Chambers of Art and Wonders by Gabriele Beßler
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Hans Rottenhammer's Use of Networks in the Copper
arts Article Intermediaries and the Market: Hans Rottenhammer’s Use of Networks in the Copper Painting Market Sophia Quach McCabe Department of History of Art and Architecture, University of California, Santa Barbara, Santa Barbara, CA 93106, USA; [email protected] Received: 1 February 2019; Accepted: 16 June 2019; Published: 24 June 2019 Abstract: In Willem van Haecht’s Gallery of Cornelis van der Geest, The Last Judgment by the German artist Hans Rottenhammer stands prominently in the foreground. Signed and dated 1598, it is one of many copper panel paintings Rottenhammer produced and sent north of the Alps during his decade-long sojourn in Venice. That the work was valued alongside those of Renaissance masters raises questions about Rottenhammer’s artistic status and how the painting reached Antwerp. This essay examines Rottenhammer’s international market as a function of his relationships with artist-friends and agents, especially those in Venice’s German merchant community. By employing digital visualization tools alongside the study of archival documents, the essay attends to the intermediary connections within a social network, and their effects on the art market. It argues for Rottenhammer’s use of—and negotiation with—intermediaries to establish an international career. Through digital platforms, such as ArcGIS and Palladio, the artist’s patronage group is shown to have shifted geographically, from multiple countries around 1600 to Germany and Antwerp after 1606, when he relocated to Augsburg. Yet, the same trusted friends and associates he had established in Italy continued to participate in Rottenhammer’s business of art. Keywords: Hans Rottenhammer; social network; intermediaries; mediation; digital humanities; digital art history; merchants; art market; copper painting; Jan Brueghel the Elder 1. -
Hartmut Boockmann 1934-1998
__________________________________________________ MITTEILUNGEN DER RESIDENZEN-KOMMISSION DER AKADEMIE DER WISSENSCHAFTEN ZU GÖTTINGEN JAHRGANG 8 (1998) NR. 2 MITTEILUNGEN DER RESIDENZEN-KOMMISSION DER AKADEMIE DER WISSENSCHAFTEN ZU GÖTTINGEN JAHRGANG 8 (1998) NR. 2 RESIDENZEN-KOMMISSION ARBEITSSTELLE KIEL ISSN 0941-0937 Herstellung: Vervielfältigungsstelle der Christian-Albrechts-Universität zu Kiel Titelvignette: Blick auf die Neue Burg mit Denkmal Prinz Eugens am Heldenplatz (© Österreich Werbung) INHALT Hartmut Boockmann 1934-1998 ...................................................................................5 Auswahlbibliographie Hartmut Boockmann........................................................9 Aus der Arbeit der Kommission ................................................................................ 15 Schriftenverzeichnis Karl-Heinz SPIESS ............................................................ 19 Die Arbeit der anderen .............................................................................................. 24 Jeroen DUINDAM, Utrecht: The court of the Austrian Habsburgs: locus of a com- posite heritage .................................................................................................. 24 Cordula NOLTE, Greifswald: Studien zum familialen und verwandtschaftlichen Beziehungsnetz der Markgrafen von Brandenburg (Projektskizze).................... 59 Kolloquiumsberichte................................................................................................. 65 6. Symposium der Residenzenkommission -
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 -
The “Quint-Terz-Tenor” Trombone: an Enigma Solved
