Lucas Van Valckenborch
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PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/206026 Please be advised that this information was generated on 2021-09-25 and may be subject to change. 18 De Zeventiende Eeuw 31 (2015) 1, pp. 18-54 - eISSN: 2212-7402 - Print ISSN: 0921-142x Coping with crisis Career strategies of Antwerp painters after 1585 David van der Linden David van der Linden is lecturer and nwo Veni postdoctoral fellow at the University of Groningen. He recently published Experiencing Exile. Huguenot Refugees in the Dutch Repu- blic, 1680-1700 (Ashgate, 2015). His current research project explores Protestant and Catholic memories about the French civil wars. [email protected] Abstract This article explores how painters responded to the crisis on the Antwerp art market in the 1580s. Although scholarship has stressed the profound crisis and subsequent emigration wave, prosopographical analysis shows that only a mino- rity of painters left the city. Demand for Counter-Reformation artworks allowed many to pursue their career in Antwerp, while others managed to survive the crisis by relying on cheap apprentices and the export of mass-produced paintings. Emigrant painters, on the other hand, minimised the risk of migration by settling in destinations that already had close artistic ties to Antwerp, such as Middelburg. Prosopographical analysis thus allows for a more nuanced understanding of artistic careers in the Low Countries. Keywords: Antwerp painters, career strategies, art market, guild of St. -
Lucas Van Valckenborch in Wiener Sammlungen
Diplomarbeit Titel der Diplomarbeit Lucas van Valckenborch in Wiener Sammlungen Verfasserin Ulrike Schmidl angestrebter akademischer Grad Magistra der Philosophie (Mag. phil.) Wien, im November 2010 Matrikel-Nummer: A 0503817 Studienkennzahl: A 315 Studienrichtung: Kunstgeschichte Betreuerin : Ao. Univ.-Prof. Dr. Monika Dachs-Nickel Inhalt I. Einleitung .......................................................................................................... 2 II. Provenienz ........................................................................................................ 4 III. Kostümentwürfe .............................................................................................. 10 1. Entwicklung der Kostümstudie ...................................................................................12 2. Einordnung der Kostümdarstellungen Valckenborchs ................................................13 3. Modische Gewänder in den Gemälden Valckenborchs ..............................................14 IV. Porträts ........................................................................................................... 17 1. Der Stand des Hofmalers im 16. Jahrhundert ............................................................17 2. Entwicklung des höfischen Bildnistypus .....................................................................21 3. Die Porträtliebe des Erzherzogs Matthias ..................................................................28 V. Monatsdarstellungen ..................................................................................... -
PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/206026 Please be advised that this information was generated on 2021-09-26 and may be subject to change. 18 De Zeventiende Eeuw 31 (2015) 1, pp. 18-54 - eISSN: 2212-7402 - Print ISSN: 0921-142x Coping with crisis Career strategies of Antwerp painters after 1585 David van der Linden David van der Linden is lecturer and nwo Veni postdoctoral fellow at the University of Groningen. He recently published Experiencing Exile. Huguenot Refugees in the Dutch Repu- blic, 1680-1700 (Ashgate, 2015). His current research project explores Protestant and Catholic memories about the French civil wars. [email protected] Abstract This article explores how painters responded to the crisis on the Antwerp art market in the 1580s. Although scholarship has stressed the profound crisis and subsequent emigration wave, prosopographical analysis shows that only a mino- rity of painters left the city. Demand for Counter-Reformation artworks allowed many to pursue their career in Antwerp, while others managed to survive the crisis by relying on cheap apprentices and the export of mass-produced paintings. Emigrant painters, on the other hand, minimised the risk of migration by settling in destinations that already had close artistic ties to Antwerp, such as Middelburg. Prosopographical analysis thus allows for a more nuanced understanding of artistic careers in the Low Countries. Keywords: Antwerp painters, career strategies, art market, guild of St. