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Multo in Parvo: Joris Hoefnagel's Illuminations

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Multo in Parvo: Joris Hoefnagel's Illuminations MULTO IN PARVO: JORIS HOEFNAGEL’S ILLUMINATIONS AND THE GATHERED PRACTICES OF CENTRAL EUROPEAN COURT CULTURE by JOAN BOYCHUK B.A., McGill University, 2004 M.A., McGill University, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Art History and Theory) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2016 © Joan Boychuk, 2016 Abstract This dissertation examines the works of illumination produced by the itinerant Flemish miniator, Joris Hoefnagel (1542-1600), during his tenure as court artist to the Wittelsbachs and Habsburgs in the last two decades of the sixteenth century. Comprising illuminated manuscripts as well as independent miniatures, the works at the center of this study provide novel insight into Hoefnagel’s practice as an illuminator and also into the status and function of illumination at the Central European courts of Munich, Ambras, and Prague. Not simply extending a traditional interest in the medium at these sites, Hoefnagel’s works on parchment transformed illumination into a new form bringing together a range of practices and discourses associated with the courts, with humanism, and with emerging disciplines dedicated to the production of new knowledge. Artistically inventive and conceptually productive, Hoefnagel’s compositions helped shaped an identity for the artist as a hieroglyphicus—an initiate into and maker of a privileged language of representation. Unlike other medieval and early modern art, the illuminated page could bring together, on one surface, different media (text and image), genres (heraldry, portraiture, nature studies, biblical narrative, and ornament, among others), and modes of representation (realism, illusionism, symbolism, and abstraction). This study shows that the persistence of illumination into the late 1500s—particularly in the form of Hoefnagel’s projects—stemmed from this aggregative character. The medium enabled the artist to present his viewers with diverse and innovative compositions of pictorial and textual content. Set against the contemporary interest in assemblage which shaped the early modern Kunstkammer and led to the production of atlases, natural history albums, and other compendia, Hoefnagel’s artworks come into focus as dialogic responses to these surrounding processes of aggregation. ii Preface This dissertation is an original intellectual product of the author, J. Boychuk. Chapter Three. A version of this material was presented as “Parataxis and Disjunctive Time: Joris Hoefnagel’s Artistic Interaction with the Habsburg Kunstkammer,” Renaissance Society of America Conference, San Diego, USA, 4-6 April 2013. iii Table of Contents Abstract ..................................................................................................................................... ii Preface ...................................................................................................................................... iii Table of Contents ..................................................................................................................... iv List of Figures ........................................................................................................................... v Acknowledgements ................................................................................................................. xii Dedication .............................................................................................................................. xiii Chapter 1 Introduction ............................................................................................................. 1 A Flemish Illuminator at the Courts of Central Europe ..................................................................... 7 Hoefnagel’s Illuminations in Context ................................................................................................ 9 Overview of Chapters ....................................................................................................................... 18 Chapter 2 Copious Margins: The Missal of Archduke Ferdinand II of Tyrol ...................... 23 Malwercksarbait an ainem Meßpuch: The Making of an Illuminated Manuscript ......................... 26 In Margine: Hoefnagel’s Marginalia ................................................................................................ 36 Exornator Hieroglyphicus: Between Illumination and Emblem ...................................................... 46 Illumination at the Ambras and Munich Courts ............................................................................... 