DOCSLIB.ORG

University of Cincinnati

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of Cincinnati UNIVERSITY OF CINCINNATI Date: 9-Apr-2010 I, Edward Silberstein , hereby submit this original work as part of the requirements for the degree of: Master of Arts in Art History It is entitled: And Moses Smote the Rock: The Reemergence of Water in Landscape Painting In Late Medieval and Renaissance Western Europe Student Signature: Edward Silberstein This work and its defense approved by: Committee Chair: Kristi Ann Nelson, PhD Kristi Ann Nelson, PhD Kimberly Paice, PhD Kimberly Paice, PhD Mikiko Hirayama, PhD Mikiko Hirayama, PhD 9/28/2010 1,111 And Moses Smote the Rock: The Reemergence of Water in Landscape Painting in Late Medieval and Renaissance Western Europe A thesis submitted to the Graduate School Of the University of Cincinnati In partial fulfillment of the Requirements for the degree of Master of Arts In the Department of Art History Of the College of Design, Architecture, Art and Planning Master of Arts in Art History By Edward B. Silberstein B.A. magna cum laude Yale College June 1958 M.D. Harvard medical School June 1962 Committee Chair: Kristi Nelson, Ph.D. ABSTRACT This thesis undertook the analysis of the realistic painting of water within the history of art to examine its evolution over four millennia. This required a detailed discussion of what realism has meant, especially over the centuries of the second millennium C.E. Then the trends in the painting of water from Cretan and Mycenaean eras, through Hellenistic and Roman landscape, to the limited depiction of landscape in the first millennium of the Common Era, and into the late medieval era and the Renaissance were traced, including a discussion of the theological and philosophical background which led artists to return to their attempts at producing an idealized realism in their illuminations and paintings. To reduce or avoid the subjectivity inevitable in my analysis of the relative quality of the 266 images of water which I found in texts and museums, a semi-quantitative scale was devised. The scale provided descriptions and images of four levels of quality in the areas of hue, luminosity, reflection, motion, immersion, and perspective. The criteria were designed to be used by any observer, although the verbal scale and accompanying illustrative images would be used in any attempt to assess inter-observer variability. The examination of my intra-observer variability was crucial to this thesis, since the data have no validity if they cannot be reproduced. Both the six individual components, and the summed scores (resulting from adding these components), were found to have a high degree of reproducibility on statistical testing. This fact permitted a quantitative analysis of the trends in the development of the painting of water in the medieval era where the scores were very low until the criterion of hue first rises in the duecento . Not until the fifteenth century do the slopes of the six components graded for the quality of water painting all rise significantly. The subject ii matter of these images changes from having secular content in about 10% of images in the fourteenth century to 50% in the next century. Comparisons were undertaken between the levels of quality scores between Italian and Northern European artists. No differences were found in the summed scores between paintings and illuminations of the two regions except in the component of reflection, which received higher quality scores in Northern European painting than in Italian works. An analysis of which region produces the highest quality scores earlier revealed that the Northern European artists dominated in this area, led by Jan van Eyck. iii iv Acknowledgements This thesis is dedicated to Jonathan Reiss, Ph.D., whose generosity, friendship, commitment, and