November 2006 Journal

Total Page:16

File Type:pdf, Size:1020Kb

November 2006 Journal 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. 23, No. 2 www.hnanews.org November 2006 A Newly Discovered Rubens at the Getty Peter Paul Rubens, The Calydonian Boar Hunt (c. 1611-1612) Oil on panel, 59 × 90.2 cm. The J. Paul Getty Museum, Los Angeles (Courtesy of the J. Paul Getty Museum) HNA Newsletter, Vol. 23, No. 2, November 2006 1 From the President In Memoriam I begin this brief editorial on a sad note: I recently learned of the death this past July of our colleague, Cynthia Lawrence, after an extremely lengthy and exhausting battle with cancer. To those of us who knew her, we fondly remember a first-rate scholar and, more importantly, a first-rate person who enriched the lives of all of us who were fortunate enough to have befriended her. She will be sorely missed. Please be sure to read the obituary that our colleague, Barbara Haeger, prepared especially for this issue of the Newsletter. I have recently returned to teaching and administrative duties here at Syracuse University after having enjoyed a sabbatical during the 2005-06 academic year. Despite the added work loads and constraints on my already limited time, this re-entry into academe has been thoroughly enjoyable. Instead of spending the entire year myopically focused on the topic of my own research – Hendrick ter Brugghen – my renewed responsibilities have forced me to think in much broader terms about our discipline, more specifically, about the various fields in which our membership curates, teaches, and writes. There is certainly much happening this fall in terms of symposia, new Cynthia Lawrence publications, and exhibitions. But for our organization, all of this 1946-2006 activity will culminate in our sixth quadrennial conference in Baltimore and Washington D.C. in early November. In fact, by the Cynthia Lawrence died on July 26 after a long and heroic time you receive this Newsletter, this conference will be only days struggle against cancer. She endured debilitating health problems away. Thanks to the talents and efforts of Quint Gregory and Aneta with quiet fortitude and refused to allow the disease to limit her Georgievska-Shine, along with those of the Conference Program activities. She and her husband, David, took every opportunity to Committee, our gathering promises to be highly stimulating and travel – returning to favorite cities (Leuven, Antwerp, Amsterdam) informative. It will provide many opportunities to hear papers on and exploring new locales, most recently Kyoto, Beijing and fascinating topics, to participate in thought-provoking workshops, and Macao. Nor did she allow her illness to impinge upon her total simply to enjoy one another’s company since many miles (and even commitment to pursuing her research and to sharing her ideas with oceans) normally separate us. Lastly, we will all have the privilege of others. Until 2004, Cynthia continued to teach, and she remained viewing the major exhibition at the National Gallery of Art, Prayers an active and productive scholar. Nothing is a greater testimony to and Portraits; Unfolding the Netherlandish Diptych, before it opens Cynthia’s commitment and amazing strength and courage than the officially to the public. I am quite excited about all of these prospects publication of two major articles this year, one of which appeared and look forward to seeing all of you very soon. posthumously: “Confronting Heresy in Post-Tridentine Antwerp. Coercion and Reconciliation as Opposing Strategies in Rubens’ Wayne Franits Real Presence of the Holy Sacrament,” Netherlands Yearbook for Syracuse University History of Art / Nederlands Kunsthistorisch Jaarboek, vol. 55, 2004 (2006), and “Rubens and De Rincón in Valladolid: A Reconsideration of Rubens’s First Spanish Sojourn and a New Source for the Antwerp Raising of the Cross,” in: Munuscula Amicorum. Contributions on Rubens and His Colleagues in Honour of Hans Vlieghe, ed. by Katlijne Van der Stighelen, Turnhout, 2006. Cynthia, who received her BA from Oberlin and her MA and PhD from the University of Chicago (1978) and who taught for several years at Rutgers, was a professor in the Department of Art History at Temple University when she retired in 2004. Her fields of study embraced both painting and sculpture in both Flanders and The Netherlands. Cynthia was a scholar of rare breadth. At the same time, her work was solidly founded upon archival evidence and a meticulous examination of a vast array of sources, which earned her widespread recognition and a host of awards. The latter included the University of Chicago Baroque Studies Prize, numerous research fellowships from Temple University and Rutgers, as well as a grant from the American Council of Learned Societies and a Belgian American Educational Foundation Advanced Fellowship. Cynthia is perhaps most well known for her exemplary study on the genesis of Rubens’s Raising of the Cross (“Before The