DOCSLIB.ORG

Maarten Van Heemskerck

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Maarten Van Heemskerck 30553 Maarten van Heemskerck Maria met Kind tijdens de rust op de vlucht naar Egypte, ca. 1527-1528 Washington (D.C.), National Gallery of Art [..] Afbeeldingsnummer 1001639054 Afmetingen: 650x498 pixels License undetermined Afbeeldingsnummer 1001479906 Afmetingen: 650x498 pixels License undetermined Afbeeldingsnummer 0000028213 Afmetingen: 4973x3880 pixels License undetermined Verder zoeken in RKDimages Naam kunstenaar Heemskerck, Maarten van Naam kunstenaar Scorel, Jan van Afgekorte literatuur Friedländer 1967-1976 Afgekorte literatuur Veldman 2019B Collectieplaats Braunschweig Collectieplaats Luzern Collectieplaats Meggen (Zwitserland) Collectieplaats New York City Collectieplaats Washington (D.C.) Collectie Vieweg, Heinrich Collectie Fischer, Galerie Collectie Riedemann, A. von Collectie Kress, Samuel H. Collectie National Gallery of Art (Washington) Onderwerpstrefwoorden nieuwe testament & apocriefen Onderwerpstrefwoorden Maria Onderwerpstrefwoorden Christus Onderwerpstrefwoorden boom Onderwerpstrefwoorden heuvellandschap Onderwerpstrefwoorden haardracht Onderwerpstrefwoorden vlinder Iconclass code 73B65 Object gegevens Objectcategorie schilderij Drager/materiaal paneel, olieverf Vorm/maten liggende rechthoek 57,7 x 74,7 cm Huidige toeschrijving Maarten van Heemskerck Veldman 2019B Verworpen toeschrijving Jan van Scorel Friedländer 1967-1976 Datering Exacte of globale datering van het kunstwerk; de zoekmarges van het werk in deze database staan tussen haakjes. ca. 1527-1528 (1527 - 1528) Veldman 2019B Vervaardigd in Haarlem Onderwerp Titel Titel of de benaming van het kunstwerk. Deze kan verschillen van de titel die in (recente) publicaties wordt gegeven. Maria met Kind tijdens de rust op de vlucht naar Egypte Engelse titel The Virgin and Child during the flight into Egypt Onderwerpstrefwoorden nieuwe testament & apocriefen, Maria, Christus, boom, heuvellandschap, haardracht, vlinder Iconclass-code Iconclass-codes en tekstcorrelaten bevatten specifieke scènes en namen. Een Iconclass-code of -notatie is een code uit het veeltalige Iconclass systeem voor onderwerpsontsluiting. Voor meer informatie, zie www.iconclass.nl. 73B65 rest on the flight into Egypt Herkomst Collectie(s) private collection Heinrich Vieweg, Braunschweig - 1930 sale Berlin 1930-03-18 Galerie Fischer, Luzern according to notes of M.J. Friedländer on backside of picture in archive of M.J. Friedländer: 'Fischer / Luz.[ern] 1947 / priv. vidi' 1947 - seen by M.J. Friedländer private collection A. von Riedemann, Meggen (Switzerland) - 1952 Samuel H. Kress, New York City according to notes of M.J. Friedländer on backside of picture in archive of M.J. Friedländer: 'Kress / XI.55 / v. Scorel' 1952 - 1961 seen by M.J. Friedländer, 1955-11 National Gallery of Art (Washington), Washington (D.C.) , inv./cat.nr 1961.9.36 or 1398 Samuel H. Kress collection 1961 - Veiling(en) Lepke, Berlijn, coll. Vieweg, 1930-03-18, lotnr. 49, afb. zwart-witreproductie as Jan van Scorel Tentoonstellingen en literatuur Tentoonstellingen Jan van Scorel [Utrecht, 1955] Centraal Museum , Utrecht (city) , 1955-08-03 - 1955-10-30 , p. 43-44, no. 25, as Maarten van Heemskerck De eeuw van de beeldenstorm : de Noordelijke Nederlanden in de zestiende eeuw : zeven tentoonstellingen tussen september en december 1986 Rijksmuseum Amsterdam , Amsterdam , 1986-09-13 - 1986-11-23 , p. 190-191, no. 69, as Maarten van Heemskerck Literatuur Friedländer 1967-1976 , vol. XII, no. 327, as Jan van