Royal Ballet School Antwerp Admisson and Enrollment Package
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Ana Diéguez-Rodríguez the Artistic Relations Between Flanders and Spain in the 16Th Century: an Approach to the Flemish Painting Trade
ISSN: 2511–7602 Journal for Art Market Studies 2 (2019) Ana Diéguez-Rodríguez The artistic relations between Flanders and Spain in the 16th Century: an approach to the Flemish painting trade ABSTRACT Such commissions were received by important workshops and masters with a higher grade of This paper discusses different ways of trading quality. As the agent, the intermediary had to between Flanders and Spain in relation to take care of the commission from the outset to paintings in the sixteenth century. The impor- the arrival of the painting in Spain. Such duties tance of local fairs as markets providing luxury included the provision of detailed instructions objects is well known both in Flanders and and arrangement of shipping to a final destina- in the Spanish territories. Perhaps less well tion. These agents used to be Spanish natives known is the role of Flemish artists workshops long settled in Flanders, who were fluent in in transmitting new models and compositions, the language and knew the local trade. Unfor- and why these remained in use for longer than tunately, very little correspondence about the others. The article gives examples of strong commissions has been preserved, and it is only networks among painters and merchants the Flemish paintings and altarpieces pre- throughout the century. These agents could served in Spanish chapels and churches which also be artists, or Spanish merchants with ties provide information about their workshop or in Flanders. The artists become dealers; they patron. would typically sell works by their business Last, not least it is necessary to mention the partners not only on the art markets but also Iconoclasm revolt as a reason why many high in their own workshops. -
Sign of the Times a Concise History of the Signature in Netherlandish Painting 1432-1575
SIGN OF THE TIMES A CONCISE HISTORY OF THE SIGNATURE IN NETHERLANDISH PAINTING 1432-1575 [Rue] [Date et Heure] Ruben Suykerbuyk Research Master’s Thesis 2012-2013 Supervisor: Prof. Dr. P.A. Hecht Art History of the Low Countries in its European Context Utrecht University – Faculty of Humanities (xxx)yyy-yyyy “Wenn eine Wissenschaft so umfassend, wie die Kunstgeschichte es tut und tun muß, von Hypothesen jeden Grades Gebrauch macht, so tut sie gut daran, die Fundamente des von ihr errichteten Gebäudes immer aufs neue auf ihre Tragfähigkeit zu prüfen. Im folgenden will ich an einigen Stellen mit dem Hammer anklopfen.” Dehio 1910, p. 55 TABLE OF CONTENTS VOLUME I I. INTRODUCTION 1 II. PROLOGUE 9 III. DEVELOPMENTS IN ANTWERP 19 Some enigmatic letters 22 The earliest signatures 28 Gossart’s ‘humanistic’ signature 31 Increasing numbers 36 Proverbial exceptions 52 A practice spreads 54 IV. EPILOGUE 59 V. CONCLUSION 63 VI. BIBLIOGRAPHY 66 VOLUME II I. IMAGES II. APPENDICES Appendix I – Timeline Appendix II – Signatures Marinus van Reymerswale Appendix III – Authentication of a painting by Frans Floris (1576) Appendix IV – Signatures Michiel Coxcie I. INTRODUCTION 1 Investigating signatures touches upon the real core of art history: connoisseurship. The construction of oeuvres is one of the basic tasks of art historians. Besides documents, they therefore inevitably have to make use of signatures. However, several great connoisseurs – Berenson, Friedländer – emphasize that signatures are faked quite often. Consequently, an investigation of signature practices can easily be criticized for the mere fact that it is very difficult to be sure of the authenticity of all the studied signatures. -
THE ELEGANT HOME Select Furniture, Silver, Decorative and Fine Arts Monday March 26, 2018 Tuesday March 27, 2018 Los Angeles