guidance were an inspiration to me. May his memory be for a blessing. ------------------------------------------------------------------------------------------------------------ I wish to express my appreciation to Kristi Nelson, Ph.D., for her encouragement, guidance, scholarship, and patience, and to Mikiko Hirayama, Ph.D., and Kimberly Paice, Ph.D., for wise counsel. The writing of this thesis would have been impossible without the wonderful partnership I share with my wife, Jacqueline M. Mack. I am grateful for statistical consultation provided by Zheng Shu, Ph.D., technical assistance in reproducing color imaging by Mr. David Collins, and the computer expertise of Ms. Lisa Silberstein. v TABLE OF CONTENTS ACKNOWLEDGMENTS v LIST OF FIGURES vii LIST OF TABLES ix Chapter 1. INTRODUCTION; THE HYPOTHESIS 1 Chapter 2. THE CONCEPT OF REALISM 5 Chapter 3. HISTORICAL, SOCIOLOGICAL, PHILOSOPHICAL, AND THEOLOGICAL INFLUENCES ON THE DEPICTION OF WATER 10 Chapter 4. DEVELOPMENT OF CRITERIA FOR EVALUATING THE QUALITY OF THE PAINTING OF WATER 28 Chapter 5. DEFINTION AND SCORING OF THE QUALITY LEVELS 32 Chapter 6. DATA PRESENTATION AND ANALYSIS 41 Chapter 7. CONCLUSIONS 54 BIBLIOGRAPHY 56 FIGURES 71 TABLES 99 vi LIST OF FIGURES Figure Page 1. Anonymous. Fishing and Fowling in the Marshes . C. 1400 B.C.E. Painting on plaster. 66 x 93 cm Tomb of Menna. Thebes…………………71 2. Anonymous. Landscape with Boating Part, House of M. Lucretitus, Pompeii , Second Century B.C.E. Painting on plaster, d.u. Museo Nazionale, Naples………………………………………………………… 72 3. Anonymous. The Calling of Peter and Andrew . C. 520 C.E. Mosaic. 122 x 152 cm. Ravenna. Saint’ Apollinare Nuovo…………………………73 4. Anonymous. David Playing in the Harp . Tenth Century C.E. Tempera on parchment, d.u. Paris Bibliotheque Nationale…………………………..74 5. Anonymous. River Landscape (detail). C. 715 C.E. Mosaic d.u. Damascus, Great Mosque…………………………………………………..75 6. Bonaventura Berlinghieri. Miracles of St. Francis (detail). 1235 C.E. tempera on panel. (detail).d.u. (full panel 151 x 102 cm). Pescia, Church of San Francesco………………………………………………………….. 76 7. Ambrogio Lorenzetti. The Effects of Good Government in the Countryside (detail).c.1339.d.u. Siena, Palazzo Publicco…………………77. 8. Master of Guillaume de Machaut. The Mysterious Garden .c.1355-1360 Paris: Bibliotheque Nationale…………………………………………… 78 9. Jan van Eyck. Baptism of Christ . Turin-Milan Hours, f.30v.c.1420 Turin. Museo Civico d’Arte Antica………………………………………………79. 10. Antonio and Piero del Pollaiuolo. Hercules and Deianira .c.1470. Oil on canvas transferred from panel. 54.6 x 79.2 cm. New Haven, Yale University Gallery…………………………………………………………80. 11. Jean Pucelle. Confirmation . The Belleville Breviary, Tome I, f37.c.1330. Paris………………………………………………………………………..81 12. Pol, Jean, and Herman Limbourg. St. Nicholas Stops the Storm at Sea. Les Belles Heures de Jean, Duc de Berry.c.1410. New York: The Cloisters………………………………………………………………82. 13. Jean Fouquet. The Right Hand of God Protecting the faithful Against vii the Demons . Book of Hours of Etienne Chevalier. F33v.c.1452-1460. New York: Metropolitan Museum of Art…………………………………83 14. Reginaldus Piramus. Aristotle. Nichomachean Ethics . Frontispiece, Book VI.45v.c.1500. Vienna: Osterreichische Nationalbibliotek…………84 15. Cristoforo Maiorana. Ptolemy, Geography . f.296.c.1485. Paris: Bibliotheque Nationale……………………………………………………85 16. Anonymous. Christ Healing the Leper . Echternach Gospel Lectionary. 8th Century. MS Lat. 9389. Paris: Bibliotheque Nationale………………..86. 17. Guglielmo Giraldi. La Divina Commedia: Inferno, Canto VIII . F.20v. c.1481. Federico da Montefeltro’s Dante, La Divina Commedia Rome: Biblioteca Apostolico Vaticana……………………………………………87 18. Lucas Cranach the Elder. Nymph of the Spring.c.1510. Oil on wood. 15.2 x 20.3 cm. New York, Metropolitan Museum………………………..88 19. Anonymous. The Sixth Angel Sounds His Trumpet and the Tour Angels Which Are Bound in the River Euphrates Are Loosed . Latin Apocalypse IX: 12-15.f 15r.c.1320. New York: Metropolitan Museum…………….