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) ‘Proeft de kost en kauwtse met uw’ oogen’. Beeldtraditie, betekenis en functie van het Noord-Nederlandse keukentafereel (ca. 1590-1650) Kwak, Z.Sz.M. Publication date 2014 Link to publication Citation for published version (APA): Kwak, Z. S. M. (2014). ‘Proeft de kost en kauwtse met uw’ oogen’. Beeldtraditie, betekenis en functie van het Noord-Nederlandse keukentafereel (ca. 1590-1650). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:26 Sep 2021 425 EINDNOTEN 1 Daarnaast worden Noord-Nederlandse keukenstukken uit de 17de eeuw summier besproken in ondermeer: Martin 1935-1936, dl. I, pp. 282-287; Bol 1969, pp. 3-12 (Martin en Bol hebben een louter stilistische, esthetische benadering); Gent 1986-87, i.h.b. -
The Genre of Calendar Illustrations from Origins to Lucas and Maarten Van Valckenborch
GHENT UNIVERSITY FACULTY OF ARTS AND PHILOSOPHY THE CYCLE OF THE YEAR: THE GENRE OF CALENDAR ILLUSTRATIONS FROM ORIGINS TO LUCAS AND MAARTEN VAN VALCKENBORCH. VOLUME I. A Thesis Submitted in 00902394 Partial Fulfillment of the Master in Art Science Requirements for the Degree Academic Year 2009- 2010. Of Master of Arts in Art Science at Ghent University Promoter: Prof. Dr. M. Martens By Nadya Lobkova Promoter: Prof. Dr. M. Martens CONTENTS VOLUME I: TEXT INTRODUCTION CHAPTER I: EMERGENCE AND FORMATION OF THE CALENDAR ICONOGRAPHY. 1. The vision of time and the year cycle in the medieval and Early Modern world picture. 2. Seasons and months in visual arts in antiquity: from allegory to the new concept. 3. Calendar illustrations in Early and High Middle Ages: 3.1. Early Middle Ages: formation of the iconography; 3.2. Moths in the High Middle Ages: regional variations; 3.3. The concept of labour in the Middle Ages. CHAPTER II: TRANSFORMATIONS OF THE GENRE BETWEEN THE LATE MIDDLE AGES AND PIETER BRUEGEL THE ELDER. 1. Calendar illustrations in Très Riches Heurs du Duc de Berry of the brothers Limbourg. 2. Calendar illustrations in XV-XVI centuries: 2.1. Page lay-out. 2.2. Iconography. 2.3. Nature and city. 3. Genre mass-produced: transition into new media. 4. Bruegel‘s Twelve Months: the crossbreeding of calendar and landscape: 5.1. The genre of landscape in the first half of the 16th century. 5.2. Bruegel‘s cycle Twelve Months: the problems of iconography. 5.3. Composition of the cycle. 5.4. Bruegel‘s drawings Spring and Summer. -
A Panoramic Mountain Landscape, with a City, Possibly Frankfurt, Beyond Oil on Canvas 53.5 X 81 Cm (21 X 31⅞ In)
Lucas van Valckenborch (Leuven c.1530 - Frankfurt am Main 1597) A Panoramic Mountain Landscape, with a City, possibly Frankfurt, beyond oil on canvas 53.5 x 81 cm (21 x 31⅞ in) This panoramic scene is typical of Lucas van Valckenborch’s mountainous landscape paintings. The left- hand side of the work is dominated by a bare crag, projecting into the sky. In its shadow lies a dense forest, a fiercely flowing river, and a mill. Beyond this precipitous foreground is vast river valley containing a large sprawling city. This painting is actually a larger version of a work in the Liechtenstein Princely Collections. Our work is painted on canvas, whereas the Liechtenstein version is on panel, although this change of support is not unusual for van Valckenborch, who also frequently used copper. The Liechtenstein version is dated 1595, towards the end of van Valckenborch’s career, and it therefore seems likely that ours is a similarly mature work. In a discussion of the Liechtenstein version, Walter Liedtke suggests that the city nestling in the river valley is probably based on Frankfurt.¹ Van Valckenborch certainly included faithful topographical depictions of other cities, such as Linz or Antwerp, in his work, and the Liechtenstein painting dates from his Frankfurt period. As Liedtke points out, ‘the long bridge that crossed the city’s wall between the town of Sachsenhausen and Frankfurt met the city’s walls at a square tower like the one seen here’.² Liedtke also points to the fact that many of the many details, such as the round and square towers, or the scale and style of the Cathedral, recall contemporary depictions of Frankfurt. -
Nicht Von Einer Hand Fallbeispiele Der Künstlerischen Zusammenarbeit in Der Gemäldeproduktion Vom 17
