LIST of WORKS ROOM 19 Thomas More's Utopia a 'Golden Book' From
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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 -
Multo in Parvo: Joris Hoefnagel's Illuminations
MULTO IN PARVO: JORIS HOEFNAGEL’S ILLUMINATIONS AND THE GATHERED PRACTICES OF CENTRAL EUROPEAN COURT CULTURE by JOAN BOYCHUK B.A., McGill University, 2004 M.A., McGill University, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Art History and Theory) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2016 © Joan Boychuk, 2016 Abstract This dissertation examines the works of illumination produced by the itinerant Flemish miniator, Joris Hoefnagel (1542-1600), during his tenure as court artist to the Wittelsbachs and Habsburgs in the last two decades of the sixteenth century. Comprising illuminated manuscripts as well as independent miniatures, the works at the center of this study provide novel insight into Hoefnagel’s practice as an illuminator and also into the status and function of illumination at the Central European courts of Munich, Ambras, and Prague. Not simply extending a traditional interest in the medium at these sites, Hoefnagel’s works on parchment transformed illumination into a new form bringing together a range of practices and discourses associated with the courts, with humanism, and with emerging disciplines dedicated to the production of new knowledge. Artistically inventive and conceptually productive, Hoefnagel’s compositions helped shaped an identity for the artist as a hieroglyphicus—an initiate into and maker of a privileged language of representation. Unlike other medieval and early modern art, the illuminated page could bring together, on one surface, different media (text and image), genres (heraldry, portraiture, nature studies, biblical narrative, and ornament, among others), and modes of representation (realism, illusionism, symbolism, and abstraction). -
Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
“This Translation—The First Into English—Of the Life of Jesus Christ By
“This translation—the first into English—of The Life of Jesus Christ by Ludolph of Saxony will be welcomed both by scholars in various fields and by practicing Christians. It is at the same time an encyclopedia of biblical, patristic, and medieval learning and a compendium of late medieval spirituality, stressing the importance of meditation in the life of individual believers. It draws on an astonishing number of sources and sheds light on many aspects of the doctrinal and institutional history of the Church down to the fourteenth century.” — Giles Constable Professor Emeritus Princeton University “Milton T. Walsh has taken on a Herculean task of translating The Life of Christ by the fourteenth-century Carthusian, Ludolph of Saxony. He has more than risen to the challenge! Ludolph’s text was one of the most widely spread and influential treatments of the theme in the later Middle Ages and has, until now, been available only in an insufficient late nineteenth-century edition (Rigollot). The manuscript tradition of The Life of Christ (Vita Christi) is extremely complex, and Walsh, while basing his translation on the edition, has gone beyond in providing critical apparatus that will be of significant use to scholars, as well as making the text available for students and all interested in the theology, spirituality, and religious life of the later Middle Ages. His introduction expertly places Ludolph’s work in the textual tradition and is itself a contribution to scholarship. Simply put, this is an amazing achievement!” — Eric Leland Saak Professor of History Indiana University “Walsh has done pioneering work unearthing the huge range of patristic, scholastic, and contemporary sources that Ludolph drew upon, enabling us to re-evaluate the Vita as an encyclopedic compilation, skillfully collating a range of interpretations of the gospel scenes to meditational ends. -
