DOCSLIB.ORG

Catalogue Iii Katalog

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogue Iii Katalog ONE OF THE LEADING AUCTION HOUSES IN EUROPE KATALOG III GEMÄLDE ALTE MEISTER TEIL 2 CATALOGUE III OLD MASTER PAINTINGS PART 2 AUKTIONEN / AUCTIONS: KATALOG DONNERSTAG, 24. & FREITAG, 25. SEPTEMBER 2020 CATALOGUE Besichtigung: Samstag, 19. September – Mittwoch, 23. September THURSDAY, 24 & FRIDAY, 25 SEPTEMBER 2020 III DONNERSTAG Exhibition: Saturday, 19 September – Wednesday, 23 September THURSDAY OLD MASTER PAINTINGS P A R T II A124_Zwischentitel.indd 4-5 27.08.20 17:33 OLD MASTER PAINTINGS P A R T II A124_Zwischentitel.indd 4-5 27.08.20 17:33 223 MEISTER UM 1320/ 1340, SCHULE DES VITALE DA BOLOGNA 1289/ 1309 – 1359/ 60 MADONNA MIT DEM SEGNENDEN JESUSKIND Öl/ Tempera und Goldgrund auf Holz. 37,5 x 28,5 cm. Ungerahmt. Beigegeben ein Gutachten von Dr. Eric Vandamme, Nimbenscheiben punziert: Bei Maria in Form von Ro- mitbegründete, bestätigt sich durch den Vergleich mit wissenschaftlicher Direktor am Koninklijk Museum setten, beim Kind mit dreifacher Aussparung, womit dessen „Madonna dei Battuti“ (um 1340), die sich in voor Schone Kunsten Antwerpen, vom 01.01.2003, mit die Andeutung des Kreuzes gegeben ist. den Vatikanischen Museen befindet. Die figürliche Ergänzungschreiben vom 19.01.2003. Für die Autorschaft des Bildes wurde aufgrund der Sti- Darstellung ist mit dem vorliegenden Bild nahezu listik zunächst an einen Sieneser Maler gedacht. Hier identisch, allerdings mit einigen kleinen Unterschie- Das kleine Tafelbild zeigt Maria im Halbbildnis, in beiden lagen die Vorbilder in der byzantinischen Maltradition. den, wie das im römischen Bild fehlende Rot des Klei- Händen hält sie das Jesuskind, das die rechte Hand Die leicht grünlich wirkenden Schatten im Inkarnat ist des, während dort sich seitlich zusätzlich auch noch zum Segensgestus erhoben hält, während die Linke an eine von da an übliche Stilistik. Diese Schule wurde Adoranten befinden. A.R. (1240535) (1) (11) den Saum des blauen Mantels der Mutter greift. Die von Duccio di Boninsegna (um 1255-1319) geprägt, so Kopfhaltung der Maria, wie auch die Körperhaltung des lassen Bildvergleiche etwa mit dessen „Duccio-Ma- Kindes, neigen nach links, wobei der Blick der Mutter donna“ in der Londoner National Gallery eine Stilver- MASTER CA. 1320/ 1340, dem Betrachter zugewandt ist, während der des Kindes wandtschaft erkennen. SCHOOL OF VITALE DA BOLOGNA, nach links unten in den Raum gerichtet ist. Die Beine Im beiliegenden Gutachten von Dr. Eric Vandamme, 1289/ 1309 – 1359/ 60 des Kindes sind übereinander gekreuzt, was unter der das Gemälde ausgiebig untersucht und auch etwa MADONNA WITH CHRIST CHILD BLESSING dem gelb-goldenen Kleid noch zu erkennen ist. Damit die Echtheit der Nimbenpunzierung bestätigt hat, wird wird der Jesusknabe ikonographisch als Herrscher be- der Name Duccio und dessen Werk zunächst auch Oil/ Tempera on gold ground on panel. zeichnet. Es fällt auf, dass das Haar von Mutter und in Erwägung gezogen. Im Gutachten wird auch die 37.5 x 28.5 cm. Kind in einem rötlich-gold-blonden Farbton vorgeführt Meinung von Prof. van Os berücksichtigt. Allerdings Unframed. wird, bei Maria in mild verlaufenden Wellen, beim kommt die Untersuchung letztlich zu dem Schluss, Kind mit einzelnen Locken, in beiden Fällen jedoch dass trotz aller Schwierigkeiten der Bestimmung einer Accompanied by an expert‘s report by Dr Eric Van- von erstaunlich guter Farberhaltung. Neben dem Lapis- Autorschaft bzw. des Vorbildes der Bologneser Vitale damme, scientific director at the Royal Museum of lazuliblau des Madonnenmantels tritt vor allem das da Bologna mit größerer Überzeugung zu nennen sei. Fine Arts, Antwerp, dated 1 January 2003, with a leuchtende Scharlachrot des Kleides darunter hervor, Der Maler ist auch bekannt unter dem Namen Alle- complementary letter dated 19 January 2003. das in der Haarfarbe eine gewisse Fortsetzung findet. gretto Nuzi, Vitalis de Equis, Vitale delle Madonne, Der Mantel ist mit einem Schulterstern und gesticktem Mimo de‘Cavalli. Die Abhängigkeit des Bildes von € 30.000 - € 40.000 INFO | BID Saum in Muschelgold dekoriert; die beiden breiten diesem Künstler, der den sog. Internationalen Stil 14 HAMPEL ONLINE Visit www.hampel-auctions.com for around 6.000 additional images. 