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The Rijksmuseum Bulletin
the rijksmuseum bulletin 114 the rijks the amsterdam paradise of herri metmuseum de bles and the fountain of life bulletin The Amsterdam Paradise by Herri * met de Bles and the Fountain of Life • boudewijn bakker • ne of the most intriguing early Fig. 1 the birds, the creatures of the land and O landscape paintings in the herri met de bles, human beings.2 The Creator made man Rijksmuseum is Paradise by Herri met Paradise, c. 1541-50. a place to dwell, ‘a garden eastward in de Bles (fig. 1). The more closely the Oil on panel, Eden’, with the tree of life and the tree 46.6 x 45.5 cm. modern-day viewer examines this of the knowledge of good and evil, and Amsterdam, small panel with its extremely detailed Rijksmuseum, a river that watered the garden, then scene, the more questions it raises. inv. no. sk-a-780. parted to become four branches. The Several authors have consequently artist shows us the two primal trees in endeavoured to coax the work into paradise, and the source of the primal giving up its secrets. river in the form of an elegant fountain The panel is round and has a sawn with four spouts.3 bevelled edge. It was almost certainly In this idyllic setting, which occupies originally contained in a carved round roughly the lower half of the landscape, wooden frame that was later removed.1 Bles pictures the tragic story of the Fall The composition is divided into con- in four scenes, following the sequence centric bands around a circular central of the days of the Creation: the creation section in which we see paradise; beside of Eve from Adam’s rib, God forbidding and behind it is a panoramic ‘world them to eat fruit from the tree of the landscape’. -
Technical Examination of the Emerson-White Book of Hours
Mayer et al. Herit Sci (2018) 6:48 https://doi.org/10.1186/s40494-018-0211-4 RESEARCH ARTICLE Open Access Technical examination of the Emerson‑White Book of Hours: observations on pigment preferences and media application in a Flemish manuscript Debora D. Mayer1*, Hope Mayo2, Erin Mysak3, Theresa J. Smith4 and Katherine Eremin5 Abstract The Emerson-White Hours (MS Typ 443–443.1, Houghton Library, Harvard University) is a book of hours and missal produced in Valenciennes, Bruges, and Ghent in the late 1470s or early 1480s. There are seven full-page miniatures (many more have been removed), fourteen historiated borders, 28 historiated initials, and 24 calendar illustrations in tempera and gold. Text pages have shell gold trompe-l’oeil borders. The illuminators include Simon Marmion, the Master of the Houghton Miniatures (named for this manuscript), the Master of the Dresden Prayerbook, and one of the Ghent Associates. The goal of analysis was to determine if identifcation of palettes supported previous stylistic attributions. Focusing on the illuminations attributed to Simon Marmion and the Houghton Master, we demonstrate that technical analysis can support attribution by identifying diferences in artists’ pigment preferences, pigment blending, and technique of paint application, particularly how the artists render shadows. Keywords: Illuminated manuscript, Book of hours, Flemish, Technical study, Pigment identifcation, Artists’ technique, Simon Marmion, Houghton Master, Master of the Dresden Prayerbook, Ghent Associates, Shell brass, Harvard Introduction compline (before sleep). In addition to standard texts Te Emerson-White Hours (MS Typ 443–443.1, found in books of hours—calendar, Hours of the Virgin, Houghton Library, Harvard University) is a book of Hours of the Cross, Hours of the Holy Spirit, Sufrages hours-missal that includes a wide range of liturgical texts to the saints, Penitential psalms and litany, Ofce of the and an extensive program of illumination executed in Dead—the manuscript contains a considerable num- Bruges, Ghent, and Valenciennes ca. -
