2016 Recent Acquisitions
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SIMON DE VOS (1603 – Antwerp – 1676)
CS0371 SIMON DE VOS (1603 – Antwerp – 1676) The Lamentation Signed and dated, lower left: S. D Vos. in et F 1644 Oil on panel, 14½ x 17⅝ ins. (36.8 x 44.8 cm) PROVENANCE With James A. Gorry, Dublin, until Anonymous sale, Christie’s, London, 6 October, 1950, lot 123 Anonymous sale, Christie’s, London, 9 July 2014, lot 159 (The Property of a Lady) Private collection, England, until 2021 Born in Antwerp in 1603, Simon de Vos studied with the portraitist Cornelis de Vos (1603- 1676) before enrolling as a master in the Antwerp Guild of St. Luke in 1620. Subsequently, he is thought to have rounded off his education with a trip to Italy. Although undocumented, a sojourn in Italy during the 1620s is the only plausible explanation for the stylistic similarities that exist between some of his early genre scenes and those of the German-born artist Johann Liss (c. 1595-1631), who was in Rome and Venice at that time. In any event, de Vos was back in his hometown by 1627, the year in which he married Catharina, sister of the still-life painter Adriaen van Utrecht (1599-1652). He remained in Antwerp for the rest of his life. In his early career, Simon de Vos painted mostly cabinet-sized genre scenes. He specialised in merry company subjects, whose style and composition recall similar works by such Dutch contemporaries as Antonie Palamedesz. (1601-1673), Dirck Hals (1591-1656) and Pieter Codde (1599-1678). After about 1640, he turned increasingly to biblical subjects that show the influence of Frans Francken the Younger (1581-1642), Peter Paul Rubens (1577-1640) and Anthony van Dyck (1599-1641). -
Grand Island Express Verdict
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Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
Forest Scene Or a Panoramic View of Haarlem
ebony frames, Isaack van Ruysdael was also a paint of Haarlem on 14 March 1682, but may well have er. Jacob van Ruisdael's earliest works, dated 1646, died in Amsterdam, where he is recorded in January were made when he was only seventeen or eighteen. of that year. He entered the Haarlem painters' guild in 1648. It is One of the greatest and most influential Dutch not known who his early teachers were, but he prob artists of the seventeenth century, Ruisdael was also ably learned painting from his father and his uncle the most versatile of landscapists, painting virtually Salomon van Ruysdael. Some of the dunescapes every type of landscape subject. His works are char that he produced during the late 1640s clearly draw acterized by a combination of almost scientific on works by Salomon, while his wooded landscapes observation with a monumental and even heroic of these years suggest he also had contact with the compositional vision, whether his subject is a dra Haarlem artist Cornelis Vroom (c. 1591 -1661). matic forest scene or a panoramic view of Haarlem. Houbraken writes that Ruisdael learned Latin at Early in his career he also worked as an etcher. the request of his father, and that he later studied Thirteen of his prints have survived, along with a medicine, becoming a famous surgeon in Amster considerable number of drawings. dam. Two documents are cited by later authors in In addition to Ruisdael's numerous followers, support of the latter claim, the first being a register most important of which were Meindert Hobbema of Amsterdam doctors that states that a "Jacobus and Jan van Kessel (1641 /1642-1680), the names of Ruijsdael" received a medical degree from the Uni several other artists are associated with him by virtue versity of Caen, in Normandy, on 15 October 1676. -
The Rubenianum Quarterly
2012 The Rubenianum Quarterly 4 Rubens House and Rubenianum host important heritage event Dear Friends of the Rubenianum, On 18 October, the Rubens House and the Rubenianum were honoured by a Looking back at 2012, we can only memorable event, including a princely visit. On that evening, the King Baudouin be pleased at the momentum that the Foundation organized the annual festive gathering of its numerous heritage funds and Rubenianum community has gained their representatives. Given the recent collaborations between the Foundation and both the Rubens House and the Rubenianum, Antwerp served as an obvious location in the course of the past year: the for this year’s event. publication of a new Corpus volume; The meeting was preceded by a private visit of HRH Prince Lorenz, Patron of an intensified cooperation between the Heritage Fund of the King Baudouin Foundation. Under the expert guidance the Rubenianum and the RKD in of its curator Ben van Beneden, the Prince paid an extensive visit to the recently enriched Rubens House collection. After this visit, the intimate atmosphere of The Hague on the one hand and with the Kolveniershof’s attic offered a suitable setting for an exclusive viewing of the Antwerp’s Koninklijk Museum voor de Ganay Manuscript. This fascinating album is one of four known copies after the Schone Kunsten on the other; the lost theoretical notebook of Peter Paul Rubens. Purchased at the beginning of 2012 growing popularity of the Rubenianum by the King Baudouin Foundation, it was given on long-term loan to the Rubens lectures; the increased recognition from House. -