224 JAN MABUSE GOSSAERT, UM 148 – 1532 ANTEREN, REIS DES MADONNA MIT DEM KIND Öl auf Holz, verso gefestigt. 76 x 55 cm. In vergoldetem bemalten Rahmen. Auf einer Veranda an einem Tisch die sitzende Madonna des Jan Mabuse Gossaert, bei der die rot-beigen in dunkelblauem Gewand, weißer Kopfbedeckung und Töne überwiegen, vor dem meist in grau gehaltenen rotem faltenreichen Mantel, der teils auf der Tischplatte Hintergrund mit grauem, teils heller aufklarendem liegt und auf dem, gehalten von ihrer rechten filigranen Horizont. Rest., kleinere Retuschen, minimale Rahmen- Hand, der nackte Jesusknabe sitzt. Dieser mit brau- schäden. (1241142) (18) nem lockigen Haar, hat sein kleines rechtes Bein erho- ben und beide Arme weit auseinandergestreckt und schaut mit seinen braunen Augen seitlich aus dem JAN MABUSE GOSSAERT Bild heraus. Die Madonna selbst mit langem welligen CA. 148 – 1532 ANTER, CIRCLE OF Haar, die Augen halb geschlossen und voller Konzent- MADONNA AND CHILD ration liebevoll auf den Knaben blickend. Hinter ihr eine Brüstung mit zwei vorgesetzten Podesten mit je Oil on panel, reinforced on the reverse. einer goldenen Kugel, einer rot und mit gold verzierten 76 x 55 cm. Säule sowie einem auf der rechten Seite hängenden, In painted gilt frame. rot-braunen Vorhang. Der Blick fällt auf die bergige Landschaft mit Häusern und einigen Figuren am hin- € 18.000 - € 25.000 INFO | BID teren linken Bildrand. Malerei in der typischen Manier Translate all texts into your preferred language on our homepage via Google: www.hampel-auctions.com 15 225 PIETER AERTSEN, 150/08 – 155, OIE NACH Dreiflügeliger Hausaltar, spätere Wiederholung wohl nach einem verschollenem Altar des Pieter Aertsen. ANBETUNG DER HIRTEN (Mitteltafel) ANBETUNG DER KÖNIGE (rechts) BESCHNEIDUNG CHRISTI (links) Öl auf Holz. Höhe: 77cm. Breite geschlossen: 52 cm. Breite geöffnet: 106 cm. Unter der Mitteltafel altes Künstlernamensschild. Die Größenverhältnisse lassen darauf schließen, dass Bildern das Kind nicht auf Stroh am Boden; stets sucht es sich bei dem Triptychon um eine verkleinerte Wie- Aertsen eine würdigende Basis, entweder in Form eines derholung eines einst großen Altares von Pieter Aert- Kapitells, auf dem das Kissen liegt, oder eines Korbes. sen handeln könnte. Bekanntlich wurden viele seiner Hier im Bild dürfte der römisch-antike Mauerbogen, religiösen Bilder, vor allem Altarwerke, während der aber auch die betonte Halbmondform der Wiegenkufen Bilderstürme und noch später zerstört. Umso interes- den Gegenstand zu erhöhen gesucht haben. santer ist diese spätere Wiederholung, könnte sie Aufgrund der wenigen erhaltenen Altarbilder des Meis- doch eine Erinnerung an ein imposantes Werk des ters, wie etwa dem des Stifters und Seifenmachers Malers sein, wenn auch aus späterer Hand. Das Zen- Jan van der Biest, ist auch diese spätere Wiederho- trum zeigt die „Anbetung des Kindes“ vor der Kulisse lung wohl als wertvolles Dokument eines seiner ver- antiker Architekturen mit Bögen, Treppe und Säule. schollenen Werke zu sehen. A.R. (1241141) (11) Die Krippe in Form einer Kinderwiege, davor Maria, zwei Engel und drei Hirten. Rechts Joseph. In den Sei- tenflügeln wird die Idee der