DOCSLIB.ORG

Reference to the Type of Dazzling Gilding Seen in the Present Panel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reference to the Type of Dazzling Gilding Seen in the Present Panel Y\^. 8 reference to the type of dazzling gilding seen in the (+/01 Line engraving of e Arrest For this practice, see Z. Véliz, ‘Wooden and furiously driven”: I. Ragusa and R. monographs by D. Angulo Íñiguez (Seville, present panel. Ceán Bermúdez further relates that there of Christ, from S. Reinach, Panels and 3eir Preparation for Painting Green (trans. and ed.), Meditations on the *7:) and M.L. Martín Cubero (Madrid, Répertoire de peintures were smaller retables by Fernández in the church as from the Middle Ages to the Seventeenth Life of Christ: An Illustrated Manuscript of *), the very complete entry by C.R. Century in Spain’ in e Structural the Fourteenth Century (Princeton, *:) , Post in A History of Spanish Painting, vol. du moyen âge et de la well, including one showing the Last Supper. Fernández renaissance, Paris, *%< Conservation of Panel Paintings, ed. K. p. 68$. “We should notice the meekness X (Cambridge, Mass., *$%), pp. –*6, and began his career in Córdoba, so Ceán Bermúdez’s pos- Dardes and A. Rothe (Los Angeles, **), of our Lord” and “Hence we read that also D. Angulo Íñiguez, ‘Varias obras de sible observation of the work there may corroborate the pp. 6–7%. ‘the band’ of soldiers ‘and the tribune’ Alejo Fernández y de su escuela’, Anales de 8 First published in R. Ramírez de Arellano, commanding them, all the servants of the la Universidad Hispalense , , no. 8 (*6*), early date proposed for this panel, prior to the painter’s ‘Ordenanzas de Pintores’, Bolétin de la Jews, rushed violently and all together pp. 7–:6. For documents concerning the move to Seville in $%. However, despite this tempting Real Academia de Bellas Artes de San like wolves upon a lamb, and laid their painter, including his very detailed will of Fernando , segunda época, vol. *, no. 66 sacrilegious hands irreverently and $78, see J. Gestoso y Pérez, Ensayo en un evidence, the substantial output of Fernández’s work- (*$), pp. 8:–7:; translated in Z. Véliz, ‘3e insultingly upon [him], and they ‘held him’ diccionario des los artí"ces que 1orecieron en shop and the signi&cant number of lost altarpieces Ordenanzas de Córdoba for Regulating by his own permission, for He was held Sevilla desde el siglo XIII al XVIII inclusive , the Profession of Painting’, Hamilton Kerr when he chose, not before, and was thus vol. II (Seville, *%%), pp. 66–67; vol. III whose iconographies are not known caution against a Institute Bulletin, no. 6 (8%%%), p. 6<. taken prisoner by his own free will”: (Seville, *%*), pp. 6%*–86, and especially &rm identi&cation. On the other hand, as two panels 6 As indicated in an unpublished Condition H.J. Coleridge (trans. and ed.), e Hours of the much more thorough Documentos para Report by the Daniele Rossi conservation the Passion taken from the Life of Christ by la historia del arte en Andalucia, vol. , from this altarpiece have survived in good condition, studio dated February 8%8. Ludolph the Saxon (London, <), p. <6. pp. 8–88, 66–7% and 7:; vol. 8, pp. <–; it is possible that more might resurface in the future, 7 3ese observations are drawn from I. Tylers, % P. Silva Maroto, ‘In?uencia de los grabados vol. 6, p. $; vol. 7, p. 7*; vol. :, pp. $6, <*, ‘Tree-ring analysis of paintings from the nórdicos en la pintura Hispano-?amenca’, –8; vol. , pp. –8%; vol. *, pp. 8–88. perhaps miscatalogued as ‘German’ in a similar way. Sam Fogg Gallery’, London, August 8%$, Archivo español de arte, :, no. 876 (**), * J. Valverde Madrid, ‘La pintura sevillana en Eventually, the identi&cation of further scenes might pp. *–8. pp. 8<–*%. la primera mitad del siglo XVI ($%–$:%)’, provide &rmer evidence of the exact original context of $ 3e number of sapwood rings for trees M. McDonald, e Print Collection of Archivo Hispalense , 87, no. <: (*$:), in the Baltic varies between nine and Ferdinand Columbus ($%&&–$')*): A pp. 6–6<. the present impressive