Co-Operation Programme for the Years 2015
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HNA April 11 Cover-Final.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. 28, No. 1 April 2011 Jacob Cats (1741-1799), Summer Landscape, pen and brown ink and wash, 270-359 mm. Hamburger Kunsthalle. Photo: Christoph Irrgang Exhibited in “Bruegel, Rembrandt & Co. Niederländische Zeichnungen 1450-1850”, June 17 – September 11, 2011, on the occasion of the publication of Annemarie Stefes, Niederländische Zeichnungen 1450-1850, Kupferstichkabinett der Hamburger Kunsthalle (see under New Titles) HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Dagmar Eichberger (2008–2012) HNA News ............................................................................1 Wayne Franits (2009–2013) Matt Kavaler (2008–2012) Personalia ............................................................................... 2 Henry Luttikhuizen (2009 and 2010–2014) Exhibitions -
Juan De Flandes and His Financial Success in Castile
Volume 11, Issue 1 (Winter 2019) Juan de Flandes and His Financial Success in Castile Jessica Weiss [email protected] Recommended Citation: Jessica Weiss, “Juan de Flandes and His Financial Success in Castile,” Journal of Historians of Netherlandish Art 11:1 (Winter 2019) DOI: 10.5092/jhna.2019.11.1.2 Available at https://jhna.org/articles/juan-de-flandes-and-his-financial-success-in-castile/ 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 Juan de Flandes and His Financial Success in Castile Jessica Weiss During the late fifteenth century, the Netherlandish painter Juan de Flandes traveled to the court of Isabel, queen of Castile and León. He remained in her service until her death and subsequently secured multiple commissions for contributions to large-scale altarpiece projects. The financial documents associated with his career and his works reveal a high level of economic success in comparison to other artists active in Castile, including his fellow court painter Michel Sittow. This investigation into the fiscal opportunities available to a Netherlandish émigré demonstrates the economic power of locally produced Flemish art in sixteenth-century Iberia.. 1 The Netherlandish painter Juan de Flandes (active 1496–1519) had a lucrative career on the Iberian Peninsula, and his professional history serves as an important case study on the economic motivations for immigrant artists.1 He first appears in 1496 in the court documents of Isabel, queen of Castile and León (1451–1504), and he used his northern European artistic training to satisfy the queen’s demand for Netherlandish-style panel paintings. -
Kunst Und Frö Mmigkeit Im Spä Tmittelalter Und Ihr Weiterleben, Kat
500 Jahre Rosenkranz: 1475 Köln 1975: Kunst und Frö mmigkeit im Spä tmittelalter und ihr Weiterleben, kat. wyst., Erzbischöfliches Diözesanmuseum, Köln 1975 500 Jahre Schedelsche Weltchronik (sympozjum, Norymberga 1993), red. S. Füssel, ("Pirckheimer Jahrbuch" 9), Nürnberg 1994 600 Jahre Ulmer Münster, red. H.E. Specker, R. Wortmann, 2. wyd., Stuttgart 1977 800 Jahre Deutscher Orden, kat. wyst., Germanisches Nationalmuseum, Nürnberg, Gütersloh- München 1990 800 Jahre Deutscher Orden. Ergänzungen und Korrekturen, "Anzeiger des Germanischen Nationalmuseums" 1992, s. 7-50 1454: Lille-Arras et le Voeu du Faisan. Deux capitales princières bourguignonnes face au défi de l'empire Ottoman, (Actes du colloque, Université d'Arras 1995), red. M.