Raising of the Cross: The Origins of Rubens’s Earliest Antwerp Altarpieces,” The Art Bulletin,1999), which provides real insight 2 HNA Newsletter, Vol. 23, No. 2, November 2006 HNA News into Rubens’s process of invention, while contributing significantly to our understanding of Antwerp’s religious climate and the HNA at CAA physical environment for which the work was created. That she was unable to complete her book-length study on the Raising of the New York, February 14-17, 2007 Cross constitutes a serious loss to the field. As was revealed in her Session numerous conference papers on the painting and on St. Walburgis, The HNA-sponsored session is chaired by Ann Adams and the church for which it was created, the book promised to be a Elizabeth Honig. The topic is: The Presence of History, the Persis- fascinating examination of the altarpiece in light of a range of tence of Time. See the CAA website for more information. meditational and liturgical practices as well as in the context of its location within St. Walburgis, a church, whose construction, she convincingly argued, evoked sacred sites in Rome and Jerusalem. Reception Her hypothesis that the church was the site of virtual pilgrimages All members are invited to the HNA reception at the CAA focused on the choir, which represented Calvary, was effectively Conference in New York, Friday, February 16, 2007, 5:30-7:30 pm, and inventively supported by her exploration of the rich history of Syracuse University’s Lubin House, 11 East 61 Street (a short walk the Burcht, St. Walburgis’s parish. from the Hilton Hotel). Along with her book Flemish Baroque Commemorative Monuments 1566-1700, which established her as a leading authority on Flemish sculpture of the period, Cynthia produced numerous illuminating and impeccably researched articles (her Personalia footnotes are invariably mines of valuable information, ideas, and sources) on Counter-Reformation painting and sculpture in the Al Acres has been appointed assistant professor of art history at Southern Netherlands. Her scholarship, however, is much more Georgetown University, Washington DC. wide-ranging, encompassing studies on seventeenth-century Dutch Marcia Allentuck was elected to the Royal Society of Literature painting and the role of women in the arts in the early modern era. (Great Britain). Examples of her publications in these areas are her insightful book Odilia Bonebakker was awarded a Metropolitan Museum of Art Gerrit Adriaensz. Berckheyde (1638-1698): Haarlem Cityscape Fellowship for 2006-2007. Painter (Doornspijk, 1991) and her contributions to a collection of papers delivered at a symposium that she organized at Temple Amy Buono (UC Santa Barbara) is a Paul Mellon Predoctoral University. The resulting book, Women and Art in Early Modern Fellow in residence at the Center for Advanced Study in the Visual Europe: Patrons, Collectors and Connoisseurs (Penn State 1997), Arts, National Gallery of Art, Washington. Her topic is: Plumed which she edited, earned an honorable mention from the Society for Identities and Feathered Performances: Tupinambá Interculture in the Study of Early Modern Women for books published in that Early Modern Brazil and Europe. year. Among Cynthia’s articles, one of the most fascinating is her Julien Chapuis, Associate Curator in the Department of compelling study of the monuments of naval heroes commissioned Medieval Art at The Cloisters at The Metropolitan Museum of Art, by the States General in the Dutch Republic to foster as sense of has been promoted to Curator. patria and to inculcate patriotic virtues, a study that also examines Amy Golahny the evolution of the church tomb into the secular memorial (Lycoming College) holds an Ailsa Mellon Bruce (“Hendrick de Keyser’s Heemskerk monument: the origins of the Visiting Senior Fellowship at the Center for Advanced Study in the cult and iconography of Dutch naval heroes,” Simiolus, 1992). Here Visual Arts, National Gallery of Art, Washington, for fall 2006. Her Rembrandt and Italy again we can only regret that she was not able to complete the still subject is: . larger project she had envisioned on the subject of state-sponsored Christopher Heuer was appointed Lecturer and Mellon Fellow sculpture dealing with national identity. in the History of Art at Columbia University (as of 2005). In addition to being an exemplary scholar, Cynthia was an Lynn Jacobs (University of Arkansas) received an NEH extremely helpful and generous colleague. She shared her insights Fellowship for 2006-2007 for work on her book on triptychs. and her voluminous bibliographies freely and regularly offered Kathryn Rudy has been appointed Keeper of Illuminated constructive criticism in discussions following papers at the many Manuscripts at the Royal Library in The Hague, replacing Anne national and international conferences she attended. She was Korteweg, who will retire in March 2007. particularly helpful to me when I began doing research on Rubens.