Fantasiearchitekturen PIETER AERTSEN fortgesetzt: rechts in Form eines intakten Bogens, in 150/08 – 155, CO AFTER dem der dritte der Könige erscheint, links als Renais- House altar with three panels, later copy after a lost sance-Innenraum mit gewölbter Kassettendecke und altar by Pieter Aertsen. einem Hängebaldachin über der Beschneidungsszene. Ein Knabe hält eine gestabte Kerze und einen Wein- THE ADORATION OF THE SHEPHERDS (central panel) kelch als Kultattribute. THE ADORATION OF THE MAGI (right) Die Darstellungen innerhalb der Rahmungen gemalt, THE CIRCUMCISION OF CHRIST (left) die Innenleisten mit Zahnschnitt und Kehlungen gear- Oil on panel. beitet; im geschlossenen Zustand ochsenblutrot, mit Height: 77cm. Christusmonogrammen. Der obere Abschluss in Form Width closed: 52 cm. später Nachgotik dreifach in Schwüngen hochgezo- Width opened: 106 cm. gen, in der Mitteltafel mit Perlstab besetzt. Old name plate under central panel. Als auffallendes, für Bethlehem-Darstellungen Aert- sens typisches Stilmerkmal ist hier die Krippe zu sehen. € 20.000 - € 40.000 INFO | BID Entgegen der vorhergehenden Tradition liegt in seinen 16 HAMPEL ONLINE Visit www.hampel-auctions.com for around 6.000 additional images. Translate all texts into your preferred language on our homepage via Google: www.hampel-auctions.com 17 18 HAMPEL ONLINE Visit www.hampel-auctions.com for around 6.000 additional images. Translate all texts into your preferred language on our homepage via Google: www.hampel-auctions.com 19 226 VENEZIANISCHER MALER DER ZWEITEN HÄLFTE DES 16. AHRHUNDERTS DIE VERKÜNDIGUNG AN MARIA Öl auf Leinwand. Doubliert. 67 x 50 cm. In dekorativem Prunkrahmen. Auf einer Gebetsbank die kniende Maria in rot-blauem Gewand, in ihrer linken Hand ein Buch haltend. Sie dreht sich erschrocken um und streckt ihren rechten Arm abwehrend aus, als Ihr unverhofft ein Engel mit großen Flügeln erscheint. Dieser hält in seiner linken Hand eine weiße Lilie, ein Mariensymbol, und weist Maria durch eine Schar von Wolken auf die im Himmel schwebende Taube Gottes hin, die den heiligen Geist symbolisiert, von der breite gelbe Strahlen ausgehen. Dramatische Darstellung eines in der Malerei beliebten Motivs,
Load more

Recommended publications
  • Print He Made After the Latter Work, All Date to 1638
    Fighting Card Players and Death ca. 1638 oil on canvas Jan Lievens 67 x 84.9 cm (Leiden 1607 – 1674 Amsterdam) Signed and dated lower right: J. Lievens JL-107 © 2021 The Leiden Collection Fighting Card Players and Death Page 2 of 7 How to cite Wheelock, Arthur K., Jr. “Fighting Card Players and Death” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/fighting-card-players-and-death/ (accessed October 02, 2021). A PDF of every version of this entry 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. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Fighting Card Players and Death Page 3 of 7 In 1635 Jan Lievens moved from London to Antwerp, perhaps expecting that Comparative Figures the arrival of the new governor-general of the Southern Netherlands, the Cardinal-Infante Ferdinand, would usher in a period of peace and prosperity beneficial to the arts.[1] Lievens soon joined the local painters’ guild and settled into a community of artists who specialized in low-life genre scenes, landscapes, and still lifes, among them Adriaen Brouwer (1605/6–38), Jan Davide de Heem (1606–83/84), David Teniers the Younger (1610–90), and Jan Cossiers (1600–71). In 1635, Brouwer depicted these artists in a tavern scene, Smokers, in the Metropolitan Museum of Art (fig 1).[2] The most inspirational of them for Lievens was Brouwer, who apparently encouraged Lievens to depict, once again, rough peasant types comparable to those he Fig 1.