Scorel Veldman 2019B , p. 179, ill. no. 9 in color on p. 180 , as Maarten van Heemskerck R. Grosshans, Maerten van Heemskerck. Die Gemälde, Berlijn 1980, p. 96-97, no. 8, as Maarten van Heemskerck J.O. Hand, M. Wolff, cat. Early Netherlandish painting, Washington (National Gallery of Art) 1986, p. 111, 112, ill. 1 and 2, note 31 on p. 117 Beelddocumentatie Beelddocumentatie Standplaats afbeelding Locatie van de afbeelding in de beelddocumentatie. BD/Digital Collection (afb.nr. 1001639054) BD/Digital Collection (afb.nr. 1001479906) , standplaats origineel BD/RKD/0516 - ONS/Religion, Mythology, Allegory, History and Literature 1 (afb.nr. 0000028213) Project Friedländer-project Technische documentatie Het RKD beheert een collectie technische documentatie die door externe onderzoekers en musea aan ons is overgedragen of voortkomt uit eigen onderzoek met infraroodreflectografie. Het materiaal waarvan hier de metadata zijn weergegeven, is op afspraak te raadplegen op het RKD. Vooralsnog is niet alle technische documentatie ingevoerd in de database. Regelmatig worden nieuwe gegevens toegevoegd. 2 treffers in RKDtechnical, betreffende: Type technisch onderzoek infraroodonderzoek onderzoek drager Externe links this artwork in National Gallery of Art, Washington DC Permalink https://rkd.nl/explore/images/30553 Ingevoerd op: 2000-04-18; Laatste wijziging: 2020-02-24 RKD – Nederlands Instituut voor Kunstgeschiedenis Prins Willem-Alexanderhof 5 (KB-complex) 2595 BE Den Haag Nederland Openingstijden Bekijk de actuele openingstijden van het RKD Contact T: 070 3339777 E: [email protected] Meer Privacybeleid Disclaimer Leveringsvoorwaarden Facebook Twitter Linkedin Instagram.
Load more

Recommended publications
  • Adaptation, Emulation and Innovation: Scorel, Gossaert and Other Artists As a Source of Inspiration for the Young Heemskerck
    ILJA M. VELDMAN Adaptation, emulation and innovation: Scorel, Gossaert and other artists as a source of inspiration for the young Heemskerck The nature and scope of the early oeuvre of Maarten van Heemskerck (1498-1574) long remained indistinct. Produced before his departure for Rome at the end of May 1532, Heemskerck’s early work was also underestimated and misjudged, due to the absence of signatures and dates on many of his paintings and a dearth of other critical information. In his Schilder-boeck (1604), Karel van Mander centers his brief account of the painter’s fijirst thirty-two years on the omanticr anecdote of an artist of humble birth who persists in a career as a painter despite his father’s opposition.1 As Van Mander recounts, Heemskerck’s fijirst apprenticeship to the Haarlem painter Cornelis Willemsz asw cut short when his father fetched him back to their farm in Heemskerk to milk the family’s cows. But the boy ran away from home and apprenticed himself to the Delft painter Jan Lucasz, who taught him to draw and paint well. When Maarten learned of Jan van Scorel’s return from Italy and of the new Italian style he had developed there, he joined him as his assistant in Haarlem. Heemskerck mastered Scorel’s new art of painting so rapidly and so well, Van Mander writes, that one could barely distinguish their works from each other. Thereupon a jealous Scorel sent him away. Defijinition of Heemskerck’s early oeuvre On the basis of Van Mander’s account and the assumption that Scorel’s talents were naturally superior to those of a mere assistant (‘discipel’), much of Heemskerck’s early oeuvre was widely credited to Scorel, including paintings that in time would be recognized as his most outstanding works.
