DOCSLIB.ORG

Hendrick De Somer in Naples (1622-1654)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

UvA-DARE (Digital Academic Repository) Netherlandish immigrant painters in Naples (1575-1654): Aert Mytens, Louis Finson, Abraham Vinck, Hendrick De Somer and Matthias Stom Osnabrugge, M.G.C. Publication date 2015 Document Version Final published version Link to publication Citation for published version (APA): Osnabrugge, M. G. C. (2015). Netherlandish immigrant painters in Naples (1575-1654): Aert Mytens, Louis Finson, Abraham Vinck, Hendrick De Somer and Matthias Stom. 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 CHAPTER THREE FIAMMINGO BY BIRTH, NEAPOLITAN BY ADOPTION: HENDRICK DE SOMER IN NAPLES (1622-1654) Between Finson’s departure in 1612 and De Somer’s arrival in 1622, the social and artistic conditions that Netherlandish painters faced in Naples changed decisively. Grasping the essence of this change will prove no easy task, as it involves the complexities of both the Neapolitan and Netherlandish artistic development. More and more young Neapolitan men decided to become painters, an indication that painting had become a profitable profession. In fact, our Hendrick De Somer only made the decision to become a painter after his arrival in the city. Through his oeuvre and his network, we learn more about the complex dynamics of the Neapolitan art scene during the second quarter of the seventeenth century. Hendrick De Somer lived in Naples between 1622 and 1654. His Neapolitan career constitutes the first chapter of the second part of this dissertation, in which the presence of Netherlandish painters in Naples during the second quarter of the seventeenth century is addressed. Thanks to extensive research in archives, an analysis of his signed oeuvre and the paintings in Neapolitan inventories, it became possible to get insight into his artistic and social decisions. First, however, a brief overview of the activity of other Netherlandish painters in Naples is necessary. Netherlandish painters in Naples 1612-1654 In the ten years after Louis Finson's departure from Naples, the tide of Pittori Fiamminghi of Finson and Abraham Vinck was turning. Loise Croys and Ettore Crucer, the only two who had remained, had died by 1622 or at least no longer appear in extant archival records.1 Jacob van Swanenburg left in 1617 to return to the Netherlands. The only one remaining was Cornelio Brusco, who is documented until 1634. In 1610 and 1614 respectively, the painters François de Nommé (1590-1621) and Didier Barra (1591-1634) from Metz, arrived in Naples after a brief stint in Rome.2 These two Lorraine painters 1 Last notice of Croys stems from 1616, whereas Crucer disappears after 1617. For the last documents on Croys, see: D'ADDOSIO 1913, 54; corrected in NAPPI & NAPPI 2005, 46. For Crucer: NAPPI 1992. 2 The two friends were often mixed up, cfr. M.R. NAPPI 1991 and SARY & NAPPI 2004 for a discussion and bibliography. In his Dichiarazione di Stato Libero of 13 May 1613 regarding his marriage to Isabella Croys, De Nommé declared that he had been in Naples for about three years, after a sojourn and apprenticeship with Balthasar Lauwers in Rome of about eight years. The first payment to Barra stems from 1619, but in his (unpublished, see Appendix 122) processetto prematrimoniale of 18 July 1619, which I found in the course of my 69 CHAPTER THREE collaborated during their first years in Naples; around 1619 Barra joined forces with the Neapolitan painter Domenico Antonio Bruno.3 During his long and successful career in Naples, Barra collaborated as a vedute-specialist with Neapolitan artists like Onofrio Palumbo, with whom he made the Saint Januarius protecting the city of Naples for the archconfraternity of the Holy Trinità dei Pellegrini. During De Somer’s Neapolitan sojourn there were only a few Northern painters active in the city, apart from the aforementioned Didier Barra, François de Nommé and Cornelio Brusco. First of all, De Somer's direct colleagues and friends: Peeter Doens (documented between 1622-1639), Giovanni Fiammingo (unidentified) and Andrea Brugges (documented between 1633 and 1643).4 Nicolas Lozet from Liège, better known with his patronym Nicolò di Simone (or di Simon Pietro), was active between 1636 and 1656/8.5 The history painter Charles Mellin from Lorraine, pupil of Simon Vouet, is documented between 1643 and 1646.6 Furthermore, a number of German painters, indicated as ‘Maler’ (painter), appear as Kirchmeistern of the German brotherhood in Santa Maria dell'Anima, which De Somer served as official in the 1640s:7 Jacob and Hans Herkommer (between 1618-1639 and 1636-7 respectively), Andreas Brunfels or Bruntzell (1642-1647) and Hans Georg Faber (1654-1668).8 And, of