List of Examined Paintings

Total Page:16

File Type:pdf, Size:1020Kb

List of Examined Paintings UvA-DARE (Digital Academic Repository) All that glitters is not gold: The depiction of gold-brocaded velvets in fifteenth- and early sixteenth-century Netherlandish paintings van Duijn, E.E. Publication date 2013 Link to publication Citation for published version (APA): van Duijn, E. E. (2013). All that glitters is not gold: The depiction of gold-brocaded velvets in fifteenth- and early sixteenth-century Netherlandish paintings. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:23 Sep 2021 All that glitters is not gold. The depiction of gold-brocaded velvets in fifteenth- and early sixteenth-century Netherlandish paintings Appendix 1 List of examined paintings Anonymous Key Painting Date Measurements Owner and inv. Date and place of work nr. examination * Norfolk Triptych c. 1415- 33 x 32 cm Museum Boijmans 28 February 2011, in 1420 (middle panel), van Beuningen, situ. 33 x 13 cm Rotterdam, 2466 (wings) OK Geertruy Haeck- c. 1465 62.4 x 48.3 cm Rijksmuseum, Summer 2009, van Slingelandt Amsterdam, SK-A- Rijksmuseum, van der Tempel 3926 Amsterdam, for the kneels in prayer Summer University. in front of Saint Agnes Master of Flémalle/ Robert Campin (c. 1375/1380-1444) Key Painting Date Measurements Owner and inv. Date and place of work nr. examination * Saint Veronica c. 1427- 151.8 x 61.0 cm Städel Museum, 16 February 2009, at 1432 Frankfurt am the Rogier van der Main, 939B Weyden exhibition in Frankfurt. * The Virgin Mary c. 1427- 148.7 x 61.0 cm Städel Museum, 16 February 2009, at nursing the 1432 Frankfurt am the Rogier van der Infant Jesus Main, 939B Weyden exhibition in Frankfurt. The Bad Thief c. 1430 134.2 x 92.5 cm Städel Museum, 16 February 2009, at on the Cross Frankfurt am the Rogier van der (fragment) Main, 886 Weyden exhibition in Frankfurt. Nativity c. 1420- 84.1 x 69.9 cm Musée des Beaux- 16 February 2009, at 1435 Arts, Dijon, 150 the Rogier van der Weyden exhibition in Frankfurt. Madonna and c. 1440- 122.2 x 151.2 cm National Gallery of 16 February 2009, at Child with 1460 Art, Washington, the Rogier van der Saints in an 1959.9.3 Weyden exhibition in enclosed Garden Frankfurt. Appendix 1: List of examined paintings 1 All that glitters is not gold. The depiction of gold-brocaded velvets in fifteenth- and early sixteenth-century Netherlandish paintings Jan van Eyck (c. 1390-1441) Key Painting Date Measurements Owner and inv. Date and place of work nr. examination * Ghent Altarpiece 1432 c. 375 x 520 cm Saint Bavo 4 June 2010 and 7 (with Hubert (framed altar, Cathedral, Ghent, October 2010, in situ. van Eyck) open) 413 t/m 424 * Madonna and 1436 124.5 x 160 cm Groeningemuseum, 14 February 2011, in Child with Bruges, 0161.I situ. Canon van der Paele Madonna and c. 1430- 66 x 62 cm Musée du Louvre, 11 December 2012, in Child with 1437 Paris, 1271 situ. Chancellor Rolin Annunciation c. 1434- 92.7 x 36.7 cm National Gallery of 15 October 2012, at the 1436 Art, Washington, Road to Van Eyck 1937.1.39 exhibition in Rotterdam. Portrait of c. 1435- 26 x 19.5 cm Staatliche Museen 15 October 2012, at the Baudouin de 1440 (Gemäldegalerie), Road to Van Eyck Lannoy Berlin, 525 G exhibition in Rotterdam. Rogier van der Weyden (c. 1399-1464) Key Painting Date Measurements Owner and inv. Date and place of work nr. examination * Adoration of the c. 1455 139.5 x 152.9 cm Alte Pinakothek, 4 March 2012, in situ. Kings (or: (middle panel, Munich, WAF 1189 Columba Altar) 138 x 70 cm (wings) Bladelin Altar c. 1445- 93.5 x 92 cm Staatlichen Museen 21 May 2012, in situ. (or: Middelburg 1450 (middle panel), (Gemäldegalerie), Altar) 93.5 x 41.7 cm Berlin, 535 (wings) Saint John Altar c. 1455 77 x 48 cm (each Staatlichen Museen 21 May 2012, in situ. panel) (Gemäldegalerie), Berlin, 534B Miraflores Altar c. 1440- 74 x 44.5 cm Staatlichen Museen 16 February 2009, at 1445 (each panel) (Gemäldegalerie), the Rogier van der Berlin, 534A Weyden exhibition in Frankfurt and 21 May 2012, in situ. Annunciation c. 1440 86.3 x 92.3 cm Musée du Louvre, 16 February 2009, at (middle panel of (middle