLI’S BUDAPEST HOLY FAMILY

ZOLTÁN KÁRPÁTI 142 TWO FESTIVAL DESIGNS FROM THE WORKSHOP OF JACOPO STRADA

ÉVA NYERGES 148 RECENTLY ATTRIBUTED SEVENTEENTH-CENTURY NEAPOLITAN PAINTINGS IN HUNGARY

ANDREA CZÉRE 156 A NEWLY IDENTIFIED PAINTING BY DENYS CALVAERT

ÁGOTA VARGA ACQUISITIONS BY ARNOLD IPOLYI FROM THE JOHANN FRIEDRICH FROMM COLLECTION IN CO LOGNE. ON THE PROVENANCE OF SOME GERMAN AND NETHERLANDISH PAINTINGS IN THE 162 CHRISTIAN MUSEUM IN ESZTERGOM

IMRE KOVÁCS A DELACROIX DRAWING IN THE POSSESSION OF LISZT: HAMLET AND HORATIO IN THE GRAVE- 172 YARD AND NINETEENTH-CENTURY HAMLET RECEPTION

JUDIT GESKÓ “LE SUJET NE SIGNIFIE RIEN”: PAUL CÉZANNE’S PEASANT FAMILY AT HOME , AND THE OSTADE 178 PICTURE IN BUDAPEST

MARIANN GERGELY VAN DOESBURG VERSUS MONDRIAN: THE ROLE OF THEIR DIFFERENT VIEWS ON SPACE IN THE 184 DISINTEGRATION OF THE STIJL GROUP garysvarc2_Layout 1 2012.11.18. 7:46 Page 1

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Arnold Houbraken was not at his most reliable when he wrote dezelve te kennen zyn. 1 Three claims in this confident statement of Emanuel de Witte (c. 1617–1692): De meeste Kerken binnen are erroneous. De Witte did not paint most of the churches Amsterdam heeft hy van binnen op verscheiden wyze naar ’t leven of Amsterdam; he did not as a rule paint his church interiors afgeteekent, geschildert, met Predikstoel, Orgel, Heere- en from life; and fewer than half of his paintings are accurate gemeene gestoelten, Grafsteden en andere vercierselen, zoo dat depictions of specific buildings.

1. Emanuel de Witte, The north aisle of a Gothic church, looking east, with elements of the Oude and Nieuwe Kerk, Amsterdam , Szépm űvészeti Múzeum, Budapest

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2. The north aisle of the Oude Kerk, Amsterdam, looking east (March 2012)

Of the more than 50 Reformed, Remonstrant, Lutheran, interiors that carry conviction, whether or not they accurately Men nonite, Catholic, Collegiate, Greek, Armenian, Jewish and portrayed existing buildings. other places of worship in the city, de Witte painted only three: One realistic-looking church interior that combines features the Oude Kerk (Old Church), the Nieuwe Kerk (New Church) of de Witte’s two Amsterdam churches with personal interven - and the Portuguese synagogue. While the interiors of some of tions of the artist was donated in 1910 to the Szépm űvészeti these churches indeed look familiar and recognizable, most of Múzeum by Dr. Armin Stern (fig. 1). 2 The memory of this his real is tic-looking church interiors combine elements from lawyer, financier and court councillor in Budapest and Vienna various sources or derive entirely from the artist’s imagination. deserves to be honored here for his donation of eight paintings There is no way he could have painted these works from life. to the museum in 1910, 1911 and 1912. In 1987 the painting Rather than depicting as many Amsterdam churches as possible was included by Ildikó Ember, whom we celebrate with the present as recogniz ably as possible, de Witte was out to create church volume, in her exhibition of highlights from the Budapest painting

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collection, held in Cologne and Utrecht. She wrote sensitively of the symbolic meanings conveyed by church interiors like this one, impressing upon the viewer, in melancholy mood, the facts of mortality and eternity. The Budapest panel partakes as well of a distinction of an - other kind that has not yet been sufficiently acknowledged. Ilse Manke, author of the only monograph and catalogue raisonné on the artist, listed 65 paintings by or after de Witte depicting the Oude Kerk, with or without additional materials: 38 with - out gross deviations from the actual situation, 18 with features of the Nieuwe Kerk and 9 in which the oldest church of the city provides the basic setting for an architectural fantasy by the artist. 3 Manke might have been too generous in her appraisal. The historian of the Oude Kerk Arnoldus Noach was stricter. His list of “portraits” of the Oude Kerk is limited to six paint - ings. 4 He dates all of them before 1661, while the earliest “fan - tasy” dates from 1659. 5 Hans Jantzen calls 16 of the paintings in his list of works by de Witte depictions of the Oude Kerk, while inclu d ing a larger number of generic “Amsterdam churches,” 4. The north aisle of the Nieuwe Kerk, 6 “Gothic churches” or “Interior of a church.” The restorer of the towards the crossing and choir (June 2012) church, Herman Janse, admitted the evidence of five paintings by de Witte as more or less authentic depictions of the building, of which only three are accepted as such by Noach. 7 In itself, the difference in the number of “portraits” of the Oude Kerk

