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Technical Examination of the Emerson-White Book of Hours
Mayer et al. Herit Sci (2018) 6:48 https://doi.org/10.1186/s40494-018-0211-4 RESEARCH ARTICLE Open Access Technical examination of the Emerson‑White Book of Hours: observations on pigment preferences and media application in a Flemish manuscript Debora D. Mayer1*, Hope Mayo2, Erin Mysak3, Theresa J. Smith4 and Katherine Eremin5 Abstract The Emerson-White Hours (MS Typ 443–443.1, Houghton Library, Harvard University) is a book of hours and missal produced in Valenciennes, Bruges, and Ghent in the late 1470s or early 1480s. There are seven full-page miniatures (many more have been removed), fourteen historiated borders, 28 historiated initials, and 24 calendar illustrations in tempera and gold. Text pages have shell gold trompe-l’oeil borders. The illuminators include Simon Marmion, the Master of the Houghton Miniatures (named for this manuscript), the Master of the Dresden Prayerbook, and one of the Ghent Associates. The goal of analysis was to determine if identifcation of palettes supported previous stylistic attributions. Focusing on the illuminations attributed to Simon Marmion and the Houghton Master, we demonstrate that technical analysis can support attribution by identifying diferences in artists’ pigment preferences, pigment blending, and technique of paint application, particularly how the artists render shadows. Keywords: Illuminated manuscript, Book of hours, Flemish, Technical study, Pigment identifcation, Artists’ technique, Simon Marmion, Houghton Master, Master of the Dresden Prayerbook, Ghent Associates, Shell brass, Harvard Introduction compline (before sleep). In addition to standard texts Te Emerson-White Hours (MS Typ 443–443.1, found in books of hours—calendar, Hours of the Virgin, Houghton Library, Harvard University) is a book of Hours of the Cross, Hours of the Holy Spirit, Sufrages hours-missal that includes a wide range of liturgical texts to the saints, Penitential psalms and litany, Ofce of the and an extensive program of illumination executed in Dead—the manuscript contains a considerable num- Bruges, Ghent, and Valenciennes ca. -
Curriculum Vitae of Maryan Wynn Ainsworth
Curriculum Vitae of Maryan Wynn Ainsworth Department of European Paintings The Metropolitan Museum of Art 1000 Fifth Avenue New York, New York 10028 Phone: (212) 396-5172 Fax: (212) 396-5052 e-mail: [email protected] EDUCATION Yale University, New Haven, Conn., Department of History of Art Ph.D., May 1982 M. Phil., May 1976 Doctoral dissertation, “Bernart van Orley as a Designer of Tapestry” Oberlin College, Oberlin, Ohio, Department of Art History M.A., May 1973 B.A., January 1972 Master’s thesis, “The Master of St. Gudule” Independent art-history studies in Vienna (1969), Mainz (1973–74), and Brussels (1976–77) PROFESSIONAL EXPERIENCE The Metropolitan Museum of Art, New York Department of European Paintings Curator of European Paintings, 2002–present Research on Northern Renaissance paintings at The Metropolitan Museum of Art, with emphasis on the integration of technical examination of paintings with art-historical information; curating exhibitions; cataloguing the fifteenth- and sixteenth-century Netherlandish and German paintings in the collection; teaching courses on connoisseurship and Northern Renaissance paintings topics for Barnard College and Columbia University; directing the Slifka Fellowship program for art historians at the graduate level; departmental liaison and coordinator, European Paintings volunteers (2008–16) Paintings Conservation, Conservation Department Senior Research Fellow, 1992–2001 Research Fellow, 1987–92 Senior Research Associate, 1982–87 Research Investigator, 1981–82 Interdisciplinary research -
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). -
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. -
Holy Shit: Bosch's Bluebird and the Junction of the Scatological and The