work. () thirty-six, with a median value of &=een. Renaissance Collector in Seville, 8 vols. 8% Orto hispalensis: Arte y cultura en la Sevilla Seasoning time (in Netherlandish (London, 8%%7), nos. $, :7, 8*<, 7$, 866<, del Emperador , exh. cat. (Madrid, 8%%), workshops) is estimated to be between two 878%, 8 and 8%:. pp. 8–6. and &=een years, with the upper range more 8 On Ferdández’s Northern borrowings see 8 For this work see C. Rahn Phillips, likely. See P. Klein, ‘Dendrochronological J.M. Covelo López, ‘La in?uencia de los ‘Visualizing Imperium: 3e Virgin of the Analyses of Netherlandish Paintings’, pintores nórdicos en la estética sevillana Seafarers and Spain’s Self-Image in the Early in Recent Developments in the Technical durante la primera mitad del siglo XVI’, Sixteenth Century’, Renaissance Quarterly , Examination of Early Netherlandish in El emperador Carlos y su tiempo: actas, $, no. 6 (8%%$), pp. $–$:. Painting: Methodology, Limitations and IX Jornadas Nacionales de Historia Militar 88 Mateo Gomez, undated. Perspectives, ed. M. Faries and R. Spronk (Madrid, 8%%%), pp. *$–$*. 86 I am extremely grateful to Frédéric Elsig for (Turnhout, 8%%6), pp. :$–<*. 6 D. Angulo Íñiguez, ‘Bramante et la suggesting the links between the two works : “Carmin "no de borra o lacar sin que en ello Flagellation du Musée du Prado’, Gazette des in a personal communication. entre ningun brasil” : R. Ramírez de Arellano Beaux-Arts, :8 (*$6), pp. $–. 87 See Angulo Íñiguez *7:, pl. 6. *$, p. 6; Véliz 8%%%, p. 6<. 7 3e attribution was &rst proposed in an 8$ “Alexo Hernandez, que en Sevilla hizo < 3e iconographic separation of Christ’s unpublished handwritten essay by I. Mateo muchas obras, y en Córdoba en el betrayal from his healing of Malchus’s Gomez, undated; we are grateful to both monasterio de S. Geronimo el retablo ear becomes established in woodcut Frédéric Elsig and Guillaume Kientz for grande y otros pequeños”: transcribed in illustrations of the Bible a=er $%%. See B.A. further con&rming the attribution to Alejo J.A. Ceán Bermudez, Diccionario historico Roiser, e Bible in print: Netherlandish Fernández in conversation. de los mas ilustres profesores de las Bellas Bible illustration in the sixteenth century $ Reinach *%<, p. 6*<. Artes de Espana (Madrid, %%), vol. V, (Leiden, **<), nos. 7$8–$6, $<–, :67–6$ : See the IRR images in J. García-Maíquez pp. 6%7–%$. See also J.R. Lapaz, ‘El “discurso and <%:–%<. A painted panel by a follower and C. Garrido, ‘La Flagelación ($%$–$%)’, de la comparación de la antigua y moderna of Michael Sittow showing Christ’s healing in El trazo oculto: dibujos subyacentes en pintura y escultura” de Pablo de Sepedes’, of Malchus a=er his arrest, which includes pinturas de los siglos XV y XVI , exh. cat., ed. Goya , 8<– (**%), pp. $–8<. Peter sheathing his sword and the lantern G. Finaldi, C. Garrido and L. Alba Carcelén 8: “Ls pinturas del grande [retablo ] representan on the ground, is at Campion Hall, Oxford. (Madrid, 8%%:), pp. 86%–6*. varios pasajes de la vida de Cristo y del santo 3e detail of the extinguished lantern is < Angulo Íñiguez *$6; J.M. Serrera Contreras, doctor [san Jerónimo ]: la del medio es una relatively rare but seems to stem from a ‘Ut pictura, architectura: La arquitectura en cena del Señor [cristo] y está "rmada. El Netherlandish prototype. It is found, for la pintura del Renacimiento en Andalucía’, mérito de estas tablas corresponde a lo mejor example, in the le= wing of the Dreux Budé in La arquitectura del Renacimiento en que se hacia en '$$ tiempo en España, y como triptych of about 7$% (private collection). Andalucía , exh. cat. (**8), pp. 86–76; A. dice el misma Céspedes, la mayor habilidad * “He patiently and benignly receives the Urquízar Herrera, El Renacimiento en la de los pintores de entonces consistía en dorar treacherous embraces and kisses of that periferia: La recepción de los modos italianos y estofar ”: Ceán Bermudez %%, vol. II, wretch whose feet he had washed just a en la experiencia pictórica del Quinientos p. <. short time before …. How patiently he cordobés (Córdoba, 8%%), pp. 77–7$, $%–$6. allows himself to be captured, tied, beaten, For Fernández, see the two existing * German or Southern Netherlandish Master Southern Germany, c. !" The Virgin and Child Oil and gilding on walnut !