Nicht von einer Hand Fallbeispiele der künstlerischen Zusammenarbeit in der Gemäldeproduktion vom 17. bis 19. Jahrhundert Dissertation zur Erlangung des akademischen Grades Doktorin der Philosophie (Dr. phil.) eingereicht im Dekanat FB III der Universität Trier im Juli 2013 Gutachter Erstgutachter: Prof. Dr. Dr. Andreas Tacke (Universität Trier) Zweitgutachter: Prof. Dr. Michael North (Ernst-Moritz-Arndt-Universität Greifswald) Disputation am 19. Dezember 2013 Vorwort Diese Arbeit ist eine überarbeitete Fassung der Dissertation, die ich im Juli 2013 an der Universiät Trier mit dem Titel „Nicht von einer Hand - Fallbeispiele der künstlerischen Zusammenarbeit in der Gemäldeproduktion vom 17. bis 19. Jahrhundert“ eingereicht habe. Das Thema der künstlerischen Zusammenarbeit und deren Wertschätzung haben mich lange beschäftigt. An dieser Stelle möchte ich allen danken, die mir mein Studium und die Vollendung meiner Promotion ermöglichten. Herrn Prof. Dr. Dr. Andreas Tacke danke ich für die Betreuung und Begleitung in der letzten Hälfte der Promationsphase in Trier und die herzliche Aufnahme in seinen Forscherkreis. Ich danke ihm sehr für das Verständnis, dass er für meine berufliche Einbindung aufgebracht hat und die damit verbundene Geduld und positive Bestärkung. Von 2006 bis 2009 bot mir die Universität Greifswald mit dem Landesgraduiertenstipendium des Landes Mecklenburg Vorpommern die Möglichkeit der Promotion. Herrn Prof. Dr. Michael North gilt in diesem Zusammenhang besonderer Dank. Er stand mir während meiner Zeit in Greifswald und darüber hinaus in der gesammten Promotionszeit als Zweitgutachter und Mentor zur Seite. Herrn Prof. Dr. Matthias Müller danke ich für die Unterstützung während des Studiums und zu Beginn des Promotionsvorhabens, während seiner Tätigkeit am Caspar David Friedrich- Institut für Kunstwissenschaften. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Flámska apokalypsa - Apokalypsa flámska flámska gotika - flámska a burgundská tvorba 15.st. s príznačnými ostro lomenými, dramatickými záhybmi plášťov; pozri štýl lámaný flámska história - http://en.wikipedia.org/wiki/Category:History_of_Flanders flámska renesancia - pozri flámski primitívi http://fr.wikipedia.org/wiki/Renaissance_flamande http://en.wikipedia.org/wiki/Renaissance_in_the_Low_Countries flámska škola - škola maľby, ktorá sa vyvinula v Holandsku od renesancie do počiatkov baroka; zahrnuje flámskych primitívov (1400-1500), flámsku renesanciu (1500-1584) a holandský zlatý vek maľby zo 17.st.; patrí sem mnoho maliarov, sochárov a architektov, z ktorých sú najznámejší Rembrandt van Rijn, Frans Hals, Johannes Vermeer, Jacob van Ruisdael, Antoon van Dyck a Jan Steen http://fr.wikipedia.org/wiki/École_hollandaise flámske maliarstvo - samostatný výtvarný prejav charakteristický pre južné provincie Flámska od 15.st. (J.van Dyck, R.van Weyden, Majster z Flémale); v 16.-17.st. vytvorený typický barokový exaltovaný flámsky prejav, ktorý svoj vrchol našiel v diele Rubensa; v jeho dielni pod vedením A.van Dycka, ktorý svojou portrétnou tvorbou ovplyvnil anglickú maľbu, patrili Rubensovi žiaci J.Jordaens (žáner, religiózne a mytologické obrazy), F.Snyders (kvetinové a ovocné zátišia, poľovnícke zápasy), A.Brouwer a D. Teniers Ml. (žáner); krajinárstvo v dvoch smeroch: kabinetná drobnomaľba (Jan Brueghel St.) a monumentálna tzv. bruselská dekoratívna maľba; flámska žánrová maľba 17.st. zobrazovala alegórie piatich zmyslov v podobe krčmových scén s pijanmi (Chuť), fajčiarmi fajok (Čuch), rozjarenými spevákmi s huslistom (Sluch); Hmat zobrazovaný ako muž, ktorý objíma ženu okolo pása, alebo ako ránhojič púšťajúci pacientovi žilou; vo flámskom maliarstve 18.st. sa iba obmieňali vzory z predchádzajúceho obdobia, v 19.st. -
PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/206026 Please be advised that this information was generated on 2020-01-01 and may be subject to change. 18 De Zeventiende Eeuw 31 (2015) 1, pp. 18-54 - eISSN: 2212-7402 - Print ISSN: 0921-142x Coping with crisis Career strategies of Antwerp painters after 1585 David van der Linden David van der Linden is lecturer and nwo Veni postdoctoral fellow at the University of Groningen. He recently published Experiencing Exile. Huguenot Refugees in the Dutch Repu- blic, 1680-1700 (Ashgate, 2015). His current research project explores Protestant and Catholic memories about the French civil wars. [email protected] Abstract This article explores how painters responded to the crisis on the Antwerp art market in the 1580s. Although scholarship has stressed the profound crisis and subsequent emigration wave, prosopographical analysis shows that only a mino- rity of painters left the city. Demand for Counter-Reformation artworks allowed many to pursue their career in Antwerp, while others managed to survive the crisis by relying on cheap apprentices and the export of mass-produced paintings. Emigrant painters, on the other hand, minimised the risk of migration by settling in destinations that already had close artistic ties to Antwerp, such as Middelburg. Prosopographical analysis thus allows for a more nuanced understanding of artistic careers in the Low Countries. Keywords: Antwerp painters, career strategies, art market, guild of St.