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The Secrets of Tudor Art We Must Try to Put Ourselves Back Into the Minds of the Tudor Courtier
• The Tudors loved secrets, puzzles and word play and a lot of time and effort has gone into trying to understand what it all meant. • In order to decode the secrets of Tudor art we must try to put ourselves back into the minds of the Tudor courtier. • There were concepts that are alien or unknown to us today on which the interpretation hinges. • Some of the most important are the divine right of kings, magnificence, chivalry and melancholia. • I will start with one of the most puzzling – melancholia. Notes 1. Melancholy 2. The Accession Day Tilt 3. The Impressa 4. Symbolic meaning in Tudor art 5. Nicholas Hilliard, Young Man Amongst Roses. 6. Isaac Oliver, A Man Against a Background of Flames. 7. Nicholas Hilliard, Henry Percy, Earl of Northumberland 8. Ditchley Portrait, reject the Renaissance conventions of space and time 9. Armada Portrait 10. The Origins and Functions of the Portrait Miniature • See shafe.uk ‘Tudor: The Origins and Functions of the Portrait Miniature’ • Holbein, Mrs Jane Small • Simon Bening • Lucas Horenbout • Nicolas Hilliard, ‘Young Man Among Roses’, the Art of Limning • Isaac Oliver, Hilliard’s pupil and Limner to Queen Anne of Denmark 1604, Lord Herbert of Cherbury. • Levina Teerlinc 1 Nicholas Hilliard (1547–1619), Portrait of Henry Percy, Ninth Earl of Northumberland, c. 1594-1595, miniature on parchment, 25.7 x 17.3 cm (slightly small than A4), Rijksmuseum, Amsterdam Secret Knowledge • In order to explain what I mean by ‘secret knowledge’ I have selected one Elizabethan miniature and will spend some time analysing its many levels of meaning. -
Bruegel in Black and White Three Grisailles Reunited 2 Bruegel in Black and White Three Grisailles Reunited
Bruegel in Black and White Three Grisailles Reunited 2 Bruegel in Black and White Three Grisailles Reunited Karen Serres with contributions by Dominique Allart, Ruth Bubb, Aviva Burnstock, Christina Currie and Alice Tate-Harte First published to accompany Bruegel in Black and White: Three Grisailles Reunited The Courtauld Gallery, London, 4 February – 8 May 2016 The Courtauld Gallery is supported by the Higher Education Funding Council for England (hefce) Copyright © 2016 Texts copyright © the authors All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any storage or retrieval system, without the prior permission in writing from the copyright holder and publisher. isbn 978 1 907372 94 0 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Produced by Paul Holberton publishing 89 Borough High Street, London se1 1nl www.paul-holberton.net Designed by Laura Parker www.parkerinc.co.uk Printing by Gomer Press, Llandysul front cover and page 7: Christ and the Woman Taken in Adultery (cat. 3), detail frontispiece: Three Soldiers, 1568 (cat. 8), detail page 8: The Death of the Virgin, c. 1562–65 (cat. 1), detail contributors to the catalogue da Dominique Allart ab Aviva Burnstock rb Ruth Bubb cc Christina Currie ks Karen Serres at-h Alice Tate-Harte Foreword This focused exhibition brings together for the first At the National Trust, special thanks are due to David time Pieter Bruegel the Elder’s three surviving grisaille Taylor, Christine Sitwell, Fernanda Torrente and the staff paintings and considers them alongside closely related at Upton House. -
1991-92 Season