    [Show full text]
  • Designs for Altarpieces by Maarten Van Heemskerck*
    ILJA M. VELdmAN Designs for Altarpieces by Maarten van Heemskerck* The fame of Maarten van Heemskerck (1498-1574) as a draughtsman rests mainly on his drawings of classical sculptures and ruins made during his Roman stay (1532-1536/1537). The 66 folios of his travel sketchbook and more than seventy other, larger drawings are preserved in the Berlin Kupferstichkabinett; several Roman drawings are found in other Print Rooms as well.1 A large collection of these drawings, equally admired by contemporaries and modern spectators, were carefully kept together by the painter during his life. After his death they came into the possession of his friend and pupil Jacob Rauwaert, and they were subsequently owned by Cornelis Cornelisz van Haarlem and Pieter Jansz Saenredam. In the second half of the eighteenth century, the bulk of the drawings were assembled in two albums which were acquired by the Berlin Print Room in the following century.2 Rather different are Van Heemskerck’s hundreds of detailed preparatory drawings for prints, engraved in copper by professional engravers and etchers. The artist himself attached great importance to these drawings, for he signed nearly all of them and regu- larly added dates. At least 135 of these drawings were kept in an album of pink-purple pages, bound in velvet, which came into the possession of the Danish Royal family before 1690.3 Drawings submitted to engravers were usually returned to the artist with the prints. Some collectors valued them especially because they resembled engravings.4 Nearly all of Van Heemskerck’s preparatory drawing were nicely signed, so it is not surprising that so many of them have survived to this day.
    [Show full text]
  • Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic.
    [Show full text]
  • De Proto-Örientaalse Puzzel: Op Zoek Naar Exotische Invloeden in De Nederlandse Historieschilderkunst Van 1520-50
    De proto-örientaalse puzzel: Op zoek naar exotische invloeden in de Nederlandse historieschilderkunst van 1520-50 Door Jeroen Lesuis Met medewerking van Hilbert Lootsma Schoorl, Haarlem, Amsterdam, Keulen, Obervellach, Bazel, Venetië, Malta, Rhodos, Bethlehem en Jeruzalem, dit zijn plaatsen die schilder Jan van Scorel (1495-62) in zijn eerste vijfentwintig levensjaren aandoet.1 In dit rijtje hoort uiteraard ook thuis Rome, waar Scorel na zijn Jeruzalem- pelgrimsreis twee jaar verblijft. Als een van de eerste schilders uit de Nederlanden en vele na hem. De door hem bewonderde werken van Michelangelo en Rafael zullen een niet te onderschatten impact hebben op Scorels werk. Maar dat is niet waar dit artikel zich op focust. De interesse gaat juist uit naar het gegeven dat Scorel het letterlijk verder zocht dan het in zijn tijd geadoreerde Italië. Daarin was hij niet de enige uitzondering. Zijn collega Pieter Coecke van Aelst (1502-50) bevond zich in 1533 in Istanbul, proberend om tapijtontwerpen te verkopen aan de Ottomaanse sultan Süleyman.2 Jan Cornelisz. Vermeyen (1500-59) bevond zich in 1535 tussen de Tunesische koppensnellers toen hij namens Karel V al schilderend verslag deed van diens strijd tegen de Ottomaanse admiraal Barbossa.3 Het lijkt er op dat de pioniersgeest die rondwaarde in de wereld (Columbus die in 1492 voet zet op Amerikaanse bodem, Cortés die in 1519 in Mexico arriveert) ook vat had gekregen op de zestiende-eeuwse schilders uit de Nederlanden. De vraag is welke invloed dit had op hun werk. De onderzoeksvraag waar dit artikel zich op richt is als volgt: welke proto-oriëntaalse invloeden zijn terug te vinden in de Nederlandse historieschilderkunst aangaande de periode 1520- 50? Hierbij is gekozen voor het begrip ‘proto-oriëntalisme’ in plaats van ‘exotisme’ (al zal dit laatste soms als synoniem functioneren) omdat dit preciezer definieert wat de vreemde beeldelementen vertegenwoordigen.