panel) Paris, 1982 the Rogier van der Appendix 1: List of examined paintings 2 All that glitters is not gold. The depiction of gold-brocaded velvets in fifteenth- and early sixteenth-century Netherlandish paintings a triptych) Weyden exhibition in Frankfurt. Lamentation of c. 1460- 80.6 x 130.1 cm Royal Picture 25 August 2009, in the Christ 1464 Gallery depot of the museum. Mauritshuis, The Hague, 264 Saint Luke c. 1435- 137.5 x 110.8 cm Museum of Fine 7 March 2011, in situ. drawing the 1440 Arts, Boston, 93.153 Madonna Saint Luke c. 1450 138 x 110 cm Alte Pinakothek, 4 March 2012, in situ. drawing the Munich, WAF 1188 Madonna Saint Luke c. 1491- 135 x 107 cm Groeningemuseum, 15 February 2011, in drawing the 1510 Bruges, 0035.1 situ. Madonna Dirk Bouts (c. 1410-1475) Key Painting Date Measurements Owner and inv. Date and place of work nr. examination * Justice of c. 1471- 323.5 x 181.5 cm Royal Museums of 19 November 2008, in Emperor Otto 1473 Fine Arts, Brussels, situ. III. Ordeal by 1448 Fire Adoration of the c. 1454- 63 x 62.5 cm Alte Pinatothek, 5 March 2012, in situ. Kings (or: Pearl 1462 (middle panel), Munich, WAF 76 of Brabant) 62.6 x 28.1 cm (middle panel) and (wings) 77, 78 (wings) Triptych with c. 1460- 82 x 80.5 (middle Treasury of the 16 November 2012, in the Martyrdom 1470 panel), 82 x 34.5 Saint Peter the cathedral. of Erasmus cm (wings) Cathedral/ M- Museum, Leuven, S/57/B. Taking of Christ c. 1478- 105 x 68.5 cm Alte Pinakothek, 4 March 2012, in situ. 1486 Munich, WAF 75 Resurrection c. 1478- 105 x 68.5 cm Alte Pinakothek, 4 March 2012, in situ. 1486 Munich, WAF 76 Hans Memling (c. 1435-1494) Key Painting Date Measurements Owner and inv. Date and place of work nr. examination * Triptych of the 1484 141 x 174 cm Groeningemuseum, 7 April 2011, in situ. Family Moreel (middle panel), Bruges, 0091.I- 141 x 87 cm 0095.I Appendix 1: List of examined paintings 3 All that glitters is not gold. The depiction of gold-brocaded velvets in fifteenth- and early sixteenth-century Netherlandish paintings (wings) Hugo van der Goes (1440-1482) Key Painting Date Measurements Owner and inv. Date and place of work nr. examination * The Adoration c. 1470 147 x 242 cm Staatlichen Museen 21 May 2012, in situ. of the Kings (or: (Gemäldegalerie), Monforte Altar) Berlin, 1718 * Adoration of the c. 1480 97 × 245 cm Staatlichen Museen 19 January 2009, in Shepherds (Gemäldegalerie), situ. Berlin, 1622A. Gerard David (c. 1455-1523) Key Painting Date Measurements Owner and inv. Date and place of work nr. examination * Triptych with 1502- 129.7 x 96.6 Groenigemuseum, 15 February 2011, in the Baptism of 1507 (middle panel), Bruges, 0035.I- situ. Christ (or: 132.0 x 43.1 (left 0039.I Triptych of Jan wing), 132.2 x des Trompes) 42.2 (right wing) * The Justice of 1498 182.3 x 159.2 cm Groenigemuseum, 7 April 2011, in situ. Cambyses – The Bruges, 0040.I Arrest of Sisamnes * The Justice of 1498 182.3 x 159.4 cm Groenigemuseum, 7 April 2011, in situ. Cambyses – The Bruges, 0041.I Flaying of Sisamnes Master of the Saint Lucy Legend (active c. 1480-1510) Key Painting Date Measurements Owner and inv. Date and place of work nr. examination Retable of Saint c. 1486- 102 x 82 cm Groenigemuseum, 15 February 2011, in Nicolas 1493 (middle panel) Bruges, 0676.I situ. Colijn de Coter (c. 1445-c. 1522/1532) Key Painting Date Measurements Owner and inv. Date and place of work nr. examination Adoration of the c. 1506- 80 x 60 cm Museum of Fine 26 January 2009, in Kings 1507 Arts, Ghent, 1950-A situ. Appendix 1: List of examined paintings 4 All that glitters is not gold. The depiction of gold-brocaded velvets in fifteenth- and early sixteenth-century Netherlandish paintings Albert van Ouwater (active c. 1460-1480) Key Painting Date Measurements Owner and inv. Date and place of work nr. examination * Raising of c. 1460- 124 x 92 cm Staatlichen Museen 19 January 2009, in the Lazarus 1475 (Gemäldegalerie), conservation gallery of Berlin, 532A the museum. Geertgen tot Sint Jans (1455/1465-1485/1495) Key Painting Date Measurements Owner and inv. Date and place of work nr. examination * Lamentation of c.