course, Matthias Stom, who would arrive in Naples around 1632.9 The number of Northern painters active in Naples during the second quarter of the seventeenth century was decreasing, especially in comparison to the previous decades. As a result, the pittori fiamminghi were less visible as a group within the local art scene and were unable to maintain the significant role they had played in previous decades. For newcomers, this meant that they could not build upon a well-established network to facilitate the integration process. Whereas the number of Northern artists traveling to Italy remained steady or even increased in this period, the desire to settle on the Italian peninsula, and in Naples in particular, seems to have diminished. While the unrest of the Eighty Years’ War had made it attractive for Netherlandish artists to try their luck outside research, preceding his marriage with the Neapolitan girl Antonia Todesca, he testified that he has arrived in Naples approximately five years earlier. 3 See Appendix 122, this is testified by François De Nommé and Daniel Gondreville, a sculptor and seal maker from Metz. Bruno is fairly unknown, he is documented in Naples between 1603 and 1625. Bruno produced several paintings (mostly of saints) for Neapolitan churches and private collectors (WIEDMANN 1991; CECI 1910, 106; NAPPI 1992, 31). 4 See the paragraph on De Somer's social integration, below. 5 See CREAZZO 1988. 6 MALGOUYRES 2007 & MALGOUYRES 2010. Mellin immediately received very prestigious commissions, for the church of Donnaregina Nuova, the Santissima Annunziata, the Palazzo Reale and several private commissions. I believe it is unlikely Mellin was in contact with his compatriots De Nommé and Barra, or with any of the other Northerners, because he was immediately launched into the highest circles of patronage. 7 See below. 8 TOLL 1909, 101-103. I have been unable to identify these artists. Hans Georg Faber, also Hans Faber, is described as 'Mahler auf Cristal' as well as 'Caporal von Elssas Zabern'. 9 See Chapter Four. 70 HENDRICK DE SOMER the Netherlands, the enormous economic growth in the Dutch Republic and Antwerp now encouraged them to head back after their Italian study trip. In fact, there were more artists coming from other regions of relative unrest, such as Lorraine and Germany. At the same time, with the growing demand for art works, the profession of painter had become profitable in Naples, leading to a greater number of local painters. Battistello Caracciolo, Jusepe de Ribera and Massimo Stanzione had very successful workshops which laid the foundation for the 'Neapolitan school’. This created a stimulating artistic environment, but also a competitive one. This is the reality that Hendrick De Somer (and Matthias Stom) encountered in Naples and in which they had to find their way. Mistaken identity: Hendrick van Someren, Enrico Fiammingo and Hendryck De Somer The true identity of Hendrick De Somer has been shrouded with some degree of confusion. In 1943, following the discovery of De Somer's signature ('Enrico Somer f. 1652') on a St Jerome in the collection of the Galleria Borghese in Rome (Fig. 38),10 Hoogewerff erroneously identified the artist as Hendrick van Someren (Amsterdam, 1615 – Amsterdam, 1684), son of Barent Van Someren and Dianora Mytens, the daughter of Aert Mytens, and attributed a number of St Jeromes in a Ribersque style to this artist. He combined information from different, unrelated sources to reach a conclusion that was very plausible for 1943, but which soon after proved to be untenable.11 Factual evidence that Hendrick van Someren and Enrico Somer were not the same person emerged ten years after Hoogewerff’s article, with Ulisse Prota-Giurleo’s publication (1953) of the processetto prematrioniale of the painter Viviano Codazzi and Candida Miranda of 15 April 10 Up to that moment, the St Jerome had a false signature of Ribera, with the date 1649. The painting is now in the Galleria d'Arte Antica in Palazzo Barberini, for the provenance of this painting, currently in Palazzo Barberini, see: MOCHI ONORI & VODRET 2008, 443 (inv. 2330). 11 The first document Hoogewerff analyzed was the payment of 1641 to Errico Semer for the large painting for the church of Santa Maria della Sapienza in Naples.(Hoogewerff based himself on the publications by COLOMBO 1902 and Filangieri, instead of on the first publication by BONAZZI IN 1888.) He then moves to the ‘Dutch side of the story’, citing Houbraken's remark about the painter Hendrick van Someren, the son of Barent van Someren: '...die fraaije Historien, Landschappen en Bloemen schilderde.' (‘…who painted nice histories, landscapes and flowers.’), see HOUBRAKEN 1718, 322.
Recommended publications
  • Sztuki Piękne)