3. Groundplan of the Oude Kerk today, 5. The north end of the ambulatory with viewpoints of figs. 2 (red) and 12 (green) of the Nieuwe Kerk (June 2012) 86 garysvarc2_Layout 1 2012.11.18. 7:46 Page 4

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recognized by these authorities, from five to 38, shows that Plainly different are the proportions, which are stretched verti - consensus on this issue still eludes us. cally in the painting by a good quarter. The disposition of columns Yet, that Emanuel de Witte was mightily fascinated by the and chapels on the left is tighter, while the columns themselves are Oude Kerk cannot be denied. From 1653 to 1687, hardly a copied from those dividing the aisle from the nave, replacing the year went by without de Witte painting a variant on the interior bundled piers in the building. As in most seventeenth-century from yet another angle, with yet different staffage, accessories church interiors, the wooden beams across the aisle are omitted. and play of light. Although lists of this kind are not maintained The greatest difference lies in the view framed by the furthermost by art historians, I would be surprised if any other artist of the arch. That in the painting – a crossing with a high galleried cle re - early modern period was fixated to this degree on a single theme. story and an ambulatory in the same architecture as the aisle – The possibility that the artist had a standing arrangement of bears no resemblance to what we see in the church (figs. 4, 5). some kind with the church is suggested by the fact that the church Where we do find a constellation resembling the view into council owned two paintings by him that hung in the consis - the crossing and choir is in the Nieuwe Kerk rather than the Oude. tory. 8 When they were acquired is not known, but they give Two viewpoints are required to approximate the situation in the reason to assume that de Witte’s devotion to the Oude Kerk painting, and even then differences remain. From below to above, was reciprocal. one sees the fence, in a different form (the Oude Kerk has models The Budapest painting offers a fine, even unique oppor - more like what we see in the painting), the ambulatory and the tunity to characterize the extent and nature of de Witte’s inter - clerestory. A composite montage in Photoshop, with excuses for ventions. It seems not to have been noticed until now that a its crudeness, combining these three elements within the fram e- drawing in the British Museum comes close to the situation in work of the north aisle of the Oude Kerk is appended as fig. 14. the painting, with a far higher degree of verisimilitude. Before To allow for the widespread departures in the depiction of making that comparison, however, let us begin by showing what the larger forms and details in both churches, I propose the fol - the Oude Kerk looks like in the location that served as de Witte’s lowing title: The north aisle of a Gothic church, looking east, point of departure, the north aisle, beside the Binnenland - with elements of the Oude and Nieuwe Kerk, Amsterdam . vaarderskapel (figs. 2, 3). “After life.” This flat statement by Houbraken concerning At first glance, the differences are so much more striking de Witte’s manner of working can hardly apply to a composite than the resemblances that one wonders why the painting is painting such as the one in Budapest. Seldom do we find him usu ally called an interior of the Oude Kerk at all. It might not painting anything he could have been seeing. Instead, the artist be, had we not known that de Witte worked there a lot and had was mixing and matching in the studio architectural forms and various features of the interior not recurred in more portrait-like details from drawings, other paintings, memory and imagination. paintings of the church. Looking at the features that do corre - This is true of most of his paintings. s pond, we see on the left the location of chapels and the organ Further evidence for this supposition is provided by a com - – though a larger one than hung at the time – mounted on a parison of details from the Budapest painting with two other com - chapel wall. The roofing above the foremost bay in the painting posite interiors of the same period, in the Rijksmuseum and the shows the wooden groin vaulting that still exists in the church, National Gallery of Scotland in Edinburgh (figs. 6, 7). 9 although the last bay looks more like stuccoed masonry. The Of the wealth of comparisons and contrasts to be observed row of columns and arches on the right, complete with metal in these compositions and their details, I would like to call at- supporting rods, and the views through to the cle restory of the ten tion only to a motif in the upper right of all three paintings, nave, are cha racteristic shared fe atures. Still recognizable are the the capital on the foremost column (figs. 8–11). posi tion if not the details of the pulpit, the el ders’ bench, the co l - The capitals in de Witte’s paintings are closer to each other in umns, capitals, and (though invisible in the photo) the bases. The form than any of them are to the capitals in the Oude Kerk. The large paving blocks over the graves are placed and sized similarly. octagonal form is preserved, as well as the vegetal forms of the 87 garysvarc2_Layout 1 2012.11.18. 7:46 Page 5