…89. 20. Anonymous. A Boat Docked to a Whale . MS Ludwig VIII 2 (83.MK.93).f.61v. c.1270. Los Angeles: J.Paul Getty Museum………..…90. 21. Guglielmo Giraldi and Giorgio d’Alemagna. Aeneas Shipwrecked . Virgil, Aeneid.f.228.c.1458. Paris: Bibliotheque Nationale………………91 22. Scatter Plot of Summed Score by Years…………………………………..92. 23. Scatter Plot of Summed Score by Years (Year>1200 C.E.)………………93 24. Scatter Plot of Scores of Each Component by Year and Source………….94 25. Cumulative Distributions of Percent of Component Peak Scores by Year……………………………………………………………………….95 26. Scatter Plot of Summed Scores for Paintings for Italian and European Sources…………………………………………………………………..96 27. Box-Whisker Plots by Painting Sources for the Six Components………97 28. Cumulative Percent to Peak Score by Year of Realistic Paintings of Water for the Six Components of Water Painting by Geographic Region…………………………………………………………………...98 viii LIST OF TABLES Table Page 1. Water Realism Depiction in Western Art: Scoring Criteria…………99 2. List of Images Scored……………………………………………….101 3. List of Grades of All Images………………………………………..107 4. Distribution of Scores of Each Component for 266 Images………...114 5. Distribution of Scores of Each Component for Images of Northern European and Italian Origin…………………………………………115 6. Scores of Seventy-Seven Regraded Images…………………………116 7. Quantitative Reproducibility of Rescoring Results………………….123 8. Statistical Analysis of Levels of Agreement between Two Independent Readings of Seventy-seven Illuminations and Paintings Occurring Over a Year Apart……………………………. 124 9. Uses of Landscape in the Centuries under Study……………………125 10. Slope of Each Component by Century of Images Analyzed………...126 11. Artist and Year of Attainment of the Optimal Score………………...127
Load more

Recommended publications
  • Domestic Space and Religious Practices in Mid-Sixteenth-Century Antwerp
    _full_alt_author_running_head (neem stramien B2 voor dit chapter en nul 0 in hierna): 0 _full_articletitle_deel (kopregel rechts, vul hierna in): “In Their Houses” _full_article_language: en indien anders: engelse articletitle: 0 108 Chapter 3 Chapter 3 “In Their Houses”: Domestic Space and Religious Practices in Mid-Sixteenth-Century Antwerp The Procession to Calvary (1564) is one of sixteen paintings by Pieter Bruegel the Elder listed in the inventory of Niclaes Jonghelinck’s collection prepared in early 1566. Alongside The Tower of Babel, this panel exemplifies Jonghelinck’s predilection for large biblical narratives, which functioned as discursive exem- pla within the secular space of his suburban villa. Displayed alongside Brue- gel’s series of the Months, Floris’s Banquet of the Gods, The Labors of Hercules, and allegories of the Seven Liberal Arts and the Three Theological Virtues, The Tower of Babel and The Procession to Calvary complemented those images’ more universal meaning by kindling a conversation about Antwerp’s current affairs. While The Tower of Babel addressed the socioeconomic transformation of the city, The Procession to Calvary registered the ongoing development of new types of religious practices, and the increasing dissatisfaction with official church and civic rituals. Bruegel’s composition engages with those changes by juxtaposing two artistic idioms. The panel is dominated by a visually rich multi figured view of the crowd following Christ to Golgotha, assisted by sol- diers in sixteenth-century Spanish uniforms and mixed with random passers- by who happen to be taking the same route on their way to Jerusalem. These contemporary witnesses of Christ’s passion contrast sharply with a group in- troduced by Bruegel in the foreground to the right.