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 -
Our Lady of Antwerp
Louisiana State University LSU Digital Commons Faculty Publications LSU Libraries 2018 Sacred vs. Profane in The Great War: A Neutral’s Indictment Marty Miller Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/libraries_pubs Part of the Art and Design Commons, and the Library and Information Science Commons Recommended Citation Miller, Marty, "Sacred vs. Profane in The Great War: A Neutral’s Indictment" (2018). Faculty Publications. 79. https://digitalcommons.lsu.edu/libraries_pubs/79 This Article is brought to you for free and open access by the LSU Libraries at LSU Digital Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. Sacred vs. Profane in The Great War: A Neutral’s Indictment Louis Raemaekers’s Use of Religious Imagery in Adoration of the Magi and Our Lady of Antwerp by Marty Miller Art and Design Librarian Louisiana State University Baton Rouge, Louisiana t the onset of the First World War in August 1914, Germany invaded France and Belgium, resulting in almost immediate British intervention and provoking a firestorm of protest throughout Western Europe. Belgium’s Asmall military was overmatched and reduced to fighting skirmishes as the Kaiser’s war machine headed toward France. Belgian civilians, as they had during the Franco- Prussian War, resisted by taking up arms. Snipers and ambushes slowed the Germans’ advance. In retaliation, German troops massacred Belgian men, women, and children. Cities, villages, and farms were burned and plundered.1 Belgian neutrality meant nothing to the German master plan to invade and defeat France before the Russian army could effectively mobilize in the east. -
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. -
Gerrit Dou's Enchanting Trompe- L'oeil
Volume 7, Issue 1 (Winter 2015) Gerrit Dou’s Enchanting Trompe- l’Oeil : Virtuosity and Agency in Early Modern Collections Angela Ho [email protected] Recommended Citation: Angela Ho, “Gerrit Dou’s Enchanting Trompe- l’Oeil : Virtuosity and Agency in Early Modern Collections,” JHNA 7:1 (Winter 2015), DOI: 10.5092/jhna.2015.7.1.1 Available at https://jhna.org/articles/gerrit-dous-enchanting-trompe-loeil-virtuosity-agen- cy-in-early-modern-collections/ 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 1:1 (Winter 2009) 1 GERRIT DOU’S ENCHANTING TROMPE L’OEIL: VIRTUOSITY AND AGENCY IN EARLY MODERN COLLECTIONS Angela Ho This paper focuses on Painter with Pipe and Book (ca. 1650) by Gerrit Dou, a painter much admired by an exclusive circle of elite collectors in his own time. By incorporating a false frame and picture curtain, Dou transformed this work from a familiar “niche picture” into a depiction of a painting composed in his signature format. Drawing on anthropologist Alfred Gell’s concepts of enchantment and art nexus, I analyze how such a picture would have mediated the interactions between artist, owner, and viewer, enabling each agent to project his identity and shape one another’s response. -
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. -
Highlights Fall 2019
Dr. Jörn Günther Rare Books AG Manuscripts and Early Printed Books HIGHLIGHTS FALL 2019 Frieze Masters London, Regent’s Park 3–6 October 2019, Stand E3 Prices of all items on request Plutarch, Vies de Romulus et de Caton d’Utique. Manuscript on vellum in French by Simon Bourgoyn, illuminated by the Master of Philippa of Guelders, Jean Coene IV, et al. France, Paris, c. 1508. 350 x 220 mm. 218 ff. 54 full-page miniatures and the coat of arms of the Duke of Lorraine. Commissioned by Philippa of Guelders for Antoine, incoming Duke of Lorraine, these superb, illustrated lives of Romulus and Cato the Younger had much to teach a young prince: Romulus was exemplary for his inspired leadership of Rome and Cato was famous for his tenacious opposition to Julius Caesar and his immunity to corruption. Outstanding in all aspects. (see no. 7) 1 Petrus Lombardus, Glossatura magna in psalmos. Manuscript on vellum, illuminated in the ‘Vie de St. Denis atelier’. France, Paris, c. 1230-1250. 