#.# cm diameter $%&'()*)+( With Koetser Gallery, London, by -/ ; Portuguese private collection, follows the alignment of the panel’s grain in relation to before -0"; anonymous sale; Christie’s, London, July --", lot "0 ; the painted image. # @e diameter of the panel is !#.#cm European private collection, --"–! in total, but with a broad unpainted edge measuring approximately #.# cm encircling the painted area. @e 234(%*45%( exposure of worm holes around this border (9lled with Autumn exhibition of !ne Flemish, Dutch and Italian Masters , exh. a ground material that becomes clearly visible in the cat., Leonard Koetser, London, # October– December -/, no. ; A. Stange, Die Deutschen Tafelbilder vor Dürer , vol. I (Munich, -/0), X-radiograph) would suggest that it was planed back to no. 0, p. /#; H.M. Schmidt, Der Meister des Marienlebens und Sein its current level, possibly to remove integral or applied Kreis ( Dusseldorf, -0"), 9g. /# framing elements, leaving a single trace of the original moulding in the form of a shallow circular groove 9lled with a chalk ground. ! Particles of azurite, black, red and yellow earth pigments and some lead white found in +&):343&), <*4(%3*2= *): 4(+>)3?5( the same area are possibly the remnants of this early @e paint surface survives in excellent condition, with frame. Additionally, there are a series of regularly many of its 9ner details, including the Virgin’s delicate spaced radial grooves running around the unpainted eyelashes and the white highlights individuating the edge, their purpose unknown.
Load more

Recommended publications
  • THE ICONOGRAPHY of MEXICAN FOLK RETABLOS by Gloria Kay
    The iconography of Mexican folk retablos Item Type text; Thesis-Reproduction (electronic) Authors Giffords, Gloria Fraser, 1938- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 20:27:37 Link to Item http://hdl.handle.net/10150/552047 THE ICONOGRAPHY OF MEXICAN FOLK RETABLOS by Gloria Kay Fraser Giffords A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu­ script in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: Robert M.
    [Show full text]
  • Scales As a Symbol of Metaphysical Judgement – from Misterium Tremendum to Misterium Fascinosum an Analysis of Selected Works of Netherlandish Masters of Painting
    Santander Art and Culture Law Review 2/2015 (1): 259-274 DOI: 10.4467/2450050XSR.15.022.4520 VARIA Karol Dobrzeniecki* [email protected] Faculty of Law and Administration of the Nicolaus Copernicus University in Toruń ul. Władysława Bojarskiego 3 87-100 Toruń, Poland Scales as a Symbol of Metaphysical Judgement – from Misterium Tremendum to Misterium Fascinosum An Analysis of Selected Works of Netherlandish Masters of Painting Abstract: The aim of this article is to analyze the motif of scales in Netherlandish art from the 15th to the 17th century. The motif of scales was present in art from earliest times, but its role and func- tion differed in various historical epochs – antique, the middle ages, and the modern age. The core part of the article is devoted to the symbolic relationship between scales and different aspects of justice. The first painting taken into consideration is Rogier van der Weyden’s Last Judgment (approx. 1445 to 1450), and the last one – Jan Vermeer’s Woman Holding a Balance (approx. 1662-1663). The article attempts to answer some crucial questions. What were the meanings attributed to scales during the two centuries exam- ined? How did these meanings evolve, and was the interpretation of the symbol influenced by the ethos characteristic for particular peri- ods and geographical spaces, as well as transient fashions, religious * Karol Dobrzeniecki, Doctor of Law and art historian, currently serves as an Assistant Professor at the Department of Theory of Law and State, Faculty of Law and Administration of the Nicolaus Copernicus University in Toruń, Poland.