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6. Emanuel de Witte, Interior of a Gothic church with elements of 7. Emanuel de Witte, Interior of a Gothic church with elements of the the Oude and Nieuwe Kerk, Amsterdam, Rijksmuseum, Amsterdam Oude and Nieuwe Kerk, Amsterdam, National Gallery of Scotland, Edinburgh

8. Detail of fig. 1 9. Detail of fig. 7 10. Detail of fig. 6 11. Photo of column between north aisle and nave of the Oude Kerk; detail of fig. 2

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12. After Emanuel de Witte, The north aisle of the Oude Kerk in Amsterdam, from west to east , British Museum, London

13. Interior of the Oude Kerk from a viewpoint somewhat to the left of fig. 12 (July 2012) 89 garysvarc2_Layout 1 2012.11.18. 7:46 Page 7

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crown. However, whereas the capitals in the church show two bands of knobby, acanthus-like leaves (vary ing from column to column), de Witte joins the lower band to the upper one, placing strong forms at the corners that we do not see in the church. He also adds a decorative motif – a chain of lozenges framed above and below by string courses – that is nowhere to be found in either the Oude or the Nieuwe Kerk. The conclusion I attach to these obser - vations is that de Witte worked in the studio from a store of motifs based in all likelihood on draw - ings made in the Oude and Nieuwe Kerk. Only one candidate for such a drawing is to be found in the literature on de Witte. Ilse Manke makes mention of a drawing of the Oude Kerk in the British Museum that she examined but did not regard as an original work by his hand. Be that as it may, there is no doubt in my mind that the drawing, which seems never to have been illustrated in print, has all the hallmarks of a de Witte composition. If it is not by him, then it must be, as Manke too says, after a lost drawing by him (fig. 12). 10 As it happens, this draw ing shows a view taken from a few steps to the right of the van tage point in the Budapest painting and of the photographic approximation of that spot (fig. 13). The proportions of the in - terior in the drawing are compatible with those of 14. Montage of elements from Oude and Nieuwe Kerk, Amsterdam, to approximate the church interior in fig. 1. the church as it is today, as are the basic construc- ti onal features, including the choir. A major value of the drawing as documentation is that it shows the small organ on the Medusa ; it can only have been taken from an original de that hung on that spot before 1658, when it was replaced by Witte drawing or painting. If one such drawing was made and the larger instrument we see in the paintings in Budapest, Amster - lost, there is every reason to believe that there were more. The dam and Edinburgh. 11 way de Witte combines motifs from various locations, to my The existence of this sheet is an important indication that mind, neces sitated the extensive use of drawings. That none the artist made drawings of the churches he painted. The only have survived is not un common. 13 In this way the Budapest known drawing accepted as an autograph sheet by de Witte is a panel, in relation to the draw ing of the British Museum, forms Medusa in a unique 41-sheet album of drawings by various art - a vital piece of evi dence in favor of acknowledging that Ema- ists from the 1640s that has survived in its original binding. 12 nuel de Witte’s graphic oeuvre, of un known but possibly consi d - The signature on the copy after the drawing of the Oude er able volume, has been lost to us. With it, we have also lost Kerk, with a telltale combination of capitals and lower case, the insight into the means by which he created Old-New churches form of the W and double t, displays close familiarity with that of his own (fig. 14). 90 garysvarc2_Layout 1 2012.11.18. 7:46 Page 8