1991-92 Season i **«*„ INDIANA. ESSIONAL OPERA FOR INDIANA !M ~'e^ From A Blank Sheet Of Paper Cadillac Creates The New Seville Substance Takes Shape, Cadillac Style. Seville's independent Speed-Sensitive Suspension The objective was to create a luxury automobile that per continuously adapts to changing road conditions, for forms with the power, agility and road manners of a precise control and constant stability. So whether touring sedan. The result is you're stopping, starting, the 1992 Cadillac Seville, an cornering or accelerating, automobile with technologi you're instantly provided the cal components that work in correct level of firmness. harmony to bolster its per An advanced anti-lock formance capabilities. brake system helps protect Created from the inside out to appeal to the intellect as well as the senses Plower, of course, is you and your passengers essential. Seville's 4.9 liter V8 generates 200 from unexpected and sometimes horsepower, to make such necessary acts as passing and perilous driving situations. merging not only simple, but satisfying. An electronic Substance takes shape, Cadillac jj transmission makes gear changes Style, with the 1992 Seville. C A D I I L A C barely detectable. STYLE * Please call I-800-333-4CAD for product literature and the location of your nearest Cadillac dealer. YOUR CADILLAC DEALERS THE LUXURY LEADERS ^__r___r Buckle UpAmerica! ©1991 CM Corp All Rights Reserved The 1992 Seville. Substance Takes Shape, Cadillac Style. SEVILLE, table of § ontents Messages 3 Indianapolis Symphony Orchestra -
Visions and Meditations in Early Flemish Painting Craig Harbison
Visions and Meditations in Early Flemish Painting Craig Harbison Simiolus: Netherlands Quarterly for the History of Art, Vol. 15, No. 2. (1985), pp. 87-118. Stable URL: http://links.jstor.org/sici?sici=0037-5411%281985%2915%3A2%3C87%3AVAMIEF%3E2.0.CO%3B2-X Simiolus: Netherlands Quarterly for the History of Art is currently published by Stichting voor Nederlandse kunsthistorishes publicaties. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/svnk.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is an independent not-for-profit organization dedicated to and preserving a digital archive of scholarly journals. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Sat May 19 12:02:39 2007 Visions and meditations in early Flemish paintingX Craig Harbison In fifteenth-century Flanders we find a religious art in gious movements at the time, of which the chief w.as which individual piety is the prime motivating force; known as the Modern Devotion, were specificall!- dedi- not scholastic disputation, transcendent ecstasy or litur- cated to mot-ing beyond the monastic perimeters which gical ritual, but a calculated, personal religious espe- had at least partly restricted earlier revitalization ef- rience, the vision or meditation is found at the center of forts.' La!- brother and sisterhoods and the use of the things. -
Bruegel the Hand of the Master
BRUEGEL THE HAND OF THE MASTER The 450th Anniversary Edition BRUEGEL THE HAND OF THE MASTER Essays in Context Edited by Alice Hoppe-Harnoncourt, Elke Oberthaler, Sabine Pénot, Manfred Sellink and Ron Spronk CONTENTS 8 Introduction: 96 Pieter Bruegel the Elder and 210 Dendroarchaeology of the Panels ESSAYS FROM THE VIENNA EXHIBITION E-BOOK (2018) Bruegel between 2019 and 2069 Flemish Book Illumination by Pieter Bruegel the Elder in the Stefan Weppelmann Till-Holger Borchert Kunsthistorisches Museum, Vienna Pascale Fraiture 336 Leading the Eye and Staging the Composition. Some Remarks 12 Pieter Bruegel: A Preliminary 114 Traces of Lost Pieter Bruegel on Pieter Bruegel the Elder’s Reconstruction of his Network Paintings Revealed through 228 Bruegel’s Panel Paintings in Vienna: Compositional Techniques Jan Van der Stock Derivative Paintings, Phantom Some Remarks on their Research, Manfred Sellink Copies and Dealer Practices Construction and Condition 30 ‘Die 4. Jahrs Zeiten, fecit der alte Ingrid Hopfner and Georg Prast Hans J. van Miegroet 358 The Rediscovery of Pieter Bruegel Brueghel.’ The Changing Story the Elder. The Pioneers of Bruegel of Bruegel’s Cycle of the Seasons 124 Observations on the Genesis of 248 Survey of the Bruegel Paintings Scholarship in Belgium and Vienna in the Imperial Collection Pieter Bruegel the Elder’s of the Kunsthistorisches Museum Sabine Pénot Alice Hoppe-Harnoncourt The Conversion of Saul and the from a Technological Point of View Sabine Stanek, Václav Pitthard, Katharina Uhlir, Examination of Two Copies Martina Griesser and Elke Oberthaler 372 Antwerp – Brussels – Prague – 46 Functions of Drawings Christina Currie and Dominique Allart Vienna. -