    Sztuki Piękne)

    Sebastian Borowicz Rozdział VII W stronę realizmu – wiek XVII (sztuki piękne) „Nikt bardziej nie upodabnia się do szaleńca niż pijany”1079. „Mistrzami malarstwa są ci, którzy najbardziej zbliżają się do życia”1080. Wizualna sekcja starości Wiek XVII to czas rozkwitu nowej, realistycznej sztuki, opartej już nie tyle na perspektywie albertiańskiej, ile kepleriańskiej1081; to również okres malarskiej „sekcji” starości. Nigdy wcześniej i nigdy później w historii europejskiego malarstwa, wyobrażenia starych kobiet nie były tak liczne i tak różnicowane: od portretu realistycznego1082 1079 „NIL. SIMILIVS. INSANO. QVAM. EBRIVS” – inskrypcja umieszczona na kartuszu, w górnej części obrazu Jacoba Jordaensa Król pije, Kunsthistorisches Museum, Wiedeń. 1080 Gerbrand Bredero (1585–1618), poeta niderlandzki. Cyt. za: W. Łysiak, Malarstwo białego człowieka, t. 4, Warszawa 2010, s. 353 (tłum. nieco zmienione). 1081 S. Alpers, The Art of Describing – Dutch Art in the Seventeenth Century, Chicago 1993; J. Friday, Photography and the Representation of Vision, „The Journal of Aesthetics and Art Criticism” 59:4 (2001), s. 351–362. 1082 Np. barokowy portret trumienny. Zob. także: Rembrandt, Modląca się staruszka lub Matka malarza (1630), Residenzgalerie, Salzburg; Abraham Bloemaert, Głowa starej kobiety (1632), kolekcja prywatna; Michiel Sweerts, Głowa starej kobiety (1654), J. Paul Getty Museum, Los Angeles; Monogramista IS, Stara kobieta (1651), Kunsthistorisches Museum, Wiedeń. 314 Sebastian Borowicz po wyobrażenia alegoryczne1083, postacie biblijne1084, mitologiczne1085 czy sceny rodzajowe1086; od obrazów o charakterze historyczno­dokumentacyjnym po wyobrażenia należące do sfery historii idei1087, wpisujące się zarówno w pozy­ tywne1088, jak i negatywne klisze kulturowe; począwszy od Prorokini Anny Rembrandta, przez portrety ubogich staruszek1089, nobliwe portrety zamoż­ nych, starych kobiet1090, obrazy kobiet zanurzonych w lekturze filozoficznej1091 1083 Bernardo Strozzi, Stara kobieta przed lustrem lub Stara zalotnica (1615), Музей изобразительных искусств им.
  • Lecce Accoglie Caravaggio

