Signature Spaces and Signature Objects in Early Netherlandish
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Copyright by Annette Marie LeZotte 2004 The Dissertation Committee for Annette Marie LeZotte certifies that this is the approved version of the following dissertation: Signature Spaces and Signature Objects in Early Netherlandish Paintings of Domestic Interiors Jeffrey Chipps Smith, Supervisor John Clarke Michael Charlesworth Glenn Peers Louis Waldman Nancy Kwallek Signature Spaces and Signature Objects in Early Netherlandish Paintings of Domestic Interiors by Annette Marie LeZotte, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2004 In loving memory: Betty Jane Kelly Ruud 1917‐1999 Michael E. Fritz 1967‐2001 If I should die and leave you here awhile, Be not like others, sore undone, who keep Long vigils by the silent dust, and weep. For my sake – turn again to life and smile, Nerving thy heart and trembling hand to do Something to comfort other hearts than thine. Complete those dear unfinished tasks of mine And I, perchance, may therein comfort you. ACKNOWLEDGEMENTS “It takes a village to raise a child.” ‐ African Proverb During my graduate studies I have realized that the nurturing village referred to in the African proverb above is just as important to an adult as it is to a child. I am blessed to have been surrounded and supported by many, many people during my years at The University of Texas at Austin. Some are singled out below for special mention, however I am thankful to all those who encouraged me along the way. My deepest thanks go to the University of Texas at Austin and my dissertation committee members. To John Clarke, Michael Charlesworth, Glenn Peers, and Louis Waldman my deep appreciation for your quality teaching, scholarly example, and hard work during the final stages of my studies. Brenda Preyer and Joan Holladay both provided essential guidance during my doctoral exams and the early stages of my dissertation research. Nancy Kwallek, I thank you weekly in my head for passing along valuable advice about handling the professional and political rigors of the academic life. And finally to Jeffrey Chipps Smith, your energy, enthusiasm, collegiality and respect and advocacy for your students have always astounded and inspired me. I am grateful beyond words for the professional and personal support you have offered during the past nine years. My family has shaped my professional being. My love of brilliant colors and homes is directly inherited from my grandmother Ethel Rourke Sandage – who knew that these simple things would ultimately lead me to the study of Northern Renaissance paintings that contain them. My mother, Maryann Ruud LeZotte, instilled in me a deep appreciation of the value of education and my father, Robert LeZotte, passed on to me the ability to connect with students and thus educate future generations. My stepmom, Barbra Mullen LeZotte, taught me how to manage a family and v a career. My wonderful husband, August, keeps me grounded at home and makes me the most computer savvy professor at school. I thank my three draft readers David Butler, Kathy Hull, and Paul Flippen. David, I will never undertake another scholarly endeavor without first consulting you for organizational advice. Kathy, your thoughtful and meticulous comments reflect a most gracious editing style that made me inspired, rather than distressed, to revise. To Paul, co‐ founder of the ‘When We Were at UT’ Club, Wichita State Chapter, your knowledge of Northern Renaissance art and ability to deeply analyze content and writing style issues have been invaluable to me as I have prepared both this text and conference papers based upon it. Finally, thanks to my dear colleague Diane Thomas‐Lincoln, the modern day embodiment of the artist who uses decoration to define artistic identity. vi Signature Spaces and Signature Objects in Early Netherlandish Paintings of Domestic Interiors Publication No. Annette Marie LeZotte, Ph.D. The University of Texas at Austin, 2004 Supervisor: Jeffrey Chipps Smith The significance and meaning of the works of art and domestic objects depicted in fifteenth and early sixteenth century Netherlandish paintings with home settings are analyzed in light of painters’ motivations to construct a visual identity through their compositions. My argument suggests that artists’ depictions of domestic interiors were carefully composed and constructed to document the provenance of the image in the workshop of a specific master. This documentation served not only to identify a particular artist but also often vii communicated his artistic heritage and location in a particular city. I argue that this documentation was created through the manipulation of decorative schemes and traditional modes of symbolism. viii TABLE OF CONTENTS List of Tables xi List of Illustrations xiv Introduction 1 Chapter One Exploring the History and Refining the Research of the Domestic Setting 13 