Sources of Photographs and Indexes Sources of Photographs

Total Page:16

File Type:pdf, Size:1020Kb

Sources of Photographs and Indexes Sources of Photographs SOURCES OF PHOTOGRAPHS AND INDEXES SOURCES OF PHOTOGRAPHS H.M. the Queen: Fig. 181 London, A.C.Cooper: Figs.12, 23, 31, 47-50, 53, Althorp, The Earl Spencer: Fig. 13 71, 82, 102, 129, 160, 172, 176 Amsterdam, Fotocommissie Rijksmuseum: London, Courtauld Institute Galleries: Figs.147, F ig.87 149 Amsterdam, Gemeentemusea: Fig.45 London, J.Freeman: Figs.16, 30 A n tw e rp , J. D e M ae y e r: Figs. 17, 18 London, National Gallery: Figs.9, 10, 85, 110-112, Antwerp, Rubenianum: Figs.2, 4, 5, 6, 11, 14, 152, 200, 201 15, 39 , 43 , 44 , 46 , 55 , 66-69, 7o, 74, 74 , 78, 81, London, S.Newbery: Figs. 165, 227 90, 91, 93, 98, lo i, 105, 108, 121, 125, 126, 128, London, H.J.Orgler: Fig.229 131, 132, 135, 136, 138, 139, 142, 146, 150, 151, London, Royal Academy: Fig.116 156, 157, 159, 162, 163, 166, 167, 169-171, 174, Madrid, Museo del Prado: Figs.3, 76 175, 177, 178, 189, 193, 198, 203, 208-213, 2,18, Munich, Bayerische Staatsgemaldesammlungen : 222, 228, 234, 240, 241, 111. p.206 Figs.24-27, 29, 42, 84, 92, 145, 184-188, 192, Antwerp, ’t Felt: Fig.207 220, 239 Barcelona, Mas: Fig.22 New York, Metropolitan Museum of Art: Berlin, Staatliche Museen Preussischer Kultur- Figs.117, 133, 195-197, 135 besitz: Fig. 191 New York, Pierpont Morgan Library: Fig.230 Berlin (DDR), Staatliche Museen: Fig.83 Nîmes, Musée des Beaux-Arts: Fig.32 Brunswick, Herzog Anton-Ulrich Museum: Paris, Archives Photographiques: Figs.97, 119, Fig.216 123, 124 Brussels, A .C .L.: Figs.120, 122, 153, 223 Paris, Bibliothèque Nationale: Fig.237 Brussels, Bibliothèque Royale: Fig.236 Paris, B u llo z: Figs.96, 226 Brussels, Speltdoorn: Fig.109 Paris, Giraudon: Fig.118 Cleveland, The Cleveland Museum of Art : Paris, Réunion des Musées Nationaux: Figs. 103, Figs.35, 36 104, 114, 182 Copenhagen, Statens Museum for Kunst: Fig.242 Pasadena, Norton Simon Inc. Museum of Art: Cracow, W awel Castle: Fig.134 Fig.130 Détroit, The Détroit Institute of Arts: Figs.75, Philadelphia, John G.Johnson Collection: 77, 79, 80, 206 Fig. 194 Douai, Musée de la Chartreuse: Figs.224, 225 Pittsburgh, Frick Art Museum: Fig.63 Dresden, Staatliche Kunstsammlungen : Figs.94, Prague, Nârodni Galerie: Fig.215 202 Rome, Anderson: Fig.140 Dublin, National Gallery of Ireland: Fig. 141 Rotterdam, Museum Boymans-van Beuningen: Düsseldorf, Kunstmuseum: Fig. 19 Figs.99, 100 Florence, Alinari: Figs.51, 173 San Francisco, M.H. de Young Memorial Florence, B rogi: Figs.40, 41, 168 Museum: Figs.59-62 Fort Worth, The Kimbell Art Museum: Fig.54 Sarasota, The Ringling Museum of Art: The Hague, Dingjan: Fig.154 F ig.73 T h e H ague, A .F re q u in : Figs.28, 65, 86, 115, 155, Schaan, W . W a ch ter: F igs.i, 232, 233 158 St Louis, City Art Museum: Fig.217 The Hague, Dienst Verspreide Rijkskollecties: Stockholm, Nationalmuseum: Fig.231 Fig. 199 V ien n a, A lb e rtin a : Figs.33, 34, 52, 57, 113, 143, The