    Lecce Accoglie Caravaggio

    LECCE ACCOGLIE CARAVAGGIO LECCE ACCOGLIE CARAVAGGIO (DI MICHELE CUPPONE) Mai così strettamente legate, mistero e opera di un Caravaggio errante nel meridione in cerca di riscatto, approdano dopo quattro secoli in terra salentina. Da sempre paese di accoglienza, Lecce si prepara alla stagione estiva ospitando in primo luogo l'illustre lombardo che, nelle più disparate celebrazioni di quest’anno, forse un po' inaspettatamente scopre a sua volta una città d'arte e capitale della cultura degna del suo talento. Qui sono di certo le sfavillanti e fastose architetture barocche l'episodio artistico di maggior pregio, in un territorio che non lesina importanti testimonianze di altri periodi storico-artistici: preistoria e protostoria, età messapica e romana, bizantina e normanna, rinascimentale e manierista, tardo manierista e barocca appunto. Frapposta e sovrapposta a queste ultime due, la vicenda del caravaggismo ebbe i suoi echi anche qui; allora si era al tempo dei Vicerè spagnoli, e la Napoli nella quale operò prolificamente il Merisi era il naturale punto di riferimento e centro di irradiazione di impulsi artistici per, nella fattispecie, i pittori locali. Nel capoluogo salentino, come hanno ricostruito gli studi di Antonio Cassiano e Pierluigi Leone de Castris, si trasferì, praticamente all’indomani della morte di Caravaggio, il partenopeo Paolo Finoglio, che veicolò il verbo caravaggesco di cui a Napoli fu uno dei primi seguaci; teneva a mente, oltre alle opere del Lombardo, che lì soggiornava negli stessi anni, quelle del suo più grande interprete napoletano Battistello Caracciolo o di un Carlo Sellitto, o ancora di pittori tardomanieristi che conobbero una, magari anche breve, stagione caravaggesca e naturalistica: Filippo Vitale e Ippolito Borghese.
  • Kingston Lacy Illustrated List of Pictures K Introduction the Restoration

    Kingston Lacy Illustrated List of Pictures K Introduction the Restoration

    Kingston Lacy Illustrated list of pictures Introduction ingston Lacy has the distinction of being the however, is a set of portraits by Lely, painted at K gentry collection with the earliest recorded still the apogee of his ability, that is without surviving surviving nucleus – something that few collections rival anywhere outside the Royal Collection. Chiefly of any kind in the United Kingdom can boast. When of members of his own family, but also including Ralph – later Sir Ralph – Bankes (?1631–1677) first relations (No.16; Charles Brune of Athelhampton jotted down in his commonplace book, between (1630/1–?1703)), friends (No.2, Edmund Stafford May 1656 and the end of 1658, a note of ‘Pictures in of Buckinghamshire), and beauties of equivocal my Chamber att Grayes Inne’, consisting of a mere reputation (No.4, Elizabeth Trentham, Viscountess 15 of them, he can have had little idea that they Cullen (1640–1713)), they induced Sir Joshua would swell to the roughly 200 paintings that are Reynolds to declare, when he visited Kingston Hall at Kingston Lacy today. in 1762, that: ‘I never had fully appreciated Sir Peter That they have done so is due, above all, to two Lely till I had seen these portraits’. later collectors, Henry Bankes II, MP (1757–1834), Although Sir Ralph evidently collected other – and his son William John Bankes, MP (1786–1855), but largely minor pictures – as did his successors, and to the piety of successive members of the it was not until Henry Bankes II (1757–1834), who Bankes family in preserving these collections made the Grand Tour in 1778–80, and paid a further virtually intact, and ultimately leaving them, in the visit to Rome in 1782, that the family produced astonishingly munificent bequest by (Henry John) another true collector.
  • What Does Art in the Age of Mass Incarceration Look Like? a Gripping New Show at Moma PS1 Presents Startling Answers