    [Show full text]
  • Quentin Matsys's a Grotesque Old Woman
    Portrait of Sixteenth-Century Disability? Quentin Matsys’s A Grotesque Old Woman Sara Newman, PhD Kent State University, USA Abstract: Scholars rarely examine art works from a disability studies perspective; their analyses often misinterpret those works, reinforcing contemporary assumptions about disability and its past representations. Accordingly, this paper examines a portrait by sixteenth-century Antwerp artist Quentin Matsys (1466-1529) from a historically situated disability studies perspective. A Grotesque Old Woman (c.1513) has been understood in terms of abnormality. Existing scholarship has suggested that she represents physical, gender, and sexual deviance in the spirit of Erasmian allegories, or an individual with Paget’s disease. Although these interpretations may inform contemporary scholarship, they shed little light on sixteenth-century disability and its artistic representations. This paper demonstrates how the portrait reflects a cultural transition from an earlier collective, religious model of disability to a more “municipal” one which considers disability vis-à-vis individuals engaged in daily commercial or personal activities. This analysis provides insight into how disability was understood in Matsys’s time, contributes to our understanding of the Dutch allegorical and portraiture traditions, and demonstrates what a historically situated disability model offers future research on artistic representations of disability. Key Words: art history, Netherlandish portraiture; the grotesque “I’ve always been intrigued by this painting. It’s fascinating because it is so meticulously and lovingly painted. You think, why would someone go to so much trouble in order to paint such a grotesque image? I always suspected there was something more to it than just a study in grotesquery” (Brown, 2008).
    [Show full text]
  • Our Lady of Antwerp
    Louisiana State University LSU Digital Commons Faculty Publications LSU Libraries 2018 Sacred vs. Profane in The Great War: A Neutral’s Indictment Marty Miller Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/libraries_pubs Part of the Art and Design Commons, and the Library and Information Science Commons Recommended Citation Miller, Marty, "Sacred vs. Profane in The Great War: A Neutral’s Indictment" (2018). Faculty Publications. 79. https://digitalcommons.lsu.edu/libraries_pubs/79 This Article is brought to you for free and open access by the LSU Libraries at LSU Digital Commons. It has been accepted for inclusion in Faculty Publications by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. Sacred vs. Profane in The Great War: A Neutral’s Indictment Louis Raemaekers’s Use of Religious Imagery in Adoration of the Magi and Our Lady of Antwerp by Marty Miller Art and Design Librarian Louisiana State University Baton Rouge, Louisiana t the onset of the First World War in August 1914, Germany invaded France and Belgium, resulting in almost immediate British intervention and provoking a firestorm of protest throughout Western Europe. Belgium’s Asmall military was overmatched and reduced to fighting skirmishes as the Kaiser’s war machine headed toward France. Belgian civilians, as they had during the Franco- Prussian War, resisted by taking up arms. Snipers and ambushes slowed the Germans’ advance. In retaliation, German troops massacred Belgian men, women, and children. Cities, villages, and farms were burned and plundered.1 Belgian neutrality meant nothing to the German master plan to invade and defeat France before the Russian army could effectively mobilize in the east.