Chapter Two Defining the Domestic Setting: The Paintings of Jan van Eyck and Petrus Christus 45 Chapter Three Signature Spaces as Documents of Artistic Identity 70 Chapter Four Signature Objects: Blending Decoration, Iconography, and Identity 104 Chapter Five Incorporating the Visual Signature into the Iconography of Domesticity 176 Conclusion 200 ix Illustrations 207 Appendix Statistical Study 260 Bibliography 305 Vita 320 x LIST OF TABLES Table 1 Frequency of Occurrence of Specific Objects in Paintings with Domestic Interior Settings 105 Table 2 Depictions of Books 122 Table 3 Number of Paintings Containing Depictions of Majolica by Master 136 Table 4 Types of Majolica Depicted in Domestic Paintings 140 Table 5 Subjects of Paintings Displaying Majolica 141 Table 6 Number of Paintings Containing Depictions of Oriental Rugs by Master 142 Table 7 Types of Candles and Candle Holders Displayed in Domestic Paintings 145‐146 Table 8 Subjects of Paintings Depicting Candles 147 xi Table 9 Number of Paintings Containing Depictions of Candles and/or Candle Holders by Master 148 Table 10 Types of Textiles Depicted in Domestic Paintings 150 Table 11 Plain Woolen versus Luxury Textiles in Paintings 150 Table 12 Types of Glass Vessels Depicted in Paintings 157 Table 13 Number of Paintings Containing Depictions of Pilgrim Flasks by Master 159 Table 14 Subjects of Paintings Depicting Pilgrim Flasks 160 Table 15 Types of Metal Vessels Depicted in Paintings 161‐162 Table 16 Subjects of Paintings Depicting Basins 162 xii Table 17 Types of Stained Glass Designs Depicted in Paintings 163 Table 18 Panel Paintings that Depict Panel Paintings 166 Table 19 Subjects with Domestic Settings 177 xiii LIST OF ILLUSTRATIONS Figure 1: Samuel van Hoogstraten. A Peepshow with Views of the Interior of a Dutch House. c.1655‐1660. National Gallery of Art, London. Figure 2: Samuel van Hoogstraten. Three details of A Peepshow with Views of the Interior of a Dutch House. c.1655‐1660. National Gallery of Art, London. Figure 3: Emanuel de Witte. Interior with a Woman at the Virginals. c.1665. Museum Boymans‐van Beuningen, Rotterdam. Figure 4: Willem Kalf. Still Life with a Nautilus Cup. 1662. Thyssen‐ Bornemisza Collection, Madrid. Figure 5: Jan van Eyck. Portrait of Giovanni Arnolfini and his Wife. 1434. National Gallery of Art, London. Figure 6: Jan van Eyck (?). Birth of Saint John the Baptist from the Turin‐ Milan Hours. c.1435. Museo Civico d’Arte Antica, Milan. Figure 7: Robert Campin. Merode Altarpiece. c.1425. Metropolitan Museum of Art (The Cloisters). Figure 8: Jan van Eyck. Lucca Madonna. c.1436. Städelsches Kunstinstitut, Frankfurt. Figure 9: Rogier van der Weyden. Louvre Annunciation. c.1440. Musée du Louvre, Paris. Figure 10: Robert Campin. Salting Madonna. c.1430. National Gallery of Art, London. xiv Figure 11: Follower of Jan van Eyck. Ince Hall Madonna. c.1433. Melbourne, National Gallery of Victoria. Figure 12: Jan van Eyck. Annunciation Scene from the Ghent Altarpiece. 1432. Church of Saint Bavo, Ghent. Figure 13: Jan van Eyck. Madonna with Chancellor Nicholas Rolin. c.1436. Musée du Louvre, Paris. Figure 14: Jan van Eyck. Annunciation. c.1435. National Gallery of Art, Washington D.C. Figure 15: Jan van Eyck. Madonna in a Church. c.1425. Staatliche Museen, Berlin. Figure 16: Jan van Eyck. Madonna and Child Triptych. c.1437. Gemäldegalerie, Dresden. Figure 17: Jan van Eyck. Madonna with Canon George van der Paele. c.1436. Groeninge Museum, Bruges. Figure 18: Petrus Christus. Madonna and Child in an Interior. c.1460. Nelson‐Atkins Museum of Art, Kansas City. Figure 19: Petrus Christus. Annunciation. 1452. Staatliche Museen, Berlin. Figure 20: Petrus Christus. Death of the Virgin. 1457‐1467. Timken Art Gallery, San Diego. Figure 21: Petrus Christus. St. Jerome. 1442. Detroit Institute of Arts. Figure 22: Petrus Christus. Portrait of a Young Lady. c.1460. Staatliche Museen, Berlin. xv Figure 23: Petrus Christus. Portrait of Edward Grymeston. 1446. Earl of Verulam Collection, London. Figure 24: Petrus Christus. Portrait of a Young Man. c.1460. National Gallery of Art, London. Figure 25: Petrus Christus. Portrait of a Male Donor. c.1455. National Gallery of Art, Washington. Figure 26: Petrus Christus. Portrait of a Female Donor. C.1455. National Gallery of Art, Washington. Figure 27: Petrus Christus. Virgin Enthroned with Saints Jerome and Francis. 1457. Städelsches Kunstinstitut, Frankfurt. Figure 28: Petrus Christus. Virgin and Child with Saints Barbara and Elizabeth and Jan Vos. c.1441‐1443. Frick Collection, New York. Figure 29: Workshop of Robert Campin. Virgin and Child in an Interior. before 1432. National Gallery of Art, London. Figure 30: Robert Campin. Virgin and Child. 1433‐1435. The Hermitage, St. Petersburg. Figure 31: Robert Campin. Werl Altarpiece Wings. 1438. Museo del Prado, Madrid. Figure 32: Gerard David. Virgin and Child with Milk Soup. c.1520. Aurora Trust Collection, New York. Figure 33: Gerard David.