Marginalia, October 2010 28 Holy Shit: Bosch’s Bluebird and the Junction of the Scatological and the Eschatological in Late Medieval Art Marisa Mandabach Harvard University* In the ‗Hell‘ panel of the Garden of Earthly Delights (ca. 1500), a devil with the head of a bird and a humanoid body with glowing blue skin devours one naked soul and drops two more, in a transparent blue bubble, into a cesspool (Figure 1). Its black eye conveys no hint of consciousness; glinting with two white highlights, it is all surface and all abyss. Although the orifice that expels the bubble is hidden by the seat of a throne-like privy chair, in its hue the bub- ble is a material extension of the devil‘s body, a body shown to be doubly po- Figure 1: Hieronymus Bosh (Netherlandish, ca. 1450-1516) Garden of Earthly Delights, ca. 1500 Detail from interior right panel: "Bird-headed devil" Museo del Prado, Madrid. Image courtesy of Erich Lessing / Art Resource, NY *I would like to express my thanks to Jeffrey F. Hamburger who helped inspire this paper. Marginalia, October 2010 29 rous: half-ruptured from the bubble, a naked male falls from one abjection to- wards another, his arms still flailing inside the blue membrane, his legs dan- gling over the cesspool he will join. Another victim follows him headfirst. Their tormentor is an eating and defecating machine. Moreover, the half-eaten victim in its raised claw has been infected with the latter of these modes, releasing (no doubt in terror, as in a literal ‗fight or flight‘ response) a smoky cloud of black- birds from his or her anus. -
Allgemeines Künstlerlexikon - Internationale Künstlerdatenbank Meister Des Älteren Gebetbuches Maximilians I
AKL LXXXVIII, 2016, 298 Allgemeines Künstlerlexikon - Internationale Künstlerdatenbank Meister des älteren Gebetbuches Maximilians I. Kesel, Lieve De Künstler ID: _00196848 Thieme-Becker Name: Meister des Hortulus animae Weitere Namen: Master of the Hortulus Animae; Master of the Older Prayerbook of Maximilian; Meister des Gebetbuches Kaiser Maximilians; Maximilian Master; Master of the First Prayerbook of Maximilian; Maximilianmeister; Meister des ersten Gebetbuches Maximilians I. Evtl. Identität: Bening, Simon; Bening, Alexander; Horenbout, Gerard Geschlecht: männlich Beruf: Buchmaler GEO-Nachweis: Gent Staat: Belgien; Niederlande Erwähnungsdatum: (um) 1480/(um) 1515 PND-ID: gnd/186042922 (M. des Hortuluss Animae) Fundstelle: AKL LXXXVIII, 2016, 298 Artikel Vita Meister des älteren Gebetbuches Maximilians I. (Maximilianmeister; Meister des Ersten Gebetbuches Maximilians I.), fläm. Buchmaler, wohl v.a. in Gent um 1480 bis um 1515 tätig. Biogramm Die namengebende Hs. (Wien, Österr. NB, Cod. 1907) wurde für Maximilian I. von Habsburg nach 1486 gefertigt. Ab 1482 bis 1493 ist er Herzog von Burgund und in erster Ehe mit Maria von Burgund verh., die 1482 stirbt. Vier Jahre nach deren Tod wird er 1486 zum röm.-dt. König gekürt, ab 1493 ist er Erzherzog von Österreich und ab 1508 Kaiser des Hl. Röm. Reiches dt. Nation. In dieser Hs. ist der junge König Maximilian auf einer ganzseitigen Min. abgebildet, kniend vor dem hl. Sebastian (fol. 61v); diese Porträt-Min. ist die bekannteste aus diesem Ms., das fünf ganzseitige Min. und drei historisierte goldgrundierte Initialen enthält. Friedrich Winkler (1925) wies darauf hin, dass der Malstil vieler Min. in versch. Mss. (inklusive der Ser. im namengebenden Ms. in Wien) den Schluss zulässt, dass diese von dem Maler stammen könnten, der den Hortulus animae (Wien, Österr. -
The Turin-Milan Hours: Revised Dating and Attribution