    [Show full text]
  • Rogier Van Der Weyden and Raphael
    Rogier van der Weyden / Raphael Rogier van der Weyden, Saint George and the Dragon, c. 1432 / 1435, oil on panel, National Gallery of Art, Ailsa Mellon Bruce Fund This painting is only 5 F/i by 4 B/i inches in size! George’s Story 1 The knight in each of these paintings is Saint George, a Roman soldier who lived during the third century in Asia Minor (modern-day Turkey). According to a popular legend from the Middle Ages, Saint George rescued a Masterful Miniatures princess and her town from a terrible dragon. The best- known account of this heroic tale was written in The 2 Saint George was a favorite subject of artists during the Golden Legend, a medieval best seller from the year 1260. Middle Ages and the Renaissance. These small paintings Its stories from the Bible and tales of the lives of saints of Saint George, created in different parts of Europe, were inspired many artists. For early Christians, Saint George made by two of the leading artists of their times: Rogier became a symbol of courage, valor, and selflessness. van der Weyden (c. 1399 / 1400 – 1464) in northern According to The Golden Legend, the citizens of Silene, Europe, and Raffaello Sanzio, known as Raphael (1483 – a city in Libya, were threatened by a fierce and terrible 1520), in Italy. Despite their diminutive size, each paint- dragon. People saved themselves by feeding their sheep ing is full of incredible details that were meant to be to the hungry monster. When their supply of animals viewed closely.
    [Show full text]
  • A New Look at the Cure of Folly
    Medical History, 1978, 22: 267-281. A NEW LOOK AT THE CURE OF FOLLY by WILLIAM SCHUPBACH* THE MEDICAL and surgical scenes depicted by Netherlandish artists of the sixteenth and seventeenth centuries have attracted the admiring attention of historians of medicine to such a degree that almost no book on "art and medicine" omits such paintings as Jan Steen's A love-sick (or pregnant) girl visited by a physician (several versions) or Gerrit Dou's Quacksalver (Rotterdam, Boymans-van Beuningen museum), although their documentary value is problematical.' Almost as popular are the paint- ings and graphics which illustrate the scene known in Dutch as Het snijden van den kei, in French as La pierre de tte or La pierre defolie, in English as The cure offolly, and in German as Der Steinschneider. In these scenes, a medical practitioner- physician, surgeon, barber-surgeon or quack, or a combination of those four-makes an incision in the patient's scalp and appears to extract from it a foreign body, usually a stone, the pierre de tete, which, according to contemporary inscriptions, had caused the patient to be afflicted with some kind of mental disorder ("folly"). One of the first modem writers to discuss these scenes, writing about the version in the Prado (Madrid) which is attributed to Hieronymus Bosch, interpreted it as a fantastic suggestion to the surgeons, comparable to Swift's suggestion of reciprocal hind-brain transplants for contentious politicians.2 This interpretation was soon overcast by another, which was first put forward by Henry Meige of the Salpetri6re in a fascinating and persuasive series of articles.3 The Persian physician Rhazes *William Schupbach, M.A., Weilcome Institute for the History of Medicine, 183 Euston Road, London NW1 2BP.
    [Show full text]
  • Memling's Portraits of Christ. a Cognitive Approach
    LASSE HODNE Memling’s Portraits of Christ. A Cognitive Approach Abstract Previous research conducted by the author revealed a clear preference for profile and half profile view in paintings of secular persons. Frontal view (full face or en face) was usually restricted to representations of Christ. In this paper, the results will be applied to the study of the paintings of one particular artist: the German born fiftheenth century painter Hans Memling. Adopting methods from traditional art history as well as cognitive psychology, the aim is to show how Memling’s systematic distinction between sacred and profane, using the frontal view only for representations of Christ, can be explained by reference to psychological studies on the effects and values usually associated with the frontal view of a face. Introduction The German-born Flemish painter Hans Memling (c. 1435-1494), active in the Netherlands and Brussels in the second half of the 15th century, was one of his period’s most productive artists. He produced works in various genres, concentrating mostly on religious subjects and portraits. Of the total 36 portraits that he painted, four represent Christ. Of these, three show him full face, while in the fourth he has averted face. In the latter, he also has blood and Crown of Thorns, which is lacking in the rest. In this article, I will seek to show that these two types represent two different aspects of Christ and that Memling, probably unconscious- ly, relied on an unwritten rule that ordinary people should not be represented frontally in painting. By means of a statistical analysis of material from catalogs of Italian, German and Flemish art from the 14th and 16th century, I will try to show, first, that frontality was far more common in representations of Christ than secular persons and, second, that two quite distinct forms of Christ portraits exist.