60 Conclusion: The Persistent Medium ................................................................................................ 80 Chapter 3 Ideal Assemblage: The Schriftmusterbuch of Emperor Rudolf II ......................... 82 With Quill and Brush: The Collaboration of a Secretarius and an Exornator ................................. 86 Kaiserliche Majestät Diener: Hoefnagel as Imperial Court Artist .................................................. 92 A Belgian Zeuxis at the Imperial Court ........................................................................................... 97 Recontextualizing the Legacies of Illumination ............................................................................. 112 Conclusion: A Vessel Full of Wisdom ........................................................................................... 130 Chapter 4 From Manuscript to Miniature: Hoefnagel’s Independent Illuminations ........... 135 The Mobility of Hoefnagel’s Miniatures ....................................................................................... 139 Variety and Visual Flux: Hoefnagel’s Composite Miniatures ....................................................... 143 Citing Antiquity: Cultural Transfer North of the Alps ................................................................... 148 Harnessing Nature: The Representation and Collection of Natural Matter ................................... 166 Conclusion: Between Center and Frame ........................................................................................ 189 Chapter 5 Conclusion ........................................................................................................... 192 Figures ................................................................................................................................... 200 Bibliography ......................................................................................................................... 267 iv List of Figures Figure 1.1 Joris Hoefnagel, View of Seville with Allegorical Frame, 1573. Gouache and watercolor on parchment, 21.6 cm x 32.3 cm. Brussels, Bibliothèque Royale de Belgique, Inv. Nr. SI 23.045. Image reproduced by permission of the Bibliothèque Royale de Belgique ………………………………………….200 Figure 2.1 Joris Hoefnagel, Missal, fol. 37v, ca. 1581-ca. 1590. Gouache and watercolor on parchment, 39.2 cm x 28.6 cm. Vienna, Österreichische Nationalbibliothek, Cod. 1784 Han. Image reproduced by permission of the ÖNB/Wien………………………………………………………………….201 Figure 2.2 Joris Hoefnagel, Missal, fol. 197r, ca. 1581-ca. 1590. Gouache and watercolor on parchment, 39.2 cm x 28.6 cm. Vienna, Österreichische Nationalbibliothek, Cod. 1784 Han. Image reproduced by permission of the ÖNB/Wien………………………………………………………………….202 Figure 2.3 Joris Hoefnagel, Missal, fol. 3r, ca. 1581-ca. 1590. Gouache and watercolor on parchment, 39.2 cm x 28.6 cm. Vienna, Österreichische Nationalbibliothek, Cod. 1784 Han. Image reproduced by permission of the ÖNB/Wien……………………….…………………………………………203 Figure 2.4 Joris Hoefnagel, Missal, fol. 637v, ca. 1581-ca. 1590. Gouache and watercolor on parchment, 39.2 cm x 28.6 cm. Vienna, Österreichische Nationalbibliothek, Cod. 1784 Han. Image reproduced by permission of the ÖNB/Wien………………………………………………………………….204 Figure 2.5 Joris Hoefnagel, Missal, fols. 310v and 311r, ca. 1581-ca. 1590. Gouache and watercolor on parchment, 39.2 cm x 28.6 cm. Vienna, Österreichische Nationalbibliothek, Cod. 1784 Han. Image reproduced by permission of the ÖNB/Wien………………………………………………………………….205 Figure 2.6 Joris Hoefnagel, Missal, fol. 318v, ca. 1581-ca. 1591. Gouache and watercolor on parchment, 39.2 cm x 28.6 cm. Vienna, Österreichische Nationalbibliothek, Cod. 1784 Han. Image reproduced by permission of the ÖNB/Wien………………………………………………………………….206 Figure 2.7 Joris Hoefnagel, Missal, fols. 318v and 319r, ca. 1581-ca. 1590. Gouache and watercolor on parchment, 39.2 cm x 28.6 cm. Vienna, Österreichische Nationalbibliothek, Cod. 1784 Han. Image reproduced by permission of the ÖNB/Wien………………………………………………………………….207 Figure 2.8 Joris Hoefnagel, Missal, fols. 213v and 214r, ca. 1581-ca. 1590. Gouache and watercolor on parchment, 39.2 cm x 28.6 cm. Vienna, Österreichische Nationalbibliothek, Cod. 1784 Han. Image reproduced by permission of the ÖNB/Wien…………….…………………………………………………. ..208 v Figure 2.9 Joris Hoefnagel, Hans von Aachen, and Aegidius Sadeler, Cursus/Hermathena, ca. 1589. Engraving, 39.8 cm x 29.6 cm. Amsterdam, Rijksmuseum, Inv. RP-P-OB 7026. Image reproduced by permission of the Rijksmuseum………………………………………………………………..209 Figure 2.10 Joris Hoefnagel, Missal, fol. 34v, ca. 1581-ca. 1590. Gouache and watercolor on parchment, 39.2 cm x 28.6 cm. Vienna, Österreichische Nationalbibliothek, Cod. 1784 Han. Image reproduced by permission of the ÖNB/Wien………………………………………………………………….210
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