Volume 6, Issue 2 (Summer 2014) The Turin-Milan Hours: Revised Dating and Attribution Carol Herselle Krinsky Recommended Citation: Carol Herselle Krinsky, “The Turin-Milan Hours: Revised Dating and Attribution,” JHNA 6:2 (Summer 2014), DOI: 10.5092/jhna.2014.6.2.1 Available at https://jhna.org/articles/turin-milan-hours-revised-dating-attribution/ 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 is a revised PDF that may contain different page numbers from the previous version. Use electronic searching to locate passages. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 6:2 (Summer 2014) 1 THE TURIN-MILAN HOURS: REVISED DATING AND ATTRIBUTION Carol Herselle Krinsky Identifying Jan van Eyck as Hand G of the Turin-Milan Hours depends substantially on the identification of Duke John of Bavaria as sometime owner of the manuscript. Although the Turin-Milan Hours contains the arms of Hainaut, Holland, and Bavaria, the duke had legal claim only to parts of Holland. Neither the Estates of Hainaut nor Countess Jacqueline of Bavaria, heiress of John’s brother, recognized his sovereignty in Hainaut. The arms on fol. 93v are likely those of the still-unknown owner. The manuscript was probably finished in one campaign circa 1450 in Bruges, not in the several campaigns of work that scholars have usually proposed. Jan van Eyck was therefore not among the illuminators. -
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. -
A Tüchlein by Justus Van Ghent: the Adoration of the Magi in the Metropolitan Museum of Art Re-Examined
Volume 8, Issue 1 (Winter 2016) A Tüchlein by Justus van Ghent: The Adoration of the Magi in the Metropolitan Museum of Art Re-Examined Sophie Scully [email protected] Christine Seidel [email protected] Recommended Citation: Sophie Scully and Christine Seidel, “A Tüchlein by Justus van Ghent: The Adoration of the Magi in the Metropolitan Museum of Art Re-Examined,” JHNA 8:1 (Winter 2016), DOI: 10.5092/ jhna.2016.8.1.3 Available at https://jhna.org/articles/tuchlein-justus-van-ghent-adoration-of-the-magi-metropoli- tan-museum-of-art-re-examined/ 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 A TÜCHLEIN BY JUSTUS VAN GHENT: THE ADORATION OF THE MAGI IN THE METROPOLITAN MUSEUM OF ART RE-EXAMINED Sophie Scully, Christine Seidel This paper presents the results of a noninvasive technical examination carried out on the Adoration of the Magi at the Metropolitan Museum of Art, New York (fig. 1) in 2014. The tüchlein has been attributed to Justus van Ghent. The exam- ination sought to identify any underdrawing and to further understand the ways in which the painting technique relates to specific working practices found in contemporary tüchlein paintings and in the group of works directly associated with Justus van Ghent, who, next to Hugo van der Goes, is thought to be the most important painter active in Ghent after Jan van Eyck. -
Thesis Title: Between the Interior and the Exterior: Between the Finite and the Infinite a Space for the Re-Enchantment of Art
Thesis Title: Between the Interior and the Exterior: Between the Finite and the Infinite A space for the re-enchantment of art Graham John Marchant: BA Hons: MA Fine Art. Exegesis Submitted for PhD 25th September 2011 1 This dissertation contains no material which has been accepted for the award of any other degree or diploma in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. I give consent to this copy of my dissertation, when deposited in the University Library**, being made available for loan and photocopying subject to the provisions of the Copyright Act 1968. Graham Marchant, Sydney, 25th September 2012 2 I would like to acknowledge and thank my principal supervisor, Professor Anne Graham for her tireless support, astute guidance and continued encouragement throughout the program. I remain forever grateful to her. I would like to thank Newcastle University for their generosity and support throughout this degree. My thanks to my wife Fiona for everything. 3 Thesis: Order of Chapters Abstract Introduction Chapter 1 Hortus- Conclusus: The Enclosed garden p.13 Chapter 2 Pre- Raphaelite- Connections p.27 The Manuscript Series Chapter 3 Impressionist Gardens p.51 Chapter 4 Monet and Japan p.67 Chapter 5 Claude Monet: The Serial Works p.81 Chapter 6 Graham Marchant: Serial Works P110 Chapter 7 Creating the New Eden p.124 Chapter 8 Looking Through: The geometrical invention of the window p.140 Chapter 9 The Garden as an outside room p.159 Chapter 10 Lucian Freud p.177 Chapter 11 Flowers p.194 p.212 Conclusion p.217 List of illustrations p.229 Source of illustrations p.244 Bibliography 4 Between the Interior and the Exterior Between the Finite and the Infinite A space for the re-enchantment of art Abstract I am an artist and a gardener; the observation of nature, of seasons and of changing light is my subject matter. -