Call for Justice Museum Hof Van Busleyden Mechelen
Call for Justice Museum Hof van Busleyden Mechelen 23 MARCH - 24 JUNE 2018 ART AND LAW IN THE NETHERLANDS (1450-1650) Justice and injustice are two of the most prominent themes during the Golden Age of Netherlandish art in the fifteenth, sixteenth and seventeenth century. The dukes of Burgundy wanted to combine their territories in the Netherlands into one political entity, which in turn occasioned sweeping changes to the judicial system. They established central institutions, such as the Great Council of Mechelen, thereby effectively curtailing the authority of the local courts. While the legal process became more professional, it also became more cumbersome and less accessible. The discovery of the New World, the Dutch Revolt and the Spanish Inquisition unleashed a rampage of unprecedented horror. People who were different or held a different opinion were cruelly punished. Almost all the important painters of this period, from Rogier van der Weyden to Antoon van Dyck and Rembrandt all focused on the themes of justice, injustice and law in their work. They were inspired by examples of righteous behaviour in Biblical stories, allegories, myths and history. Their artworks show how crime is punished and provide solace for injustice. Contemporary abuses are mocked and denounced. The art of justice and injustice was used to decorate town halls and churches, and also penetrated the domestic sphere, mainly through books and prints. 1. Maarten de Vos The Tribunal of the Brabant Mint in Antwerp 1546 – KBC Snijders&Rockoxhuis, Antwerp © KBC Antwerpen Snijders&Rockoxhuis This painting almost serves as an introduction to the sixteenth-century iconography LADY JUSTICE of law. -
GERRIT ADRIAENSZ. BERCKHEYDE (1638 – Haarlem - 1698)
CS0345 GERRIT ADRIAENSZ. BERCKHEYDE (1638 – Haarlem - 1698) An evening View of the Kleine Houtpoort in Haarlem Signed, lower left: g berck Heyde Oil on panel, 12¼ x 17½ ins. (31 x 44.5 cm) PROVENANCE Private collection, United Kingdom, until 1992 Sale, Lawrence Fine Art of Crewkerne, Crewkerne, 14 May 1992, Lot 61 With Johnny Van Haeften Limited, London, 1992 Private collection, USA, 1992-2019 EXHIBITED Dutch and Flemish Old Master Paintings, Catalogue Eight, Johnny Van Haeften Limited, London, 1992, no. 2. NOTE We are reproducing here the catalogue entry from our exhibition catalogue of 1992 which was written by the late Professor Cynthia Lawrence, author of the 1991 monograph on Gerrit Berckheyde. Berckheyde’s panel presents a view of the Gasthuissingel, a canal intersecting with the Spaarne river to the south of Haarlem, with the Kleine Houtpoort in the right foreground. In the distance are two of the city’s other medieval monuments, the Kalistoren, a tower used to store powder, and, in the far distance, the Grote Houtpoort. A picturesque bridge leads out of the Kleine Houtpoort and over the river in the direction of the Haarlemmerwoud, a wooded area used for grazing and recreation. The composition of Berckheyde’s painting, as well as its soft golden light and lush atmospheric qualities, prompts comparisons with contemporary works by the French classicist Claude Lorrain which also include a prominent structure placed to one side of a body of water which recedes towards the rising or setting sun. While Berckheyde’s realistic depiction of this familiar Haarlem landmark evokes a sense of period ambiance, his analytical approach to composition, his geometric expression of forms, his stylized patterns of light and shadow and his apparent detachment from his subject create an impression of abstraction that strikes the twentieth-century eye as modern. -
Open Access Version Via Utrecht University Repository
Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p. -
PIETER GYSELS (1621 – Antwerp – 1690) A
VP4090 PIETER GYSELS (1621 – Antwerp – 1690) A Townscape with Figures working in Bleaching Fields in the foreground On copper – 9⅞ x 12⅜ ins (22.6 x 31.6cm) PROVENANCE R. H. van Schaik, Wassenaar, 1934 (as Jan Brueghel I) Sale, Dorotheum, Vienna, 29-30 June 1939 (as Jan Brueghel I) Mossel Sale, Muller, Amsterdam 11-18 March, 1952 (as Jan Brueghel I) EXHIBITED P. de Boer, De Helsche en de Fluweelen Brueghel, Amsterdam, Feb-March 1934, no. 71 (as Jan Brueghel I) LITERATURE Peter Sutton, exh. cat. The Age of Rubens, Museum of Fine Arts, Boston, Sept 1993 to January 1994; Toledo Museum of Art, Feb 1994 to April 1994, p. 476, illustr. NARRATIVE In a large green meadow, bordered by a canal, men and women are occupied in various activities connected with washing and bleaching linen. A woman draws water from a well, while washerwomen labour in an open washhouse, or rinse items of laundry in narrow tanks of water. Some hang out garments to dry on a line and others lay them on the grass to bleach in the sun. Over to the right, small pieces of linen and articles of clothing are spread out in neat patterns and, in the foreground, women peg out long strips of uncut cloth in parallel lines. A cow and two sheep graze nearby, while children play in the spring sunshine. On the far side of the field, a tall thatch-roofed farmhouse can be seen and, beyond it, a cluster of village houses. A shaft of sunlight illuminates the mellow, red brickwork and highlights the fresh green foliage of trees. -