    [Show full text]
  • Carolingian, Romanesque, Gothic
    3 periods: - Early Medieval (5th cent. - 1000) - Romanesque (11th-12th cent.) - Gothic (mid-12th-15th cent.) - Charlemagne’s model: Constantine's Christian empire (Renovatio Imperii) - Commission: Odo of Metz to construct a palace and chapel in Aachen, Germany - octagonal with a dome -arches and barrel vaults - influences? Odo of Metz, Palace Chapel of Charlemagne, circa 792-805, Aachen http://www.youtube.com/ watch?v=pwIKmKxu614 -Invention of the uniform Carolingian minuscule: revived the form of book production -- Return of the human figure to a central position: portraits of the evangelists as men rather than symbols –Classicism: represented as roman authors Gospel of Matthew, early 9th cent. 36.3 x 25 cm, Kunsthistorische Museum, Vienna Connoisseurship Saint Matthew, Ebbo Gospels, circa 816-835 illuminated manuscript 26 x 22.2 cm Epernay, France, Bibliotheque Municipale expressionism Romanesque art Architecture: elements of Romanesque arch.: the round arch; barrel vault; groin vault Pilgrimage and relics: new architecture for a different function of the church (Toulouse) Cloister Sculpture: revival of stone sculpture sculpted portals Santa Sabina, Compare and contrast: Early Saint-Sernin, Toulouse, Rome, 422-432 Christian vs. Romanesque France, ca. 1070-1120 Stone barrel-vault vs. timber-roofed ceiling massive piers vs. classical columns scarce light vs. abundance of windows volume vs. space size Saint-Sernin, Toulouse, Roman and Romanesque Architecture France, ca. 1070-1120 The word “Romanesque” (Roman-like) was applied in the 19th century to describe western European architecture between the 10th and the mid- 12th centuries Saint-Sernin, Toulouse, France, ca. 1070-1120 4 Features of Roman- like Architecture: 1. round arches 2.
    [Show full text]
  • Eighteenth-Century English and French Landscape Painting
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2018 Common ground, diverging paths: eighteenth-century English and French landscape painting. Jessica Robins Schumacher University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Schumacher, Jessica Robins, "Common ground, diverging paths: eighteenth-century English and French landscape painting." (2018). Electronic Theses and Dissertations. Paper 3111. https://doi.org/10.18297/etd/3111 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COMMON GROUND, DIVERGING PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. cum laude, Vanderbilt University, 1977 J.D magna cum laude, Brandeis School of Law, University of Louisville, 1986 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art (C) and Art History Hite Art Department University of Louisville Louisville, Kentucky December 2018 Copyright 2018 by Jessica Robins Schumacher All rights reserved COMMON GROUND, DIVERGENT PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A.
    [Show full text]
  • HNA April 11 Cover-Final.Indd
    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. 28, No. 1 April 2011 Jacob Cats (1741-1799), Summer Landscape, pen and brown ink and wash, 270-359 mm. Hamburger Kunsthalle. Photo: Christoph Irrgang Exhibited in “Bruegel, Rembrandt & Co. Niederländische Zeichnungen 1450-1850”, June 17 – September 11, 2011, on the occasion of the publication of Annemarie Stefes, Niederländische Zeichnungen 1450-1850, Kupferstichkabinett der Hamburger Kunsthalle (see under New Titles) HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Dagmar Eichberger (2008–2012) HNA News ............................................................................1 Wayne Franits (2009–2013) Matt Kavaler (2008–2012) Personalia ............................................................................... 2 Henry Luttikhuizen (2009 and 2010–2014) Exhibitions
    [Show full text]
  • Romanesque Renaissance – Introduction
    Romanesque Renaissance – Introduction Konrad Ottenheym ‘Look at this majestic building with all its columns, and now you can imagine how many slaves these Roman emperors must have used to build it!’, I heard a tourist guide explaining to his group on the Piazza Venezia in Rome in 2016, as he pointed to the imposing marble monument to Vittorio Emanuele II. The Altare della Patria, symbol of the unified Italian kingdom of the nineteenth cen- tury, is in fact barely a century old, having been built in 1895–1911.1 Apparently, even in our time it is not always easy to make out the refined differences be- tween genuine ancient Roman architecture and later works of art which were meant to create a visual connection with the glorious past. Erroneous dating of old buildings, interpreting them as far older than they actually are, has hap- pened in all centuries. From the fifteenth century onwards, antiquarians, humanist scholars, ar- chitects and artists, striving for a revival of the architectural forms and prin- ciples of Ancient Rome, investigated respectable ruins and age-old buildings in order to look for useful models and sources of inspiration. They too, oc- casionally misinterpreted younger buildings as proofs of majestic Roman or other ancient glory. This especially was assumed for buildings that were con- sciously inspired by ancient Roman architecture, such as the buildings of the Carolingian, Ottonian and Stauffer emperors. But even if the correct age of a certain building was known (Charlemagne’s Palatine Chapel in Aachen, for example), buildings from c. 800–1200 were sometimes regarded as ‘Antique’ architecture, since the concept of ‘Antiquity’ was far more stretched than our modern periodisation allows.