Hague, Rijksbureau voor Kunsthistorische 214 Documentatie: Fig.238 Vienna, Kunsthistorisches Museum: Figs.88, 89, Kassei, Staatliche Kunstsammlungen: Fig. 161 144, 148, 179, 180, 183 Leningrad, Hermitage: Figs.56, 164 Vienna, W olfrum : Figs.20, 21 L o n do n , B ritish M u se u m : Figs.38, 58, 95, 127, Warsaw, University Library: Fig.219 190, 221 Washington, National Gallery of Art: Fig.37 370 Index I: Collections This index lists ail extant paintings, oil sketches and drawings, as w ell as a retouched proof State of an engraving, catalogued in the present volume. Copies have also been included. The works are listed alphabetically according to place. References to the number of the catalogue entries are given in bold, followed by copy numbers where relevant, then by page references and finally by figure numbers in italics. ALTHORP HOUSE, EARL SPENCER George Villiers, Duke of Buckingham, on Horse- G. de Crayer, painting after Rubens: back, N 0 .8 1, cop y; 64 Albert, Archduke of Austria, No.64, copy 2; 40-41; fi g. 13 ANTWERP, STADSARCHIEF Anonymous, drawing after Rubens (?): AMSTERDAM, RIJKSMUSEUM Jean de la Court (?)Rubens Hélène Fourment, N 0 .9 6 b ; 88, 90-91; fig.Sy BARCELONA, MUSEO DE ARTE DE CATALUNA (?) R ubens, pain tin g: ANTWERP, MRS BOUDRY Alethea Talbot, Countess of Arundel, N o .7 1; Anonymous, paintings after Rubens: 47-48 ; fig.22 Albert, Archduke of Austria, No.64, copy 3 ; 40 Isabella, Infanta of Spain, N o.65, copy 3 ; 41 BARCELONA, PRIVATE COLLECTION Rubens, painting: ANTWERP, KONINKLIJK MUSEUM VOOR Heliodorus de Barea, N o .73; 52-54 ; jig.y 1 SCHONE KUNSTEN Anonymous, painting after Rubens: Rubens, painting: Peter Paul Rubens, N o.134, copy 1; 151 Jan-Gaspar Gevartius, N o.106; 26, 113-116, 138; fig.122 BARODA, INDIA., BARODA MUSEUM AND N. de Keyser, drawing after Rubens: PICTURE GALLERY Albert and Nicolaas Rubens, N o.142, copy 4; (?) A . van D y c k , p ain tin g: 175-176 Frederik van Martselaer, N0.Ï19; 133-134; ANTWERP, MUSEUM PLANTIN-MORETUS fig -H i E.Quellinus II, painting after Rubens: BERLIN-DAHLEM, STAATLICHE MUSEEN Ludovicus Nonnius, N0.124, copy; 137-139; PREUSSISCHER KULTURBESITZ, KUPFERSTICH- fig -H i KABINETT (?) T. W illeboirts Bosschaert, painting after Rubens, drawing: R u ben s : An Old Woman in two Views, N o .13 9 b ; Jan-Gaspar Gevartius, N o.106, copy 1; 168-169; fig.191 113 -114 Anonymous, drawings after Rubens: Anonymous, painting after Rubens: Alethea Talbot, Countess of Arundel and her Peter Paul Rubens, Philip Rubens, Justus Train, N o.72, copy; 48 Lipsius and Johannes Woverius (‘The Four Michael Ophovius, No.127a, copy 1; 143 Philosophers’J, N o 117 , cop y 2; 128 BERLIN (DDR), BODE MUSEUM ANTWERP, RUBENS HUIS (?) R ubens, pain tin g: Rubens, painting: Ferdinand, Cardinal Infante of Spain, N o .94; Peter Paul Rubens, N o.136; 157-159, 166, 8 lfig-S 172; figs.177, ïyS 7 3 Workshop of Rubens: BOSTON, MASS., MUSEUM OF FINE ARTS Michael Ophovius, N o. 126, copy 1; 140, 142; Anonymous, painting after Rubens: fig-H 6 Jan