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MARTEN VAN CLEVE I (C. 1527 – Antwerp – Before 1581) a Wedding
VP4739 MARTEN VAN CLEVE I (c. 1527 – Antwerp – before 1581) A Wedding Procession On canvas, 61¼ X 101 ins. (155.3 X 256 cm) PROVENANCE Marchesa de Bermejillo del Rey, by the early 20th century And by descent to the previous owner Private Collection, Spain, until 2015 LITERATURE M. Diaz Padrón, ‘La Obra de Pedro Brueghel el jóven en Espana”, Archivo Espanol de Arte, 1980, p. 309, fig. 18. K. Ertz, Pieter Brueghel der Jüngere, Lingen, 2000, vol. II, p. 702, no. A830. Against a backdrop of rolling farmlands and a giant windmill, a wedding party makes its way along a road from the village on the right, where preparations are being made for the wedding feast, to the church in the upper left-hand corner. As was customary, the bride and groom walk separately, each processed by a man playing a doedelzac (bagpipes). Tall trees single out the groom, who is identified by the wedding crown he wears on top of his bright red cap. He is followed by two older men, probably the fathers of the bridal couple, and the other menfolk of the village. Then comes the plump and solemn-looking bride, wearing a bridal crown and flanked on either side by pages. She is attended by the two mothers and the other female members of the party. Work in the fields has all but stopped: three sacks of flour sit at the foot of the windmill and a cart stands idle. The workers have all turned out to accompany the wedding procession on its way: among the crowd of well-wishers are young men and old, a shepherd, a miller, his face white with flour, and many more besides. -
On Brabant Rubbish, Economic Competition, Artistic Rivalry, And
UvA-DARE (Digital Academic Repository) On Brabant rubbish, economic competition, artistic rivalry and the growth of the market for paintings in the first decades of the seventeenth century Sluijter, E.J. Publication date 2009 Document Version Final published version Published in Journal of Historians of Netherlandish Art Link to publication Citation for published version (APA): Sluijter, E. J. (2009). On Brabant rubbish, economic competition, artistic rivalry and the growth of the market for paintings in the first decades of the seventeenth century. Journal of Historians of Netherlandish Art, 1(2). http://jhna.org/index.php/volume-1-issue-2/72- vol1issue2/109-on-brabant-rubbish-economic-competition-artistic-rivalry-and-the-growth-of- the-market-for-paintings-in-the-first-decades-of-the-seventeenth-century 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:30 Sep 2021 HOME VOLUME 1: ISSUE 2 PAST ISSUES SUBMISSIONS ABOUT JHNA SUPPORT JHNA CONTACT search.. -
Claes Visscher's 1612 Copies of the Small Landscape Prints
Volume 3, Issue 1 (Winter 2011) Envisioning Netherlandish Unity: Claes Visscher’s 1612 Copies of the Small Landscape Prints Alexandra Onuf Recommended Citation: Alexandra Onuf, “Envisioning Netherlandish Unity: Claes Visscher’s 1612 Copies of the Small Landscape Prints,” JHNA 3:1 (Winter 2011), DOI: 10.5092/jhna.2011.3.1.4 Available at https://jhna.org/articles/envisioning-netherlandish-unity-claes-visscher-1612-cop- ies-small-landscape-prints/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This is a revised PDF that may contain different page numbers from the previous version. Use electronic searching to locate passages. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 3:1 (Winter 2011) 1 ENVISIONING NETHERLANDISH UNITY: CLAES VISSCHER’S 1612 COPIES OF THE SMALL LANDSCAPE PRINTS Alexandra Onuf Scholars have long recognized the formal significance of Claes Jansz. Visscher’s 1612 copies of the Small Landscape prints for the development of seventeenth-century Dutch landscapes. The prints, which were originally published in Antwerp in the mid-sixteenth century, represent the rural terrain of Brabant with a direct naturalism and topographic specificity that would later become a hallmark of Dutch Golden Age landscape prints and paintings. This article focuses on the content of the series and attempts to understand the Dutch market and appreciation for views of Brabant in the early seventeenth century. Published in the early years of the Twelve Years’ Truce, likely with the vast émigré population of Southern Netherlanders in mind, the prints visually restore Brabant to its pre-Revolt past of peace and prosperity at the same time as they stimulate hope for a reunification of this lost southern province into a new United Nether- lands.10.5092/jhna.2011.3.1.4 1 laes Jansz. -
'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. -
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. -
MARTEN VAN CLEVE the Elder (C