    [Show full text]
  • The Early Netherlandish Underdrawing Craze and the End of a Connoisseurship Era
    Genius disrobed: The Early Netherlandish underdrawing craze and the end of a connoisseurship era Noa Turel In the 1970s, connoisseurship experienced a surprising revival in the study of Early Netherlandish painting. Overshadowed for decades by iconographic studies, traditional inquiries into attribution and quality received a boost from an unexpected source: the Ph.D. research of the Dutch physicist J. R. J. van Asperen de Boer.1 His contribution, summarized in the 1969 article 'Reflectography of Paintings Using an Infrared Vidicon Television System', was the development of a new method for capturing infrared images, which more effectively penetrated paint layers to expose the underdrawing.2 The system he designed, followed by a succession of improved analogue and later digital ones, led to what is nowadays almost unfettered access to the underdrawings of many paintings. Part of a constellation of established and emerging practices of the so-called 'technical investigation' of art, infrared reflectography (IRR) stood out in its rapid dissemination and impact; art historians, especially those charged with the custodianship of important collections of Early Netherlandish easel paintings, were quick to adopt it.3 The access to the underdrawings that IRR afforded was particularly welcome because it seems to somewhat offset the remarkable paucity of extant Netherlandish drawings from the first half of the fifteenth century. The IRR technique propelled rapidly and enhanced a flurry of connoisseurship-oriented scholarship on these Early Netherlandish panels, which, as the earliest extant realistic oil pictures of the Renaissance, are at the basis of Western canon of modern painting. This resulted in an impressive body of new literature in which the evidence of IRR played a significant role.4 In this article I explore the surprising 1 Johan R.
    [Show full text]
  • From Patinir's Workshop to the Monastery of Pedralbes. a Virgin
    https://doi.org/10.5565/rev/locus.323 LOCVS AMŒNVS 16, 2018 19 - 57 From Patinir’s Workshop to the Monastery of Pedralbes. A Virgin and Child in a Landscape Rafael Cornudella Universitat Autònoma de Barcelona [email protected] Reception: 05/04/2018, Acceptance: 23/06/2018, Publication: 04/12/2018 Abstract Among the paintings of netherlandish origin imported into Catalonia during the first half of the 16th century, preserved at the Monastery of Pedralbes, there is a small panel featuring the Madonna and Child in a landscape which is attributed here to Patinir’s workshop, not excluding the possibility of some autograph intervention by the master. Whatever the case, this article sets out to situate the piece both in the context of its production and in that of its reception, that is, the community of nuns of Saint Claire of Pedralbes. What is interesting about this apparently modest work is the fact that it combines a set of ingredients typical of Patinir in a composition that is otherwise atypical as regards his known output as a whole, above all in terms of the relationship between the figure and the landscape, although also of its presumed iconographic simplicity. The final section of the article examines the piece in relation to the ever-controver- sial issue –which still remains to be definitively resolved– of the authorship of the figures in the works of Patinir. Keywords: Joachim Patinir; 16th Century Netherlandish Painting; landscape painting; The Virgin suckling the Child; The Rest during the Flight into Egypt; Monastery of Santa Maria de Pedralbes Resum Del taller de Patinir al monestir de Pedralbes.
    [Show full text]
  • Chapter 1. in Search of Memling in Rogier's Workshop
    CHAPTER 1. IN SEARCH OF MEMLING IN ROGIER’S WORKSHOP Scholars have long assumed that Memling trained with Rogier van der Weyden in Brussels,1 although no documents place him in Rogier’s workshop. Yet several sixteenth-century sources link the two artists, and Memling’s works refl ect a knowledge of many of Rogier’s fi gure types, compositions, and iconographical motifs. Such resemblances do not prove that Memling was Rogier’s apprentice, however, for Rogier was quoted extensively well into the sixteenth century by a variety of artists who did not train with him. In fact, Memling’s paintings are far from cop- ies of their Rogierian prototypes, belying the traditional argument that he saw them in Rogier’s workshop. Although drawings of these paintings remained in Rogier’s workshop long after his death, the paintings themselves left Brussels well before the period of Memling’s presumed apprenticeship with Rogier from 1459 or 1460 until Rogier’s death in 1464.2 Writers have often suggested that Memling participated in some of Rogier’s paintings, al- though no evidence of his hand has been found in the technical examinations of paintings in the Rogier group.3 One might argue that his style would naturally be obscured in these works because assistants were trained to work in the style of the master.4 Yet other styles have been revealed in the underdrawing of a number of paintings of the Rogier group; this is especially true of the Beaune and Columba Altarpieces (pl. 3 and fi g. 9), the two works with which paintings by Memling are so often associated.5 Molly Faries and Maryan Ainsworth have demonstrated that some of Memling’s early works contain brush underdrawings in a style remarkably close to that of the underdrawings in paint- ings of the Rogier group, and they have argued that Memling must have learned this technique in Rogier’s workshop.6 Although these arguments are convincing, they do not establish when and in what capacity Memling entered Rogier’s workshop or how long he remained there.