    [Show full text]
  • The Connections of the Thematical and Interpretational Question
    Annamária Gosztola The Interconnections of the Thematical and Interpreational Questions of Flemish Baroque Painting in the Mirror of Dutch Realist Painting Doctoral theses 2007 Introduction The Katalog der Galerie alter Meister. Museum der Bildenden Künste by Andor Pigler, the former General Director of the Museum of Fine Arts, Budapest, published in 1967, is an indispensable, fundamental publication on the collection of the Old Masters’ Gallery, used even today. The vast, nearly unfollowable growth of the literature and the enrichment of the gallery with new acquisitions since its publishing necessitated its updating. In the spirit of this endeavour, the so-called summary catalogues of the collection have been produced, which contain new attributions, research results and bibliographical data complemented with the reproductions of all the works of art. Parallel to this “fire-extinguishing work” and under the pressure of the international tendencies, the demand for catalogues raisonnés, fully working up the collection, has more and more often arisen since the 1990s. The volume treating the Gallery’s Dutch and Flemish still lifes by Ildikó Ember as well as that discussing the Dutch and Flemish portraits by Rudi Ekkart, head of the Rijksbureau voor Kunsthistorische Documentatie, the Hague, are soon to be published. Six chapters of this present dissertation, giving an overview of the history of research and provenance history and containing the emphatic discussion of some more significant works as well as the scholarly treatment of the seventeenth to eighteenth century Flemish genre paintings of the Museum of Fine Arts, form a part of this large-scale professional enterprise. Chapter 1: The history of research of Dutch and Flemish genre painting in the past decades Chapter I of the dissertation contains the past decades’ history of research of Dutch and Flemish genre painting along with its literature and is complemented, in a gap-filling way, with the scholary results of Hungarian experts in this field.
    [Show full text]
  • Evolution and Ambition in the Career of Jan Lievens (1607-1674)
    ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality.
    [Show full text]
  • Julius S. Held Papers, Ca
    http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt.
    [Show full text]
  • Jordaens's Reading
    Originalveröffentlichung in: Lange, Justus ; Münch, Birgit Ulrike (Hrsgg.): Reframing Jordaens : Pictor ductus - Techniken - Werkstattpraxis, Petersberg 2018, S. 92-107 JORDAENS’S READING Nils Biittner When Jacob Jordaens’s Bagpipe Player was fi­ His art is strong, honest and wise, especially nally acquired by the Rubens House in 2009, that inspired by the noble art of poetry?’3 the fact was widely acknowledged by the press (fig. I).1 The press echo revived the established The portrait accompanying the text praises image of the painter who was usually charac­ him as an ingenious painter of history paint­ terized as rustic and sturdy in contrast to his ings. Likewise, his German contemporary famous contemporary Peter Paul Rubens. Al­ Joachim von Sandrart, who seems to have been most all newspapers emphasised the cliched aware of de Bie’s comments, praised the artist’s contrast of a peasantlike Jordaens with the aris­ intellectual talents as “the highest gift of a bril­ tocratic and well educated Rubens. That both liant mind.”4 Yet how well-educated was Jor­ art historians and art critics declared the image daens really? not to be a self-portrait, although the Bagpipe Unfortunately, his formal education remains Player of course depicts Jordaens, remained a mystery. So far no documents could be found unheeded. And that Jordaens did not usually that bear witness to Jordaens’s educational vi­ depict himself as a rosy cheeked bagpipe play­ ta - a fact that was lately regretted by Irene er, but rather as a connoisseur and collector of Schaudies in the catalogue of the recent exhi­ antiques, was not taken into account.2 Never­ bition Jordaens and the Antique.5 The first theless, Jordaens did not only represent himself known biographical milestone in Jordaens’s as an art lover, he was acknowledged as such life is the date of his birth on 19 May 1593, not­ by his contemporaries.