TASTE and PRUDENCE in the ART of JUSEPE DE RIBERA by Hannah Joy Friedman a Dissertation Submitted to the Johns Hopkins Universit
TASTE AND PRUDENCE IN THE ART OF JUSEPE DE RIBERA by Hannah Joy Friedman A dissertation submitted to the Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland May, 2016 Copyright Hannah Joy Friedman, 2016 (c) Abstract: Throughout his long career in southern Italy, the Spanish artist Jusepe de Ribera (1591- 1652) showed a vested interest in the shifting practices and expectations that went into looking at pictures. As I argue, the artist’s evident preoccupation with sensory experience is inseparable from his attention to the ways in which people evaluated and spoke about art. Ribera’s depictions of sensory experience, in works such as the circa 1615 Five Senses, the circa 1622 Studies of Features, and the 1637 Isaac Blessing Jacob, approach the subject of the bodily senses in terms of evaluation and questioning, emphasizing the link between sensory experience and prudence. Ribera worked at a time and place when practices of connoisseurship were not, as they are today, a narrow set of preoccupations with attribution and chronology but a wide range of qualitative evaluations, and early sources describe him as a tasteful participant in a spoken connoisseurial culture. In these texts, the usage of the term “taste,” gusto, links the assessment of Ribera’s work to his own capacity to judge the works of other artists. Both taste and prudence were crucial social skills within the courtly culture that composed the upper tier of Ribera’s audience, and his pictures respond to the tensions surrounding sincerity of expression or acceptance of sensory experience in a novel and often satirical vein. -
The Missing Miniatures of the Hours of Louis Quarré
Volume 10, Issue 1 (Winter 2018) The Missing Miniatures of the Hours of Louis Quarré Anne Margreet W. As-Vijvers [email protected] Recommended Citation: Anne Margreet W. As-Vijvers, “The Missing Miniatures of the Hours of Louis Quarré,” Journal of Historians of Netherlandish Art 10:1 (Winter 2018) DOI: 10.5092/jhna.2018.10.1.2 Available at https://jhna.org/articles/missing-miniatures-hours-louis-quarre/ 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 The Missing Miniatures of the Hours of Louis Quarré Anne Margreet W. As-Vijvers Several dispersed miniatures are here identified as belonging to the Hours of Louis Quarré (Oxford, Bodleian Library, Ms Douce 311). The original decorative program of the Quarré Hours is analyzed and the cuttings traced thus far are reintegrated into the manuscript. The Quarré Hours, which was probably produced in two stages, is situated in the oeuvre of the Master of the First Prayer Book of Maximilian. The provenances of the parent manuscript and cuttings are reconstructed in an attempt to determine when the Quarré Hours lost its miniatures. 1 On April 5, 1832, the antiquary and collector Francis Douce (1757–1834) attained a “beautiful horae at Hurd’s sale,” as he described the newest acquisition in his “Collecta” (notebooks).1 The price he paid for the volume, which is currently known as the Hours of Louis Quarré, was the highest that Douce is recorded as having spent on a manuscript. -
The Genre of Calendar Illustrations from Origins to Lucas and Maarten Van Valckenborch