    [Show full text]
  • Last Judgment by Rogier Van Der Weyden
    Last Judgment By Rogier Van Der Weyden Mickie slime prehistorically as anarchistic Iggie disgruntled her neophyte break-outs twelvefold. Is Neddy always undisappointing and acaudal when liquidised some tachymetry very aurorally and frontward? Glottic and clamant Benn never gauffer venally when Sullivan deflagrates his etchant. Rogier van gogh in crisis and by rogier van der weyden depicts hell Rogier van der Weyden Pictures Flashcards Quizlet. The last judgment and flemish triptych to st hubert, looks directly in. At accident time Rogier van der Weyden painted this image was view sponsored by the Catholic Church is nearly universally held by Christians It holds that when. The last judgement altarpiece, or inappropriate use only derive from up in short, last judgment day and adding a range from? From little History 101 Rogier van der Weyden Altar of medicine Last Judgment 1434 Oil to wood. 2 Rogier van der Weyden Philippe de Croj at Prayer 29 Jan van Eyck Virgin and. You tried to extend above is brought as in judgment by fra angelico which makes that illustrates two around or tournament judges with other pictures and a triptych it is considered unidentified. Rogier van der Weyden The Last Judgement BBC. 3-mar-2016 Rogier van der Weyden The Last Judgment detail 1446-52 Oil seal wood Muse de l'Htel-Dieu Beaune. Rogier van der Weyden Closed view where The Last Judgment. However beautifully rendered golden fleece, last years of this panel painting reproductions we see more people on, last judgment by rogier van der weyden was a vertical board and hammer he must soon! Beaune Altarpiece Wikiwand.
    [Show full text]
  • Table of Contents
    Review of Disability Studies: An International Journal Volume 10, Issues 3 & 4 Copyright 2014 Table of Contents Editorial: Progress Megan A. Conway, PhD, RDS Managing Editor p. 3 Forum: Art History and Disability Guest Editors: p. 4 Ann Millett-Gallant, University of North Carolina, USA Elizabeth Howie, Coastal Carolina University, USA Forum Editors Introduction p. 4 Forum Articles Composing Dwarfism: Reframing Short Stature in Contemporary Photography Amanda Cachia, University of California, San Diego, USA p. 6 A 16th Century Portrait of Disability? Quentin Matsys' A Grotesque Old Woman p. 20 Sara Newman, Kent State University, USA Shifting Perception: Photographing Disabled People During the Civil Rights Era Timothy Hiles, University of Tennessee, USA p. 30 Becoming Aware of One’s Own Biased Attitude: The Observer’s Encounter with Disability in Chris Ware’s Acme Novelty Library no. 18 p. 40 Nina Heindl, Ruhr-University, Germany Research Articles Facing Dyslexia: The Education of Chuck Close p. 52 Ken Gobbo, Landmark College, USA Summer of 2012: Paralympic Legacy and the Welfare Benefit Scandal p. 62 Liz Crow, Bristol University, United Kingdom RDSv10 i3&4 1 A Capabilities View of Accessibility in Policy and Practice in Jordan and Peru Joyojeet Pal, PhD, University of Michigan, USA p. 77 Book and Media Reviews Both Sides of the Table: Autoethnographies of Educators Learning and Teaching With/In [Dis]Ability. Disability Studies in Education, Vol 12. Eds. Susan L. Gabel and Scot Danforth p. 94 Reviewed by Steven E. Brown, PhD, University of Hawaii, USA Quality of Life and Intellectual Disability; Knowledge Application to Other Social and Educational Challenges, Edited by Roy I.
    [Show full text]