Recommended publications
  • SIMON DE VOS (1603 – Antwerp – 1676)
    CS0371 SIMON DE VOS (1603 – Antwerp – 1676) The Lamentation Signed and dated, lower left: S. D Vos. in et F 1644 Oil on panel, 14½ x 17⅝ ins. (36.8 x 44.8 cm) PROVENANCE With James A. Gorry, Dublin, until Anonymous sale, Christie’s, London, 6 October, 1950, lot 123 Anonymous sale, Christie’s, London, 9 July 2014, lot 159 (The Property of a Lady) Private collection, England, until 2021 Born in Antwerp in 1603, Simon de Vos studied with the portraitist Cornelis de Vos (1603- 1676) before enrolling as a master in the Antwerp Guild of St. Luke in 1620. Subsequently, he is thought to have rounded off his education with a trip to Italy. Although undocumented, a sojourn in Italy during the 1620s is the only plausible explanation for the stylistic similarities that exist between some of his early genre scenes and those of the German-born artist Johann Liss (c. 1595-1631), who was in Rome and Venice at that time. In any event, de Vos was back in his hometown by 1627, the year in which he married Catharina, sister of the still-life painter Adriaen van Utrecht (1599-1652). He remained in Antwerp for the rest of his life. In his early career, Simon de Vos painted mostly cabinet-sized genre scenes. He specialised in merry company subjects, whose style and composition recall similar works by such Dutch contemporaries as Antonie Palamedesz. (1601-1673), Dirck Hals (1591-1656) and Pieter Codde (1599-1678). After about 1640, he turned increasingly to biblical subjects that show the influence of Frans Francken the Younger (1581-1642), Peter Paul Rubens (1577-1640) and Anthony van Dyck (1599-1641).
    [Show full text]
  • Rembrandt Van Rijn
    Rembrandt van Rijn 1606-1669 REMBRANDT HARMENSZ. VAN RIJN, born 15 July er (1608-1651), Govaert Flinck (1615-1660), and 1606 in Leiden, was the son of a miller, Harmen Ferdinand Bol (1616-1680), worked during these Gerritsz. van Rijn (1568-1630), and his wife years at Van Uylenburgh's studio under Rem­ Neeltgen van Zuytbrouck (1568-1640). The brandt's guidance. youngest son of at least ten children, Rembrandt In 1633 Rembrandt became engaged to Van was not expected to carry on his father's business. Uylenburgh's niece Saskia (1612-1642), daughter Since the family was prosperous enough, they sent of a wealthy and prominent Frisian family. They him to the Leiden Latin School, where he remained married the following year. In 1639, at the height of for seven years. In 1620 he enrolled briefly at the his success, Rembrandt purchased a large house on University of Leiden, perhaps to study theology. the Sint-Anthonisbreestraat in Amsterdam for a Orlers, Rembrandt's first biographer, related that considerable amount of money. To acquire the because "by nature he was moved toward the art of house, however, he had to borrow heavily, creating a painting and drawing," he left the university to study debt that would eventually figure in his financial the fundamentals of painting with the Leiden artist problems of the mid-1650s. Rembrandt and Saskia Jacob Isaacsz. van Swanenburgh (1571 -1638). After had four children, but only Titus, born in 1641, three years with this master, Rembrandt left in 1624 survived infancy. After a long illness Saskia died in for Amsterdam, where he studied for six months 1642, the very year Rembrandt painted The Night under Pieter Lastman (1583-1633), the most impor­ Watch (Rijksmuseum, Amsterdam).