    [Show full text]
  • Therembrandtdatabase Newsletter #6, February 2017 Research Resource on Rembrandt Paintings
    TheRembrandtDatabase Newsletter #6, February 2017 research resource on Rembrandt paintings Karlsruhe’s Self Portrait available online • Recently added: Saint Bartholomew • New documentation online • Contribution by Professor of Chemistry Dr. Erich Uffelman. • New partnership: National Gallery Prague • The Rembrandt Database presents: project associate Liesbeth Mulder Recently added: Saint Now online: 12,832 files, 255 Bartholomew from the paintings, 53 collections Worcester Art Museum The database has been Ultraviolet light studies: black and white photograph (print), enriched with data on the ‘Saint 1998, Rembrandt, Self Portrait with beret and red cloak, c. 1645, Bartholomew’ from the Staatliche Kunsthalle Karlsruhe, Karlsruhe, inv./cat. no. 238 Worcester Art Museum (Massachusetts). This work was Available online: Karlsruhe’s Self Portrait painted in the workshop of Rembrandt, about 1633. This month technical documentation and art-historical information of the ‘Self Portrait with beret and red cloak’ from the Staatliche Kunsthalle in Karlsruhe were In the past the painting was made available on The Rembrandt Database. The Staatliche Kunsthalle was so treated several times by generous to share their documentation, including an ultraviolet photograph from paintings conservator Edmond 1998 and an examination report by Dr. Hermann Kühn. de Beaumont. In 1936 he was appointed as the first Aside from the documentation which we received from the Staatliche Kunsthallen, conservator of the museum. documentation from other institutions on this painting was also added to the During his forty-year tenure at database, such as an X-ray from 1956 which is held at the Rijksmuseum in the museum, De Beaumont Amsterdam. documented a large part of the collection with X-radiographs, infrared and black and white New documentation in The Rembrandt Database photography.
    [Show full text]
  • Ricardo De Mambro Santos
    Ricardo De Mambro Santos Holy Beauty Northern Renaissance Prints and the Making of the Hexham Abbey Bible (Cambridge, 1629) Hallie Ford Museum of Art Mario Adda Editore Holy Beauty Northern Renaissance Prints and the Making of the Hexham Abbey Bible (Cambridge, 1629) Ricardo De Mambro Santos Holy Beauty Northern Renaissance Prints and the Making of the Hexham Abbey Bible (Cambridge, 1629) With an essay by Bruce T. Martin and contributions by Olivia Barry and Virginia van Dine Hallie Ford Museum of Art, Salem (Oregon) Mario Adda Editore, Bari (Italy) Holy Beauty. Northern Renaissance Prints Discovered in an Early English Book February 10 to April 29, 2018 Exhibition at the Hallie Ford Museum of Art (Willamette University, Salem, OR) Curator: Ricardo De Mambro Santos Photo credit Dale Peterson (for all reproductions from the The authors of the catalog entries are identified by Hexham Abbey Bible) their initials: Emma Ahern [EA] Acknowledgments McCall Concannon [MC] I would like to thank my wonderful colleagues at the Sarah Crabb [SC] Department of Art History at Willamette University, Ricardo De Mambro Santos [RDMS] Prof. Ann Nicgorski and Prof. Abigail Susik, for their Shalini Grover [SG] continual support. A special, truly genuine, thanks Kel Mandigo-Stoba [KMS] also to my friends from the Hallie Ford Museum Melissa Riede [MR] of Art, in particular to John Olbrantz, Jonathan Emma Sargent [ES] Bucci and Elizabeth Garrison for their tireless help Matthew Swart [MS] and insightful work. My profound gratitude goes Maya Zavala [MZ] to Bruce T. Martin for his friendly (and patient) Natalie Zhang [NZ] companionship throughout this entire intellectual journey.
    [Show full text]
  • 1 the Te Papa Endymion. a Study on the Subject of Two Sketches on A
    The Te Papa Endymion. A study on the subject of two sketches on a sheet attributed to Maarten van Heemskerck Laura Moretti* *University of St Andrews, School of Art History, 79 North Street, St Andrews KY16 9AL, UK ([email protected]) ABSTRACT: A drawing attributed to the Dutch painter, draughtsman and print designer Maarten van Heemskerck (1498–1574) was acquired in 1973 by Melvin Day, director of the then National Art Gallery of New Zealand. The sheet presents several studies after Antique sculpture, supposedly dating from 1532–6/7, when the artist was in Rome. This article focusses on a sculpture represented at the top of the recto of the sheet, a reclining male nude which is illustrated twice, seen from slightly different angles. In the late 15th and early 16th centuries, the object was located in the courtyard of Casa Maffei in Rome. The sculpture – often referred to as Endymion – later travelled to Venice, Verona and Munich, where it resides today. Executed in Rome, probably in the first century CE, at the end of the sixteenth century it was recognised as a replica of a piece forming part of a fourth-century BCE group representing Niobe and her sons. Three other copies of the same subject are known, currently located in Florence, Dresden and Turin. The article discusses similarities and differences between the replicas, as well as their individual stories, with the aim of understanding how the model was read and interpreted when it was depicted on the Te Papa sheet. KEYWORDS: art collecting, drawing, Italian Renaissance, Maarten van Heemskerck (1498 –1574), Rome, Antique statuary, Niobids, Endymion.