    [Show full text]
  • AC Roman ART 4C.Qxp
    RomanesqueRomanesque ArtArt Victoria Charles and Klaus H. Carl Authors: Victoria Charles and Klaus H. Carl Translator: All Global Solutions International, Inc. Layout: BASELINE CO LTD 33 Ter - 33 Bis Mac Dinh Chi St., Star Building; 6th Floor District 1, Ho Chi Minh City Vietnam © Parkstone Press International, New York, U.S.A © Confidential Concepts, worldwide, U.S.A All rights reserved. No part of this book may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification. ISBN: 978-1-78042-813-0 Editor’s Note: Wherever the text refers to countries, the names of modern nations were used for better understanding. Nevertheless, the people of the time were tribesmen, generally spoke Latin and belonged to the Holy Roman Empire. Victoria Charles and Klaus H. Carl Romanesque Art Contents Introduction 7 I. The Romanesque System of Architecture 13 II. Romanesque Monuments in Central Europe 31 III. Romanesque Sculpture and Painting 125 Conclusion 193 Bibliography 196 List of Illustrations 197 6 Introduction round the turn of the first millennium, the entire occident was encompassed by great religious, political and cultural uncertainty. With the collapse of the Roman A Empire and the Barbarian Invasions from 375 A.D. to 568 A.D., Roman art, too, disappeared from Western Europe. Invasions by the Huns and Germanic tribes resulted in an artistic and political vacuum, in which a variety of Christian and pagan cultures collided.
    [Show full text]
  • CUBISM and ABSTRACTION Background
    015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement.
    [Show full text]
  • Review of the Year 2012–2013
    review of the year TH E April 2012 – March 2013 NATIONAL GALLEY TH E NATIONAL GALLEY review of the year April 2012 – March 2013 published by order of the trustees of the national gallery london 2013 Contents Introduction 5 Director’s Foreword 6 Acquisitions 10 Loans 30 Conservation 36 Framing 40 Exhibitions 56 Education 57 Scientific Research 62 Research and Publications 66 Private Support of the Gallery 70 Trustees and Committees of the National Gallery Board 74 Financial Information 74 National Gallery Company Ltd 76 Fur in Renaissance Paintings 78 For a full list of loans, staff publications and external commitments between April 2012 and March 2013, see www.nationalgallery.org.uk/about-us/organisation/ annual-review the national gallery review of the year 2012– 2013 introduction The acquisitions made by the National Gallery Lucian Freud in the last years of his life expressed during this year have been outstanding in quality the hope that his great painting by Corot would and so numerous that this Review, which provides hang here, as a way of thanking Britain for the a record of each one, is of unusual length. Most refuge it provided for his family when it fled from come from the collection of Sir Denis Mahon to Vienna in the 1930s. We are grateful to the Secretary whom tribute was paid in last year’s Review, and of State for ensuring that it is indeed now on display have been on loan for many years and thus have in the National Gallery and also for her support for very long been thought of as part of the National the introduction in 2012 of a new Cultural Gifts Gallery Collection – Sir Denis himself always Scheme, which will encourage lifetime gifts of thought of them in this way.