VP4795 MARTEN VAN CLEVE the Elder (c. 1527 – Antwerp – before 1581) The Wedding Dance Outdoors circa 1570 On panel, 30¼ x 41⅜ ins. (77 x 105 cm) PROVENANCE: Private collection, Italy, for at least 80 years, until 2016 Considered a follower of Pieter Bruegel the Elder (c. 1527/30-1569), Marten van Cleve reveals all his inventiveness in this wedding celebration. While the theme is indeed borrowed from the pictorial production of the Brueghel family, the painting’s style and originality shows an independent and innovative artist. Van Cleve was undoubtedly influenced by the peasant life inherent in Bruegel’s paintings, but his composition is unique in its rendering of one of the most widespread subjects of the era. Just like Bruegel, Marten van Cleve found the subjects for his paintings in scenes of daily life, especially peasant feasts and celebrations. Peasant weddings were a favourite subject which he portrayed in numerous panels. The version presented here draws direct inspiration from two sources. First of all, a wedding scene painting by Pieter Bruegel the Elder, dated 1566, in the Detroit Institute of Artsi. Secondly, an engraving by Pieter van der Heyden based on a drawing by Pieter Bruegel the Elderii. Van Cleeve copies the position of the three couples dancing in the foreground. The couple composed of the bride and groom is just behind and is also taken from the painting in Detroit. Contrary to numerous small-size paintings portraying this subject, this work appears to be an exception to Marten van Cleve’s body of work. Here he offers a far more spacious and airy scene. -
On Brabant Rubbish, Economic Competition, Artistic Rivalry, And
UvA-DARE (Digital Academic Repository) On Brabant rubbish, economic competition, artistic rivalry and the growth of the market for paintings in the first decades of the seventeenth century Sluijter, E.J. Publication date 2009 Document Version Final published version Published in Journal of Historians of Netherlandish Art Link to publication Citation for published version (APA): Sluijter, E. J. (2009). On Brabant rubbish, economic competition, artistic rivalry and the growth of the market for paintings in the first decades of the seventeenth century. Journal of Historians of Netherlandish Art, 1(2). http://jhna.org/index.php/volume-1-issue-2/72- vol1issue2/109-on-brabant-rubbish-economic-competition-artistic-rivalry-and-the-growth-of- the-market-for-paintings-in-the-first-decades-of-the-seventeenth-century 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:24 Sep 2021 HOME VOLUME 1: ISSUE 2 PAST ISSUES SUBMISSIONS ABOUT JHNA SUPPORT JHNA CONTACT search.. -
The Small Landscape Prints and the Depiction of the Countryside in Early Modem Antwerp
Local Terrains: The Small Landscape Prints and the Depiction of the Countryside in Early Modem Antwerp Alexandra Kirkman Onuf Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2006 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3213572 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3213572 Copyright 2006 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ©2006 Alexandra Kirkman Onuf All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Local Terrains: The Small Landscape Prints and the Depiction of the Countryside in Early Modem Antwerp Alexandra Kirkman Onuf This dissertation reexamines the Small Landscape prints, two series of views of the local landscape around Antwerp published by Hieronymus Cock in the middle of the sixteenth century. -
Promotor Prof. Dr. Maximiliaan Martens Vakgroep Kunst-, Muziek- En Theaterwetenschappen
Promotor Prof. dr. Maximiliaan Martens Vakgroep Kunst-, Muziek- en Theaterwetenschappen Decaan Prof. dr. Marc Boone Rector Prof. dr. Anne De Paepe Alle rechten voorbehouden. Niets uit deze uitgave mag worden verveelvoudigd, opgeslagen in een geautomatiseerd gegevensbestand, of openbaar gemaakt, in enige vorm of op enige wijze, hetzij elektronisch, mechanisch, door fotokopieën, opnamen, of enige andere manier, zonder voorafgaande toestemming van de uitgever. Faculteit Letteren & Wijsbegeerte Katrien Lichtert Beeld van de stad Representaties van stad en architectuur in het oeuvre van Pieter Bruegel de Oude Volume 1: Tekst Proefschrift voorgelegd tot het behalen van de graad van Doctor in de kunstwetenschappen 2014 INHOUDSTAFEL VOLUME 1 VOORWOORD Hoofdstuk 1: Inleiding 1.1. Onderzoeksthema’s en afbakening van de bronnen ............................................ 1 1.1.1. Stadsrepresentaties .................................................................................... 1 1.1.2. Pieter Bruegel ............................................................................................. 7 Bruegel en de uitbeelding van het stedelijke landschap in de Zuidelijke Nederlanden ............................................................................... 7 Bruegels werk en leven: een status quaestionis ......................................... 9 Bruegel in de literatuur: perceptie en tendensen ....................................... 19 1.2. Vraagstelling, onderzoeksmethode en opbouw van het werk ............................. 27 1.2.1. Vraagstelling -