Brueghel the Elder and his Family, N 0 .79 , Anonymous, painting after Rubens: copy 1 ; 60 INDEX i: COLLECTIONS BRUNSWICK, HERZOG ANTON ULRICH- CASTAGNOLA-LUGANO, VILLA FAVORITA, MUSEUM COLLECTION BENTINCK-THYSSEN Rubens, painting: Rubens, painting: Ambrogio Spinola, N o.149; 126, 185-187; Albert, Archduke of Austria, N o.70; 47; fig.19 fig.216 CLEVELAND, OHIO, THE CLEVELAND MUSEUM BRUSSELS, BARON CARTON DE WIART OF ART Anonymous, paintings after Rubens: Rubens, painting: Albert, Archduke ofAustria, N0.64, copy 4; 40 Isabella Brant, N0.75 ; 25, 54-56, 107, 109-110, Isabella, Infanta of Spain, N o .65, cop y 4; 42 112 \fg.36 BRUSSELS, G.DULIÈRE COPENHAGEN,KONGELIGE Anonymous, painting after Rubens : KOBBERSTIKSAMLING Michael Ophovins, N o.125, copy 1; 139; Anonymous, drawing after Rubens : Albert, Archduke of Austria, on Horseback, fig-173 N 0 .58 , cop y 7; 35 BRUSSELS, R. PINCK COPENHAGEN, ADAM PASLER Anonymous, painting after Rubens: Anonymous, painting after Rubens : Hélène Fourment, No.141a, copy 5; 174 Matthaeus Yrsselius, N o. 161, copy; 204 BRUSSELS, F. C. JACQUES COPENHAGEN, STATENS MUSEUM POR KUNST Anonymous, painting after Rubens: Rubens, painting: Michael Ophovius, N o . 126, copy 2; 140 Matthaeus Yrsselius, N o . 16 1; 204—206; fig .242 BRUSSELS, MUSÉES ROYAUX DES BEAUX-ARTS CRACOW, WAWEL CASTLE, STATE DE BELGIQUE COLLECTION OF ART T. van Thulden, painting after Rubens: (?) Rubens, painting: Ferdinand, Cardinal Infante of Spain, N o .93, Ladislas-Sigismund, Prince of Poland, on cop y 6 ; 82 Horseback, N o.114; 124-125; fig. 134 Anonymous, painting after Rubens: DANZIG, MUZEUM NARODOWE Petrus Pecquius, N o.128, copy 1; 144-145 Anonymous, drawing after Rubens: Hélène Fourment, N o.96, copy 6; 88-89 BRUSSELS, PRIVATE COLLECTION Rubens, painting: DETROIT, THE DETROIT INSTITUTE OF ARTS Suçanna Fourment, N0.101 ; 105-m ; fig.109 Rubens, painting: Anonymous, paintings after Rubens: Philip Rubens, N o .144; 130, 179-1S1 ; fig.206 Albert, Archduke ofAustria, N o.64, copy 5; 40 Rubens, oil sketch: Isabella, Infanta of Spain, N o .65, cop y 5; 42 Ferdinand, Cardinal Infante of Spain, on Horseback, No.93a; 31, 84-86; fig s.75, 77, BUDAPEST, SZÉPMÜVÉSZETI MUZEUM 79, <5o Anonymous, painting after Rubens: Ferdinand, Cardinal Infante of Spain, N o .91, DETROIT, PRIVATE COLLECTION copy 1 ; 80 Anonymous, painting after Rubens : Ambrogio Spinola, N o.149, copy 3; 186 CAMBRIDGE, FITZWILLIAM MUSEUM DOUAI, MUSÉE DE LA CHARTREUSE A.Watteau, drawing after Rubens: W orkshop of Rubens, paintings: Isabella Brant, N o.76, copy 10; 57 Petrus deSpira, N o.153; 191-194, 198; fig.227 Anonymous, drawing after Rubens : Nicolas Trigault, N o.154; 191-198 -, fig .224 Peter Paul Rubens, Hélène Fourment and Clara-Johanna Rubens, N o.141, copy 2; 170 DRESDEN, GEMALDEGALERIE Johannes Woverius, N o.117, copy 13; 129 Workshop of Rubens: Albert and Nicolaas Rubens, N o.142, copy 1 ; CANBERRA, NATIONAL GALLERY OP AUSTRALIA 175, 177- 178 ; fig-202 Workshop of Rubens: Anonymous, paintings after Rubens : Peter Paul Rubens, N o.135, copy 1; 153-154, Albert, Archduke of Austria, N o .64, co p y 13 ; 40 156-15 7 , 159; fig -172 Isabella, Infanta of Spain, N0.65, copy 12; 42 372 INDEX i: COLLECTIONS DRESDEN, KUPFERSTICHKABINETT GENOA, PALAZZO DURAZZO-PALLAVICINI Rubens, drawing: Anonymous, painting after Rubens: Frans Rubens, N o.98a; 95 \fig.94 Ladislas-Sigismund, Prince ofPoland, N o .113, co p y 2 ; 123 EDINBURGH, THE NATIONAL GALLERY OP SCOTLAND CHEKT, PRIVATE COLLECTION Andrew Geddes, pastel after Rubens : Anonymous, paintings after Rubens : Suçanna Fourment, N o .
Recommended publications
  • De Grote Rubens Atlas
    DE GROTE RUBENS ATLAS GUNTER HAUSPIE DUITSLAND INHOUD 1568-1589 12-23 13 VLUCHT NAAR KEULEN 13 HUISARREST IN SIEGEN 14 GEBOORTE VAN PETER PAUL ANTWERPEN 15 SIEGEN 16 JEUGD IN KEULEN 1561-1568 17 KEULEN 20 RUBENS’ SCHILDERIJ 10-11 10 WELGESTELDE OUDERS IN DE SANKT PETER 10 ONRUST IN ANTWERPEN 21 NEDERLANDSE ENCLAVE IN KEULEN 11 SCHRIKBEWIND VAN ALVA 22 RUBENS IN HET WALLRAF- RICHARTZ-MUSEUM 23 TERUGKEER NAAR ANTWERPEN 1561 1568 1577 LEEFTIJD 0 1 2 3 4 ITALIË 1600-1608 32-71 33 OVER DE ALPEN 53 OP MISSIE NAAR SPANJE 33 VIA VENETIË NAAR MANTUA 54 EEN ZWARE TOCHT 35 GLORIERIJK MANTUA 54 OPLAPWERK IN VALLADOLID 38 LAGO DI MEZZO 55 VALLADOLID 39 MANTUA IN RUBENS’ TIJD 56 PALACIO REAL 40 CASTELLO DI SAN GIORGIO 57 OVERHANDIGING VAN DE GESCHENKEN 41 PALAZZO DUCALE 57 HERTOG VAN LERMA 42 BASILICA DI SANT’ANDREA 59 GEEN SPAANSE HOFSCHILDER 42 IL RIO 59 TWEEDE VERBLIJF IN ROME 42 HUIS VAN GIULIO ROMANO 59 CHIESA NUOVA 42 HUIS VAN ANDREA MANTEGNA 60 DE GENUESE ELITE 43 PALAZZO TE 61 INSPIREREND GENUA 44 MANTUAANS MEESTERWERK 65 DE PALAZZI VAN GENUA 48 HUWELIJK VAN MARIA DE’ MEDICI 67 EEN LAATSTE KEER ROME IN FIRENZE 67 TERUGKEER NAAR ANTWERPEN 49 EERSTE VERBLIJF IN ROME 68 RUBENS IN ROME 49 SANTA CROCE IN GERUSALEMME 70 STEDEN MET SCHILDERIJEN UIT 51 VIA EEN OMWEG NAAR GRASSE RUBENS’ ITALIAANSE PERIODE 52 VERONA EN PADUA 1600 1608 VLAAMSE MEESTERS 4 23 24 25 26 27 28 29 30 31 32 33 ANTWERPEN 1589-1600 24-31 25 TERUG IN ANTWERPEN 25 STAD IN VERVAL 26 UITMUNTEND STUDENT 27 DE JEUGDJAREN IN ANTWERPEN 28 GOEDE MANIEREN LEREN 28 DE ROEP VAN DE KUNST 28
    [Show full text]
  • Hans Rottenhammer's Use of Networks in the Copper
    arts Article Intermediaries and the Market: Hans Rottenhammer’s Use of Networks in the Copper Painting Market Sophia Quach McCabe Department of History of Art and Architecture, University of California, Santa Barbara, Santa Barbara, CA 93106, USA; [email protected] Received: 1 February 2019; Accepted: 16 June 2019; Published: 24 June 2019 Abstract: In Willem van Haecht’s Gallery of Cornelis van der Geest, The Last Judgment by the German artist Hans Rottenhammer stands prominently in the foreground. Signed and dated 1598, it is one of many copper panel paintings Rottenhammer produced and sent north of the Alps during his decade-long sojourn in Venice. That the work was valued alongside those of Renaissance masters raises questions about Rottenhammer’s