DOCSLIB.ORG

Daza De Valdés En La Oftalmología

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Daza De Valdés En La Oftalmología DAZA DE VALDÉS EN LA OFTALMOLOGÍA Apéndice iconográfico y documental Javier Jiménez Benito Cuadros en los que aparecen gafas hasta el siglo XVII191 ᇻᇼᇽ La Sagrada Familia (c. 1515-20) Joos van Cleve. National Gallery, Londres. ᇻᇼᇽReino Unido. 192 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ El vendedor de gafas (1515). Jacob Cornelisz. van Oostsanen.ᇻᇼᇽ Colección particular. Cuadros en los que aparecen gafas hasta el siglo XVII193 ᇻᇼᇽ Ecce Homo (1510-1518). Juan de Flandes. Retablo Alta Mayor de ᇻᇼᇽla Catedral, Palencia. 194 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ Retrato del Papa León X y su primos cardenales Giulio de Medici y Luigi de Rossi (1518-19). Rafaelᇻᇼᇽ Sanzio. Galería Uffici, Florencia. Italia. Cuadros en los que aparecen gafas hasta el siglo XVII195 ᇻᇼᇽ La adúltera frente a Cristo (principio de siglo XVI). Ludovico Mazzolino. Galeria de Maestros Antiguos Stroosmayer. Academia Croata de Ciencias. Zagreb. ᇻᇼᇽCroacia. 196 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ San Mateo (c.1519) Joan Mata. Trittico della Visitazione. Chiesa Madre, S. Maria Maggiore, Polizzi Generosa ᇻᇼᇽ(Sicilia). Italia. Cuadros en los que aparecen gafas hasta el siglo XVII197 ᇻᇼᇽ La preparación del Cruz. (c. 1501 - 1520). Anónimo. Strasbourg Master. Retablo en Stadel museum,ᇻᇼᇽ Frankfurt am Main. Alemania. ᇻᇼᇽ Circuncisión of Jesús. (1514-1521). Maler Jörg Ratgeb. Altar Mayor en Monasterio Carmelita,ᇻᇼᇽ Frankfurt. Alemania. 198 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ Retrato de los Evangelistas (siglo XVI) Maestro Portillo. Museo diocesanoᇻᇼᇽ y Catedralicio. Vallladolid. Cuadros en los que aparecen gafas hasta el siglo XVII199 ᇻᇼᇽ Sagrada Familia con Santa Magdalena y Santa Catalina (conocido como “Virgen de la Mosca”) (c. 1520). Anónimo flamenco (del Círculo de Jan Gossaert) Colegiata de Santaᇻᇼᇽ María la Mayor, Toro ( Zamora). 200 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ La Sagrada Farmilia con Ángeles (c 1520). Defendente Ferrari. Walters Art Museum, Baltimore.ᇻᇼᇽ Estados Unidos. Cuadros en los que aparecen gafas hasta el siglo XVII201 ᇻᇼᇽ Hombre con gafas (c. 1520). Quentin Massys. Städelsches Kunstinstitut, Frankfurt.ᇻᇼᇽ Alemania. 202 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ Coronación de la Virgen (1524). Jan Provost. Museo del Hermitage, Sanᇻᇼᇽ Petesburgo. Rusia. Cuadros en los que aparecen gafas hasta el siglo XVII203 ᇻᇼᇽ San Jerónimo meditando (1525-30). Jan Cornelisz Vermeyen. Museo delᇻᇼᇽ Louvre. Paris. Francia. ᇻᇼᇽ San Jerónimo en su estudio (c. 1530). Pieter Coecke van Aelst (taller). The Walters Art Museum,ᇻᇼᇽ Baltimore. Estados Unidos. 204 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ Retrato de Felipe de Guevara (1531) Jan Cornelicz Vermeyen. Sterling and Francine Clark Art Institute, Williamstown (Massachusetts). ᇻᇼᇽEstados Unidos. Cuadros en los que aparecen gafas hasta el siglo XVII205 ᇻᇼᇽ San Lucas pintando la Virgen y el Niño (1532) Maerten van Heemskerck. Fransᇻᇼᇽ Hals Museum, Haarlem. Holanda. 