    [Show full text]
  • University of Cincinnati
    UNIVERSITY OF CINCINNATI Date:_May 1, 2006_______ I, __Jennifer Eckman__________________________________________, hereby submit this work as part of the requirements for the degree of: Master in Arts in: Art History It is entitled: “Forbidden Indulgences: A Study of Adriaen Brouwer’s Peasant Scenes, 1631-1638” This work and its defense approved by: Chair: Kristi Nelson, PhD______________ Diane Mankin, PhD_____________ Mikiko Hirayama, PhD__________ ______________________________ __________________________ Forbidden Indulgences: A Study of Adriaen Brouwer's Peasant Scenes, 1631-1638 A thesis submitted to the Art History Faculty of the School of Art/ College of Design, Architecture, Art and Planning University of Cincinnati in partial fulfillment of the requirements for the degree of Masters of Arts in Art History Jennifer Louise Eckman 2006 Thesis Committee Chair: Kristi Nelson, Ph. D. Reader: Diane Mankin, Ph. D. Reader: Mikiko Hirayama, Ph. D. Abstract During the seventeenth century, the Flemish painter Adriaen Brouwer (1605/6-1638) specialized in low-life images of peasants indulging themselves in forbidden activities such as drinking, smoking, and fighting. A unique element of his work is the expressive body gestures and grotesque facial expressions of the figures. Chapter one addresses several questions such as why Brouwer chose this type of genre and whether or not there is symbolic and moralizing meaning incorporated into his work. Chapter two, three, and four are separated by each indulgence – drinking, smoking, and fighting. In these three chapters, I conduct a formal analysis, with a small portion of iconographical interpretation, of a selection of his peasant scenes within the socio-historical context of the Low Countries during the last period of his career, 1631-1638.
    [Show full text]
  • The Bold and the Beautiful
    THE BOLD AND IN FLEMISH PORTRAITS THE BEAUTIFUL This is the booklet accompanying THE BOLD AND THE BEAUTIFUL. In Flemish Portraits exhibition project. The exhibition takes place in four locations in the Antwerp city centre, at short, walkable distances from one another: KEIZERSKAPEL MUSEUM SNIJDERS&ROCKOX HOUSE SAINT CHARLES BORROMEO CHURCH VLEESHUIS MUSEUM Would you like to discover some more historical locations? An optional walking tour leads you along a number of vestiges of the world of the portrayed and brings you back to the starting point of the exhibition, the Keizerstraat. We hope you will enjoy it! Tickets & info: www.blinddate.vlaanderen © The Phoebus Foundation Chancellery vzw, Antwerp, 2020 D/2020/14.672/2 All rights reserved. No part of this publication may be reproduced, stored in an information storage and retrieval system or transmitted in any form or by any means, whether electronic or mechanical, including photocopying, recording or otherwise, without prior permission in writing from the publisher. If you have comments or questions we’d like to hear from you. Contact us at: [email protected] THE BOLD AND THE BEAUTIFUL IN FLEMISH PORTRAITS Make-up: Gina Van den Bergh THIS EXHIBITION WAS CREATED BY The Chancellery of The Phoebus Foundation Editor: Guido Verelst Museum Snijders&Rockox House Grader: Kene Illegems — Sound mix: Yves De Mey A Deep Focus production WITH THE SUPPORT OF KBC Group NV Installation: Create Katoen Natie Projections: Visual Creations Indaver — Jan De Nul Group NV MANNEQUINS Isabelle De Borchgrave and Keizerskapel — Saint Charles Borromeo Church REDACTION AND TRANSLATIONS Vleeshuis Museum Luc Philippe & Patrick De Rynck (NL) Saint Paul’s Church Anne Baudouin & Ted Alkins (EN) Royal Academy of Fine Arts Antwerp — University of Antwerp TEXTS Saint James’ Church Hannah Thijs & Buvetex Katrijn Van Bragt — Dr.