-Th. Caron, D. Clauzel, Arras 1997 A. Abad Pérez, San Juan de los Reyes en la historia, la literatura y el arte, "Anales toledanos" 11, 1976, s. 111-206 S. Aballéa, Les Saints Sépulcres monumentaux du Rhin supérieur et de la Souabe (1340-1400), Strasbourg 2003 https://doi.org/10.4000/books.pus.12003 J. Abeler, Ullstein Uhren Buch. Eine Kulturgeschichte der Zeitmessung, Frankfurt a.M. 1994 K. Abriszewski, Teoria Aktora-Sieci Bruno Latoura, "Teksty Drugie", nr 1/2, 2007 K. Abriszewski, Poznanie, zbiorowość, polityka. Analiza teorii aktora-sieci Bruno Latoura, Kraków 2008 I. Achter, Schrein und Flügelgemälde eines gotischen Altares, jetzt in der Kath. Pfarrkirche zu Rheinberg, "Jahrbuch der rheinischen Denkmalpflege" 23, 1960, s. 214-215 A. Acres, The Columba Altarpiece and the time of the world, "The Art Bulletin" 80, 1998, s. 422-451 https://doi.org/10.2307/3051299 A. Acres, Small physical history: The trickling past of Early Netherlandish painting, w: Symbols of Time in the History of Art, red. -
Courant 3Def
codart Courant 3/December 2001 codartCourant contents Published by Stichting codart P.O. Box 76709 2 A word from the director 11 Calls for papers nl-1070 ak Amsterdam 2 Committees 11 Symposium on The Brueghel enterprise The Netherlands 2 Program Committee 11 codart activities in spring 2002 3 Reports from the regional committees 11 Study trip to Moscow, 2-6 March 2002 Editors: Gary Schwartz 3 German-speaking countries, 13 codart vijf: Early Netherlandish Wietske Donkersloot Scandinavia and Baltic States art and its dispersal, 10-13 March 2002 t +31 (0)20 3054 515 3 Austria 17 [Historians of Netherlandish Art f +31 (0)20 3054 500 4 Estonia congress, 14-17 March 2002] e [email protected] 5 Germany 17 Study trip to Scotland, 6 Latvia 13-18 June 2002 codart board: 7 Central and Eastern Europe 18 codart in the United States Henk van der Walle, chairman 7 Hungary 18 Website news Wim Jacobs, operations manager of the 8 Poland 19 Membership directory Netherlands Institute of Cultural 28 codart dates Heritage (Instituut Collectie Nederland), secretary-treasurer Rudi Ekkart, director of the Netherlands Institute for Art History (Rijksbureau voor Kunsthistorische Documentatie) Jan Houwert, director of the Wegener publishing company Paul Huvenne, director of the Koninklijk Museum voor Schone Kunsten, Antwerp Jeltje van Nieuwenhoven, Speaker of the House of the Netherlands Parliament codartis an international council for curators of Dutch and Flemisch art. It supports inter-museum cooperation in the study and display of art from the Low Countries through a variety of means, including congresses, study trips, pub- lications and a website (www.codart.nl). -
El Coleccionismo Del Linaje De Los Guevara. Estudio De Dos Anunciaciones Arsbilduma Ana Diéguez-Rodríguez • Elena Vázquez Dueñas
33 ARS BILDUMA EL COLECCIONISMO DEL LINAJE DE LOS GUEVARA. ISSN 1989-9262 UPV/EHU Press ARSBILDUMA (CC BY-NC-ND 4.0) ESTUDIO DE DOS ANUNCIACIONES https://doi.org/10.1387/ars-bilduma.20267 BIBLID [(2019), 9; 33-49] THE COLLECTIONISM OF THE GEVARA´S FAMILY. TWO ANNUNCIATIONS Recibido: 06/10/2018 Aceptado: 11/12/2018 IN STUDY HET COLLECTIONISME VAN DE FAMILIE GUEVARA. EEN STUDIE VAN TWEE ANNUNCIATIES ANA DIÉGUEZ-RODRÍGUEZ Universidad de Burgos RESUMEN ABSTRACT SAMENVATTING Instituto Moll Dos pinturas flamencas de finales del siglo Two Flemish paintings of the late fifteenth Twee Vlaamse schilderijen uit de late vi- c/ Marqués de la Ensenada 4, 1º XV y principios del siglo XVI con el tema and early sixteenth century with the topic of jftiende en vroege zestiende eeuw met als 28004, Madrid de la anunciación y portando el escudo de the Annunciation and bearing the Guevara thema de Annunciatie en voorzien van het los Guevara, sirven de base para reflexionar shield, serve to reflection on the collection wapenschild van de familie Guevara, die- [email protected] sobre el coleccionismo de pintura flamenca of Flemish painting of one of the family nen als basis om na te denken over het co- de uno de los linajes más cercanos a la corte closer to the court of the Habsburgs, and llectionisme van Vlaamse schilderijen van ORCID ID: https://orcid.org/0000-0003-0510-8670 de los Habsburgo, y con mayor peso en la with great weight in politics and patronage een van de (Spaanse) adellijke families die política y mecenazgo de esta transición de in this change of the century: The Guevara. -