    [Show full text]
  • Download This PDF File
    “And the Rich Man’s Heart Sorrows and Grieves”: Iconography and the Historiography of The Allegory of Hope for Gain by Dirck Coornhert and Maarten van Heemskerck Dean Messinger In 1547, Dirck Volkerszoon Coornhert (1522-1590) was hired by the Haarlem city council to engrave and print posters advertising the city’s lottery, a series of works which would become the first recorded evidence of Coornhert as an artist.1 Given his propensity for modesty and aversion to greed, a lottery advertisement is an ironic glimpse into the early career of Coornhert, who has been studied as a theologian, statesmen, and author, but little as an artist. His opposition to avarice is best reflected in his print series, The Allegory of Hope for Gain, produced in 1550 in collaboration with famed Dutch painter Maarten van Heemskerck (1498-1574).2 In this paper, I will examine the style, meaning, purpose, and audience of The Allegory of Hope for Gain. In doing so, I aim to place The Allegory of Hope for Gain within a larger historiographical framework, which will bring to light its novel iconography and how it serves as an active intervention into numerous theoretical debates surrounding printmaking and its iconography, as well as uncovering the relationship between Coornhert’s prints and his more famous literary works. This research paper was produced in collaboration with the University of Arizona’s Art Museum’s exhibition, Renaissance Prints from the Permanent Collection: A Selection. I chose The Allegory of Hope for Gain to be the focus of my research, as well as to be publicly displayed in the exhibit, because of the series’ striking visual appeal and enigmatic creator that demanded further research.
    [Show full text]
  • 'From Nature': Sixteenth Century Netherlandish Artistic Theory And
    TABLE OF CONTENTS PART I Introduction I. Drawing ‘from nature’: sixteenth century Netherlandish artistic theory and practice I.1. Theory I.2. Practice II. Case studies II.1. Jan Gossaert II.2. Jan van Scorel II.3. Maarten van Heemskerck II.4. Hieronymus Cock II.5. Tobias Verhaecht Conclusion Bibliography PART II List of illustrations Illustrations Illustration front page: Maarten van Heemskerck, Forum Romanum seen from the Capitol (detail), Berlin, Staatliche Museum, Kupferstichkabinett, inv. KdZ 6696. Pen and brown ink, washed with bistre, 216 x 555 mm, signed and dated: Martijn hemskeric 1535 INTRODUCTION During the sixteenth century, many Netherlandish artists1 made a study trip to Italy, and more in particular to Rome, mainly as a completion of the artistic education they had started in their native country. Having arrived in the southern peninsula, they looked for prestigious commissions or employment in an Italian workshop. Many artists returned home after some years, others built up a life and career in the city and stayed. It has been generally acknowledged that northern artists travelled to Italy to learn from Antiquity and their contemporary Italian masters and that in Rome in particular, they made drawings of all the things they admired in the city which they could use in their work. Nonetheless, it remains questionable to what extent and for which purposes northern artists have collected visual material in Rome. Furthermore, it is certainly not clear if the practice of drawing ‘from nature’ may be regarded as one of the main reasons for sixteenth century northern artists to set off for a journey southwards.