GUIDE BIBLIOGRAPHIQUE DE LA PEINTURE FLAMANDE DU Xve SIÈCLE BIBLIOGRAFISCHE GIDS VAN DE VLAAMSE SCHILDERKUNST VAN DE Xve EEUW B
MICHELINE COMBLEN-SONKES Secrétaire scientifique du Centre national de Recherches «Primitifs flamands» Wetenschappelijk secretaris van het Nationaal Centrum voor Navorsingen over de Vlaamse Primitieven GUIDE BIBLIOGRAPHIQUE DE LA PEINTURE FLAMANDE DU XVe SIÈCLE BIBLIOGRAFISCHE GIDS VAN DE VLAAMSE SCHILDERKUNST VAN DE XVe EEUW BIBLIOGRAPHIC GUIDE FOR EARLY NETHERLANDISH PAINTING BIBLIOGRAPHISCHER FÜHRER ALTNIEDERLANDISCHER MALEREI Bruxelles/Brussel 1984 TABLE DES MATIERES Généralités 1 Ouvrages généraux 1 Grandes collections de documents 5 Principaux instruments bibliographiques .... 5 Sources littéraires anciennes 6 Les oeuvres 8 Commanditaires 8 Organisation du travail 8 Dessins 9 Technique 10 Iconographie 12 Ouvrages généraux 12 Etudes particulières 12 Les grands musées 16 Les grandes expositions 20 Les peintres 23 Maïtres connus 23 Hieronymus Bosch 23 Albert Bouts 31 Dirk Bouts 33 Melchior Broederlam 37 Robert Campin 38 Petrus Christus 39 Colyn de Coter 42 Pierre Coustain 44 Jacques Daret 44 Gérard David 45 Jan van Eyck (Hubert van Eyck) 50 Hugo van der Goes 57 Jean Hayne . 63 Gérard Horenbout 63 Meester Johannes 64 xv Juan de Flandes 64 Juste de Gand 67 Simon Marmion 69 Hans Memling 71 Lodewijck Raets 76 Jan Rombauts 76 Michel Sittow 76 Vrancke van der Stockt 78 Gooswyn van der Weyden 79 Roger van de Weyden 81 Maïtres anonymes 90 Maïtre de 1'Adoration Khanenko 90 Maïtre de 1'Adoration de Turin 91 Maïtre au brocart d'or 92 Maïtre au feuillage en broderie 92 Maïtre de Flémalle 93 Maïtre de Francfort 98 Maïtre de la Gilde de saint Georges 100 Maïtre de 1'Histoire de Joseph 101 Maïtre d'Hoogstraeten 102 Maïtre de la Légende de saint Augustin .. -
LIST of WORKS ROOM 19 Thomas More's Utopia a 'Golden Book' From
LIST OF WORKS More, Utopia, third edition, Portrait of Desiderius printed in Basel by Johann Erasmus, Antwerp, 1517. ROOM 19 Froben, November 1518. Windsor Castle, Royal Leuven, KU Leuven, Collection, Loaned by Her Thomas More’s Utopia University Library. Majesty Queen Elizabeth II. A ‘golden book’ from Leuven conquers the world 7.2. Ambrosius Holbein, The 14.A. Quinten Metsys, (Fictitious) Voyager Raphael studio replica?, Portrait of 1. Thomas More, The first Hythlodaeus tells the Story Desiderius Erasmus, edition of Utopia, printed in of the Isle of Utopia to Antwerp,after 1517. Roma, Leuven by Dirk Martens, Thomas More in Pieter Galleria Nazionale d’Arte december 1516. Brussels, Gillis’s Garden, in: Thomas Antica. Royal Library of Belgium. More, Utopia, third edition, printed in Basel by Johann 14.B. Quinten Metsys, 2. Monogrammist AP (?), Froben, November 1518. studio replica?, Portrait of View of Leuven, City of Art, Leuven, KU Leuven, Town Clerk Pieter Gillis, Culture and Science, University Library. Antwerp, after 1517. Antwerp (?), c. 1540. Antwerp, Koninklijk Brussels, Royal Library of 8. Thomas More at his Museum voor Schone Belgium. Writing Desk, in: Thomas Kunsten. More,La description de l’isle 3. Copy after Hans Holbein, d’Utopie ou est comprins le 15.A.B. Quinten Metsys, Portrait of Thomas More, miroer des republicques du Portraits of the Antwerp after 1527. London, monde, & l’exemplaire de Town Clerk Pieter Gillis and National Portrait Gallery. vie heureuse, Paris, his Wife Cornelia Sandrin published by Charles (diptych), Antwerp, c. 1514. 4. Workshop Hans Holbein, L’Angelier, 1550. Leuven, KU Oldenburg, Landesmuseum Portrait of the Wife of Leuven, University Library.