ISABEL LA CATÓLICA , Las Artes Y La Imagen Del Poder
AULADADES ISABEL LA CATÓLICA , Las Artes y la imagen del poder Javier Blanco Planelles SUEÑOS DINÁSTICOS Y ANHELOS POLITICOS ISABEL • Príncipe Alfonso de Portugal Reina de Portugal • Manuel I de Portugal JUAN Margarita de Austria Príncipe de Asturias ISABEL I de Castilla JUANA I Felipe I de Habsburgo Reina de Castilla y Aragón FERNANDO II de Aragón MARÍA Manuel I de Portugal Reina de Portugal CATALINA • Arturo Príncipe de Gales Reina de • Enrique VIII de Inglaterra Inglaterra Isabel dictó testamento al secretario real Gaspar de Gricio el 12 de octubre de 1504. Quizás la elección del día fuese intencionado, nadie lo puede saber. “Sepan cuantos esta carta de testamento vieren como yo Doña ISABEL, por la gracia de Dios reina de Castilla, de León, de Aragón, de Sicilia, de Granada, de Toledo, de Valencia, de Galicia, de Mallorcas, de Sevilla, de Cerdeña, de Córdoba, de Córcega, de Murcia, de Jaén, de los Algarves, de Algeciras y de Gibraltar y de las islas Canarias; condesa de Barcelona y señora de Vizcaya y de Molina; duquesa de Atenas y de Neopatria; condesa del Rosellón y de la Cerdaña, marquesa de Oristán y de Gocéano”. “Estando enfermo mi cuerpo de la enfermedad que Dios me quiso dar y sana y libre de mi entendimiento; […], ordeno esta mi carta de testamento y postrera voluntad queriendo imitar al buen rey Ezequías queriendo disponer de mi casa como si luego la hubiese de dejar”. Al final de las nueve hojas de pergamino que lo contienen (Archivo General de Simancas) firma «Yo, la Reina». A continuación firmaron los testigos y se colocaron los sellos. -
Albrecht Dürer's “Oblong Passion”
ALBRECHT DÜRER’S “OBLONG PASSION”: THE IMPACT OF THE REFORMATION AND NETHERLANDISH ART ON THE ARTIST’S LATE DRAWINGS by DANA E. COWEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY January, 2014 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Dana E. Cowen ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Catherine B. Scallen (signed)_______________________________________________ (chair of the committee) Jon L. Seydl ________________________________________________ Holly Witchey ________________________________________________ Erin Benay ________________________________________________ 4 November 2013 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. This dissertation is dedicated to my parents, Nancy and John, and to my brother Mark Table of Contents Table of Contents i List of Figures ii Acknowledgements xi Introduction 1 Chapter One 23 Albrecht Dürer in the Netherlands, 1520 to 1521: The Diary and Works of Art Chapter 2 58 Dürer and the Passion: The “Oblong Passion” and its Predecessors Chapter 3 111 Dürer, Luther, and the Reformation: The Meaning of the “Oblong Passion” Chapter 4 160 The “Oblong Passion” Drawings and their Relationship to Netherlandish Art Conclusion 198 Appendix 1: 204 Martin Luther. “Ein Sermon von der Betrachtung des heiligen Leidens Christi” (A Sermon on Meditating on the Holy Passion of Christ), 1519 Appendix 2: 209 The Adoration of the Magi Appendix 3: 219 The Progression of Scholarship on Fifteenth- and Sixteenth-Century Netherlandish and German Drawings from the Late Nineteenth-Century to the Present Figures 233 Bibliography 372 i List of Figures Fig. -
Download Og Læs Hele Beretningen