206 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ Recaudadores de impuestos (1542). Marinus van Reymerswaele. Museo del Hermitage, San Petersburgo. Rusia. ᇻᇼᇽ Cuadros en los que aparecen gafas hasta el siglo XVII207 ᇻᇼᇽ Dos avaros con tijeras (1540-1550). Anónimo de la escuela de Reymerswaele. Colecciónᇻᇼᇽ particular. 208 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ San Jerónimo meditando (1548).ᇻᇼᇽ Georg Pencz. Museo Louvre, París. Francia. ᇻᇼᇽ San Jerónimo en su celda (siglo XVI). Marinus Van Reymerswaele (1490-1567) Museo Real Academia deᇻᇼᇽ Bellas Artes de San Fernando, Madrid. Cuadros en los que aparecen gafas hasta el siglo XVII209 ᇻᇼᇽ San Jerónimo (siglo XVI). Jan Sanders van Hemessen (1500-1566). Rockox ᇻᇼᇽHouse, Amberes. Bélgica. 210 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ El cirujano. Extracción de la piedra de la locura (1550-1555). Van Hemessen.ᇻᇼᇽ Museo del Prado, Madrid. Cuadros en los que aparecen gafas hasta el siglo XVII211 ᇻᇼᇽ Autoretrato (1558). Simon Benning. Metropolitan Museum of Art, New ᇻᇼᇽYork. Estados Unidos. 212 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental El combate entre Don Carnaval y Doña Cuaresma (1559). Pieter Brueghel. Musées Royaux des Beaux-Arts, Bruselas. Bélgica. Concierto en un huevo (c 1561). Anónimo de la escuela de Hieronymus Bosch. Palais des Beaux-Arts, Lille. Francia. Cuadros en los que aparecen gafas hasta el siglo XVII213 ᇻᇼᇽ La adoración de los Reyes (1564). Pieter Bruegel, El viejo. National Gallery, Londres.ᇻᇼᇽ Reino Unido. 214 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ Virgilio (ca. 1570). Ludger tom Ring, El viejo. Westfälisches Landesmuseum für Kunst und Kulturgeschichte,ᇻᇼᇽ Münster (Westphalia). Alemania. Cuadros en los que aparecen gafas hasta el siglo XVII215 ᇻᇼᇽ Taller de orfebrería (1571). Alessandro Fei. Palazzo Vecchio, ᇻᇼᇽFlorencia. Italia. 216 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ La cena de San Gregorio Magno (1572). Paolo Veronese. Santuario deᇻᇼᇽ Monte Berico, Vicenza. Italia. Cuadros en los que aparecen gafas hasta el siglo XVII217 ᇻᇼᇽ La mujer entre dos edades (c 1575). Anónimo de la escuela de Fontainebleau Museo de Bellasᇻᇼᇽ artes, Rennes. Francia. ᇻᇼᇽ Un reparador de fuelles en su estudio (siglo XVI). Atribuido a Cornelis Massys (1510-1556). Muséeᇻᇼᇽ des Beaux-art, Bruselas. Bélgica. 218 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ Juan de Acuña, Conde de Buendía (Siglo XVI). Pantoja de la Cruz. Museo Duque de Lerma-Hospital deᇻᇼᇽ Tavera. Toledo. Cuadros en los que aparecen gafas hasta el siglo XVII219 ᇻᇼᇽ Luis de Velasco, Marqúes de Salinas (1590). Anónimo. Museo Nacional de Historia, Castillo de Chapultepec.ᇻᇼᇽ Ciudad de México. México. 220 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ Retrato de Paolo Morigia (1592-95). Fede Galizia. Pinacoteca Ambrosiana, ᇻᇼᇽMilán. Italia. Cuadros en los que aparecen gafas hasta el siglo XVII221 ᇻᇼᇽ La vocación de San Mateo (1599-1600). Caravaggio. San Luigi dei Francesi.ᇻᇼᇽ Capilla Contarelli, Roma. Italia. 222 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ Retrato del Cardenal Niño de Guevara (c. 1600) Doménikos Theotokópoulos, El Greco. Metropolitan Museumᇻᇼᇽ of Art, New York. Estados Unidos. Cuadros en los que aparecen gafas hasta el siglo XVII223 ᇻᇼᇽ San Jerónimo (1610). Lionello Spada. Galleria Nazionale d’Arteᇻᇼᇽ Antica, Roma. Italia. 