THE ELEGANT HOME Select Furniture, Silver, Decorative and Fine Arts Monday March 26, 2018 Tuesday March 27, 2018 Los Angeles THE ELEGANT HOME Select Furniture, Silver, Decorative and Fine Arts Monday March 26, 2018 at 10am Tuesday March 27, 2018 at 10am Los Angeles BONHAMS BIDS INQUIRIES ILLUSTRATIONS 7601 W. Sunset Boulevard +1 (323) 850 7500 European Furniture and Front cover: Lot 242 Los Angeles, California 90046 +1 (323) 850 6090 fax Decorative Arts Back cover: Lot 500 (detail) bonhams.com [email protected] Andrew Jones Session 1: Lot 11 (detail) +1 (323) 436 5432 Session 2: Lot 697 (detail) PREVIEW To bid via the internet please visit [email protected] Inside front cover: Lot 704 (detail) Friday, March 23 12-5pm www.bonhams.com/24797 Inside back cover: Lot 162 (detail) Saturday, March 24 12-5pm American Furniture and Sunday, March 25 12-5pm Please note that telephone bids Decorative Arts must be submitted no later than Brooke Sivo SALE NUMBER: 24797 4pm on the day prior to the +1 (323) 436 5420 Lots 1 - 823 auction. New bidders must also [email protected] provide proof of identity and CATALOG: $35 address when submitting bids. Decorative Arts and Ceramics Jennifer Kurtz Please contact client services +1 (323) 436 5478 with any bidding inquiries. [email protected] Please see pages 304 to 310 Silver and Objects of Vertu for bidder information including Aileen Ward Conditions of Sale, after-sale +1 (323) 436 5463 collection, and shipment. [email protected] Paintings Mark Fisher +1 (323) 436 5488 [email protected] 20th Century Decorative Arts Angela Past +1 (323) 436 5422 [email protected] Bonhams 220 San Bruno Avenue San Francisco, California 94103 © 2017, Bonhams & Butterfields Auctioneers Corp.; All rights reserved. -
Jordaens: Satyr Playing the Pipe (Jupiter's Childhood)
Jordaens: Satyr Playing the Pipe (Jupiter’s Childhood) Matías Díaz Padrón This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Besançon, Musée des beaux-arts et d‘archéologie / Pierre GUENAT: fig. 2 © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1 and 6 © Museo Nacional del Prado: fig. 3 © Museumslandschaft hessen kassel. Aufnahme: Ute Brunzel: fig. 8 © Photo Musées de Strasbourg, J. Franz: fig. 16 © RKD, The Hague: figs. 4 and 5 © RMN / Jean-Gilles Berizzi: fig. 7 © Royal Museum of Fine Arts Antwerp / Lukas-Art in Flanders vzw: fig. 10 © Royal Museums of Fine Arts of Belgium, Brussels. Dig. photo: J. Geleyns / www.roscan.be: fig. 13 © Soprintendenza Speciale per il Patrimonio Storico, Artistico ed Etnoantropologico e per il Polo Museale della città di Firenze: fig. 9 © Stichting Museum Boijmans Van Beuningen 1940 (collection Koenigs): fig. 15 © The Art Institute of Chicago. Leonora Hall Gurley Memorial: fig. 12 © The Metropolitan Museum of Art, Nueva York. -
Jan De Beer's Lifetime Reputation and Posthumous Fate
Volume 7, Issue 2 (Summer 2015) Jan de Beer’s Lifetime Reputation and Posthumous Fate Dan Ewing [email protected] Recommended Citation: Dan Ewing, “Jan de Beer’s Lifetime Reputation and Posthumous Fate,” JHNA 7:2 (Summer 2015) DOI: 10.5092/jhna.2015.7.2.1 Available at https://jhna.org/articles/jan-de-beers-lifetime-reputation-posthumous-fate/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 JAN DE BEER’S LIFETIME REPUTATION AND POSTHUMOUS FATE Dan Ewing This article assembles the evidence for the lifetime reputation of the Antwerp painter Jan de Beer (ca. 1475–1527/28), rediscovered by Georges Hulin de Loo and Max J. Friedländer in the early twentieth century. At the time of their publications little was known about the artist’s life, but the evidence now available concerning his important reputation includes archival sources published since Friedländer’s day, an unpublished contract, early literary sources, and reevalu- ations of the artist’s work for the guild and church. The factors involved in his late sixteenth-century disappearance from the historical record are also analyzed. DOI: 10.5092/jhna.2015.7.2.1 1 n 1902, while examining early Netherlandish drawings in the British Museum, the Ghent scholar Georges Hulin de Loo recognized the inscription in the upper left corner of a sheet of head studies catalogued by the museum as a work of Joachim Patinir (fig. -
