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The Collecting, Dealing and Patronage Practices of Gaspare Roomer
ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze. -
PROVISIONAL PROGRAM HNA Conference 2022
PROVISIONAL PROGRAM HNA Conference 2022 Amsterdam and The Hague, Netherlands HNA CONFERENCE 2022 Amsterdam and The Hague 2-4 June 2022 Program committee: Stijn Bussels, Leiden University (chair) Edwin Buijsen, Mauritshuis Suzanne Laemers, RKD – Netherlands Institute for Art History Judith Noorman, University of Amsterdam Gabri van Tussenbroek, University of Amsterdam | City of Amsterdam Abbie Vandivere, Mauritshuis and University of Amsterdam KEYNOTE LECTURES ClauDia Swan, Washington University A Taste for Piracy in the Dutch Republic 1 The global baroque world was a world of goods. Transoceanic trade routes compounded travel over land for commercial gain, and the distribution of wares took on global dimensions. Precious metals, spices, textiles, and, later, slaves were among the myriad commodities transported from west to east and in some cases back again. Taste followed trade—or so the story tends to be told. This lecture addresses the traffic in global goods in the Dutch world from a different perspective—piracy. “A Taste for Piracy in the Dutch Republic” will present and explore exemplary narratives of piracy and their impact and, more broadly, the contingencies of consumption and taste- making as the result of politically charged violence. Inspired by recent scholarship on ships, shipping, maritime pictures, and piracy this lecture offers a new lens onto the culture of piracy as well as the material goods obtained by piracy, and how their capture informed new patterns of consumption in the Dutch Republic. Jan Blanc, University of Geneva Dutch Seventeenth Century or Dutch Golden Age? Words, concepts and ideology Historians of seventeenth-century Dutch art have long been accustomed to studying not only works of art and artists, but also archives and textual sources. -
The Leiden Collection Catalogue, 2Nd Ed
Jan Brueghel the Younger (Antwerp 1601 – 1678 Antwerp) How to cite Bakker, Piet. “Jan Brueghel the Younger” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/jan-brueghel-the-younger/ (archived June 2020). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. Jan Brueghel the Younger belonged to the third generation of a famous dynasty of painters. He was baptized in the St George Church in Antwerp on 13 September 1601. His parents were Jan Brueghel the Elder (1568–1625), also known as “Velvet Brueghel,” and Isabella de Jode, daughter of the engraver Gerard de Jode.[1] His father was a famous and exceptionally successful painter who purchased a splendid house on the Lange Nieuwestraat in 1604. By that time, though, Jan had lost his mother, who had died the previous year. Soon thereafter his father took a second wife, Katharina van Marienberghe (d. 1627). Among the couple’s children was Ambrosius Brueghel (1617–75), who would also become a painter, and Anna Brueghel (1620–56), the future wife of the famous artist David Teniers the Younger (1610–90). Jan Brueghel the Younger would father Jan Pieter (1628–78) and Abraham Brueghel (1631–97), who constituted the fourth generation of this remarkable family of painters. Given his background it is hardly surprising that Brueghel became a painter. He received his first lessons from his father at the age of ten. -
Brueghel, Gli Artefici Del Mito Fiammingo
Brueghel, gli artefici del mito fiammingo Sergio Gaddi ià nella prima metà del Cinquecento la città di Anversa è il nuovo centro economico del mondo occidentale, fulcro dei commerci, delle spedizioni e dei grandi viaggi. Nel 1568 la popolazione supera i centomila abitanti, molte cartine europee la de- Gfiniscono come la “città dei mercati” e Tommaso Moro sceglie di farvi iniziare la sua Utopia. Sempre importante per le manifatture di arazzi, la città consolida la propria fama per le scuole di scultura e architettura. Negli stessi anni nasce e si consolida una classe borghese dinamica e spregiudicata, in cerca di affermazione e ricchezza. Il flusso di denaro moltiplica anche il numero di artigiani e artisti presenti in città e la pit- tura celebra le gesta e le avventure di viaggiatori e mercanti; le loro storie diventano spunto per quadri sempre più apprezzati e diffusi, destinati ad abbellire le case di una committenza colta e attenta alle dinamiche di un mercato nascente. Nello stesso secolo si affermano i primi pittori specialisti di paesaggio, che dipingono montagne dalle forme immaginarie sullo sfondo di un alto orizzonte, utilizzando colori freddi, divisi per fasce cromatiche in successione per ottenere un efficace effetto prospet- tico. Questi artisti portano per la prima volta sulla tela un paesaggio a volo d’uccello, che grazie al punto d’osservazione molto alto crea un senso di irreale immensità e fa apparire le figure umane come minuscoli elementi circondati da montagne ciclopiche. Inizia così un percorso di nuova percezione della realtà, i quadri suscitano stupore e rendono visibile il senso del limite umano di fronte alla potenza degli elementi di un mondo minaccioso, ma al tempo stesso attraente e pieno di fascino. -