224 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ Pentecostés (1612-1614). Juanᇻᇼᇽ Bautista Maíno. Museo del Prado, Madrid. Cuadros en los que aparecen gafas hasta el siglo XVII225 ᇻᇼᇽ Alegoría a la vista (1613). Jose de Ribera. Museo Franz Mayer, Ciudad deᇻᇼᇽ México. México. 226 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental La Familia del Greco (1616-1621). Doménikos Theotokópoulos, El Greco. Real Academia de Bellas Artes de San Fernando. Madrid. El milagro de Santa Rita (siglo XVII). Bernardo Strozzi (1581-1644) Colección privada, Genoa. Italia. Cuadros en los que aparecen gafas hasta el siglo XVII227 ᇻᇼᇽ San Jerónimo leyendo (1621-23). Georges de la Tour. Royal Collection, Hampton Court.ᇻᇼᇽ Hampton. Reino Unido. 228 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ La llamada de San Mateo (1621). Hendrick Ter Brugghen. Central Museum,ᇻᇼᇽ Utrech. Holanda. Cuadros en los que aparecen gafas hasta el siglo XVII 229 La duda de Santo Tomás (c. 1622). Hendrick ter Brugghen. Rijksmuseum Amsterdam, Amsterdam. Holanda. Anciana leyendo (c. 1621-23). Jan Lievens. Philadelphia Museum of Art. Philadelphia. Estados Unidos. 230 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ Los jugadores (1623). Hendrick Ter Brugghen. Minneapolis Institute of Arts. The William Hood Dunwoody Fund, Minnesota.ᇻᇼᇽ Estados Unidos. Cuadros en los que aparecen gafas hasta el siglo XVII231 ᇻᇼᇽ Anciana examinando una moneda con una lámpara (1623). Gerrit van Honthorst. Fondation Aetasᇻᇼᇽ Aurea. Kremer Collection, Países Bajos. 232 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ San Jerónimo y el Angel (1622-1625). Simon Vouet. National Gallery ofᇻᇼᇽ Art, Washington. Estados Unidos. Cuadros en los que aparecen gafas hasta el siglo XVII233 ᇻᇼᇽ Caballero de Santiago (c. 1626) Francisco Pacheco. Williams College Museum of Art, Williamstownᇻᇼᇽ (Massachusetts). Estados Unidos. 234 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ San Jerónimo leyendo (1627-29). Georges de la Tour. Museoᇻᇼᇽ del Prado, Madrid. Cuadros en los que aparecen gafas hasta el siglo XVII235 ᇻᇼᇽ Anciano sosteniendo un par de gafas (segunda mitad del XVII). Karel van der Pluym. Museo delᇻᇼᇽ Hermitage, San Petersburgo. Rusia. 236 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ San Mauro y el rey Teodoberto (siglo XVII). Giuseppe Salerno (1570-1632). San Martino delle Scalle, Abbaziaᇻᇼᇽ Benedettina, Monreale (Palermo). Italia. Cuadros en los que aparecen gafas hasta el siglo XVII237 ᇻᇼᇽ La parábola del hombre rico (1627). Rembrandt, Harmenszoon van Rijn. Gemaeldegalerie, Staatliche Museen,ᇻᇼᇽ Berlin. Alemania. 238 Daza de Valdés en la oftalmología. Apéndice iconográfico y documental ᇻᇼᇽ El charlatán sacamuelas (1627). Theodoor Rombouts. Museoᇻᇼᇽ del Prado, Madrid. Cuadros en los que aparecen gafas hasta el siglo XVII239 ᇻᇼᇽ La vocación de San Mateo (1625-1630). Jan van Bijlert. Museum Catharijneconvent,ᇻᇼᇽ Utrecht. Holanda. ᇻᇼᇽ Cristo entre los doctores (c.1630). Matthias Stomer. Loyola University Museum of Art. Chicago.ᇻᇼᇽ Estados Unidos. .
