Geest En Gratie

ildikokoszonto_Layout 1 2012.12.16. 20:48 Page 3 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, The Hague 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 STILL LIFE 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 BAROQUE 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 AMSTERDAM 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 WITH EMANUEL DE WITTE IN THE OUDE KERK IN AMSTERDAM GARY SCHWARTZ 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 84 garysvarc2_Layout 1 2012.11.18. 7:46 Page 2 WITH EMANUEL DE WITTE IN THE OUDE KERK IN AMSTERDAM 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 85 garysvarc2_Layout 1 2012.11.18. 7:46 Page 3 GARY SCHWARTZ 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 WITH EMANUEL DE WITTE IN THE OUDE KERK IN AMSTERDAM 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.

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