GHENT UNIVERSITY FACULTY OF ARTS AND PHILOSOPHY THE CYCLE OF THE YEAR: THE GENRE OF CALENDAR ILLUSTRATIONS FROM ORIGINS TO LUCAS AND MAARTEN VAN VALCKENBORCH. VOLUME I. A Thesis Submitted in 00902394 Partial Fulfillment of the Master in Art Science Requirements for the Degree Academic Year 2009- 2010. Of Master of Arts in Art Science at Ghent University Promoter: Prof. Dr. M. Martens By Nadya Lobkova Promoter: Prof. Dr. M. Martens CONTENTS VOLUME I: TEXT INTRODUCTION CHAPTER I: EMERGENCE AND FORMATION OF THE CALENDAR ICONOGRAPHY. 1. The vision of time and the year cycle in the medieval and Early Modern world picture. 2. Seasons and months in visual arts in antiquity: from allegory to the new concept. 3. Calendar illustrations in Early and High Middle Ages: 3.1. Early Middle Ages: formation of the iconography; 3.2. Moths in the High Middle Ages: regional variations; 3.3. The concept of labour in the Middle Ages. CHAPTER II: TRANSFORMATIONS OF THE GENRE BETWEEN THE LATE MIDDLE AGES AND PIETER BRUEGEL THE ELDER. 1. Calendar illustrations in Très Riches Heurs du Duc de Berry of the brothers Limbourg. 2. Calendar illustrations in XV-XVI centuries: 2.1. Page lay-out. 2.2. Iconography. 2.3. Nature and city. 3. Genre mass-produced: transition into new media. 4. Bruegel‘s Twelve Months: the crossbreeding of calendar and landscape: 5.1. The genre of landscape in the first half of the 16th century. 5.2. Bruegel‘s cycle Twelve Months: the problems of iconography. 5.3. Composition of the cycle. 5.4. Bruegel‘s drawings Spring and Summer. -
99060 Van Eyck UTP 18 Voorwerk.Indd
Contents Editors’ Preface IX Notes to the Reader XI Abbreviations XIII PART I. THE GHENT ALTARPIECE 1 The Ghent Altarpiece Revisited: 2012-2017 Anne van Grevenstein-Kruse and Hélène Dubois 3 2 Gems in the Water of Paradise. The Iconography and Reception of Heavenly Stones in the Ghent Altarpiece Marjolijn Bol 35 3 The Adoration of the Lamb. Philip the Good and Van Eyck’s Just Judges Luc Dequeker 51 4 ‘Revenons à notre Mouton’. Paul Coremans, Erwin Panofsky, Martin Davies and the Mystic Lamb Hélène Dubois, Jana Sanyova and Dominique Vanwijnsberghe 67 5 Results of Three Campaigns of Dendrochronological Analysis on the Ghent Altarpiece (1986-2013) Pascale Fraiture 77 6 Research into the Structural Condition and Insights as to the Original Appearance of the Panels and Frames of the Ghent Altarpiece Aline Genbrugge and Jessica Roeders 97 7 Small Hairs. Meaning and Material of a Multiple Detail in the Ghent Altarpiece’s Adam and Eve Panels Ann-Sophie Lehmann 107 8 Le rôle du dessin sous-jacent et de l’ébauche préparatoire au lavis dans la genèse des peintures de l’Agneau Mystique Catheline Périer-D’Ieteren 121 9 Art and Compensation. Joos Vijd and the Programme of the Ghent Altarpiece Bernhard Ridderbos 137 10 John the Baptist and the Book of Isaiah in the Ghent Altarpiece Patricia Stirnemann, Claudine A. Chavannes-Mazel and Henry Dwarswaard 145 11 La présentation de l’Agneau Mystique dans la chapelle Vijd. Le rapprochement progressif de deux retables Hélène Verougstraete 157 12 The Frames by Schinkel for the Wings of the Ghent Altarpiece and the Copies in Berlin Bettina von Roenne 179 PART II. -
Painting Blindness and Obstructing Vision Rembrandt and the Senses
University of Bergen Department of Linguistic, Literary, and Aesthetic Studies KUN 350 Master’s Thesis in Art History Spring, 2014 Painting Blindness and Obstructing Vision Rembrandt and the Senses Samantha L. Smith 0 Sammendrag/ Norwegian Abstract Denne avhandlingen tar for seg tre malerier av den nederlandske kunstneren Rembrandt van Rijn (1606-1669), og analyserer dem med fokus på tre beslektede temaene blindhet, syn og berøring. Dette temavalget er basert på Rembrandts frekvente bruk av blindhet som motiv. Den teoretiske diskusjonen i avhandlingen er inspirert av Svetlana Alpers analyse i et kapittel fra hennes bok om Rembrandt «The Master's Touch» og av den franske filosofen Jacques Derridas bok «Memoirs of the Blind». Jeg