Load more

Recommended publications
  • Bruegel Notes Writing of the Novel Began October 20, 1998
    Rudy Rucker, Notes for Ortelius and Bruegel, June 17, 2011 The Life of Bruegel Notes Writing of the novel began October 20, 1998. Finished first fully proofed draft on May 20, 2000 at 107,353 words. Did nothing for a year and seven months. Did revisions January 9, 2002 - March 1, 2002. Did additional revisions March 18, 2002. Latest update of the notes, September 7, 2002 64,353 Words. Table of Contents Table of Contents .................................................................................................... 1 Timeline .................................................................................................................. 9 Painting List .......................................................................................................... 10 Word Count ........................................................................................................... 12 Title ....................................................................................................................... 13 Chapter Ideas ......................................................................................................... 13 Chapter 1. Bruegel. Alps. May, 1552. Mountain Landscape. ....................... 13 Chapter 2. Bruegel. Rome. July, 1553. The Tower of Babel. ....................... 14 Chapter 3. Ortelius. Antwerp. February, 1556. The Battle Between Carnival and Lent......................................................................................................................... 14 Chapter 4. Bruegel. Antwerp. February,
    [Show full text]
  • Light and Sight in Ter Brugghen's Man Writing by Candlelight
    Volume 9, Issue 1 (Winter 2017) Light and Sight in ter Brugghen’s Man Writing by Candlelight Susan Donahue Kuretsky [email protected] Recommended Citation: Susan Donahue Kuretsky, “Light and Sight in ter Brugghen’s Man Writing by Candlelight,” JHNA 9:1 (Winter 2017) DOI: 10.5092/jhna.2017.9.1.4 Available at https://jhna.org/articles/light-sight-ter-brugghens-man-writing-by-candlelight/ 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 JHNA 7:2 (Summer 2015) 1 LIGHT AND SIGHT IN TER BRUGGHEN’S MAN WRITING BY CANDLELIGHT Susan Donahue Kuretsky Ter Brugghen’s Man Writing by Candlelight is commonly seen as a vanitas tronie of an old man with a flickering candle. Reconsideration of the figure’s age and activity raises another possibility, for the image’s pointed connection between light and sight and the fact that the figure has just signed the artist’s signature and is now completing the date suggests that ter Brugghen—like others who elevated the role of the artist in his period—was more interested in conveying the enduring aliveness of the artistic process and its outcome than in reminding the viewer about the transience of life. DOI:10.5092/jhna.2017.9.1.4 Fig. 1 Hendrick ter Brugghen, Man Writing by Candlelight, ca.