WEINER 37 The “Quint-Terz-Tenor” Trombone: An Enigma Solved Howard Weiner In his book on brass instruments, Anthony Baines briefl y discussed in the chapter on “Renaissances Slides” various trombones listed in late-sixteenth- and early-seventeenth- century German inventories, trombones with unusual designations such as Terzposaune and Secundposaune.1 Baines was easily and convincingly able to explain what these most likely were. One term, however, seemingly defi ed explanation, the “quint-terz-tenor” trombone. Baines wrote: Among stranger terms from the same period, a Dresden inventory lists a Quint-terz-tenor: it would be hard to say what this was.2 I must admit that I had never given much thought to this–it was after all just a minor issue. But recently I was asked if I had any idea what this quint-terz-tenor trombone–for which Baines did not specify a source–might have been. Fortunately, the inquiry was accompanied with a hint that did, in fact, quickly lead me to a book published in 1901 and entitled Des Augsburger Patriciers Philipp Hainhofer Reisen nach Innsbruck und Dresden [“The Augsburg Patrician Philipp Hainhofer’s Journeys to Innsbruck and Dresden”].3 This was most likely not Baines’ immediate source, but undoubtedly the source behind the one he used. Philipp Hainhofer (1578-1647), a diplomat and prominent art collector and dealer, was born into an infl uential Augsburg family. After studying law in Padua and Siena, he traveled through Italy, the Netherlands, and Germany, acquiring an extensive knowledge of art as well as an overview and good understanding of the European political situation. -
Giuseppe Arcimboldo's Composite Portraits and The
Giuseppe Arcimboldo’s Composite Portraits and the Alchemical Universe of the Early Modern Habsburg Court (1546-1612) By Rosalie Anne Nardelli A thesis submitted to the Graduate Program in Art History in conformity with the requirements for the Degree of Master of Arts Queen’s University Kingston, Ontario, Canada July, 2014 Copyright © Rosalie Anne Nardelli, 2014 Abstract At the Renaissance noble court, particularly in the principalities of the Holy Roman Empire, alchemical pursuits were wildly popular and encouraged. By the reign of Rudolf II in the late sixteenth century, Prague had become synonymous with the study of alchemy, as the emperor, renowned for his interest in natural magic, welcomed numerous influential alchemists from across Europe to his imperial residence and private laboratory. Given the prevalence of alchemical activities and the ubiquity of the occult at the Habsburg court, it seems plausible that the art growing out of this context would have been shaped by this unique intellectual climate. In 1562, Giuseppe Arcimboldo, a previously little-known designer of windows and frescoes from Milan, was summoned across the Alps by Ferdinand I to fulfil the role of court portraitist in Vienna. Over the span of a quarter-century, Arcimboldo continued to serve faithfully the Habsburg family, working in various capacities for Maximilian II and later for his successor, Rudolf II, in Prague. As Arcimboldo developed artistically at the Habsburg court, he gained tremendous recognition for his composite portraits, artworks for which he is most well- known today. Through a focused investigation of his Four Seasons, Four Elements, and Vertumnus, a portrait of Rudolf II under the guise of the god of seasons and transformation, an attempt will be made to reveal the alchemical undercurrents present in Arcimboldo’s work. -
OF EUROPE by Tomasz Kosinski & Thomas Gregory Kosinski
COINS OF EUROPE by Tomasz Kosinski & Thomas Gregory Kosinski 17,3 g 32 mm AUSTRIA CATALOG 1901 - 2015 in COLOR May 2015 www.numikos.com #1 European coin Catalog! Selling in over 30 countries and 300+ locations now also for Smartphones, Tablets or Computers!! EUROPA MÜNZKATALOG COINS OF EUROPE von 1901 bis 2014 or 1901-2014/5 Oktober 2013 Ausgabe (English Edition) (Deutsche Sprache) Austria - 3 € Belarus - 2 € Belgium - 2 € Bulgaria -2€ Czech Republic - 2 € Denmark - 1 € France - 5 € Germany - 6 € Great Britain - 3 € Italy - 3 € Netherlands - 2 € Poland - 5 € Portugal - 2 € Romania - 2 € Russia - 7 € San Marino - 3 € Spain - 4 € Ukraine - 3 € Vatican - 3 € ... Pictures of every coin, description, weight, size, metal composition and fair market value of coins based on average or lowest prices from recent auctions. www.numikos.com [email protected] All