Forskningsberetning 2017 Statens Museum for Kunst Indledning 1 Overordnede målsætninger 2 Beretning 3 Forskningen i 2017, resultatmål 5 Bemanding og dimensionering 13 Bevillingsmæssige forhold 15 Forskningsaktiviteter Afsluttede forskningsprojekter 17 Igangværende forskningsprojekter 26 Bibliografi 2017 De enkelte forskeres publikationer 40 Indledning Statens Museum for Kunst er en statsinstitution på Kulturministeriets område og Danmarks hovedmuseum for billedkunst. SMK drives i henhold til museumsloven og har til opgave - gennem indsamling, registrering, bevaring, forskning og formidling - at belyse den danske og udenlandske billedkunst, fortrinsvis fra den vestlige kulturkreds efter år 1300. For den danske kunsts vedkommende skal museet anlægge og opretholde repræsentative samlinger. Museet skal synliggøre og perspektivere samlingerne ved at deltage i internationalt samarbejde. Museets samlinger danner grundlag for forskning og alment oplysende virksomhed. Museets samlinger består af over 9.000 malerier og skulpturer, ca. 247.000 kunstværker på papir (tegninger, grafik, fotos, gouacher m.m.) samt mere end 3.500 gipsafstøbninger af skulpturer fra antikken, middelalderen og renæssancen. SMK har som hovedmuseum og som det eneste kunstmuseum, der er omfattet af lov om forskning ved arkiver, biblioteker, museer m.v., en naturlig og central rolle i den danske kunsthistoriske forskning. Forskningen på SMK kan både vedrøre kunsthistoriske og æstetiske problemstillinger samt bevaringsmæssige og formidlingsmæssige aspekter. I henhold til loven skal museet udarbejde flerårige, som udgangspunkt 4-årige, forskningsplaner inden for rammerne af de forskningsmæssige hovedområder. SMK skal ligeledes afgive en årlig forskningsberetning. Beretningen omfatter institutionens samlede forskningsvirksomhed dvs. både den del af forskningen, der er udført af medarbejdere ansat i deciderede forskerstillinger inden for stillingsstrukturen og den forskning, der er udført af medarbejdere ansat i stillinger uden for stillingsstrukturen, hvor der indgår forsknings- og udviklingsopgaver. -
Spain, a Global History
From the late fifteenth to the nineteenth centu- LUIS FRANCISCO MARTÍNEZ ries, the Hispanic Monarchy was one of the Luis Francisco Martínez Montes MONTES (Madrid, 1968) is a diplomat, largest and most diverse political communities known in history. At its apogee, it stretched from writer and a constant traveller along the the Castilian plateau to the high peaks of the Silk Roads of knowledge. Director and Andes; from the cosmopolitan cities of Seville, SPAIN, co- founder of The Global Square Maga- Naples, or Mexico City to Santa Fe and San Fran- zine. He is the author of more than forty cisco; from Brussels to Buenos Aires and from A GLOBAL HISTORY essays and articles on geopolitics, history Milan to Manila. During those centuries, Spain Luis Francisco Martínez Montes Luis Francisco and comparative cultural issues. left its imprint across vast continents and distant oceans contributing in no minor way to the emer- gence of our globalised era. This was true not only in an economic sense—the Hispano-Ameri- can silver peso transported across the Atlantic and the Pacific by the Spanish fleets was arguably the first global currency, thus facilitating the creation of a world economic system—but intellectually and artistically as well. The most extraordinary cultural exchanges took place in practically every corner of the Hispanic world, no matter how distant from the metropolis. At various times a descendant of the Aztec nobility was translating a Baroque play into Nahuatl to the delight of an Amerindian and mixed audience in the market of Tlatelolco; -
HNA April 12 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. 29, No. 1 April 2012 Maerten van Heemskerck, Ecce Homo, 1544. Oil on panel. Center panel: 189.23 x 133.35 cm; left wing: 183.52 x 62.48 cm; right wing: 188.6 x 64.77 cm. Muzeum Narodowe w Warszawie, on view at the J. Paul Getty Museum, Los Angeles, June 5, 2012 – January 13, 2013. 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 - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Paul Crenshaw (2012-2016) Wayne Franits (2009-2013) President's Message .............................................................. 1 Martha Hollander (2012-2016) HNA News ............................................................................2 Henry Luttikhuizen (2009 and 2010-2014) Personalia ............................................................................... 3 Shelley Perlove (2008-2009 and 2010-2014) Joaneath Spicer (2010-2014) -