442 x 315 mm. 213 ff. c. 345 illuminated and 9 historiated initials, 51 pages with gold frame borders. This large format codex in its monumental medieval binding may have been a diplomatic gift to a Spanish nobleman, as the gold borders are likely near-contemporary Spanish additions. This luxury copy of Peter Lombard’s (d. 1160) Psalter commentary once belonged to the library of Castilian court officials, the marquises of Astorga. Made in Paris, it is a magnificent book of immense technical complexity and innovative layout. 2 Jacobus de Voragine, Legende Dorée. -
Downloaded from Brill.Com10/09/2021 08:37:50AM Via Free Access 97
96 Edward H. Wouk Downloaded from Brill.com10/09/2021 08:37:50AM via free access 97 A portrait of the artist as friend The painted likeness of Lambert Lombard Edward H. Wouk Of all the Renaissance likenesses that have survived to the present day, the Detail fig. 1 Portrait of Lambert Lombard (fig. 1) of circa 1560 is unique in its warm, al- most intimate presentation of an artist as subject.1 Standing before a glow- ing yellow background with shirt collar open, the scholarly painter and theorist Lambert Lombard (1505/1506-1566) turns his head and his gaze to engage directly with the viewer. He holds a pair of spectacles in his left hand, pinching the bridge of the dark frames between his thumb and index finger. This motif suggests that we encounter Lombard in the act of reading or examining a work of art. He has removed his glasses and looks critically toward us, greeting us with a gesture that asks our purpose in confronting him. Scholars have interpreted Lombard’s probing, direct gaze as evidence that the image is a self-portrait.2 But there is little reason to believe that Lombard produced this vivid likeness of himself. An avid draftsman and designer of prints, Lombard painted little and openly professed his dislike of working in color and oils.3 What survives of his painted oeuvre hard- ly resembles the vigorous brushwork visible in this portrait.4 Instead, the Portrait of Lambert Lombard appears to have been made by another Neth- erlandish artist of the mid-sixteenth century. -
Jean Gossart a Man Holding a Glove Lorne Campbell
JEAN GOSSART A MAN HOLDING A GLOVE LORNE CAMPBELL From National Gallery Catalogues. The Sixteenth Century Netherlandish Paintings with French Paintings before 1600 © National Gallery Company Limited ISBN 9 781 85709 370 4 Published online 2011; publication in print forthcoming www.nationalgallery.org.uk Jan Gossaert (Jean Gossart) NG946 A Man holding a Glove PROVENANCE AND EXHIBITIONS Jan Gossaert (Jean Gossart) NG946 A Man holding a Glove Oil on oak panel, 25.0 x 17.4 cm, painted surface 24.3 x 16.8 cm Provenance The portrait was in the collection of Charles I, King of Great Britain, whose CR brand is on the reverse. It can be identified in van der Doort’s catalogue of the king’s pictures as a ‘Mantua piece’ which hung in the Cabinet Room off the Privy Gallery in the Palace of Whitehall.1 It was therefore purchased by Charles I from Mantua and must have belonged to Vincenzo II Gonzaga (1594–1627), Duke of Mantua; but it has not been identified in the 1627 inventory of his collection.2 It was presumably sold from the Royal Collection during the Commonwealth but it was recovered for Charles II and placed in the King’s Closet at Whitehall, which was apparently arranged to imitate Charles I’s Cabinet Room.3 It remained at Whitehall in the reign of James II4 but appears to have been moved to Kensington Palace by William III and in 1697 and 1700 to have been hanging on the staircase there.5 It was certainly among the pictures removed by William III 1. -