e-Catalogs from series “Coins of Europe” will have new added interactive features. To use those features on your mobile or tablet I recommend to download FREE program “Office Suite 7” from Google play. You can use search function to navigate. Type 1 word eg. year... 2014 and coins dated 2014 will be displayed with highlighted green color. Arrows in the menu will bring you to other pages with coins dated 2014. All prices are highlighted in yellow color. When you use FREE Office suite 7 - you can customize every coin by changing colors. Most important improvement in latest upgrade is that you can add Annotation to every single coin making it truly interactive catalog! Now you can make your own coin inventory, mark coins you have with different colors or add any notes you wish. -
№ Wca № Castles Prefix Name of Castle Oe-00001 Oe-30001
№ WCA № CASTLES PREFIX NAME OF CASTLE LOCATION INFORMATION OE-00001 OE-30001 OE3 BURGRUINE AGGSTEIN SCHONBUHEL-AGGSBACH, AGGSTEIN 48° 18' 52" N 15° 25' 18" O OE-00002 OE-20002 OE2 BURGRUINE WEYER BRAMBERG AM WILDKOGEL 47° 15' 38,8" N 12° 19' 4,7" O OE-00003 OE-40003 OE4 BURG BERNSTEIN BERNSTEIN, SCHLOSSWEG 1 47° 24' 23,5" N 16° 15' 7,1" O OE-00004 OE-40004 OE4 BURG FORCHTENSTEIN FORCHTENSTEIN, MELINDA-ESTERHAZY-PLATZ 1 47° 42' 34" N 16° 19' 51" O OE-00005 OE-40005 OE4 BURG GUSSING GUSSING, BATTHYANY-STRASSE 10 47° 3' 24,5" N 16° 19' 22,5" O OE-00006 OE-40006 OE4 BURGRUINE LANDSEE MARKT SANKT MARTIN, LANDSEE 47° 33' 50" N 16° 20' 54" O OE-00007 OE-40007 OE4 BURG LOCKENHAUS LOCKENHAUS, GUNSERSTRASSE 5 47° 24' 14,5" N 16° 25' 28,5" O OE-00008 OE-40008 OE4 BURG SCHLAINING STADTSCHLAINING 47° 19' 20" N 16° 16' 49" O OE-00009 OE-80009 OE8 BURGRUINE AICHELBURG ST. STEFAN IM GAILTAL, NIESELACH 46° 36' 38,6" N 13° 30' 45,6" O OE-00010 OE-80010 OE8 KLOSTERRUINE ARNOLDSTEIN ARNOLDSTEIN, KLOSTERWEG 3 46° 32' 55" N 13° 42' 34" O OE-00011 OE-80011 OE8 BURG DIETRICHSTEIN FELDKIRCHEN, DIETRICHSTEIN 46° 43' 34" N 14° 7' 45" O OE-00012 OE-80012 OE8 BURG FALKENSTEIN OBERVELLACH-PFAFFENBERG 46° 55' 20,4" N 13° 14' 24,6" E OE-00014 OE-80014 OE8 BURGRUINE FEDERAUN VILLACH, OBERFEDERAUN 46° 34' 12,6" N 13° 48' 34,5" E OE-00015 OE-80015 OE8 BURGRUINE FELDSBERG LURNFELD, ZUR FELDSBERG 46° 50' 28" N 13° 23' 42" E OE-00016 OE-80016 OE8 BURG FINKENSTEIN FINKENSTEIN, ALTFINKENSTEIN 13 46° 37' 47,7" N 13° 54' 11,1" E OE-00017 OE-80017 OE8 BURGRUINE FLASCHBERG OBERDRAUBURG, -
361 Ivo Purš and Hedvíka Kuchařová Eds. Knihovna Arcivévody
book reviews 361 Ivo Purš and Hedvíka Kuchařová eds. Knihovna arcivévody Ferdinanda II. Tyrolského (The Library of Archduke Ferdinand II of Tyrol), Vol. 1: Texty. Vol. 2: Katalog. 650 and 722 pp. (Prague, Artefactum, 2015, ISBN (for the two volumes) ISBN 9788086890746, CZK 980). Archduke Ferdinand II of Tyrol (1529-1595), a younger son of Emperor Ferdinand I and uncle to Emperor Rudolf II, was like his more famous nephew an avid collector. Concomitant to his ‘Kunst- und Wunderkammer’ and col- lection of weapons and armour, still to be seen, in part, in its original location at Ambras Castle near Innsbruck, Ferdinand owned a major library. After ser- vice as governor of Bohemia (1547-1567) his collections were transported from Prague Castle to Ambras Castle. The majority of the books and manuscripts entered the library from 1567 onwards, when Ferdinand was ruling Tyrol and Further Austria from his official court in Innsbruck and his preferred resi- dence Ambras Castle. Unfortunately, the library is not there anymore. The only early modern sources for its contents are an inventory made up a year after Ferdinand’s death at the behest of Emperor Rudolf II, and a long list of manu- scripts taken from Ambras Castle to the Imperial Library in Vienna by Peter Lambeck, Court Librarian to Emperor Leopold I, in 1665. In all, the library at © koninklijke brill nv, leiden, 2017 | doi 10.1163/15700690-12341388 362 book reviews Ambras Castle may have contained a couple of thousand printed books along- side hundreds of manuscripts. On the basis of these two sources which are complemented with modern bibliographies and data collections, many of them digitized, a reconstruction has now been produced in a catalogue com- prising 1231 titles stemming from the rooms of the library proper, 186 titles from the book collection in the ‘Kunstkammer’, and 10 titles from the Court Chapel (‘Hofkapelle’). -