    [Show full text]
  • Observations on Van Dyck As a Religious Painter Thomas L
    Document generated on 09/28/2021 9:09 p.m. RACAR : Revue d'art canadienne Canadian Art Review Observations on van Dyck as a Religious Painter Thomas L. Glen Volume 10, Number 1, 1983 URI: https://id.erudit.org/iderudit/1074637ar DOI: https://doi.org/10.7202/1074637ar See table of contents Publisher(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Glen, T. L. (1983). Observations on van Dyck as a Religious Painter. RACAR : Revue d'art canadienne / Canadian Art Review, 10(1), 45–52. https://doi.org/10.7202/1074637ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | This document is protected by copyright law. Use of the services of Érudit Association d'art des universités du Canada), 1983 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Observations on van Dyck as a Religions Painter* THOMAS L. GLEN McGill University When dealing with Europcan religious art of the for the main altar of the Church of St. Walburgis seventeenth century, one must inevitably contend (Fig. 2). In Rubens’ altarpiece we witness Christ with the awesome personality of Sir Peter Paul triumphant.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Adam and Eve: Shameless First Couple of the Ghent Altarpiece
    Adam and Eve: Shameless First Couple of the Ghent Altarpiece Linda Seidel Jan van Eyck’s depictions of Adam and Eve were marveled at for their lifelikeness before the close of the century in which they were painted, and on subsequent occasions in the following hundred years (Figure 1). Yet interest in their astonishingly realistic anatomy did not engage sustained discussion until the twentieth century, testimony to both the complex history the Ghent Altarpiece experienced during the intervening period and the figures’ particular fall from grace.1 Documents report that the Altarpiece, which from the outset was on restricted view in the private chapel at the Church of St. John for which it had been made, was subject to additional events that impeded its accessibility. These included wars, during which the Altarpiece was dismembered and hidden, and changes in taste that resulted in the removal of the Adam and Eve and their replacement by properly clothed copies (Figure 2).2 Only in the twentieth century, when Jan’s Adam and Eve were placed on public view in independent exhibitions and then returned to their original positions on the reconstructed Altarpiece, did conversation about their remarkable bodies emerge as a topic in the scholarly literature. Figure 1. Adam and Eve, end panels from the upper register of the inner wings, Ghent Altarpiece, St. Bavo’s Cathedral, Ghent Different Visions: A Journal of New Perspectives on Medieval Art (ISSN 1935-5009) Issue 1, September 2008 Seidel – Adam and Eve: Shameless First Couple of the Ghent Altarpiece But even then, discussion regarding their depictions receded behind art historical interest in other issues du jour.
    [Show full text]
  • From Patinir's Workshop to the Monastery of Pedralbes. a Virgin
    https://doi.org/10.5565/rev/locus.323 LOCVS AMŒNVS 16, 2018 19 - 57 From Patinir’s Workshop to the Monastery of Pedralbes. A Virgin and Child in a Landscape Rafael Cornudella Universitat Autònoma de Barcelona [email protected] Reception: 05/04/2018, Acceptance: 23/06/2018, Publication: 04/12/2018 Abstract Among the paintings of netherlandish origin imported into Catalonia during the first half of the 16th century, preserved at the Monastery of Pedralbes, there is a small panel featuring the Madonna and Child in a landscape which is attributed here to Patinir’s workshop, not excluding the possibility of some autograph intervention by the master. Whatever the case, this article sets out to situate the piece both in the context of its production and in that of its reception, that is, the community of nuns of Saint Claire of Pedralbes. What is interesting about this apparently modest work is the fact that it combines a set of ingredients typical of Patinir in a composition that is otherwise atypical as regards his known output as a whole, above all in terms of the relationship between the figure and the landscape, although also of its presumed iconographic simplicity. The final section of the article examines the piece in relation to the ever-controver- sial issue –which still remains to be definitively resolved– of the authorship of the figures in the works of Patinir. Keywords: Joachim Patinir; 16th Century Netherlandish Painting; landscape painting; The Virgin suckling the Child; The Rest during the Flight into Egypt; Monastery of Santa Maria de Pedralbes Resum Del taller de Patinir al monestir de Pedralbes.
    [Show full text]