Golden Age Art – Calvinist Restrictions EDITORIAL
Clarion THE CANADIAN REFORMED MAGAZINE VOLUME 47, NO. 14 JULY 10, 1998 Golden Age Art – Calvinist Restrictions EDITORIAL By N.H. Gootjes Christians and Art As Christians, we cannot ignore art. It exists, and we are stilled in them by the Spirit of God. It is no wonder, confronted with it. Painters, authors, and other artists want to then, that the knowledge of all that is most excellent in show us something about the world in which we live. They human life is said to be communicated to us through use the techniques of their art to confront people with their the Spirit of God.2 world, with themselves, and with (their view of) God. The Holy Spirit, according to Calvin, does more than re- In Scripture, art is present in two different ways: it con- newing people so that they may believe the gospel; He also tains artistic work and it refers to artistic work. Scripture is not works in scientists and artists. As a result of this assistance all written in an artistic way. A good example of very plain of the Spirit, scientists are able to produce studies that con- style can be found in the beginning chapters of Chronicles, tribute to the development of the world. Something similar where many lists of names are given. This does not mean that applies to artists. Since the Spirit works in them counteract- this part of the Bible is unimportant; it told Israel after the ing sin, they are able to produce artwork that is good. Babylonian captivity who belonged to what tribe, something Calvin attributes every valuable work of art to a special ac- they had to know when they had to build up life in Canaan tivity of the Holy Spirit. -
Dutch and Flemish Art in Russia
Dutch & Flemish art in Russia Dutch and Flemish art in Russia CODART & Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie) Amsterdam Editors: LIA GORTER, Foundation for Cultural Inventory GARY SCHWARTZ, CODART BERNARD VERMET, Foundation for Cultural Inventory Editorial organization: MARIJCKE VAN DONGEN-MATHLENER, Foundation for Cultural Inventory WIETSKE DONKERSLOOT, CODART English-language editing: JENNIFER KILIAN KATHY KIST This publication proceeds from the CODART TWEE congress in Amsterdam, 14-16 March 1999, organized by CODART, the international council for curators of Dutch and Flemish art, in cooperation with the Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie). The contents of this volume are available for quotation for appropriate purposes, with acknowledgment of author and source. © 2005 CODART & Foundation for Cultural Inventory Contents 7 Introduction EGBERT HAVERKAMP-BEGEMANN 10 Late 19th-century private collections in Moscow and their fate between 1918 and 1924 MARINA SENENKO 42 Prince Paul Viazemsky and his Gothic Hall XENIA EGOROVA 56 Dutch and Flemish old master drawings in the Hermitage: a brief history of the collection ALEXEI LARIONOV 82 The perception of Rembrandt and his work in Russia IRINA SOKOLOVA 112 Dutch and Flemish paintings in Russian provincial museums: history and highlights VADIM SADKOV 120 Russian collections of Dutch and Flemish art in art history in the west RUDI EKKART 128 Epilogue 129 Bibliography of Russian collection catalogues of Dutch and Flemish art MARIJCKE VAN DONGEN-MATHLENER & BERNARD VERMET Introduction EGBERT HAVERKAMP-BEGEMANN CODART brings together museum curators from different institutions with different experiences and different interests. The organisation aims to foster discussions and an exchange of information and ideas, so that professional colleagues have an opportunity to learn from each other, an opportunity they often lack. -
Observing Protest from a Place
VISUAL AND MATERIAL CULTURE, 13001700 Sheila McTighe Representing from LifeLife inin Seventeenth-century Italy FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Representing from Life in Seventeenth-century Italy FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late me- dieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the Nation- al Endowment for the Humanities, the American Association of University Wom- en, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Representing from Life in Seventeenth- century Italy Sheila McTighe Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Cover illustration: Claude Lorrain. An artist studying from nature. 1639. Oil on canvas. Cincinnati Art Museum, Ohio, USA / Gift of Mary Hanna / Bridgeman Images. Cover design: Coördesign, Leiden Lay-out: Newgen/Konvertus isbn 978 94 6298 328 1 e-isbn 978 90 4853 326 8 doi 10.5117/ 9789462983281 nur 685 © S.