    [Show full text]
  • Un Lienzo De Los Sentidos De Jean Cossiers
    AEA, 288, 1999 VARIA 555 carnavales, era tradicional en muchas ciudades españolas desde la Edad Media como un juego o desahogo infantil tolerado. Según el Espasa, la primera acepción de obispillo es: «Muchacho que en algunas catedrales viste de obispo la víspera y día de San Nicolás de Bari» '^. ENRIQUE GARCÍ A-HERRAIZ Miembro de A.I.C.A. UN LffiNZO DE LOS SENTIDOS DE JEAN COSSIERS A Jean Cossiers se le atiibuye este lienzo de colección privada en Madrid (Fig. 7), pintor del ámbito de Rubens, del que conocemos tres lienzos en el Museo del Prado, (n.°' 1463, 1464, 1465), pqro copias de bocetos de Rubens para la decoración de la Torre de la Parada ^ para lo que el pintor fue seleccionado por el Cardenal Infante entre los más destacados de la es­ cuela de Amberes, bajo la dirección de Rubens. Un cuarto lienzo está en el Palacio Real, identificado por quien esto escribe ^. Todas son obras para el mismo conjunto, y afines a la estética del barroco del maestro; pero la pintura que aquí se da a conocer es diferente, pues corresponde a la etapa tenebrista del pintor y de invención propia. El acierto de esta composición vivaz y receptiva, de belleza cromática y gestos expresivos, fue motivo de varias réplicas, cuyo conocimiento ha contribuido a escla­ recer la patemidad de la que se estudia aquí. cs El joven lo repite en el n.° 38 del Museo de Amberes, la Sagrada Familia del Louvre y Alegorías de las galerías Marcus Bens y R. Grem de Londres; y la mujer es la misma en la versión de la colección de Su* Félix Cassel (Fig.
    [Show full text]
  • Rubenianum Fund
    2012 The Rubenianum Quarterly 2 The birthplace of Rubens Rubens and beyond Carl Van de Velde It would be as idiotic to deny that Rubens, When and where was Rubens born? Van Dyck and Jordaens are the dominating The question is in itself not very important, masters of seventeenth-century Flemish art as it but as long as it remains unanswered, it would be to deny that numerous other artists of can give rise to misunderstandings among considerable talent were active in their time who the general public, which has always been are worthy of our admiration. The Rubenianum interested in trivial questions. Therefore, plays a fundamental part in the research on the Centrum Rubenianum has reconsidered the available sources. This article presents the greatest names in Flemish art, but it is also an overview of the arguments. Detailed central to the study of artists who may be less results will be published shortly. famous, but whose contributions to Flemish In the caption to an etching showing art helped define its course. It is they who made Rubens’s portrait that was published our sixteenth and seventeenth centuries a true in Antwerp in 1649 by Jan Meyssens Golden Age: not a period in which artistic (1612–1670), he is said to have been born excellence was the domain of a few exceptional in Antwerp on the 28th of June 1577. personalities, but an age in which it seems to The likeness is based upon Paul Pontius’s engraving of 1630, but shows the artist have flourished like never before. In my own field of speciality, works on paper, J.