    [Show full text]
  • Toward Intimacy: the Fourteenth and Fifteenth Centuries 53 5 Bibliography Credits Index � Toward Intimacy: the Fourteenth and Fifteenth Centuries Philippe Braunstein
    A HISTORY OF PRIVATE LIFE Philippe Aries and Georges Duby General Editors II • Revelations of the Medieval World Contents Preface by Georges Duby lX I Introduction by Georges Duby I Private Power, Public Power 3 2 Portraits by Georges Duby, Dominique Barthelemy, Charles de La Ronciere 3 3 The Aristocratic Households of Feudal France 3 5 Communal Living 3 5 Kinship 85 Tuscan Notables on the Eve of the Renaissance r 57 3 Imagining the Self by Danielle Regnier-Bohler 3 1 r Exploring _Literature 3 13 4 The Use of Private Space by Dominique Barthelemy, Philippe Contamine 395 Civilizing the Fortress: Eleventh to Thirteenth Century 397 Peasant Hearth to Papal Palace: The Fourteenth and Fifteenth Centuries 425 5 The Emergence of the Individual by Georges Duby, Philippe Braunstein 507 Solitude: Eleventh to Thirteenth Century 509 Toward Intimacy: The Fourteenth and Fifteenth Centuries 53 5 Bibliography Credits Index � Toward Intimacy: The Fourteenth and Fifteenth Centuries Philippe Braunstein HE history of space in the process of becoming private, Tof the phases of retirement and intimacy, is one of feel­ ings, thoughts, and mental images cultivated in secret but fixed in private writing. Compared with the sources of earlier centuries, those of the late medieval period arc relatively abun­ dant. Beginning in the thirteenth century, the volume of doc­ uments increases markedly, and a fair proportion of private documents has survived. Hence we can feel more confident of entering the private lives of certain individuals whose in­ terest in writing or being painted ensured that some evidence of their identity, manner, and/or voice would be recorded and whose record survived the hazards of the archives.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) ‘Proeft de kost en kauwtse met uw’ oogen’. Beeldtraditie, betekenis en functie van het Noord-Nederlandse keukentafereel (ca. 1590-1650) Kwak, Z.Sz.M. Publication date 2014 Link to publication Citation for published version (APA): Kwak, Z. S. M. (2014). ‘Proeft de kost en kauwtse met uw’ oogen’. Beeldtraditie, betekenis en functie van het Noord-Nederlandse keukentafereel (ca. 1590-1650). General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:26 Sep 2021 425 EINDNOTEN 1 Daarnaast worden Noord-Nederlandse keukenstukken uit de 17de eeuw summier besproken in ondermeer: Martin 1935-1936, dl. I, pp. 282-287; Bol 1969, pp. 3-12 (Martin en Bol hebben een louter stilistische, esthetische benadering); Gent 1986-87, i.h.b.
    [Show full text]
  • Journal Cover.Qxd
    HISTORY CLINICAL FEATURES SUGGESTIVE OF LYMPHADENOPATHY IN A PAINTING BY MARINUS VAN REYMERSWAELE J Dequeker, Department of Rheumatology, M Boogaerts, Department of Haematology, both University Hospitals KU Leuven, Belgium FIGURE 1 The Moneychanger and his Wife, Museo del Prado, Madrid, by Marinus Van Reymerswaele (14931567)% The painting The Moneychanger and his Wife by Marinus Hodgkins disease is characterised by uncontrolled Van Reymerswaele (14931567),which is exhibited inproliferation of typical Reed Sternberg cells and the Prado Museum,Madrid,Spain,discloses features of peritumoral lymphocytic infiltration leading to medical interest and stimulates a paleopathological progressive,painless enlargement of lymphoid tissue discussion (Figure 1)) The wife of the moneychanger has throughout the body and finally anaemia) The cervical a cervical lymph node enlargement,not infiltrating thelymph nodes,in particular at the left side,are often the skin overlying it,and she also has a pale face and handsfirst to be involved) Fever,without other symptoms of compared to her husband) infection,is relatively common,as are drenching night sweats and weight loss) The disease has two peak Hodgkin's lymphoma is in this case a likely clinical incidences,one around adolescence,mostly in young diagnosis,taking into account the age of the wife and her males,and one around 5060 years of age) In untreated frail,anaemic appearance) cases,the disease has a fairly rapid fatal course over a period of months with the exception of the Thomas Hodgkin (17981866),an