Jan Steen: the Drawing Lesson
Jan Steen THE DRAWING LESSON Jan Steen THE DRAWING LESSON John Walsh GETTY MUSEUM STUDIES ON ART Los ANGELES For my teacher Julius S. Held in gratitude Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Jan Steen (Dutch, 1626-1679). The Drawing Lesson, circa 1665 (detail). Oil on panel, Mollie Holtman, Editor 49.3 x 41 cm. (i93/s x i6î/4 in.). Los Angeles, Stacy Miyagawa, Production Coordinator J. Paul Getty Museum (83.PB.388). Jeffrey Cohen, Designer Lou Meluso, Photographer Frontispiece: Jan Steen. Self-Portrait, circa 1665. © 1996 The J. Paul Getty Museum Oil on canvas, 73 x 62 cm (283/4 x 243/ in.). 17985 Pacific Coast Highway 8 Amsterdam, Rijksmuseum (sK-A-383). Malibu, California 90265-5799 All works of art are reproduced (and photographs Mailing address: provided) courtesy of the owners unless other- P.O. BOX 2112 wise indicated. Santa Monica, California 90407-2112 Typography by G & S Typesetting, Inc., Library of Congress Austin, Texas Cataloging-in-Publication Data Printed by Typecraft, Inc., Pasadena, California Walsh, John, 1937- Bound by Roswell Bookbinding, Phoenix, Jan Steen : the Drawing lesson / John Walsh, Arizona p. cm.—(Getty Museum studies on art) Includes bibliographic references. ISBN 0-89326-392-4 1. Steen, Jan, 1626-1679 Drawing lesson. 2. Steen, Jan, 1626-1679—Criticism and interpretation. I. Title. II. Series. ND653.S8A64 1996 759.9492—dc20 96-3913 CIP CONTENTS Introduction i A Familiar Face 5 Picturing the Workshop 27 The Training of a Painter 43 Another Look Around 61 Notes on the Literature 78 Acknowledgments 88 Final page folds out, providing a reference color plate of The Drawing Lesson INTRODUCTION In a spacious vaulted room a painter leans over to correct a drawing by one of his two pupils, a young boy and a beautifully dressed girl, who look on [FIGURE i and FOLDOUT]. -
Allgemeines Künstlerlexikon - Internationale Künstlerdatenbank Meister Des Älteren Gebetbuches Maximilians I
AKL LXXXVIII, 2016, 298 Allgemeines Künstlerlexikon - Internationale Künstlerdatenbank Meister des älteren Gebetbuches Maximilians I. Kesel, Lieve De Künstler ID: _00196848 Thieme-Becker Name: Meister des Hortulus animae Weitere Namen: Master of the Hortulus Animae; Master of the Older Prayerbook of Maximilian; Meister des Gebetbuches Kaiser Maximilians; Maximilian Master; Master of the First Prayerbook of Maximilian; Maximilianmeister; Meister des ersten Gebetbuches Maximilians I. Evtl. Identität: Bening, Simon; Bening, Alexander; Horenbout, Gerard Geschlecht: männlich Beruf: Buchmaler GEO-Nachweis: Gent Staat: Belgien; Niederlande Erwähnungsdatum: (um) 1480/(um) 1515 PND-ID: gnd/186042922 (M. des Hortuluss Animae) Fundstelle: AKL LXXXVIII, 2016, 298 Artikel Vita Meister des älteren Gebetbuches Maximilians I. (Maximilianmeister; Meister des Ersten Gebetbuches Maximilians I.), fläm. Buchmaler, wohl v.a. in Gent um 1480 bis um 1515 tätig. Biogramm Die namengebende Hs. (Wien, Österr. NB, Cod. 1907) wurde für Maximilian I. von Habsburg nach 1486 gefertigt. Ab 1482 bis 1493 ist er Herzog von Burgund und in erster Ehe mit Maria von Burgund verh., die 1482 stirbt. Vier Jahre nach deren Tod wird er 1486 zum röm.-dt. König gekürt, ab 1493 ist er Erzherzog von Österreich und ab 1508 Kaiser des Hl. Röm. Reiches dt. Nation. In dieser Hs. ist der junge König Maximilian auf einer ganzseitigen Min. abgebildet, kniend vor dem hl. Sebastian (fol. 61v); diese Porträt-Min. ist die bekannteste aus diesem Ms., das fünf ganzseitige Min. und drei historisierte goldgrundierte Initialen enthält. Friedrich Winkler (1925) wies darauf hin, dass der Malstil vieler Min. in versch. Mss. (inklusive der Ser. im namengebenden Ms. in Wien) den Schluss zulässt, dass diese von dem Maler stammen könnten, der den Hortulus animae (Wien, Österr.