    [Show full text]
  • Angelica Kauffmann
    In focus: Angelica Kauffmann A learning resource featuring works from the National Portrait Gallery Collection, one of a series focusing on particular artists whose practice has changed the way we think about the art of portraiture and who have in turn influenced others. Page 2 of 15 National Portrait Gallery In focus: Angelica Kauffmann Contents Introduction ⁄ 2 1: The artist and her context ⁄ 3 2: Kauffmann, her circle, influence and impact ⁄ 5 3: Small-scale portrait; large-scale ideas ⁄ 8 4: Dress and the classical context ⁄ 9 5: Prints and drawings ⁄ 12 General enquiry questions ⁄ 13 Further research ⁄ 14 Introduction It can be useful to look at developments in portrait painting through the lens of a single, significant artist, appreciating their techniques and innovations, the way that they have been influenced by the advances of others and how in making their contribution they in turn influenced others. Each resource in the series focuses on a limited number of paintings and details taken from them. It includes questions about the practice and historical context of the artist, with suggested lines of enquiry and links for further research. The aim is to support teachers in encouraging students to investigate the artist and their practice in-depth. The narrow focus on a selection of portraits by Angelica Kauffmann (1741–1807) enables a concentrated view exploring qualities of her style. The portraits reproduced cover four important areas of portraiture; the self-portrait, the family portrait, a full-length seated portrait (in ‘Van
    [Show full text]
  • Maarten Van Heemskerck
    5328 Maarten van Heemskerck De H. Lucas schildert de Madonna, 1532 gedateerd Haarlem, Frans Halsmuseum, inv./cat.nr. OS I-134 Afbeeldingsnummer 1001639048 Afmetingen: 650x471 pixels License undetermined Afbeeldingsnummer 1001216428 Afmetingen: 650x465 pixels Licentie onder PUB DOM Afbeeldingsnummer 0000010771 Afmetingen: 650x568 pixels License undetermined Afbeeldingsnummer 0000028057 Afmetingen: 4636x3549 pixels License undetermined Verder zoeken in RKDimages Naam kunstenaar Heemskerck, Maarten van Afgekorte literatuur Friedländer 1967-1976 Afgekorte literatuur Erftemeijer/Fuhri Snethlage/Köhler 2014 Afgekorte literatuur Veldman 2019B Collectieplaats Haarlem Collectie Grote of St. Bavokerk (Haarlem) Collectie Prinsenhof, Het Collectie Stadhuis Haarlem Collectie Frans Halsmuseum Onderwerpstrefwoorden christelijk religieuze voorstelling Onderwerpstrefwoorden evangelist Onderwerpstrefwoorden Maria met kind Onderwerpstrefwoorden schilderen Onderwerpstrefwoorden zelfportret Onderwerpstrefwoorden beeldhouwwerk Onderwerpstrefwoorden trompe-l'oeil Onderwerpstrefwoorden engel Onderwerpstrefwoorden schilderij in wording (in de voorstelling) Onderwerpstrefwoorden heilige Iconclass code 11H(LUKE)51 Object gegevens Objectcategorie schilderij, altaarstuk Fysiek verband Verwijzing bij 'samengestelde kunstwerken': werken die een geheel vormen of vormden, zoals altaarstukken, decoratieve stukken uit een betimmering of werken die bedoeld waren om samen te worden getoond, zoals pendanten en reeksen. Maarten van Heemskerck, De Madonna met Kind (linkergedeelte
    [Show full text]
  • Tory. in Antiquity and in Petrarch's Day, History Itself Could Be Defined As An
    2 The Three Graces, Siena, Duomo, Libreria Piccolomini 1 Maarten van Heemskerck, “The Lateran,” Berlin, Kupferstichkabinett, inv. 79.D.2, vol. 1, fol. 71v, c. 1532–7 ticular through studying “great deeds” of the ancient Republican past. In the 1330s, Pe- trarch began to write about these deeds in his On Illustrious Men. He conceived of the work as a homage to virtuous Romans from antiquity but later broadened the scope to include biographies of men and women of Biblical times, classical history, and “all ages.”4 In his approach to history, he followed the model of the ancient author Valerius tory. In antiquity and in Petrarch’s day, history itself could be defined as an account of Maximus and his Nine Books of Memorable Deeds and Sayings, a collection of anec- deeds that had taken place in the past (res gestae) and a collection of exempla drawn dotes meant to teach lessons about virtue and vice. Like the Memorable Deeds, Pe- from the real-life experiences of others. History was valuable because it contained pre- trarch’s Illustrious Men do not dwell on the causes and effects of historical change but cious nuggets of human wisdom that had withstood the test of time, because they had offer short biographical tales which aim to teach their readers by example. As Petrarch been passed down by generations of people who had learned something useful from wrote in the preface to the work, “this, unless I am mistaken, is the productive goal of them. historians, to lay out those things that readers should follow or avoid,” by putting at During the Trecento the exemplary lives of the ancients, especially the lives of Roman hand a copious number of positive and negative examples.5 Republican heroes, gained authority and began to appear more frequently in literature, Petrarch would have understood exempla to be useful lessons that seemed to provide oratory, and the visual arts.
    [Show full text]