    What Does Art in the Age of Mass Incarceration Look Like? a Gripping New Show at Moma PS1 Presents Startling Answers

    On View (https://news.artnet.com/exhibitions/on-view) What Does Art in the Age of Mass Incarceration Look Like? A Gripping New Show at MoMA PS1 Presents Startling Answers Many of the works in the show were made by inmates in US prisons. Taylor Dafoe (https://news.artnet.com/about/taylor-dafoe-731), October 27, 2020 Installation view of Jesse Krimes, Apokaluptein 16389067 (2010–2013) in the exhibition "Marking Time: Art in the Age of Mass Incarceration." Courtesy of MoMA PS1. Photo: Matthew Septimus. Though many of the artists in “Marking Time: Art in the Age of Mass Incarceration (https://bookshop.org/books/marking-time-art-in-the-age-of-mass-incarceration/9780674919228?aid=1934),” a new show open now at MoMA PS1, have been convicted of crimes, only in a few cases do we learn the details. “I don’t talk about guilt and innocence, nor do I talk about why people are in prison, unless that’s important for them in terms of how they understand their art-making,” says Nicole R. Fleetwood, who organized the exhibition of works made from within, or about, the US prison system. For her, the show is about carcerality as a systemic, not an individual, problem. “As an abolitionist, if you start playing into the logic of good/bad, innocent/guilty, you start to think about prisons as if they’re about individual decision-making, which is often how we talk about it in a broader normative public,” she says. “Prisons don’t exist because of individual decision-making. They exist as a punitive, harsh way of governing around structural inequality and systemic abuse.” Larry Cook, The Visiting Room #4 (2019).
  • The Collecting, Dealing and Patronage Practices of Gaspare Roomer

    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.
  • Gallery Baroque Art in Italy, 1600-1700

    Gallery Baroque Art in Italy, 1600-1700

    Gallery Baroque Art in Italy, 1600-1700 The imposing space and rich color of this gallery reflect the Baroque taste for grandeur found in the Italian palaces and churches of the day. Dramatic and often monumental, this style attested to the power and prestige of the individual or institution that commissioned the works of art. Spanning the 17th century, the Baroque period was a dynamic age of invention, when many of the foundations of the modern world were laid. Scientists had new instruments at their disposal, and artists discovered new ways to interpret ancient themes. The historical and contemporary players depicted in these painted dramas exhibit a wider range of emotional and spiritual conditions. Artists developed a new regard for the depiction of space and atmosphere, color and light, and the human form. Two major stylistic trends dominated the art of this period. The first stemmed from the revolutionary naturalism of the Roman painter, Caravaggio, who succeeded in fusing intense physical observations with a profound sense of drama, achieved largely through his chiaroscuro, or use of light and shadow. The second trend was inspired by the Bolognese painter, Annibale Carracci, and his school, which aimed to temper the monumental classicism of Raphael with the optical naturalism of Titian. The expressive nature of Carracci and his followers eventually developed into the imaginative and extravagant style known as the High Baroque. The Docent Collections Handbook 2007 Edition Niccolò de Simone Flemish, active 1636-1655 in Naples Saint Sebastian, c. 1636-40 Oil on canvas Bequest of John Ringling, 1936, SN 144 Little documentation exists regarding the career of Niccolò de Simone.
  • The Infancy of Jesus and Religious Painting by Gerard De Lairesse