    [Show full text]
  • Gary Schwartz
    Gary Schwartz A Corpus of Rembrandt Paintings as a Test Case for Connoisseurship Seldom has an exercise in connoisseurship had more going for it than the world-famous Rembrandt Research Project, the RRP. This group of connoisseurs set out in 1968 to establish a corpus of Rembrandt paintings in which doubt concer- ning attributions to the master was to be reduced to a minimum. In the present enquiry, I examine the main lessons that can be learned about connoisseurship in general from the first three volumes of the project. My remarks are limited to two central issues: the methodology of the RRP and its concept of authorship. Concerning methodology,I arrive at the conclusion that the persistent appli- cation of classical connoisseurship by the RRP, attended by a look at scientific examination techniques, shows that connoisseurship, while opening our eyes to some features of a work of art, closes them to others, at the risk of generating false impressions and incorrect judgments.As for the concept of authorship, I will show that the early RRP entertained an anachronistic and fatally puristic notion of what constitutes authorship in a Dutch painting of the seventeenth century,which skewed nearly all of its attributions. These negative judgments could lead one to blame the RRP for doing an inferior job. But they can also be read in another way. If the members of the RRP were no worse than other connoisseurs, then the failure of their enterprise shows that connoisseurship was unable to deliver the advertised goods. I subscribe to the latter conviction. This paper therefore ends with a proposal for the enrichment of Rembrandt studies after the age of connoisseurship.
    [Show full text]
  • Holland Artikel
    Bonny van Sighem Vis op het droge Visstillevens in Holland en Utrecht in de 17de eeuw Stillevens met daarop stapels dode vissen behoren zelden tot de topstukken van musea. Wij kijken liever naar een schilderij met flink wat menselijk drama of naar een kleurig boeket bloemen in verf dan naar een uitstalling van deze weinig aaibare dieren. Toch zijn er prachtige visstillevens geschilderd in de 17de eeuw. De meesten werden gemaakt in de provincie Holland en de stad Utrecht. Over het algemeen zien we op schilderijen uit Holland wat vaker zeevis en op die uit Utrecht wat vaker zoetwatervis. Realisti - sche uitstallingen tonen vistillevens echter niet. De bederfelijkheid van het onderwerp verklaart waarom ze nooit de nageschilderde werkelijkheid laten zien. De stank in het atelier zou ondraaglijk zijn geweest. Bijbelse taferelen, portretten, mythologische voorstellingen, kerkinterieurs, stadsgezichten, genrestukken, landschappen, zeegezichten, stillevens. De 17de-eeuwse Nederlandse schil - derkunst kende zeer veel specialiteiten. De markt was vrij en de economische situatie was gunstig, waardoor zowel de vraag naar als het aanbod van schilderijen zeer groot was. Stil - levenschilders die zich oefenden in het weergeven van levenloze voorwerpen konden kiezen voor het schilderen van vazen met bloemen, boeken, tabaksgerei, steengoed, etenswaar, vruchten, glas en andere kostbaarheden, jachtbuit, vis, of een combinatie hiervan, zoals het ontbijtje, het vanitas-stilleven en het pronkstilleven. Stillevens stelden in de ogen van de la - tere kunsttheoretici niet veel voor, maar op de markt vonden ze gretig aftrek en er konden hoge prijzen voor betaald worden. Ook aan het begin van de 21ste eeuw worden stillevens nog bijzonder gewaardeerd. Ze staan sterk in de markt en brengen ongekende prijzen op.