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1 Houbraken, Arnold, De groote schouburgh der Nederlantsche konstschilders en 241–43, nos. 614–93, including 14 supplementary numbers. The Budapest painting schilderessen. Vol. 1. Amsterdam, 1718, 283. In English: He depicted from life, in is listed on p. 242, no. 658: “Amsterdamer Oude Kerk, Nr. 3929, H[olz] 63 × 52, various ways, the interiors of most of the churches of Amsterdam, painting them with Museum der Schönen Künste, Budapest.” pulpit, organ, the elders’ bench and regular benches, graves and other furnishings, so 7 Janse, Herman, De Oude Kerk te Amsterdam: bouwgeschiedenis en restauratie . that they can be recognized. For recent high-leverage interpretations of de Witte’s Zwolle, 2004, 226–28, nos. OA 11–15. paintings of the Oude Kerk see Vanhaelen, Angela, “Iconoclasm and the Creation 8 Manke 1963 (n. 3), cat. nos. 50, 72. of Images in Emanuel de Witte’s Old Church in Amsterdam.” The Art Bulletin 87 9 Emanuel de Witte, Interior of a Gothic church with elements of the Oude and (2005), 249–64; Pollmer, Almut, Kirchenbilder: der Kirchenraum in der holländi - Nieuwe Kerk, Amsterdam, c. 1670, oil on canvas, 122 × 104 cm, Amsterdam, schen Malerei um 1650. PhD. diss., University, 2011. Both deal in different Rijksmuseum, inv. SK-C-270; Emanuel de Witte, Interior of a Gothic church with ways with the fascinating new information concerning de Witte’s openness to Catholi - elements of the Oude and Nieuwe Kerk, Amsterdam, c. 1680, oil on canvas, 190 × cism, in the subject matter of one important painting (Vanhaelen) and the baptism 162 cm, Edinburgh, National Gallery of Scotland, inv. 990. Ildikó Ember refers as Catholics of several of the artist’s children (Pollmer 2011, 58–63). In the research to comparable paintings in Strasbourg and Kassel as well as another composition in and writing of this paper I gratefully enjoyed the help and advice of Judith van Gent, the Rijksmuseum; see Ildikó Ember, in Cologne and Utrecht 1987 (n. 2). The Jim Harris, Norbert Middelkoop, Piet Musters, Michiel Plomp and Júlia Tátrai. comparison does not favor the Budapest panel. Neil MacLaren attempted to account 2 In the literature listed as Interior of the Oude Kerk in Amsterdam (oil on panel [oak], for differences of that kind with the following observation: “About 1660 de Witte 63.5 × 52 cm, inv. 3929); see Nederlandse 17de eeuwse schilderijen uit Boedapest . put himself at various times under contract to paint in return for his keep; this Exh. cat. by Ildikó Ember, Wallraf-Richartz-Museum, Cologne; Centraal Museum, may explain the markedly varied quality of his later work .” See MacLaren, Neil, Utrecht, 1987, Cologne 1987, 134–35, no. 45 (with references to older literature and The Dutch School 160 0–1900. National Gallery Catalogues, ne w ed., revised museum catalogues). A subsequent catalogue was Ember, Ildikó and Zsuzsa Urbach and expanded by Christopher Brown. Vol. 1. London, 1991, 487. eds., Museum of Fine Arts Budapest. Old Masters Gallery. Summary Catalogue, vo - 10 The north aisle of the Oude Kerk in Amsterdam from west to east , pen and ink, lume 2 . Early Netherlandish, Dutch and Flemish Paintings . Budapest, 2000, 184. The 145 × 184 mm (original drawn before 1658), London, British Museum, inv. information on Armin Stern was provided by Júlia Tátrai in a mail of May 29, 2012. 1895.0915.1357; Manke 1963 (n. 3), 142: “Zeichnungen die, in keinem Falle 3 Manke, Ilse, Emanuel de Witte 1617–1692 . Amsterdam, 1963, 87–106. Catalogue überzeugend, de Witte zugeschrieben wurden. 313 Die Amsterdamer Oude numbers 44–81 are entitled “Amsterdamer Oude Kerk”; 27 of these works are ac - Kerk…. Nach E. de Witte.” cepted by the author as autograph. Catalogue numbers 94–120 (21 autograph) are 11 Janse 2004 (n. 7), 320. called “Protestantische Gotische Kirche mit Motiven von der Amsterdamer Oude [or 12 Emanuel de Witte, Medusa , black chalk on vellum, 170 × 115 mm, Newton, ‘Oude und Nieuwe’] Kerk.” To these Ilse Manke added a further painting combining motifs from the two churches in a supplementary article; see “Nachträge zum Massachusetts, Maida and George Abrams Collection; see Seventeenth-century Werkkatalog von Emanuel de Witte.” Pantheon: Internationale Zeitschrift für Dutch Drawings: A Selection From the Maida and George Abrams Collection . Kunst 30 (1972), 389–91. Exh. cat. by William W. Robinson, Rijksprentenkabinet, Amsterdam; Graphische 4 Noach, Arnoldus, De Oude Kerk te Amsterdam: biografie van een gebouw . Sammlung Albertina, Vienna; Pierpont Morgan Library, New York, Amsterdam, Amster dam, 1939, 120. The painting in Budapest is not discussed by Noach. 1991, 58–59, cat. 20. 5 Noach 1939 (n. 4), 126. 13 For arguments concerning the rate of loss of drawings by Rembrandt see The Schwartz - 6 Jantzen, Hans, Das niederländische Architekturbild . Braunschweig, 1979 (2nd ed.), list 301–302, January 2010.

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