E-Catalogue 12
♦ MUSINSKY RARE BOOKS ♦ E-Catalogue 12 I. Mystical Allegory IV. Art & Design V. World II. Sammelbände Chroniclers III. Pillars of the VI. The Reading Church Journal of a Russian Countess No. 4 telephone: 212 579-2099 email: [email protected] www.musinskyrarebooks.com I. MYSTICAL ALLEGORY A carpet of “medieval textuality” 1) BONAVENTURA, pseudo- [i.e., HENRICUS DE BALMA and JACOBUS MEDIOLANENSIS]. Libro intitulato Stimulo de amore. Composto per el seraphico doctore sancto Bonauentura. Venice: Antonio di Zanchi da Bergamo, 2 October 1501. 4to (209 x 152 mm). [86] leaves. Gothic types in two sizes, double column, white on black woodcut initials. Title with chipped corner and staining from erased inscriptions, a single wormhole decreasing through the first half of text block, a few other small filled wormholes at beginning, occasional faint marginal dampstaining. Later (18th-century?) carta rustica. Provenance: two early deleted Italian ownership inscriptions on title-page; William O’Brien (1832-1899), 20th-century booklabel; bequeathed to the Jesuits at Milltown Park. $2950 First complete edition in Italian, and the first to be printed in Italy, of an important Franciscan mystical text which circulated widely in manuscript and print for nearly three centuries. Known in approximately 500 Latin manuscripts, far more than Bonaventura’s Meditationes vitae Christi, this was an extremely popular devotional work, with translations appearing in Middle High German, Middle Low German, Dutch, French, Italian, Spanish, Polish, Swedish, Danish, and English. Although most manuscripts attributed it to Bonaventura, the original Stimulus Amoris was the work of the thirteenth-century Franciscan friar Giacomo da Milano. His text is a series of spiritual exercises for meditation, leading to a progressive emotional engagement with the Passion, the goal being a mystical identification with Christ (DBI). -
Books Received April–June 2014
Renaissance Quarterly Books Received April–June 2014 Acres, Alfred. Renaissance Invention and the Haunted Infancy . Turnhout: Brepols, 2013. 310 pp. €100. ISBN: 978-1-905375-71-4. Adams, Jonathan. A Maritime Archaeology of Ships: Innovation and Social Change in Medieval and Early Modern Europe . Oxford: Oxbow Books, 2013. xiii + 250 pp. £29.95. ISBN: 978-1- 84217-297-1. Albertson, David. Mathematical Theologies: Nicholas of Cusa and the Legacy of Thierry of Chartres . Oxford Studies in Historical Theology. Oxford: Oxford University Press, 2014. xii + 484 pp. $74. ISBN: 978-0-19-998973-7. Anderson, Michael Alan. St. Anne in Renaissance Music: Devotion and Politics . Cambridge: Cambridge University Press, 2014. xvii + 346 pp. $99. ISBN: 978-1-107-05624-4. Baert, Barbara. Nymph: Motif, Phantom, Affect: A Contribution to the Study of Aby Warburg (1866–1929) . Studies in Iconology 1. Leuven: Peeters, 2014. 134 pp. €34. ISBN: 978-90-429- 3065-0. Balizet, Ariane M. Blood and Home in Early Modern Drama: Domestic Identity on the Renaissance Stage . Routledge Studies in Renaissance Literature and Culture 25. New York: Routledge, 2014. xii + 198 pp. $125. ISBN: 978-0-415-72065-6. Balserak, Jon. John Calvin as Sixteenth-Century Prophet . Oxford: Oxford University Press, 2014. xiii + 208 pp. $85. ISBN: 978-0-19-870325-9. Banker, James R. Piero della Francesca: Artist and Man . Oxford: Oxford University Press, 2014. xxvi + 276 pp. $39.95. ISBN: 978-0-19-960931-4. Barrie, David. Sextant: A Young Man’s Daring Sea Voyage and the Men Who Mapped the World’s Oceans . New York: William Morrow, 2014. -
Wie Was Pieter Gillis ?