    [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]
  • Curriculum Vitae of Maryan Wynn Ainsworth
    Curriculum Vitae of Maryan Wynn Ainsworth Department of European Paintings The Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028 Phone: (212) 396-5172 Fax: (212) 396-5052 e-mail: [email protected] EDUCATION Yale University, New Haven, Conn., Department of History of Art Ph.D., May 1982 M. Phil., May 1976 Doctoral dissertation, “Bernart van Orley as a Designer of Tapestry” Oberlin College, Oberlin, Ohio, Department of Art History M.A., May 1973 B.A., January 1972 Master’s thesis, “The Master of St. Gudule” Independent art-history studies in Vienna (1969), Mainz (1973–74), and Brussels (1976–77) PROFESSIONAL EXPERIENCE The Metropolitan Museum of Art, New York Department of European Paintings Curator of European Paintings, 2002–present Research on Northern Renaissance paintings at The Metropolitan Museum of Art, with emphasis on the integration of technical examination of paintings with art-historical information; curating exhibitions; cataloguing the fifteenth- and sixteenth-century Netherlandish and German paintings in the collection; teaching courses on connoisseurship and Northern Renaissance paintings topics for Barnard College and Columbia University; directing the Slifka Fellowship program for art historians at the graduate level; departmental liaison and coordinator, European Paintings volunteers (2008–16) Paintings Conservation, Conservation Department Senior Research Fellow, 1992–2001 Research Fellow, 1987–92 Senior Research Associate, 1982–87 Research Investigator, 1981–82 Interdisciplinary research
    [Show full text]
  • Classic Germany
    CLASSIC GERMANY September 25-October 9, 2017 15 days for $5,592 total price from Boston, New York, Philadelphia ($4,895 air & land inclusive plus $697 airline taxes and fees) This tour is provided by Odysseys Unlimited, six-time honoree Travel & Leisure’s World’s Best Tour Operators award. An Exclusive Small Group Tour for Alumni & Friends of Duke University Dear Duke Alumni and Friends, We invite you to join us on an exclusive 15-day journey through Germany. Our small group will experience the best this country has to offer, from its famed Black Forest to its classic cities – Heidelberg, Munich, and Berlin. Guests on this tour will have the opportunity to be in Munich during the Oktoberfest celebrations to enjoy the sights, sounds, smells, and tastes of traditional Bavaria. Our tour begins in Frankfurt with a relaxing cruise through the Rhine River Valley. We discover the quintessential German city of Heidelberg then travel to the storied Black Forest. Next, experience the breathtaking Bavarian Alps, fairy tale Neuschwanstein Castle, and the Bavarian capital of Munich. After visiting the memorial at Dachau and the historic city of Nuremberg, travel on to Dresden to tour the beloved Semper Opera House and Dresden Castle’s Green Vault. Continue on to Meissen and Germany’s cultural heart, Berlin, where we visit the Brandenburg Gate, the Pergamon Museum, and the Berlin Wall Memorial. Space on this exclusive Duke departure is limited to 24 guests in total and will fill quickly. As the group grows in size, we will make every attempt to find a Duke host who will join the program to add a uniquely Duke perspective to the experience.