    [Show full text]
  • Sign of the Times a Concise History of the Signature in Netherlandish Painting 1432-1575
    SIGN OF THE TIMES A CONCISE HISTORY OF THE SIGNATURE IN NETHERLANDISH PAINTING 1432-1575 [Rue] [Date et Heure] Ruben Suykerbuyk Research Master’s Thesis 2012-2013 Supervisor: Prof. Dr. P.A. Hecht Art History of the Low Countries in its European Context Utrecht University – Faculty of Humanities (xxx)yyy-yyyy “Wenn eine Wissenschaft so umfassend, wie die Kunstgeschichte es tut und tun muß, von Hypothesen jeden Grades Gebrauch macht, so tut sie gut daran, die Fundamente des von ihr errichteten Gebäudes immer aufs neue auf ihre Tragfähigkeit zu prüfen. Im folgenden will ich an einigen Stellen mit dem Hammer anklopfen.” Dehio 1910, p. 55 TABLE OF CONTENTS VOLUME I I. INTRODUCTION 1 II. PROLOGUE 9 III. DEVELOPMENTS IN ANTWERP 19 Some enigmatic letters 22 The earliest signatures 28 Gossart’s ‘humanistic’ signature 31 Increasing numbers 36 Proverbial exceptions 52 A practice spreads 54 IV. EPILOGUE 59 V. CONCLUSION 63 VI. BIBLIOGRAPHY 66 VOLUME II I. IMAGES II. APPENDICES Appendix I – Timeline Appendix II – Signatures Marinus van Reymerswale Appendix III – Authentication of a painting by Frans Floris (1576) Appendix IV – Signatures Michiel Coxcie I. INTRODUCTION 1 Investigating signatures touches upon the real core of art history: connoisseurship. The construction of oeuvres is one of the basic tasks of art historians. Besides documents, they therefore inevitably have to make use of signatures. However, several great connoisseurs – Berenson, Friedländer – emphasize that signatures are faked quite often. Consequently, an investigation of signature practices can easily be criticized for the mere fact that it is very difficult to be sure of the authenticity of all the studied signatures.
    [Show full text]
  • Massys and Money: the Tax Collectors Rediscovered
    Volume 7, Issue 2 (Summer 2015) Massys and Money: The Tax Collectors Rediscovered Larry Silver [email protected] Recommended Citation: Larry Silver, “Massys and Money: The Tax Collectors Rediscovered,” JHNA 7:2 (Summer 2015), DOI: 10.5092/jhna.2015.7.2.2 Available at https://jhna.org/articles/massys-money-tax-collectors-rediscovered/ 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 JHNA 7:2 (Summer 2015) 1 MASSYS AND MONEY: THE TAX COLLECTORS REDISCOVERED Larry Silver One of the formative images of later Flemish genre paintings, Quinten Massys’s Tax Collectors has been rediscovered (now Liechtenstein Collection, Vaduz). Its ledger clearly reveals the proper designation of the figures, despite interpre- tations of their activity as banking; one of them, wearing glasses, appears to be inspecting accounts. Telling markers of Massys’s own authorship (ca. 1525–30) reveal that his large workshop based at least some of the better copies on this painting. The subject clearly relates to local ambivalence in Antwerp about taxes and the money economy, especially during a period of financial recession. The article concludes with a discussion about later variants derived from Massys’s prototype, especially those by Marinus van Reymerswaele (Paris, London, plus lesser variants), but the theme is still present in Rembrandt’s 1628 Moneychanger (Gemäldegalerie, Berlin) and addressed anew in his etching of Jan Wtenbogaert (1639).