artistic status and how the painting reached Antwerp. This essay examines Rottenhammer’s international market as a function of his relationships with artist-friends and agents, especially those in Venice’s German merchant community. By employing digital visualization tools alongside the study of archival documents, the essay attends to the intermediary connections within a social network, and their effects on the art market. It argues for Rottenhammer’s use of—and negotiation with—intermediaries to establish an international career. Through digital platforms, such as ArcGIS and Palladio, the artist’s patronage group is shown to have shifted geographically, from multiple countries around 1600 to Germany and Antwerp after 1606, when he relocated to Augsburg. Yet, the same trusted friends and associates he had established in Italy continued to participate in Rottenhammer’s business of art. Keywords: Hans Rottenhammer; social network; intermediaries; mediation; digital humanities; digital art history; merchants; art market; copper painting; Jan Brueghel the Elder 1.
    [Show full text]
  • The Rubenianum Quarterly
    2016 The Rubenianum Quarterly 1 Announcing project Collection Ludwig Burchard II Dear friends, colleagues and benefactors, We are pleased to announce that through a generous donation the Rubenianum will be I have the pleasure to inform you of the able to dedicate another project to Ludwig Burchard’s scholarly legacy. The project entails imminent publication of the first part of two main components, both building on previous undertakings that have been carried the mythology volumes in the Corpus out to preserve the Rubenianum’s core collection and at the same time ensure enhanced Rubenianum Ludwig Burchard. The accessibility to the scholarly community of the wealth of Rubens documentation. Digitizing the Corpus Rubenianum Ludwig Burchard, launched in 2013 and successfully two volumes are going to press as we extended until May 2016, will be continued for all Corpus volumes published before 2003, speak and will be truly impressive. abiding by the moving wall of 15 years, that was agreed upon with Brepols Publishers, for the Consisting of nearly 1000 pages and over years 2016–18. 400 images, they will be a monumental The second and larger component of the project builds on the enterprise titled A treasure addition to our ever-growing catalogue trove of study material. Disclosure and valorization of the Collection Ludwig Burchard, raisonné of Rubens’s oeuvre and constitute successfully executed in 2014–15. An archival description of Rubenianum objects originating from Burchard’s library and documentation has since allowed for a virtual reconstruction a wonderful Easter present. of the expert’s scholarly legacy. Much emphasis was placed on the Rubens files during In the meantime, volume xix, 4 on Peter this project, while the collection contains many other resources that are of considerable Paul Rubens’s many portrait copies, importance to Rubens research.