    [Show full text]
  • A Boutique Stay That Avoids an Iron Curtain Vibe Changing the Oil, Filling up Petrol and Examining the Spare Tyre
    12 Friday, August 1, 2014 www.thenational.ae The National weekend travel my kind of place Dresden, Germany travelling with kids Solving being Phoenix from the fire driven to distraction The once-devastated city has been restored to its glorious best, with many modern attractions, writes David Whitley Why Dresden? driving holiday in New Zealand There’s an overwhelming sense of taught us that be- a city trying to grasp back what it ing cooped up in once had. The day that everything Aa car for hours at a stretch changed was February 13, 1945, isn’t all that bad. when Allied bombers unleashed Within the first hour a firebombing campaign of of picking up our rental unprecedented savagery. Dresden, car in Auckland, both long regarded as the most beautiful my daughters vomited. city in Germany, was obliterated. We’re at the beginning That which was lost was largely of a 10-day holiday. The built in the late 17th century and plan is to drive to Christ- early 18th under Augustus the church and then Queens- Strong, the autocratic ruler of town, before looping back Saxony who had an enormous up to Auckland. Except that appetite for all things blingy and the car is now smelling to self-aggrandising. The Altstadt high heaven. (Old Town) became a Baroque We stop off at a grocery masterpiece. Over the decades store and buy cleaning sup- since the end of the Second World plies, wondering if we’re do- War, the pieces of the jigsaw have ing the right thing by driv- been painstakingly put back ing so many miles with two together.
    [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]
  • 20-A Richard Diebenkorn, Cityscape I, 1963
    RICHARD DIEBENKORN [1922–1993] 20a Cityscape I, 1963 Although often derided by those who embraced the native ten- no human figure in this painting. But like it, Cityscape I compels dency toward realism, abstract painting was avidly pursued by us to think about man’s effect on the natural world. Diebenkorn artists after World War II. In the hands of talented painters such leaves us with an impression of a landscape that has been as Jackson Pollack, Robert Motherwell, and Richard Diebenkorn, civilized — but only in part. abstract art displayed a robust energy and creative dynamism Cityscape I’s large canvas has a composition organized by geo- that was equal to America’s emergence as the new major metric planes of colored rectangles and stripes. Colorful, boxy player on the international stage. Unlike the art produced under houses run along a strip of road that divides the two sides of the fascist or communist regimes, which tended to be ideological painting: a man-made environment to the left, and open, pre- and narrowly didactic, abstract art focused on art itself and the sumably undeveloped, land to the right. This road, which travels pleasure of its creation. Richard Diebenkorn was a painter who almost from the bottom of the picture to the top, should allow moved from abstraction to figurative painting and then back the viewer to scan the painting quickly, but Diebenkorn has used again. If his work has any theme it is the light and atmosphere some artistic devices to make the journey a reflective one. of the West Coast.
    [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]
  • Royal Monastery of Brou
    EN ROYAL MONASTERY The masterpiece OF BROU of an emperor’s daughter The Royal Monastery of Brou, an exceptional monument, is the result of the determination at the dawn of the Renaissance of a European Princess: Margaret of Austria (1480 – 1530), daughter of an emperor, Duchess of Savoy and Regent of the Netherlands. Its church, built to commemorate her love for her deceased husband Philibert the Handsome, is famous for its elegant tombs carved in marble and alabaster. The unity of its construction, its lavish decoration and its polychrome, glazed tiles make it a masterpiece of the Flamboyant Gothic style. The three two-storey cloisters, which reveal both the skill of the builders and the life of the monks, contain the Princess’s apartments and the rich collections of the Museum of Fine Art. The monastery Ground floor I D A Reception-ticket desk 19 B Gift and book shop 18 C Lift 10 D Toilets 11 20 9 8 7 21 E Church 25 24 F 22 H 6 6 F Convent buildings 12 5 and museum 4 2 G Parvis and sundial E 1 H Gardens 23 I Surrounding areas 3 A B C D Key features Entrance Exit 7-9 The tombs G 14 The Princess’s apartments 15 The great hall 16 The monks’ sleeping First Floor quarters Museum 19 What a Project! 17 13 16 15 14 C The Royal Monastery of Brou consists of three cloisters on two levels and over 4,000 m² of buildings for a community of between twelve and thirty monks.
    [Show full text]