Juhan Maiste Artistic Genius Versus the Hanse Canon 61
59 Juhan Maiste ARTISTIC GENIUS VERSUS THE HANSE CANON FROM THE LATE MIDDLE AGES TO THE EARLY MODERN AGE IN TALLINN The notions of Hanseatic trade, Hanseatic culture, the Hanseatic world are so familiar in our everyday parlance, that with no further consideration I have decided to transfer the notion of Hanse to the topic I am dealing with, which is art. In doing this I didn’t stop to think what Hanseatic art is actually like, and whether there ever was a time when one and the same visual language was used in the area ruled by the trade empire that existed from the founding of Lübeck in 1159 “als Tor nach Osteuropa”,1 to the 17th century. So, before tackling the issue of the Hanseatic art canon we should define the idea. What is Hanseatic art, and where and when do we have reason to speak about it without hesitation? WHAT IS HANSEATIC ART? Above all, Hanseatic art is naturally the sum total of the art(s). It is an umbrella notion that covers the language of symbols and forms that germinated over a couple of centuries in northern Europe, linking many different elements and making it possible to treat morphological issues of art (i.e. the vocabulary that relates to art) in one and the DOI: https://doi.org/10.12697/BJAH.2020.20.02 1 Phillippe Dollinger, Die Hanse (Stuttgart: Kröner, 1989), 10. 60 JUHAN MAISTE ARTISTIC GENIUS VERSUS THE HANSE CANON 61 same grammatical key and using the same syntactic rules. The notion geographical space but were imported from elsewhere, in the same of Hanseatic art harbours a number of reefs that existed at a certain way that the beads on the necklace of a merchant’s wife came from time and in a certain geographical area from Bruges and Ghent up outside that area. -
The Known and Unknown Michel Sittow
Juhan Maiste A GENIUS AND HIS MYTH: THE KNOWN AND UNKNOWN MICHEL SITTOW I confess that the following essay would not have been born if I had not received inspiration from Matthias Weniger’s book on three Flemish artists – Michel Sittow, Felipe Morros and Juan de Flandes. These men, in the service of Isabella I of Castile, taught Spain, which had just been freed from the oppression of the Reconquista, the flamenco steps of painting, by following in the footsteps left by Jan van Eyck. Michel Sittow’s story is one of a remarkable creative spirit to whom we owe the myth of one of the greatest creators of the Renaissance era and who has increasingly received attention in the last few years. And about whom I ask that I be allowed to express my opinion in this article. Max J. Friedländer rescued Sittow from oblivion; Paul Johansen assigned Sittow’s work a time and a place, and reconstructed the life story of an artist that was born in Tallinn and died in Tallinn. Jāzeps Trizna, Chiyo Ishikawa and Matthias Weniger have provided frameworks for the topic. And the more different positions there are the richer science is. How much do we really know about one of the greatest creators of the Renaissance era, whose works astound us with their beauty, har- mony and sophisticated complexity? What role should be assigned to the facts and what role to fantasy in the interpretation of an artist’s body of work? Where does the talent of a genius begin and end and how does a myth develop? What is art history at all? Who and what do those who write about art – i.e.