A Quest for Beauty and Meaning
The Flourishing of Truth and Beauty Dutch seventeenth-century still-life painting in its socio-historical context - RMA thesis- Full name: Eva Tjitske Jansen Student number: 3354385 Date and place of birth: 21-04-1990, Arnhem Institution: Utrecht University; Faculty of Humanities Research master ‘Art History of the Low Countries in its European context’ Deadline: August 2013 Supervisor: Prof. dr. Peter Hecht Second reader: Drs. Hilbert Lootsma Department of History and Art History 1 CONTENTS Introduction p. 3 I Still-life painting around 1620 1.1. The main types of still life 1.1.1 Flower and fruit pieces…………………………………………………… p. 6 1.1.2 Breakfast- and banquet pieces……………………………………….. p. 8 1.1.3 Vanitas pieces…………………………………………………………………. P. 9 1.2. Socio-historical context 1.2.1 Historical introduction: politics and economics……………….. p. 11 1.2.2 The contemporary conception of art………………………………. p. 12 1.2.3 The contemporary art market………………………………………… p. 14 1.2.4 Interior fashions…………………………………………………………….. p. 16 1.3. Conclusion…………………………………………………………………………………… p. 17 II Still-life painting around 1650 2.1. The main types of still life 2.1.1 Flower and fruit pieces…………………………………………………… p. 19 2.1.2 Pronkstillevens……………………………………………………………….. p. 21 2.1.3 Vanitas pieces…………………………………………………………………. p. 24 2.1.4 Game pieces…………………………………………………………………… p. 25 2.1.5 Trompe l’oeil pieces……………………………………………………….. p. 26 2.1.6. Fish pieces……………………………………………………………………… p. 28 2.2. Socio-historical context 2.2.1 Historical introduction: politics and economics……………… p. 29 2.2.2 The contemporary conception of art…………………………….. p. 31 2.2.3 The contemporary art market………………………………………… p. 33 2.2.4 Interior fashions……………………………………………………………… p. -
Art at Auction in Th Century Amsterdam
JOHN MICHAEL MONTIAS This book exploits a trove of original documents that have survived on the auctions organized by the Orphan Chamber of Amsterdam in the first half of the seventeenth century. For the first time, the names of some 2000 buyers of works of art at auction in the 29 extant notebooks of the Chamber have been systematically analyzed. On the basis of archival research, data have been assembled on the occupation of these buyers (most of whom were merchants), their origin (Southern Netherlands, Holland, and other), their religion, their year of birth, their date of marriage, the taxes they paid and other indicators of their wealth. Buyers were found to cluster in groups, not only by extended family but by occupation, religion (Remonstrants, Counter-Remonstrants) and avocation (amateurs of tulips and of porcelain, members of Chambers Art at Auction in of Rhetoricians, and so forth). The subjects of the works of art they bought and the artists to which they were attributed are also analyzed. The second part of the book on “Selected Buyers”, is devoted to art dealers who bought at auction and four to buyers who had special connections with artists, including principally Rembrandt. As a whole, the book offers a penetrating insight into the culture of the Amsterdam elite in the seventeenth century. In Art at Auction in 17th Century Amsterdam Montias has created a richly patterned panorama of the interactions between artists, art lovers and art dealers who were active in one of Europe’s most JOHN MICHAEL th Century Amsterdam important art scenes of the 17th century. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Holanďan bludný - Bludný Holanďan holandská architektúra - http://nl.wikipedia.org/wiki/Categorie:Architectuur_in_Nederland http://en.wikipedia.org/wiki/Category:Dutch_architecture holandská bieloba - bieloba holandská/bieloba kremžská holandská história - http://nl.wikipedia.org/wiki/Categorie:Geschiedenis_van_Nederland holandská história podľa obdobia - http://en.wikipedia.org/wiki/Category:History_of_the_Netherlands_by_period http://nl.wikipedia.org/wiki/Categorie:Geschiedenis_van_Nederland_naar_periode holandská renesancia - (1500-1584); http://en.wikipedia.org/wiki/Category:Dutch_Renaissance holandská škola (maľby) - maliari v Holandsku od ranej renesancie do baroka; to zahŕňa rané obdobie holandského maliarstva (pozri holandskí maliari raní, flámski primitívi), ktoré spadá do obdobia 1400-1500, a holandskú renesanciu (1500-1584), čo boli umelci činní v severných nížinách, a neskôr do holandskej školy bol zaraďovaný aj holandský zlatý vek maľby (pozri holandskí maliari zlatého veku), čo bola maľba v zjednotených provinciách; mnoho maliarov, sochárov a architektov zo 17.st. je nazývaných „holandskí majstri“, zatiaľ čo skorší umelci sú všeobecne označovaní ako súčasť „holandskej“ tradície; Hieronymus Bosch a Geertgena tot Sint Jans sú dobre známe príklady holandských maliarov 15. a 16.st.; Rembrandt van Rijn, Frans Hals, Johannes Vermeer, Jacob van Ruisdael a Jan Steen zastupujú holandské umenie 17.st.; individuálne diela, ktorých umelca nemožno zistiť, sú označované alebo -
De Ontwikkelingsgang Der Nederlandsche Letterkunde. Deel 5: Geschiedenis Der Nederlandsche Letterkunde Van De Republiek Der Vereenigde Nederlanden (3)
De ontwikkelingsgang der Nederlandsche letterkunde. Deel 5: Geschiedenis der Nederlandsche letterkunde van de Republiek der Vereenigde Nederlanden (3) J. te Winkel bron Jan te Winkel, De ontwikkelingsgang der Nederlandsche letterkunde V. Geschiedenis der Nederlandsche letterkunde van de Republiek der Vereenigde Nederlanden (3). De erven F. Bohn, Haarlem 1924, tweede druk. Zie voor verantwoording: http://www.dbnl.org/tekst/wink002ontw05_01/colofon.htm © 2002 dbnl 2 Vierde tijdvak. (vervolg). De verfransching der letteren. 1680-1780. (vervolg). J. te Winkel, De ontwikkelingsgang der Nederlandsche letterkunde.Deel 5: Geschiedenis der Nederlandsche letterkunde van de Republiek der Vereenigde Nederlanden (3) 3 XI. Willem III gehekeld en verheerlijkt. Bij den aanvang van dit tijdperk was Prins Willem III bijna onbeperkt leider van onze binnen- en buitenlandsche politiek. Die macht had hij te danken aan de gelukkige uitkomst van zijn krijgsbeleid in den, aanvankelijk wanhopig schijnenden, strijd tegen eene overmacht als die van Lodewijk XIV, en aan de goede verstandhouding, die er met Engeland ontstaan was door zijn huwelijk met Maria Stuart, de oudste dochter van Jacobus, hertog van York, en vermoedelijk troonopvolger van zijn broeder Karel II. Wel had hij niet kunnen verhinderen, dat de Staten-Generaal in 1678 tegen zijn zin met Lodewijk XIV te Nijmegen vrede hadden gesloten en dat die vrede ook door onze dichters was bejubeld, o.a. ook door KATHARINA LESCAILJE, die daarbij merkwaardig getrouw taal, toon en dichtvorm van Vondel's zang op den vrede van Munster wist te volgen, maar gedurende het tienjarig vredestijdperk, dat nu volgde, wist Willem III toch zijn wil grootendeels te doen zegevieren, hetzij door de verheffing zijner gunstelingen en oogendienaars tot hooge staatsambten, hetzij, en niet zelden, door wetsverzetting in steden, die zich niet in allen deele naar zijn wil schikten. -
Proquest Dissertations
NOTE TO USERS This reproduction is the best copy available. ® UMI I "Beschildert met een Glans": Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still Life Painting Tanya Paul Falmouth, MA B.A. University of Massachusetts, Amherst, 1998 M.A. University of Virginia, 2002 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art History University of Virginia May, 2008 UMI Number: 3312159 Copyright 2008 by Paul, Tanya All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3312159 Copyright 2008 by ProQuest LLC. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 E. Eisenhower Parkway PO Box 1346 Ann Arbor, Ml 48106-1346 © Copyright by Tanya Paul All Rights Reserved May 2008 Volume I Ill Abstract: In his 1718 biography of the still life painter Willem van Aelst (1627-1683), Arnold Houbraken describes the artist's grand disposition and his great pride. It is this somewhat biased biography which begins to intimate the nature not only of van Aelst's personality, but also of his work. -
Painting and Publishing As Cultural Industries the Fabric of Creativity in the Dutch Republic, 1580-1800
