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Re-Thinking the Curiosity Cabinet: a Study of Visual Representation in Early and Post Modernity

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Re-Thinking the Curiosity Cabinet: a Study of Visual Representation in Early and Post Modernity Re-thinking the Curiosity Cabinet: A Study of Visual Representation in Early and Post Modernity Thesis submitted for the degree of Doctor of Philosophy at the University of Leicester by Stephanie Jane Bowry School of Museum Studies June 2015 Re-thinking the Curiosity Cabinet: A Study of Visual Representation in Early and Post Modernity Stephanie Jane Bowry This thesis examines the concepts and visual strategies employed within the sixteenth- and seventeenth-century curiosity cabinet – here defined as privately-owned European collections of extraordinary objects – to represent the world. This research also examines how these concepts and strategies are paralleled in contemporary art practice from 1990 to the present in Europe and the USA. As such, it challenges traditional museological interpretations of the cabinet as a mere proto-museum, as well as the notion that the cabinet is obsolete as a form of cultural practice. This thesis primarily focuses upon Northern European collecting practice from c. 1540 - c. 1660, and draws upon artworks, objects and collections as illustrative examples. The thesis also offers a new translation of parts of a seminal text in the history of early collections: Samuel Quiccheberg’s Inscriptiones Vel Tituli Theatri Amplissimi (1565), included in the Appendix. During the last two decades, there has been a resurgence of scholarly interest in the cabinet, yet perspectives on early collections remain limited – often to a single interpretive lens. Furthermore, scholarship on the nature of the cabinet’s connections with and relevance to contemporary cultural practice is still in its infancy. This thesis contends that the cabinet is best understood as a complex set of practices, related to but distinct from those of contemporary museums, and draws upon the Derridean concept of the spectre in order to demonstrate how the cabinet’s practices are echoed within contemporary art practice at both a visual and conceptual level. Ultimately, this thesis contributes a new historiography, theoretical perspective and methodological approach to the early modern cabinet, one which sets it in an appropriate historical context, but also considers the nature of its significance in the contemporary era. 2 Acknowledgements I am indebted to several individuals and organisations for their support at various stages of the PhD journey. Particular thanks are due to my supervisor, Prof. Simon Knell, for his kind and insightful guidance over the past four years. Thanks are also due to my second supervisor, Dr Suzanne MacLeod, for her helpful advice and suggestions. I am also very grateful to the Arts and Humanities Research Council for providing a full scholarship for this PhD project, and thereby furnishing me with both the means and the privilege to pursue my own research project. Additionally, I would like to thank my two Review panels for their encouraging and useful observations on the development of the core argument and thesis structure, and for their helpful suggestions on further reading. I also wish to thank my translator, Antonio Leonardis, for his skill and tenacity in braving an intractable sixteenth-century Latin text on my account, which greatly enhanced my understanding of the historical context and added richness to the overall narrative. I am extremely appreciative of the help I received from the staff of various museums and galleries around the world, and for their promptness and courtesy in replying to my many requests for further information. Special thanks are due to Dr Mark Bateson and the staff of Canterbury Cathedral Archives for allowing me to view and handle the Bargrave Collection, and to Åsa Thörnlund at the Museum Gustavianum, Uppsala, Sweden, for helping me to plan my visit to view the Augsburg Art Cabinet, and for assisting with many subsequent enquiries about this outstanding collection. Thanks are also due to the administrative staff of the School of Museum Studies – especially Barbara Lloyd, Christine Cheesman and Bob Ahluwalia, for their help with numerous matters, from expense forms to technological issues. Finally, I would like to thank my family and friends for their encouragement and support, Dr Viv Golding, David Forster and Tim for their kindness and hospitality, and last but not least my fellow students in the School of Museum Studies from whom I learned so much, and who cheered me on in the final stages – Dr Gudrun Whitehead, Dr Amy Barnes, Dr Helen Wilkinson, Dr Elee Kirk, Dr Catharina Hendrick, Petrina Foti, Dr Amy Hetherington and of course, Ryan Nutting. 3 In memory of my Grandma, Eileen Winifred Bowry (1928-2011), whose cabinet remains a source of endless fascination. 