Vasari's Vite Enjoyed a Tremendous Success Since Its Very First Pu
INFORMATION EXCHANGE ON FLEMISH AND DUTCH ARTISTS. GIORGIO VASARI, HIDDEN PLAGIARIST OF LODOVICO GUICCIARDINI1 DOMINIQUE ALLART PAOLA MORENO Vasari’s Vite enjoyed a tremendous success since its very first pu- blication by Torrentino in Florence in 1550 (the Torrentiniana edi- tion in two volumes, entitled Le Vite de’ più eccellenti architetti, pittori, et scultori Italiani, da Cimabue insino a’ tempi nostri).2 Various 1 The original presentation from which this paper derives was also delivered in Italian at the Giornate di studio su Lodovico Guicciardini, 11-12 November 2015, organised by the Università degli Studi di Roma Tor Vergata and The Royal Netherlands Institute in Rome. 2 All our quotes in Italian come from G. Vasari, Le Vite de’ più eccellenti architetti, pittori, et scultori italiani da Cimabue insino a’ tempi nostri, Florence, Torrentino, 1550 (henceforth: Torrentiniana or Vite 1550) and G. Vasari, Le Vite de’ piu eccellenti pittori, scultori et architettori, Florence, Giunti, 1568 (henceworth: Giun- tina or Vite 1568), and not from the modern edition by R. Bettarini and P. Barocchi, 6 t., Florence, Sansoni, 1966-1987). Regarding the scholarship on Vasari, the vast available literature is not listed here. See most recently Vasari als Paradigma. Rezeption, Kritik, Perspektiven. The Paradigm of Vasari. Reception, Criticism, Perspectives, F. Jonietz, A. Nova eds, Venezia, Marsilio, 2016 and La réception des Vite de Giorgio Vasari dans l’Europe des XVIe-XVIIIe siècles, C. Lucas Fiorato, P. Dubus eds, Genève, Droz, 2017. In the -
The Snijders&Rockox House
The Snijders&Rockox House A surprising museum in the heart of Antwerp Visitors guide Frans Snijders and Nicolaas Rockox were key figures in 17th-century Antwerp. Frans as a painter of animals and still lifes, Nicolaas as burgomaster. THE SNIJDERS&ROCKOX HOUSE A surprising museum in the heart of Antwerp We are extremely grateful to all our lenders: Antwerp Royal Museum of Fine Arts Maagdenhuis Museum MAS The Phoebus Foundation Rubens House Vleeshuis Museum Bruges Groeninge Museum OUR LENDERS Brussels Royal Museums of Fine Arts of Belgium Belgian National Lottery Cassel Musée de Flandre Kassel Museumlandschaft Hessen Leuven M Museum Leipzig Museum der bildenden Künste Madrid Museo Nacional del Prado Stans Frey-Näplin Stiftung Utrecht Centraal Museum Vienna Liechtenstein Museum Private collectors THE SNIJDERS&ROCKOX HOUSE A surprising museum in the heart of Antwerp Visitors Guide ENTRANCE HALL 6 THE ROCKOX HOUSE Den Gulden Rinck 10 ROOM 1 De Cleyn Salette – Burgomaster 12 CORRIDOR 34 CONTENTS ROOM 2 Tgroot Salet – Collecting 36 ROOM 3 De camer achter Tgroot Salet – Nature 76 THE GARDEN 96 ROOMS 4 AND 5 Twaschhuys – Leisure and entertainment 98 REST AREA 119 ROOMS 6 AND 7 Keucken – Eating and drinking 120 THE SNIJDERS HOUSE De Fortuyne 141 ROOM 8 Neercamer – Hunting and fishing 144 ROOM 9 Bovencamer – Birds and still lifes 158 FIRST FLOOR LANDING 170 ROOM 10 Voorcamer aende straete – Music 172 Nicolaas Rockox and Frans Snijders were key figures in Antwerp during the Baroque era. Each made his mark on the city’s cultural and social life – Nicolaas as burgomaster and Frans as a brilliant painter of animals and still lifes. -
April 2008 Cover
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. 25, No. 1 www.hnanews.org April 2008 The National Gallery of Art acquired its first Salomon van Ruysdael Salomon van Ruysdael, River Landscape with Ferry. Oil on panel. Washington DC, National Gallery of Art, Patrons’ Permanent Fund and the Lee and Juliet Folger Fund The acquisition was made possible through the generosity of the family of Jacques Goudstikker in his memory. Image: Courtesy of the Board of Trustees, National Gallery of Art 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 Officers President - Wayne Franits Professor of Fine Arts Syracuse University Syracuse NY 13244-1200 Vice President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada 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 Ann Jensen Adams Obituaries ................................................................................ 2 Dagmar Eichberger HNA News .............................................................................. 4 Matt Kavaler Personalia ...............................................................................