Corpus Rubenianum Ludwig Burchard Part Xix
CORPUS RUBENIANUM MC / f / i LUDWIG BURCHARD PART XIX PORTRAITS II. ANTWERP - IDENTIFIED SITTERS BY HANS VLIEGHE CORPUS RUBENIANUM LUDWIG BURCHARD AN ILLUSTRATED CATALOGUE RAISONNÉ OF THE WORK OF PETER PAUL RUBENS BASED ON THE MATERIAL ASSEMBLED BY THE LATE DR LUDWIG BURCHARD IN TWENTY-SIX PARTS TRANSLATED FROM THE DUTCH BY P. S. FALLA SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE ‘NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN VAN DE XVIde EN DE XVIUe EEUW’ R.-A. d ’h u ls t, President ■ f. Baudouin, Secretary • r. pandelaers, Treasurer N. DE POORTER • A. STUBBE • H. L1EBAERS • J. K. STEPPE • C. VAN DE VELDE • H. VLIEGHE RESEARCH ASSISTANTS! A. BALIS • H. DEVISSCHER • P. HUVENNE • M. VANDENVEN RUBENS PORTRAITS OF IDENTIFIED SITTERS PAINTED IN ANTWERP BY HANS VLIEGHE HARVEY MILLER PUBLISHERS Originating Publisher h a r vey m iller ltd • 20 Marryat Road • London sw 19 5BD Published in the United States by o x f o r d u n iv e r s it y press • New York © 1987 N ationaal C en trum voor de Plastische Kunsten van de i6dc en de 17de Eeuw British Library Cataloguing in Publication Data Vlieghe, Hans Rubens portraits of identified sitters painted at Antwerp.— (Corpus Rubenianum Lu d w ig Burchard; part 19, v. 2). i. Rubens, Peter Paul “Catalogs I. T itle II. Rubens, P eter Paul III. D e schilder Rubens. E n g lish 759.9493 ND673.R9 ISBN 0-9052.03-57-7 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 Harvey Miller Ltd. -
Methodology for the Conservation of Polychromed Wooden Altarpieces
METHODOLOGY FOR THE CONSERVATION OF POLYCHROMED WOODEN ALTARPIECES Consejería de Cultura Instituto Andaluz del Patrimonio Histórico The Getty Conservation Institute Camino de los Descubrimientos s/n 1200 Getty Center Drive, Suite 700 Isla de la Cartuja, 41092 Sevilla, España Los Angeles, CA 90049-1684, U.S.A. Tel (34) 955 037 000 Tel (1) 310 440 7325 Fax (34) 955 037 001 Fax (1) 310 440 7702 Email: [email protected] Email: [email protected] http://www.juntadeandalucia.es/cultura/iaph http://www.getty.edu/conservation/ Román Fernández-Baca Casares Timothy P. Whalen Director Director Lorenzo Pérez del Campo Jeanne Marie Teutonico Jefe Centro de Intervención Associate Director, Programs en el Patrimonio Histórico Editor Françoise Descamps Assistant editor Jennifer Carballo Copy editor Kate Macdonald Translations Cris Bain-Borrego Alessandra Bonatti Graphic design Marcelo Martín Guglielmino Printer Escandon SA - Sevilla Cover Center Drawing of Ornamental Top, Alonso Cano. Hamburger Kunsthalle. Photographs by Elke Walford, Hamburg (Copyright © Bildarchiv Preußischer Kulturbesitz/Art Resource, NY) Top left Main Altarpiece of Santos Juanes, Capilla Real de Granada, Spain. Photograph by José Manuel Santos, Madrid (Copyright © IAPH, Spain) Center left Main Altarpiece of Santo Domingo de Guzmán, Yanhuitlán, Oaxaca, México. Photograph by Guillermo Aldana (Copyright © INAH, México) Bottom left Main Altarpiece of the Minor Basílica of San Francisco, La Paz, Bolivia. Photograph by Fernando Cuellar Otero Published by: Junta de Andalucía. Consejería de Cultura The J. Paul Getty Trust © Junta de Andalucía. Consejería de Cultura The J. Paul Getty Trust ISBN Every effort has been made to contact the copyright holders of the material published in this book and to obtain Legal permission to publish. -
Van Dyck's Portraits in the Prado