Wie was Pieter Gillis ? Op 28 november 1509 werd Pieter Gillis stadsgriffier te Antwerpen. Hij bleef 23 jaar in functie tot zijn schoonzoon, Pieter de Coelenare, op 29 november 1532 zijn taken overnam. Tot in 1530 bewoonde Pieter Gillis het huis van zijn vader, De Biecorf, gelegen op de Kiekenmarkt (thans Eiermarkt) te Antwerpen. De laatste jaren van zijn leven woonde hij in het Werfstraatje (thans Heilige-Geeststraat) waar zijn derde vrouw Kathelijne Draeckx het vruchtgebruik van een huis had. Na zijn opleiding in de Antwerpse papenschool vertrok Pieter al op jonge leeftijd (14 jaar) naar de universiteit van Orléans. Daar was een gerenommeerde rechtsacademie waar heel wat Brabantse juristen gevormd werden ter voorbereiding op een functie in de stadsadministratie. Maar Pieter slaagde er aanvankelijk niet in zich door te zetten. Was hij nog te jong? Was zijn opleiding ontoereikend? Feit is dat hij terug naar huis kwam om corrector te worden in de drukkerij van Dirk Martens. In diens atelier leerde hij Erasmus kennen, van wie Martens in februari 1503 een verzamelboek, ‘Lucubratiunculae aliquot’, uitgaf en een jaar later een ‘Panegyricus’, een lofrede op Filips de Schone. Voor dat laatste werk kwam Erasmus zelf naar Antwerpen: de opdrachtbrief bij de lofrede is geschreven ‘ex officina chalcographica’. Pieter werd een vertrouweling van Erasmus en op aansporing van de Rotterdamse humanist ondernam hij een tweede poging om een titel te verwerven. In juni 1504 schreef ‘Petrus Egidii filius Nicholai Egidii de Antverpia’ zich in als student te Leuven, waarschijnlijk weer aan de rechtsfaculteit. Hij combineerde zijn studies met correctiewerk voor Dirk Martens en vanaf 1509 met zijn opdracht als griffier. -
Holy Shit: Bosch's Bluebird and the Junction of the Scatological and The
Marginalia, October 2010 28 Holy Shit: Bosch’s Bluebird and the Junction of the Scatological and the Eschatological in Late Medieval Art Marisa Mandabach Harvard University* In the ‗Hell‘ panel of the Garden of Earthly Delights (ca. 1500), a devil with the head of a bird and a humanoid body with glowing blue skin devours one naked soul and drops two more, in a transparent blue bubble, into a cesspool (Figure 1). Its black eye conveys no hint of consciousness; glinting with two white highlights, it is all surface and all abyss. Although the orifice that expels the bubble is hidden by the seat of a throne-like privy chair, in its hue the bub- ble is a material extension of the devil‘s body, a body shown to be doubly po- Figure 1: Hieronymus Bosh (Netherlandish, ca. 1450-1516) Garden of Earthly Delights, ca. 1500 Detail from interior right panel: "Bird-headed devil" Museo del Prado, Madrid. Image courtesy of Erich Lessing / Art Resource, NY *I would like to express my thanks to Jeffrey F. Hamburger who helped inspire this paper. Marginalia, October 2010 29 rous: half-ruptured from the bubble, a naked male falls from one abjection to- wards another, his arms still flailing inside the blue membrane, his legs dan- gling over the cesspool he will join. Another victim follows him headfirst. Their tormentor is an eating and defecating machine. Moreover, the half-eaten victim in its raised claw has been infected with the latter of these modes, releasing (no doubt in terror, as in a literal ‗fight or flight‘ response) a smoky cloud of black- birds from his or her anus. -
Mapmaking in England, Ca. 1470–1650
54 • Mapmaking in England, ca. 1470 –1650 Peter Barber The English Heritage to vey, eds., Local Maps and Plans from Medieval England (Oxford: 1525 Clarendon Press, 1986); Mapmaker’s Art for Edward Lyman, The Map- world maps maker’s Art: Essays on the History of Maps (London: Batchworth Press, 1953); Monarchs, Ministers, and Maps for David Buisseret, ed., Mon- archs, Ministers, and Maps: The Emergence of Cartography as a Tool There is little evidence of a significant cartographic pres- of Government in Early Modern Europe (Chicago: University of Chi- ence in late fifteenth-century England in terms of most cago Press, 1992); Rural Images for David Buisseret, ed., Rural Images: modern indices, such as an extensive familiarity with and Estate Maps in the Old and New Worlds (Chicago: University of Chi- use of maps on the part of its citizenry, a