    [Show full text]
  • November 2006 Journal
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 23, No. 2 www.hnanews.org November 2006 A Newly Discovered Rubens at the Getty Peter Paul Rubens, The Calydonian Boar Hunt (c. 1611-1612) Oil on panel, 59 × 90.2 cm. The J. Paul Getty Museum, Los Angeles (Courtesy of the J. Paul Getty Museum) HNA Newsletter, Vol. 23, No. 2, November 2006 1 From the President In Memoriam I begin this brief editorial on a sad note: I recently learned of the death this past July of our colleague, Cynthia Lawrence, after an extremely lengthy and exhausting battle with cancer. To those of us who knew her, we fondly remember a first-rate scholar and, more importantly, a first-rate person who enriched the lives of all of us who were fortunate enough to have befriended her. She will be sorely missed. Please be sure to read the obituary that our colleague, Barbara Haeger, prepared especially for this issue of the Newsletter. I have recently returned to teaching and administrative duties here at Syracuse University after having enjoyed a sabbatical during the 2005-06 academic year. Despite the added work loads and constraints on my already limited time, this re-entry into academe has been thoroughly enjoyable. Instead of spending the entire year myopically focused on the topic of my own research – Hendrick ter Brugghen – my renewed responsibilities have forced me to think in much broader terms about our discipline, more specifically, about the various fields in which our membership curates, teaches, and writes.
    [Show full text]
  • Ground Layers in European Painting 1550–1750
    Ground Layers in European Painting 1550–1750 CATS Proceedings, V, 2019 Edited by Anne Haack Christensen, Angela Jager and Joyce H. Townsend GROUND LAYERS IN EUROPEAN PAINTING 1550–1750 GROUND LAYERS IN EUROPEAN PAINTING 1550–1750 CATS Proceedings, V, 2019 Edited by Anne Haack Christensen, Angela Jager and Joyce H. Townsend Archetype Publications www.archetype.co.uk in association with First published 2020 by Archetype Publications Ltd in association with CATS, Copenhagen Archetype Publications Ltd c/o International Academic Projects 1 Birdcage Walk London SW1H 9JJ www.archetype.co.uk © 2020 CATS, Copenhagen The Centre for Art Technological Studies and Conservation (CATS) was made possible by a substantial donation by the Villum Foundation and the Velux Foundation, and is a collabora- tive research venture between the National Gallery of Denmark (SMK), the National Museum of Denmark (NMD) and the School of Conservation (SoC) at the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation. ISBN: 978-1-909492-79-0 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Every effort has been made to trace copyright holders and to obtain their permission for the use of copyright material. The publisher would be pleased to rectify any omissions in future reprints. Front cover illustration: Luca Giordano, The Flight into Egypt, c.1700, oil on canvas, 61.5 × 48.9 cm, The Metropolitan Museum of Art, New York City, inv.
    [Show full text]
  • DISSOLUTE SELF-PORTRAITS in SEVENTEENTH-CENTURY DUTCH and FLEMISH ART In
    ABSTRACT Title of Document: HOE SCHILDER HOE WILDER: DISSOLUTE SELF-PORTRAITS IN SEVENTEENTH-CENTURY DUTCH AND FLEMISH ART Ingrid A. Cartwright, Ph.D., 2007 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archaeology In the seventeenth century, Dutch and Flemish artists presented a strange new face to the public in their self-portraits. Rather than assuming the traditional guise of the learned gentleman artist that was fostered by Renaissance topoi , many painters presented themselves in a more unseemly light. Dropping the noble robes of the pictor doctus, they smoked, drank, and chased women. Dutch and Flemish artists explored a new mode of self-expression in dissolute self-portraits, embracing the many behaviors that art theorists and the culture at large disparaged. Dissolute self-portraits stand apart from what was expected of a conventional self-portrait, yet they were nonetheless appreciated and valued in Dutch culture and in the art market. This dissertation explores the ways in which these untraditional self- portraits functioned in art and culture in the seventeenth century. Specifically, this study focuses on how these unruly expressions were ultimately positive statements concerning theories of artistic talent and natural inclination. Dissolute self-portraits also reflect and respond to a larger trend regarding artistic identity in the seventeenth century, notably, the stereotype “ hoe schilder hoe wilder ” that posited Dutch and Flemish artists as intrinsically unruly characters prone to prodigality and dissolution. Artists embraced this special identity, which in turn granted them certain freedoms from social norms and a license to misbehave. In self- portraits, artists emphasized their dissolute nature by associating themselves with themes like the Five Senses and the Prodigal Son in the tavern.
    [Show full text]