4 Contents Abstract……………………………………………………………………………………..2 Acknowledgements…………………………………………………………………………3 List of Figures………………………………………………………………………………6 Introduction………………………………………………………………………………..8 Chapter One: Defining the Curiosity Cabinet……………………………………………44 Chapter Two: The Logic of the Cabinet: Concepts and Categories……………………...72 Chapter Three: The Art of the Cabinet: Framing Devices and Spatial Performances.....139 Chapter Four: The Mirror of the Cabinet: Contemporary Still Life Painting…………..196 Chapter Five: The Spectral Cabinet: The Cabinet in Contemporary Art Practice………255 Conclusion: Conduits between Worlds…………………………………………………..314 Appendix: Samuel Quiccheberg, Inscriptiones vel Tituli Theatri Amplissimi……………334 Bibliography………………………………………………………………………………390 5 List of Figures 1 Gérard Mermoz, Objects in Performance (2009) ...................................................... 11 2 Gérard Mermoz, Objects in Performance (installation detail) .................................. 12 3 Detail of the trompe l’oeil panelling of Federigo da Montefeltro’s scrittoi ............... 52 4 An example of a kunstschrank, Augsburg, 1650 ........................................................ 53 5 The courtyard of the Old Mint, Munich, the site of Albrecht V’s kunstkammer ........ 77 6 Lorenz Seelig’s reconstruction of the kunstkammer of Albrecht V ............................ 79 7 Title page of Samuel Quiccheberg’s Inscriptiones (1565) ........................................ 93 8 Earthenware dish, c. 1580-1620, produced by Bernard Palissy or his followers ... ..107 9 Mechanical doll, second half of the sixteenth century .............................................. 110 10 The Augsburg Art Cabinet, 1625-31 ...................................................................... 125 11 The ‘Ship of Venus’, Augsburg Art Cabinet, 1630 ................................................ 127 12 Ivory dodekaeder from the Augsburg Art Cabinet, early sixteenth century .......... 128 13 Johann König, The Israelites crossing the Red Sea, early seventeenth century ..... 130 14 Paul Ardier’s Galerie des Illustres, Château de Beauregard, France ..................... 149 15 Willem van Haecht, The Cabinet of Cornelis van Der Geest (1628) .................... 153 16 Daniel Mytens, Thomas Howard, 14th Earl of Arundel, 4th Earl of Surrey and 1st Earl of Norfolk (c. 1618) ..................................................................................................... 160 17 Daniel Mytens, Alathea, Countess of Arundel and Surrey (c. 1618) ..................... 163 18 Hieronymous Bosch, The Garden of Earthly Delights (c. 1490-1510), opened triptych ..................................................................................................................................... 172 19 Hieronymous Bosch, The Garden of Earthly Delights (c. 1490-1510), outer wings of triptych ......................................................................................................................... 174 20 A cabinet produced in Antwerp, Belgium, c. 1640-1660 ....................................... 181 21 Cornelius Gijsbrechts, The Reverse of a Framed Painting (1670) ......................... 185 6 22 Samuel van Hoogstraten, A Peepshow with Views of the Interior of a Dutch House (c. 1655-60) ...................................................................................................................... 188 23 A view of an interior within Hoogstraten’s Peepshow ........................................... 189 24 Samuel van Hoogstraten, Lucri Causa, or Love of Wealth ..................................... 192 25 Antonio de Pereda, Still Life with an Ebony Chest (1652) .................................... 197 26 Anon., Still Life with Fish, 1st Century BC ............................................................ 203 27 Antonello da Messina, Saint Jerome in his Study (c. 1475) .................................. 209 28 Willem Kalf, Still Life with a Nautilus Cup (1662)……………………………….222 29 Guiseppe Arcimboldo, Vertumnus (c. 1590) ......................................................... 226 30 Giotto di Bondone, detail of a coretto in the Cappella degli Scrovegni (1305)…..230 31 Ambrosius Bosschaert, Bouquet in a Niche (c. 1620) ........................................... 234 32 Otto Marseus Van Schrieck, (attrib.), Thistles, Reptile and Butterflies .................. 244 33 Harmen Steenwyck, An Allegory of the Vanities of Human Life (c. 1640).. .......... 248 34 Frontispiece to Emanuele Tesauro’s Il cannocchiale aristotelico (1670) ............. 252 35 Mark Dion and Robert Williams, Theatrum Mundi: Armarium (2001) ................ 261 36 Mark Dion and Robert Williams, Theatrum Mundi: Armarium (2001) (Detail) ... 262 37 Joseph Beuys, Block Beuys, Room 2 (1970-2007) ................................................ 275 38 Peter Blake, Memories of
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