    The Infancy of Jesus and Religious Painting by Gerard De Lairesse

    Volume 12, Issue 1 (Winter 2020) The Infancy of Jesus and Religious Painting by Gerard de Lairesse Robert Schillemans [email protected] Recommended Citation: Robert Schillemans, “The Infancy of Jesus and Religious Painting by Gerard de Lairesse,” Journal of Historians of Netherlandish Art 12:1 (Winter 2020) DOI: 10.5092/jhna.2020.12.1.6 Available at https://jhna.org/articles/the-infancy-of-jesus-and-religious-painting-by-gerard-de- lairesse/ 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 PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 The Infancy of Jesus and Religious Painting by Gerard de Lairesse Robert Schillemans Just after his arrival in Amsterdam, Lairesse painted an impressive series of six paintings on the infancy of Jesus. This article argues that the series must have been made for the Catholic South, presumably for an ecclesiastical institute in Liège or vicinity. Its character connects his painted cycle with the Counter-Reformation. Lairesse involves the viewer closely with the religious content, encouraging meditation, contemplation, and reflection. Despite his flight to Protestant Amsterdam, and his joining (as a full member) the Francophone Walloon Reformed Church, Lairesse continued to maintain warm links with the highest circles in his native Liège. In the Infancy of Jesus, Lairesse thoroughly studied the engravings of Goltzius’s Life of Mary (as well as Rubens and Rembrandt).
  • Giuseppe Porzio, Revue Du Louvre

    Giuseppe Porzio, Revue Du Louvre

    siècle e XVII La Sainte Agathe en prison du musée de Nevers et les débuts de Bernardo Cavallino par Giuseppe Porzio La toile représentant Sainte Agathe en prison miracu leu sement soignée par saint Pierre conservée au Musée municipal de Nevers1 (fig. 1) n’a pas obtenu à ce jour la considération Provenant de la collection du qu’elle mérite de la part des spécialistes de la peinture napo- e marquis Campana au XIXe siècle, litaine du XVII siècle ; en conséquence – et malgré sa grande qualité – la question de sa paternité n’a pas encore reçu de cette œuvre des collections du solution convaincante et définitive. À l’évidence, la modestie Louvre est conservée depuis des reproductions dont elle a toujours fait l’objet lorsqu’elle 1962 au musée de Nevers. a été publiée a dû, elle aussi, contribuer à sa sous-évaluation Rattachée précédemment à ainsi qu’à sa position marginale dans les études sur le sujet et e en interdire de fait une lecture correcte2. l’école napolitaine du XVII siècle et plus précisément à l’œuvre de Francesco Guarino, elle reviendrait Les différentes attributions à son contemporain Cavallino, qui l’aurait peinte au moment des Le débat sur la paternité de cette Sainte Agathe se réduit, contacts stylistiques les plus étroits en substance, à une hésitation entre le nom de Francesco Guarino (1611-1651) 3 – assurément la référence qui a eu entre les deux artistes. le plus de succès, y compris parce qu’il s’agit de la plus cré- Résumés en anglais p. 107 et en allemand p.
  • Venite Et Videte

    Venite Et Videte

    Cover Page The handle http://hdl.handle.net/1887/28993 holds various files of this Leiden University dissertation. Author: Nagelsmit, Eelco Diederik Title: Venite & videte : art and architecture in Brussels as agents of change during the counter reformation, c. 1609-1659 Issue Date: 2014-10-07 Chapter II – The Calced Carmelites and the Legitimate Use of Images th Decree of the 25 session of the Council of Trent: Moreover, that the images of Christ, of the Virgin Mother of God, and of the other saints, are to be had and retained particularly in temples, and that due honour and veneration are to be given them; not that any divinity, or virtue, is believed to be in them, on account of which they are to be worshipped; or that anything is to be asked of them; or, that trust is to be reposed in images, as was of old done by the Gentiles who placed their hope in idols; but because the honour which is shown them is referred to the prototypes which those images represent; in such wise that by the images which we kiss, and before which we uncover the head, and prostrate ourselves, we adore Christ; and we venerate the saints, whose similitude they bear: as, by the decrees of Councils, and especially of the second Synod of Nicaea, has been defined against the opponents of images.436 In this chapter, I will deal with the high altar of the richly decorated Brussels Carmelite church (fig. 44).437 Although the church and its many artworks were completely destroyed during the French bombardment of Brussels in 1695,438 the appearance of this high altar is passed on in a splendid engraving of 1640 (fig.
  • Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600

    Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600

    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic.
  • Dutch and Flemish Art in Russia

    Dutch and Flemish Art in Russia

    Dutch & Flemish art in Russia Dutch and Flemish art in Russia CODART & Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie) Amsterdam Editors: LIA GORTER, Foundation for Cultural Inventory GARY SCHWARTZ, CODART BERNARD VERMET, Foundation for Cultural Inventory Editorial organization: MARIJCKE VAN DONGEN-MATHLENER, Foundation for Cultural Inventory WIETSKE DONKERSLOOT, CODART English-language editing: JENNIFER KILIAN KATHY KIST This publication proceeds from the CODART TWEE congress in Amsterdam, 14-16 March 1999, organized by CODART, the international council for curators of Dutch and Flemish art, in cooperation with the Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie). The contents of this volume are available for quotation for appropriate purposes, with acknowledgment of author and source. © 2005 CODART & Foundation for Cultural Inventory Contents 7 Introduction EGBERT HAVERKAMP-BEGEMANN 10 Late 19th-century private collections in Moscow and their fate between 1918 and 1924 MARINA SENENKO 42 Prince Paul Viazemsky and his Gothic Hall XENIA EGOROVA 56 Dutch and Flemish old master drawings in the Hermitage: a brief history of the collection ALEXEI LARIONOV 82 The perception of Rembrandt and his work in Russia IRINA SOKOLOVA 112 Dutch and Flemish paintings in Russian provincial museums: history and highlights VADIM SADKOV 120 Russian collections of Dutch and Flemish art in art history in the west RUDI EKKART 128 Epilogue 129 Bibliography of Russian collection catalogues of Dutch and Flemish art MARIJCKE VAN DONGEN-MATHLENER & BERNARD VERMET Introduction EGBERT HAVERKAMP-BEGEMANN CODART brings together museum curators from different institutions with different experiences and different interests. The organisation aims to foster discussions and an exchange of information and ideas, so that professional colleagues have an opportunity to learn from each other, an opportunity they often lack.
  • Experts Have Discovered a Previously Unknown Painting by Baroque Master Artemisia Gentileschi—And Now It’S up for Sale

    Experts Have Discovered a Previously Unknown Painting by Baroque Master Artemisia Gentileschi—And Now It’S up for Sale

    AiA Art News-service Experts Have Discovered a Previously Unknown Painting by Baroque Master Artemisia Gentileschi—And Now It’s Up for Sale With its new attribution, the painting could fetch more than 10 times what it sold for just five years ago. Sarah Cascone, January 30, 2019 Artemisia Gentileschi, Saint Sebastian Tended by Irene . Estimate $400,000– 600,000. Courtesy of Sotheby's New York. There’s a new addition to the list of known works by famed Baroque painter Artemisia Gentileschi (1593–1654), and it’s coming up for auction tonight at Sotheby’s New York. The dramatically lit canvas, Saint Sebastian Tended by Irene, undeniably bears the hallmarks of the Old Master’s work, with its Caravaggesque lighting and focus on female agency, the wounded saint overshadowed by the two women ministering to his wounds. The auction house is expecting the painting to sell for $400,000–600,000, potentially an order of magnitude higher than when it last sold, at Bonhams London, for £40,000 ($62,804) on December 3, 2014. At the time, it was attributed to a “Follower of Caravaggio,” but the anonymous buyer already had a suspicion that the painting’s true authorship was far more interesting, as the potential handiwork of Gentileschi. Edoardo Roberti, a senior specialist in the Old Master paintings department at Sotheby’s, had the same hunch, and turned to experts to confirm the attribution. Nicola Spinosa, the former head of the Capodimonte Museum in Naples, and Giuseppe Porzio, an art history professor at the University of Naples, both examined the work and independently confirmed it was indeed by Gentileschi’s hand, likely made after she moved to Naples in 1630.