widespread use cago Press, 1996); Tales from the Map Room for Peter Barber and of maps for administration and in the transaction of busi- Christopher Board, eds., Tales from the Map Room: Fact and Fiction about Maps and Their Makers (London: BBC Books, 1993); and TNA ness, the domestic production of printed maps, and an ac- for The National Archives of the UK, Kew (formerly the Public Record 1 tive market in them. Although the first map to be printed Office). in England, a T-O map illustrating William Caxton’s 1. This notion is challenged in Catherine Delano-Smith and R. J. P. Myrrour of the Worlde of 1481, appeared at a relatively Kain, English Maps: A History (London: British Library, 1999), 28–29, early date, no further map, other than one illustrating a who state that “certainly by the late fourteenth century, or at the latest by the early fifteenth century, the practical use of maps was diffusing 1489 reprint of Caxton’s text, was to be printed for sev- into society at large,” but the scarcity of surviving maps of any descrip- 2 eral decades. -
In Search of Utopia Art and Science in the Era of Thomas More
IN SEARCH OF UTOPIA ART AND SCIENCE IN THE ERA OF THOMAS MORE Jan Van der Stock IN SEARCH OF UTOPIA ART AND SCIENCE IN THE ERA OF THOMAS MORE Jan Van der Stock f o r v e r o n i q u e vandekerchove (1 9 6 5 – 2 0 1 2) Chief Curator of M-Museum Leuven and initiator of this exhibition f o r j a n r o e g i e r s (1944–2013) Emeritus Professor of History at the KU Leuven and a source of inspiration for this exhibition Contents Catalogue AUTHORS UTOPIA OF THOMAS MORE (1516) A Golden Book from Leuven Conquers the World [CVD] Chet Van Duzer 9 Foreword 73 Utopia the Book, in Leuven and the Low Countries [CK] Cecile Kruyfhooft JAN PAPY [DVH] Daan van Heesch 13 In Search of Utopia – The Exhibition [EDP] Els De Palmenaer JAN VAN DER STOCK 74 cat. 1–8 [EM] Elizabeth Morrison [EV] Emmanuelle Vagnon 21 Europe-America-Utopia: Visions of an Ideal World 103 Editions and Translations of Utopia 1516 –1750 [HI] Hannah Iterbeke in the Sixteenth Century MARCUS DE SCHEPPER [JH] Jan Herman HANS COOLS [JL] Jeroen Luyckx 104 cat. 9–2 [JLB] Jens Ludwig Burk 31 Thomas More, Utopia and Leuven: [JP] Jan Papy Tracing the Intellectual and Cultural Context 129 Utopia and European Humanism [JS] Jochen Sander JAN PAPY JAN PAPY [JVG] Joris Van Grieken [KB] Koenraad Brosens 41 Erotic Utopia: the ‘Garden of Earthly Delights’ 130 cat. 13a–19 [KS] Katharina Smeyers in Context [KVC] Koenraad Van Cleempoel PAUL VANDENBROECK [LC] Lorne Campbell [LMM] Linda M. -
NLN Fall 2017.Pdf (235.5Kb)
123 seventeenth-century news NEO-LATIN NEWS Vol. 65, Nos. 3 & 4. Jointly with SCN. NLN is the official publica- tion of the American Association for Neo-Latin Studies. Edited by Craig Kallendorf, Texas A&M University; Western European Editor: Gilbert Tournoy, Leuven; Eastern European Editors: Jerzy Axer, Barbara Milewska-Wazbinska, and Katarzyna Tomaszuk, Centre for Studies in the Classical Tradition in Poland and East- Central Europe, University of Warsaw. Founding Editors: James R. Naiden, Southern Oregon University, and J. Max Patrick, University of Wisconsin-Milwaukee and Graduate School, New York University. ♦ ♦ Geschichte der neulateinische Literatur: Vom Humanismus bis zur Gegenwart. By Martin Korenjak. Munich: C. H. Beck, 2016. 304 pp. €26.95. As a number of people have noticed, Neo-Latin as a discipline seems to have reached a crossroads. After a hiatus of almost forty years, during which the field was well served by Josef IJsewijn and Dirk Sacré’s Companion to Neo-Latin Studies (Leuven, 1977), three new handbooks have recently appeared in rapid succession: Brill’s Encyclopaedia of the Neo-Latin World, ed. Philip Ford, Jan Bloemendal, and Charles Fantazzi (Leiden, 2014); The Oxford Handbook of Neo- Latin, ed. Sarah Knight and Stefan Tilg (Oxford, 2015); and A Guide to Neo-Latin Literature, ed. Victoria Moul (Cambridge, 2017). At the same time, my “Recent Trends in Neo-Latin Studies,” Renaissance Quarterly 69 (2016): 617–29 appeared, signifying that Neo-Latin has received the same recognition that English, history, and German have in the journal of record for the period in which the greatest amount of Neo-Latin literature was produced.