1 David Freedberg Van Dyck’s Portraits in the Prado: The Spanish-Flemish Connection1 Van Dyck was one of the great portraitists. His works were neither as powerful as those of Velazquez and Rembrandt, nor did he have their depth of insight into human character. We need not go into their many differences here. But his prosopographic range was arguably greater than theirs. He painted in the Netherlands, Italy and England. The range of political figures he portrayed was wider than that of any of his peers. He was the favored portraitist of the Flemish upper bourgeoisie, of the Genoese aristocracy and of the English nobility, but he painted many other leading political and ecclesiastical figures, too. Although he never went to Spain, the works at issue here offer remarkable insight, not only into the connections between Spain and the Netherlands in the 17th century, but also into the international ramifications of Spanish politics. With the possible exception of Rubens, van Dyck was the finest of the Flemish portraitists—and there were many good ones. But by and large, whether one prefers a picture such as Rubens’s Nonnius over van Dyck’s Snyders, for example, is a matter of taste. As a portraitist of children, he was almost Rubens’s equal. When it came to women, however, van Dyck was notably inferior, except in his Genoese pictures; indeed, to compare the portrait by Rubens of the Chapeau de Paille with almost any of van Dyck’s female sitters is to see how much the latter’s work in this area was wanting, even in the best of cases. -
Painting in Flanders After 1980 (ENG)
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ntroduction The Longing for the Pictorial Painting in Flanders before and after TroubleSpot.Painting Raoul De Keyser, Untitled, 2001, oils on canvas, 50 x 55 Courtesy Zeno X Gallery, Antwerp Until well into the 1960s, ‘modern art’ seemed more video projection, happenings, performances and instal- or less to mean ‘modern painting’. Unlike sculpture, lations all presented themselves as more experimental painting had wrestled free from the grip of tradition and therefore more progressive artistic practices. This early in the 20th century, and in many cases had thereby meant that painting was gradually forced onto the assumed the nature of an avant-garde manifesto. Just as defensive. Whereas in 1965 an abstract painting was still in North America and the rest of Western Europe, it was a dynamic sign of radical modernity, ten years later the quite natural that group exhibitions in Belgium included same gesture had fossilised into a static mark of nothing but paintings. However, from the end of the tradition and craftsmanship. -
The Moneychanger and His Wife: from Scholastics to Accounting
The moneychanger and his wife: from scholastics to accounting Autor(es): Manuel Santos Redondo Título: The moneychanger and his wife: from scholastics to accounting Resumen: The Moneychanger and his Wife is a Flemish painting from the early 16th century, widely used to illustrate economic activity. There are two different versions: one by Quentin Massys, 1514, and another by Marinus van Reymerswaele, 1539. There are significant changes between the two versions, which I will argue do have an economic meaning. In the process of reviewing the different interpretations provided by art historians of this picture and other similar ones, we shall see that they are consistent with the views that most art historians share about the commercial and financial world rather than based on any objective interpretation of the painting and history. Thus, while the picture shows commercial and financial activity to be a normal, respectable occupation, most art historians see a moralizing and satirical intention. My view is that art historians’ prejudice towards commercial and financial activity leads them to a wrong interpretation of the painting. RESUMEN El cambista y su mujer es un cuadro de la escuela flamenca, de principios del siglo XVI, ampliamente utilizado para ilustrar la actividad económica. Existen dos versiones: una de Quentin Massys, 1514, y otra de Marinus van Reymerswaele, 1539, con cambios relevantes entre ambas. Estos cambios tienen un significado económico importante. Las interpretaciones de este cuadro y otros similares que hacen los historiadores del arte son coherentes con su visión del mundo de la economía, más que responder a un análisis objetivo del cuadro y de la historia. -