Precious Textiles Have Always Played an Important Role As a Medium Of
FASHION SHOW Precious textiles have always played an important role as a PRINCELY WARDROBES medium of representation and as a means of expressing high OF THREE CENTURIES social rank. Only an elite segment of the public could afford exquisite textiles and dress in the latest fashion. Portraits in which personalities of standing had themselves depicted in SPECIAL EXHIBITION expensive clothing today give us insightful information about JUNE 17 TO OCTOBER 3, 2021 the original condition of these wardrobes. Their ingenuity and the exquisite materials used continue to captivate viewers. For the first time, a selection of paintings by renowned artists from the Habsburg Portrait Gallery kept at Ambras Castle, from Giuseppe Arcimboldo to Diego Velázquez, is placed at the centre of an exhibition, focusing on fashions from the Renaissance to the Baroque period. What are the sitters in these portraits wearing, how are their clothes obtained, and what do they communicate to the viewer? The show will be enriched by precious original clothing of which, due to their fragility, only a few are preserved. On dis- ILLUSTRATION: (DETAIL) ARCHDUCHESS MARIA MAGDALENA (1587–1631). FRANS play are, for example, the bridal robe of Duke August of Sa- POURBUS THE YOUNGER, C.1603/1604 xony from 1548, a doublet from 1555 and a velvet cloak from KUNSTHISTORISCHES MUSEUM VIENNA, 1560. Headdresses and shoes, accessories such as collars, PICTURE GALLERY, INV. NO. 3385 (SCHLOSS AMBRAS INNSBRUCK) gloves and fans, as well as exquisite pieces of jewelry, have © KHM-MUSEUMSVERBAND also been lent to the exhibition by international museums. Schloss Ambras Innsbruck, Schlossstraße 20, A-6020 Innsbruck, Austria [email protected], Tel.: +43 1 525 24 - 4802, www.schlossambras-innsbruck.at, FASHION SHOW An essential element of the exhibition is the inclusion of new PRINCELY WARDROBES media: film visualisations tell stories behind the pictures and put OF THREE CENTURIES fashion under the microscope, right down to the last detail. -
The J. Paul Getty Trust 2007 Report the J
THE J. PAUL GETTY TRUST 2007 REPORT THE J. PAUL GETTY TRUST 2007 REPORT 4 Message from the Chair 7 Foreword 10 The J. Paul Getty Museum Acquisitions Exhibitions Scholars Councils Patrons Docents & Volunteers 26 The Getty Research Institute Acquisitions Exhibitions Scholars Council 38 The Getty Conservation Institute Projects Scholars 48 The Getty Foundation Grants Awarded 64 Publications 66 Staff 73 Board of Trustees, Offi cers & Directors 74 Financial Information e J. Paul Getty Trust The J. Paul Getty Trust is an international cultural and philanthropic institution that focuses on the visual arts in all their dimensions, recognizing their capacity to inspire and strengthen humanistic values. The Getty serves both the general public and a wide range of professional communities in Los Angeles and throughout the world. Through the work of the four Getty programs–the Museum, Research Institute, Conservation Institute, and Foundation–the Getty aims to further knowledge and nurture critical seeing through the growth and presentation of its collections and by advancing the understanding and preservation of the world’s artistic heritage. The Getty pursues this mission with the conviction that cultural awareness, creativity, and aesthetic enjoyment are essential to a vital and civil society. e J. Paul Getty Trust 3 Message from the Chair e 2007 fi scal year has been a time of progress and accomplishment at the J. Paul Getty Trust. Each of the Getty’s four programs has advanced signifi cant initiatives. Agreements have been reached on diffi cult antiquities claims, and the challenges of two and three years ago have been addressed by the implementation of new policies ensuring the highest standards of governance. -