    [Show full text]
  • The Wallace Collection — Rubens Reuniting the Great Landscapes
    XT H E W ALLACE COLLECTION RUBENS: REUNITING THE GREAT LANDSCAPES • Rubens’s two great landscape paintings reunited for the first time in 200 years • First chance to see the National Gallery painting after extensive conservation work • Major collaboration between the National Gallery and the Wallace Collection 3 June - 15 August 2021 #ReunitingRubens In partnership with VISITFLANDERS This year, the Wallace Collection will reunite two great masterpieces of Rubens’s late landscape painting: A View of Het Steen in the Early Morning and The Rainbow Landscape. Thanks to an exceptional loan from the National Gallery, this is the first time in two hundred years that these works, long considered to be companion pieces, will be seen together. This m ajor collaboration between the Wallace Collection and the National Gallery was initiated with the Wallace Collection’s inaugural loan in 2019 of Titian’s Perseus and Andromeda, enabling the National Gallery to complete Titian’s Poesie cycle for the first time in 400 years for their exhibition Titian: Love, Desire, Death. The National Gallery is now making an equally unprecedented reciprocal loan to the Wallace Collection, lending this work for the first time, which will reunite Rubens’s famous and very rare companion pair of landscape paintings for the first time in 200 years. This exhibition is also the first opportunity for audiences to see the National Gallery painting newly cleaned and conserved, as throughout 2020 it has been the focus of a major conservation project specifically in preparation for this reunion. The pendant pair can be admired in new historically appropriate, matching frames, also created especially for this exhibition.
    [Show full text]
  • 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.
    [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]
  • Networking in High Society the Duarte Family in Seventeenth-Century Antwerp1
    Networking in high society The Duarte family in seventeenth-century Antwerp1 Timothy De Paepe Vleeshuis Museum | Klank van de stad & University of Antwerp At the end of the sixteenth century the Duarte family, who were of Jewish origin, moved from Portugal to Antwerp and it was here that Diego (I) Duarte laid the foundations for a particularly lucrative business in gemstones and jewellery. His son Gaspar (I) and grandson Gaspar (II) were also very successful professionally and became purveyors of fine jewellery to the courts in (among other places) England, France, the Dutch Republic and the Habsburg Empire. Their wealth enabled the Duartes to collect art and make music in their “palace” on the Meir. Their artistic taste and discernment was such that the mansion became a magnet for visitors from all over Western Europe. The arts were a catalyst for the Duartes’ business, but also constituted a universal language that permitted the family to transcend religious and geographical borders. The death of Diego (II) Duarte in 1691 brought to an end the story of the Duartes in Antwerp. The Duartes were possibly the foremost dealers in jewellery and gemstones in Antwerp in the seventeenth century, but they did not achieve that position without a great deal of effort. Thanks to hard work, determination, a love of the arts and a widespread family network, plus the advantage of Antwerp’s geographically central position, these enterprising cosmopolitans managed to overcome religious discrimination and a succession of setbacks. And in the intimacy of their home they brought together the world of business, the arts and diplomacy in an environment that welcomed every discerning visitor, irrespective of his or her religious background.
    [Show full text]
  • Open Access Version Via Utrecht University Repository
    Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p.
    [Show full text]
  • The Leiden Collection
    Emperor Commodus as Hercules ca. 1599–1600 and as a Gladiator oil on panel Peter Paul Rubens 65.5 x 54.4 cm Siegen 1577 – 1640 Antwerp PR-101 © 2017 The Leiden Collection Emperor Commodus as Hercules and as a Gladiator Page 2 of 11 How To Cite Van Tuinen, Ilona. "Emperor Commodus as Hercules and as a Gladiator." InThe Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. © 2017 The Leiden Collection Emperor Commodus as Hercules and as a Gladiator Page 3 of 11 Peter Paul Rubens painted this bold, bust-length image of the eccentric Comparative Figures and tyrannical Roman emperor Commodus (161–92 A.D.) within an illusionistic marble oval relief. In stark contrast to his learned father Marcus Aurelius (121–80 A.D.), known as “the perfect Emperor,” Commodus, who reigned from 180 until he was murdered on New Year’s Eve of 192 at the age of 31, proudly distinguished himself by his great physical strength.[1] Toward the end of his life, Commodus went further than any of his megalomaniac predecessors, including Nero, and identified himself with Hercules, the superhumanly strong demigod of Greek mythology famous for slaughtering wild animals and monsters with his bare hands. According to the contemporary historian Herodian of Antioch (ca.