    [Show full text]
  • HNA April 2016 Cover.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. 33, No. 1 April 2016 Anthony van Dyck, Portrait of a Woman, ca. 1640. Oil on canvas, Speed Art Museum, Louisville (Kentucky); Museum Purchase, Preston Pope Satterwhite Fund Exhibited in Van Dyck: The Anatomy of Portraiture, The Frick Collection, New York, March 2 – June 5, 2016. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President – Amy Golahny (2013-2017) Lycoming College Williamsport PA 17701 Vice-President – Paul Crenshaw (2013-2017) Providence College Department of Art History 1 Cummingham Square Providence RI 02918-0001 Treasurer – David Levine Southern Connecticut State University 501 Crescent Street New Haven CT 06515 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Stephanie Dickey (2013-2017) Arthur DiFuria (2016-2020) President's Message .............................................................. 1 Walter Melion (2014-2018) Obituary ................................................................................. 1 Alexandra Onuf (2016-2020) HNA News ............................................................................2 Bret Rothstein (2016-2020) Gero Seelig (2014-2018) Personalia ..............................................................................
    [Show full text]
  • Colourless Powdered Glass As an Additive in Fifteenth- and Sixteenth-Century European Paintings
    National Gallery Technical Bulletin volume 33 National Gallery Company London Distributed by Yale University Press 001-003 TB33 16.8.indd 1 17/08/2012 07:37 This edition of the Technical Bulletin has been funded by the American Friends of the National Gallery, London with a generous donation from Mrs Charles Wrightsman Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2012 All photographs reproduced in this Bulletin are © The National Gallery, London unless credited otherwise below. All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including CHICAGO photocopy, recording, or any storage and retrieval system, without The Art Institute of Chicago, Illinois © 2012. Photo Scala, Florence: prior permission in writing from the publisher. fi g. 9, p. 77. Articles published online on the National Gallery website FLORENCE may be downloaded for private study only. Galleria dell’Accademia, Florence © Galleria dell’Accademia, Florence, Italy/The Bridgeman Art Library: fi g. 45, p. 45; © 2012. Photo Scala, First published in Great Britain in 2012 by Florence – courtesy of the Ministero Beni e Att. Culturali: fig. 43, p. 44. National Gallery Company Limited St Vincent House, 30 Orange Street LONDON London WC2H 7HH The British Library, London © The British Library Board: fi g. 15, p. 91. www.nationalgallery. co.uk MUNICH Alte Pinakothek, Bayerische Staatsgemäldesammlungen, Munich British Library Cataloguing-in-Publication Data. © 2012. Photo Scala, Florence/BPK, Bildagentur für Kunst, Kultur und A catalogue record is available from the British Library. Geschichte, Berlin: fig. 47, p. 46 (centre pinnacle); fi g.
    [Show full text]
  • Literature and the Economics of Liberty: Spontaneous Order in Culture
    LITERATURE &THE ECONOMICS OF LIBERTY SPONTANEOUS ORDER IN CULTURE LITERATURE THE ECONOMICS OF LIBERTY &S PONTANEOUS O RDER IN C ULTURE Edited by Paul A. Cantor & Stephen Cox LvMI LUDWIG VON MISES Cover credit: The Money Lender and His Wife (oil on panel), Marinus van Reymerswaele (c. 1490–1567), Museo Nazionale del Bargello, Florence, Italy. The Bridgemann Art Library International. Permission granted. © 2009 by the Ludwig von Mises Institute and published under the Creative Commons Attribution License 3.0. http://creativecommons.org/licenses/by/3.0/ Ludwig von Mises Institute 518 West Magnolia Avenue Auburn, Alabama 36832 mises.org ISBN: 978-1-933550-64-0 CONTENTS Acknowledgments . .vii Preface . .ix 1. The Poetics of Spontaneous Order: Austrian Economics and Literary Criticism . .1 Paul A. Cantor 2. Cervantes and Economic Theory . .99 Darío Fernández-Morera 3. In Defense of the Marketplace: Spontaneous Order in Jonson’s Bartholomew Fair . .167 Paul A. Cantor 4. Shelley’s Radicalism: The Poet as Economist . .225 Paul A. Cantor 5. Capitalist Vistas: Walt Whitman and Spontaneous Order . .263 Thomas Peyser 6. The Invisible Man and the Invisible Hand: H.G. Wells’s Critique of Capitalism . .293 Paul A. Cantor 7. Cather’s Capitalism . .323 Stephen Cox v VI —LITERATURE AND THE ECONOMICS OF LIBERTY: SPONTANEOUS ORDER IN CULTURE 8. Conrad’s Praxeology . .371 Stephen Cox 9. Hyperinflation and Hyperreality: Mann’s “Disorder and Early Sorrow” . .433 Paul A. Cantor 10. The Capitalist Road: The Riddle of the Market from Karl Marx to Ben Okri . .469 Chandran Kukathas Contributors . .499 Index . .501 Acknowledgments n preliminary versions, several of these essays were presented at conferences at the Ludwig von Mises Institute in Auburn, Alabama.