Re-Thinking the Curiosity Cabinet: a Study of Visual Representation in Early and Post Modernity
Re-thinking the Curiosity Cabinet: A Study of Visual Representation in Early and Post Modernity Thesis submitted for the degree of Doctor of Philosophy at the University of Leicester by Stephanie Jane Bowry School of Museum Studies June 2015 Re-thinking the Curiosity Cabinet: A Study of Visual Representation in Early and Post Modernity Stephanie Jane Bowry This thesis examines the concepts and visual strategies employed within the sixteenth- and seventeenth-century curiosity cabinet – here defined as privately-owned European collections of extraordinary objects – to represent the world. This research also examines how these concepts and strategies are paralleled in contemporary art practice from 1990 to the present in Europe and the USA. As such, it challenges traditional museological interpretations of the cabinet as a mere proto-museum, as well as the notion that the cabinet is obsolete as a form of cultural practice. This thesis primarily focuses upon Northern European collecting practice from c. 1540 - c. 1660, and draws upon artworks, objects and collections as illustrative examples. The thesis also offers a new translation of parts of a seminal text in the history of early collections: Samuel Quiccheberg’s Inscriptiones Vel Tituli Theatri Amplissimi (1565), included in the Appendix. During the last two decades, there has been a resurgence of scholarly interest in the cabinet, yet perspectives on early collections remain limited – often to a single interpretive lens. Furthermore, scholarship on the nature of the cabinet’s connections with and relevance to contemporary cultural practice is still in its infancy. This thesis contends that the cabinet is best understood as a complex set of practices, related to but distinct from those of contemporary museums, and draws upon the Derridean concept of the spectre in order to demonstrate how the cabinet’s practices are echoed within contemporary art practice at both a visual and conceptual level. -
English / French
World Heritage 23BUR Distribution limited WHC-99/CONF.204/6 Paris, 1 April 1999 Original : English / French UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION CONVENTION CONCERNING THE PROTECTION OF THE WORLD CULTURAL AND NATURAL HERITAGE BUREAU OF THE WORLD HERITAGE COMMITTEE Twenty-third session Paris, UNESCO Headquarters, Room X 5 - 10 July 1999 Item 5 of the Provisional Agenda : Information on Tentative Lists and examination of nominations of cultural and natural sites to the List of World Heritage in Danger and the World Heritage List SUMMARY 1. At its seventeenth session in Cartagena, December 1993, the Committee expressed its concern on the small number of tentative lists that meet the requirements as stipulated in the Operational Guidelines, paragraphs 7 and 8, and confirmed the importance of these lists for planning purposes, comparative analyses of nominations and for facilitating the undertaking of the global and thematic studies. These lists constitute also an inventory of the properties situated within the territory of each State Party, and which it considers suitable for inclusion on the World Heritage List. The Committee also confirmed that the tentative lists are mandatory for cultural properties which the State Party intends to nominate for inscription on the World Heritage List during the coming five to ten years. 2. Therefore, the Committee invited the States Parties, which had not yet done so, to submit tentative lists in accordance with the Operational Guidelines, with the understanding that "preparatory assistance should be provided if necessary and requested by the State Party concerned". The Committee also decided that "as of 1 October 1995, only nominations of cultural properties that are included in tentative lists which meet all requirements as stipulated in the Operational Guidelines would be processed." 3.