CLAARTJE RASTERHOFF Painting and Publishing as Cultural Industries The Fabric of Creativity in the Dutch Republic, 1580-1800 amsterdam studies in the dutch golden age Painting and Publishing as Cultural Industries Amsterdam Studies in the Dutch Golden Age Founded in 2000 as part of the Faculty of Humanities of the University of Amsterdam (UvA), the Amsterdam Centre for the Study of the Golden Age (Amsterdams Centrum voor de Studie van de Gouden Eeuw) aims to promote the history and culture of the Dutch Republic during the ‘long’ seventeenth century (c. 1560-1720). The Centre’s publications provide insight into the lively diversity and continuing relevance of the Dutch Golden Age. They offer original studies on a wide variety of topics, ranging from Rembrandt to Vondel, from Beeldenstorm (iconoclastic fury) to Ware Vrijheid (True Freedom) and from Batavia to New Amsterdam. Politics, religion, culture, economics, expansion and warfare all come together in the Centre’s interdisciplinary setting. Editorial control is in the hands of international scholars specialised in seventeenth-century history, art and literature. For more information see http:// en.aup.nl/series/amsterdam-studies-in-the-dutch-golden-age or http://acsga. uva.nl/ Editorial Board Frans Blom, University of Amsterdam Michiel van Groesen, Leiden University Lia van Gemert, University of Amsterdam Geert H. Janssen, University of Amsterdam Elmer E.P. Kolfin, University of Amsterdam Nelleke Moser, VU University Amsterdam Henk van Nierop, University of Amsterdam Emile Schrijver, University of Amsterdam Thijs Weststeijn, Utrecht University Advisory Board H. Perry Chapman, University of Delaware Harold J. Cook, Brown University Benjamin J. -
An Examination of Insects in 17Th-Century Dutch Still Lifes," Scholarly Horizons: University of Minnesota, Morris Undergraduate Journal: Vol
Scholarly Horizons: University of Minnesota, Morris Undergraduate Journal Volume 6 | Issue 2 Article 1 July 2019 Microcosms: An Examination of Insects in 17th- Century Dutch Still Lifes Olivia Carlson University of Minnesota - Morris Follow this and additional works at: https://digitalcommons.morris.umn.edu/horizons Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons Recommended Citation Carlson, Olivia (2019) "Microcosms: An Examination of Insects in 17th-Century Dutch Still Lifes," Scholarly Horizons: University of Minnesota, Morris Undergraduate Journal: Vol. 6 : Iss. 2 , Article 1. Available at: https://digitalcommons.morris.umn.edu/horizons/vol6/iss2/1 This Article is brought to you for free and open access by the Journals at University of Minnesota Morris Digital Well. It has been accepted for inclusion in Scholarly Horizons: University of Minnesota, Morris Undergraduate Journal by an authorized editor of University of Minnesota Morris Digital Well. For more information, please contact [email protected]. Carlson: Microcosms Olivia Carlson, UROP Project, May 2019 Microcosms: An Examination of Insects in 17th-Century Dutch Still Lifes Introduction There are many 17th-century Dutch flower still life paintings, and if you pass by one quickly during a visit at a museum, you may see nothing more than a bouquet of arranged flowers. But if you stop at one and look long enough, you will find visual treats that would have been missed when only glancing at the piece. Maybe you’d see the careful composition, or perhaps a shell or a figurine. Most often, however, you will discover insects; some are hidden in the bouquet, and some are very prominently displayed on top of the flowers or on a ledge. -
Fun Facts Outline-The Wedding Dance
Wedding Dance by Pieter Bruegel the Elder Print Facts • Medium: • Date: • Size: • Location: Delporte Collection, Brussels • Period: • Style: Northern Renaissance • Genre: Genre Painting • This print is very difficult to research. The print we own states that it is by Pieter Brueghel, is called Wedding Dance, and is owned by the Delporte Collection in Brussels. However, online and in books I can only find information about a very similar print located at the Detroit Institute of Arts called The Wedding Dance by Pieter Bruegel the Elder. The differences are minor, but can be easily seen by looking at the men or at the left side where buildings are in the background on our print, but not on the print located at Detroit. Pieter Brueghel is especially hard to research because he had a son named Pieter Brueghel who was also a painter. To make matters worse, Pieter Brueghel the Younger often copied his father’s paintings. The paragraph about the print on the blue sheet in the packet says this print was called Wedding Dance in the Open Air and was painted in 1607 by Pieter Brueghel the Younger, but searches online show a different painting with that name and date. I cannot find any information to prove who actually painted this version of The Wedding Dance or where to find it. If you have more luck than me, let me know! – Amy Stephens Artist Facts • Pieter Bruegel (Pronounced [pee-ter broi-guh’l] • Born c. 1525 – It was so long ago that there is a lot of confusion about the time and place of Bruegel’s birth.