    [Show full text]
  • Rubens Was Artist, Scholar, Diplomat--And a Lover of Life
    RUBENS WAS ARTIST, SCHOLAR, DIPLOMAT--AND A LOVER OF LIFE An exhibit at Boston's Museum of Fine Arts shows that this Flemish genius truly lived in the right place at the right time by Henry Adams Smithsonian, October, 1993 Of all the great European Old Masters, Rubens has always been the most difficult and puzzling for Americans. Thomas Eakins, the famed American portraitist, once wrote that Rubens' paintings should be burned. Somewhat less viciously, Ernest Hemingway made fun of his fleshy nudes—which have given rise to the adjective "Rubenesque"—in a passage of his novel A Farewell to Arms. Here, two lovers attempt to cross from Italy into Switzerland in the guise of connoisseurs of art. While preparing for their assumed role, they engage in the following exchange: "'Do you know anything about art?' "'Rubens,' said Catherine. "'Large and fat,' I said." Part of the difficulty, it is clear, lies in the American temperament. Historically, we have preferred restraint to exuberance, been uncomfortable with nudes, and admired women who are skinny and twiglike rather than abundant and mature. Moreover, we Americans like art to express private, intensely personal messages, albeit sometimes strange ones, whereas Rubens orchestrated grand public statements, supervised a large workshop and absorbed the efforts of teams of helpers into his own expression. In short, Rubens can appear too excessive, too boisterous and too commercial. In addition, real barriers of culture and At the age of 53, a newly married Rubens celebrated by painting the joyous, nine-foot- background block appreciation. Rubens wide Garden of Love.
    [Show full text]
  • Valuing Congestion Costs in Museums
    Valuing congestion costs in small museums: the case of the Rubenshuis Museum in Antwerp Juliana Salazar Borda Master Cultural Economics & Cultural Entrepreneurship Faculteit der Historische en Kunstwetenschappen Erasmus Universiteit Rotterdam [email protected] Supervisor: Dr. F.R.R. Vermeylen Second Reader: Dr. A. Klamer 2007 Summary Within the methodological framework of Contingent Valuation (CV), the purpose of this research was to find in the Rubenshuis Museum the ‘congestion cost’ or the amount visitors are willing to pay in order to avoid too many people inside. A number of 200 site interviews with museum visitors, either entering or leaving the museum, were made. The analysis of the results showed a strong tendency of visitors to prefer not congested situations. However, their WTP more for the ticket was low (€1.33 in average). It was also found that if visitors were women, were older, were better educated and had a bad experience at the museum, the WTP went up. In addition, those visitors who were in their way out of the museum showed a higher WTP than those ones who were in their way in. Other options to diminish congestion were also asked to visitors. Extra morning and night opening hours were the most popular ones among the sample, which is an alert to the museum to start thinking in improving its services. The Rubenshuis Museum is a remarkable example of how congestion can be handled in order to have a better experience. That was reflected in the answers visitors gave about congestion. In general, even if the museum had a lot of attendance, people were very pleased with the experience and they were amply capable to enjoy the collection.
    [Show full text]
  • Self-Portraiture 1400-1700
    9 Self-Portraiture 1400–1700 H. Perry Chapman In his biography of Albrecht Dürer, published in Het schilder-boeck (The Painter Book, 1604), Karel van Mander describes holding in his hands Dürer’s Self- Portrait of 1500 (fig. 9.1).1 Van Mander, the Dutch painter-biographer who wrote the lives of the Netherlandish and German painters (see chapter 24), was on his way home from Italy in 1577. He had stopped in Nuremberg, where he saw Dürer’s Self-Portrait in the town hall. Van Mander’s account conveys Dürer’s fame, as both the greatest German artist of the Renaissance and a maker of self- portraits. It tells us that self-portraits were collected and displayed, in this case by the city of Nuremberg. Above all, Van Mander’s remarks demonstrate that, by 1600, self-portrait was a concept. Though there was as yet no term for self- portrait (autoritratto dates to the eighteenth century, Selbstbildniss and “self-portrait” to the nineteenth), a portrait of an artist made by that artist was regarded as a distinctive pictorial type. The self-portrait had acquired a mystique, because the artist had come to be regarded as a special person with a special gift. The topos “every painter paints himself” conveyed the idea that a painter invariably put something of him/herself into his/her art. More than any other kind of artistic creation, the self-portrait was regarded as a manifestation of the artist’s ineffable presence in the work. Today we tend to think of self-portrayal as a private process and of the self- portrait as the product of introspection.
    [Show full text]