The Snijders&Rockox House
The Snijders&Rockox House A surprising museum in the heart of Antwerp Visitors guide Frans Snijders and Nicolaas Rockox were key figures in 17th-century Antwerp. Frans as a painter of animals and still lifes, Nicolaas as burgomaster. THE SNIJDERS&ROCKOX HOUSE A surprising museum in the heart of Antwerp We are extremely grateful to all our lenders: Antwerp Royal Museum of Fine Arts Maagdenhuis Museum MAS The Phoebus Foundation Rubens House Vleeshuis Museum Bruges Groeninge Museum OUR LENDERS Brussels Royal Museums of Fine Arts of Belgium Belgian National Lottery Cassel Musée de Flandre Kassel Museumlandschaft Hessen Leuven M Museum Leipzig Museum der bildenden Künste Madrid Museo Nacional del Prado Stans Frey-Näplin Stiftung Utrecht Centraal Museum Vienna Liechtenstein Museum Private collectors THE SNIJDERS&ROCKOX HOUSE A surprising museum in the heart of Antwerp Visitors Guide ENTRANCE HALL 6 THE ROCKOX HOUSE Den Gulden Rinck 10 ROOM 1 De Cleyn Salette – Burgomaster 12 CORRIDOR 34 CONTENTS ROOM 2 Tgroot Salet – Collecting 36 ROOM 3 De camer achter Tgroot Salet – Nature 76 THE GARDEN 96 ROOMS 4 AND 5 Twaschhuys – Leisure and entertainment 98 REST AREA 119 ROOMS 6 AND 7 Keucken – Eating and drinking 120 THE SNIJDERS HOUSE De Fortuyne 141 ROOM 8 Neercamer – Hunting and fishing 144 ROOM 9 Bovencamer – Birds and still lifes 158 FIRST FLOOR LANDING 170 ROOM 10 Voorcamer aende straete – Music 172 Nicolaas Rockox and Frans Snijders were key figures in Antwerp during the Baroque era. Each made his mark on the city’s cultural and social life – Nicolaas as burgomaster and Frans as a brilliant painter of animals and still lifes. -
Love in the Kunstkamer Additions to the Work of Guillam Van Haecht (1593-7637)
17TH CENTURY PAINTIN The emergenceon the art market in 7992of a new kunstkamerpainting related to the work of Jan Bruegel the Elder and Frans Franckenthe Youngerwas the occasionfor an article in Tablenuon the contribution of those prominent Antwerp artists to the fascinatinggenre of painted galleries.'The present article is inspired by the continued non-emergenceof two kunstkamerpaintings by their younger colleagueGuillam (also known as Willem or Guillaume) van Haecht. (SeeNote on a Name.) LOVE IN THE KUNSTKAMER ADDITIONS TO THE WORK OF GUILLAM VAN HAECHT (1593-7637) Gary Schwartz heads destroy works of art and scientific instruments. ForJulius Held The message seems clear: I lthough the two works art is honored by serious .l_L to which I allude have people of high moral and been referred to in passing intellectual calibre, while in the art-historical litera- those who are antagonistic ture, one of them has never to it or engage in icono- been reproduced before, clasm are morons. Francken and the other only once, in sometimes goes further in a l93o Berlin auction catà- elevating the status of art. logue. This is all the more In a painting entitled PlcÍu- amazing considering the ra Sancta, Christ himself high and growing estima- stands model to a woman tion enjoyed by van Haecht. personifying the art of sa- In her book of 7957, Les cred painting.l peintresflamnnds de cnbinets In the second halÍ oÍ the d'amateur, S. Speth-Holter- 1610s the genre originated hoff wrote oÍ him: 'il est sans conteste ORBITA PROBITÁTIS by Francken was picked up by an o1- le meilleur des peintres de Cabinets ÁD cHRISïi Ii\,tITÁTtONÊ,M der painter of higher social standing YT.RID:CO CFlRIsTIAN O d'Amateurs et, après plus de trois S VDSERVIENS.