    [Show full text]
  • El Cambista Y Su Mujer: De La Escolástica a La Contabilidad
    EL CAMBISTA Y SU MUJER: 1 DE LA ESCOLASTICA A LA CONTABILIDAD Manuel SANTOS REDONDO Universidad Complutense de Madrid El cambista y su mujer es probablemente la imagen más utilizada para ilustrar la actividad económica. El propio logotipo de AECA, la Asociación Española de Contabilidad y Administración de Empresas, está basado en este cuadro. Estamos, por tanto, ante una imagen supuestamente bien conocida por los economistas, directivos y auditores. Se trata de una pintura de la escuela flamenca, de principios del siglo XVI. Pero no resulta tan conocido que existen diferentes versiones diferentes de este cuadro. Las dos más importantes son la de Quentin Massys, pintada cerca de 1514 (actualmente en el Museo del Louvre, en París) y la de Marinus van Reymerswaele, pintada en 1539 (actualmente en Madrid, en el Museo del Prado). Hay cambios significativos entre las dos versiones. Puesto que estamos, en esas fechas, en el final de la época escolástica e inmersos en la revolución comercial en Europa, podemos esperar que el cuadro tenga algún tipo de significado relacionado con la economía, y que los cambios entre ambas versiones sean reflejo de cambios en los hechos y en las ideas económicos. Este trabajo sostiene que existe ese significado. La discusión comienza a la hora de explicarlo. Al revisar las diferentes interpretaciones de los historiadores del arte y de los economistas sobre esta imagen y otras similares, nos encontramos con que la explicación de los primeros es coherente con la visión negativa de la economía que tienen muchos de ellos (como Hayek pone de manifiesto en el capítulo de La presunción fatal, 1988, titulado “El misterioso mundo del comercio y del dinero”), más que basarse en una interpretación objetiva del cuadro y de la historia.
    [Show full text]
  • PAINTINGS of PAINTINGS: the RISE of GALLERY PAINTINGS in SEVENTEENTH-CENTURY ANTWERP By
    PAINTINGS OF PAINTINGS: THE RISE OF GALLERY PAINTINGS IN SEVENTEENTH-CENTURY ANTWERP by Charlotte Taylor A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts Art History Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Department Chairperson ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2019 George Mason University Fairfax, VA Paintings of Paintings: The Rise of Gallery Paintings in Seventeenth-Century Antwerp A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at George Mason University by Charlotte Taylor Bachelor of Arts George Mason University, 2016 Director: Angela Ho, Professor, George Mason University Spring Semester 2019 George Mason University Fairfax, VA Copyright 2018 Charlotte Taylor All Rights Reserved ii Dedication This is dedicated to my mother; whose strength and resilience inspire me every day. iii Acknowledgements I would like to thank the many friends, relatives, and supporters who have made this happen. My mother and father assisted me by editing this paper and helping me develop my ideas. Dr. Angela Ho and Dr. Michele Greet, were of invaluable help, and without them this project never would have come to fruition. Finally, thanks go
    [Show full text]