bruker Derridas begrep parergon og ruin for å utforske hvordan vår opplevelse av maleriet blir berørt både av det vi ser og det vi ikke ser, av både det synlige og det usette. Verkene analyseres både i et historisk og et nåtidig lys, ved å utforske hva maleriene kommuniserte til seere da de ble malt, og hva de kommuniserer til moderne seere. I avhandlingen drøfter jeg ulike implikasjoner av konseptet blindhet, i tillegg til å diskutere framstillingen av sansene syn og berøring. På denne måten vil avhandlingen også rette søkelyset mot betydningen av berøring i vår opplevelse av maleri, en tilnærming knyttet til det som er blitt kalt 'the sensory turn'. 1 Acknowledgements Firstly, I would like to express my gratitude to my tutor Jørgen Bakke for his, critical eye, confidence in my project and the clarifying conversations. Thank you to the members of ‘Vitensbilder’ research group. -
November 2006 Journal
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. 23, No. 2 www.hnanews.org November 2006 A Newly Discovered Rubens at the Getty Peter Paul Rubens, The Calydonian Boar Hunt (c. 1611-1612) Oil on panel, 59 × 90.2 cm. The J. Paul Getty Museum, Los Angeles (Courtesy of the J. Paul Getty Museum) HNA Newsletter, Vol. 23, No. 2, November 2006 1 From the President In Memoriam I begin this brief editorial on a sad note: I recently learned of the death this past July of our colleague, Cynthia Lawrence, after an extremely lengthy and exhausting battle with cancer. To those of us who knew her, we fondly remember a first-rate scholar and, more importantly, a first-rate person who enriched the lives of all of us who were fortunate enough to have befriended her. She will be sorely missed. Please be sure to read the obituary that our colleague, Barbara Haeger, prepared especially for this issue of the Newsletter. I have recently returned to teaching and administrative duties here at Syracuse University after having enjoyed a sabbatical during the 2005-06 academic year. Despite the added work loads and constraints on my already limited time, this re-entry into academe has been thoroughly enjoyable. Instead of spending the entire year myopically focused on the topic of my own research – Hendrick ter Brugghen – my renewed responsibilities have forced me to think in much broader terms about our discipline, more specifically, about the various fields in which our membership curates, teaches, and writes. -
Jan De Beer's Lifetime Reputation and Posthumous Fate
Volume 7, Issue 2 (Summer 2015) Jan de Beer’s Lifetime Reputation and Posthumous Fate Dan Ewing [email protected] Recommended Citation: Dan Ewing, “Jan de Beer’s Lifetime Reputation and Posthumous Fate,” JHNA 7:2 (Summer 2015) DOI: 10.5092/jhna.2015.7.2.1 Available at https://jhna.org/articles/jan-de-beers-lifetime-reputation-posthumous-fate/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 JAN DE BEER’S LIFETIME REPUTATION AND POSTHUMOUS FATE Dan Ewing This article assembles the evidence for the lifetime reputation of the Antwerp painter Jan de Beer (ca. 1475–1527/28), rediscovered by Georges Hulin de Loo and Max J. Friedländer in the early twentieth century. At the time of their publications little was known about the artist’s life, but the evidence now available concerning his important reputation includes archival sources published since Friedländer’s day, an unpublished contract, early literary sources, and reevalu- ations of the artist’s work for the guild and church. The factors involved in his late sixteenth-century disappearance from the historical record are also analyzed. DOI: 10.5092/jhna.2015.7.2.1 1 n 1902, while examining early Netherlandish drawings in the British Museum, the Ghent scholar Georges Hulin de Loo recognized the inscription in the upper left corner of a sheet of head studies catalogued by the museum as a work of Joachim Patinir (fig.