Recommended publications
  • Instructions and Techniques *
    UvA-DARE (Digital Academic Repository) Discoloration in Renaissance and Baroque Oil Paintings. Instructions for Painters, theoretical Concepts, and Scientific Data van Eikema Hommes, M.H. Publication date 2002 Link to publication Citation for published version (APA): van Eikema Hommes, M. H. (2002). Discoloration in Renaissance and Baroque Oil Paintings. Instructions for Painters, theoretical Concepts, and Scientific Data. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:04 Oct 2021 Verdigriss Glazes in Historical Oil Paintings: Instructions and Techniques * 'Lje'Lje verdegris distillépourglacer ne meurt point? Dee Mayerne (1620-46), BL MS Sloane 2052 'Vert'Vert de gris... ne dure pas & elk devient noire.' Dee la Hire, 1709 InterpretationInterpretation of green glares Greenn glazes were commonly used in oil paintings of the 15th to 17th centuries for the depiction of saturated greenn colours of drapery and foliage.
    [Show full text]
  • Lucas Van Leyden: Prints from the Testaments La Salle University Art Museum
    La Salle University La Salle University Digital Commons Art Museum Exhibition Catalogues La Salle University Art Museum 3-1984 Lucas Van Leyden: Prints from the Testaments La Salle University Art Museum Brother Daniel Burke FSC Follow this and additional works at: http://digitalcommons.lasalle.edu/exhibition_catalogues Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation La Salle University Art Museum and Burke, Brother Daniel FSC, "Lucas Van Leyden: Prints from the Testaments" (1984). Art Museum Exhibition Catalogues. 74. http://digitalcommons.lasalle.edu/exhibition_catalogues/74 This Book is brought to you for free and open access by the La Salle University Art Museum at La Salle University Digital Commons. It has been accepted for inclusion in Art Museum Exhibition Catalogues by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. Lucas van Leyden Prints Frcm The Testaments LaSalle College Art Museum March 1 - April 30, 1984 For many years, students of In. Salle College had the privilege of pursuing a course in the history of graphic art at the Alverthorpe Gallery in nearby Jenkintown. Lessing Rosenwald himself would on occasion join our Professor Ihomas Ridington or Herman Gundersheimer and the students for an afternoon with Rerrbrandt, Durer, or Lucas van Leyden. After Mr. Rosenwald's death and the transfer of his collection to the National Gallery of Art in Washington, the course had to be pursued, it need hardly be said, in much reduced circunstances. But the present exhibition, which returns many of Mr. Rosenwald's Lucas van Leyden prints from the National Gallery to the Rosenwald Roc*n in the La Salle Museum, recreates briefly for us the happy circumstances of earlier, halcyon days.
    [Show full text]
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries
    CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF ENGRAVINGS, ETCHINGS, WOODCUTS OF THE XV AND XVI CENTURIES MARCH 3RD TO MARCH 2IST, 1936 M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage. WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION GERMANY ANONYMOUS (1425-1450) DOTTED PRINT 5 MASTER E. S 6 MARTIN SCHONGAUER 7 ANONYMOUS NORTH GERMAN (About 1480) 9 MASTER B. G 10 SCHOOL OF MARTIN SCHONGAUER 10 ISRAHEL VAN MECKENEM 10 MASTER M Z 13 AUGUSTIN HIRSCHVOGEL 14 HANS SEBALD LAUTENSACK 14 HANS BURGKMAIR 15 JOHANN ULRICH WECHTLIN (Pilgrim) 15 LUCAS CRANACH r6 NETHERLANDS MASTER F VB (F. van Brugge?) j$ LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21 ITALY NIELLO PRINT (Attributed to Francesco Francia) ....... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22 CRISTOFANO ROBETTA 2, ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24 DOMENICO BECCAFUMI (Master H-E) 2K ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 ANDREA MANTEGNA . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI ...
    [Show full text]
  • Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010
    The Brilliant Line: Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010 When the first engravings appeared in southern Germany around 1430, the incision of metal was still the domain of goldsmiths and other metalworkers who used burins and punches to incise armor, liturgical objects, and jewelry with designs. As paper became widely available in Europe, some of these craftsmen recorded their designs by printing them with ink onto paper. Thus the art of engraving was born. An engraver drives a burin, a metal tool with a lozenge-shaped tip, into a prepared copperplate, creating recessed grooves that will capture ink. After the plate is inked and its flat surfaces wiped clean, the copperplate is forced through a press against dampened paper. The ink, pulled from inside the lines, transfers onto the paper, printing the incised image in reverse. Engraving has a wholly linear visual language. Its lines are distinguished by their precision, clarity, and completeness, qualities which, when printed, result in vigorous and distinctly brilliant patterns of marks. Because lines once incised are very difficult to remove, engraving promotes both a systematic approach to the copperplate and the repetition of proven formulas for creating tone, volume, texture, and light. The history of the medium is therefore defined by the rapid development of a shared technical knowledge passed among artists dispersed across Renaissance and Baroque (Early Modern) Europe—from the Rhine region of Germany to Florence, Nuremberg, Venice, Rome, Antwerp, and Paris. While engravers relied on systems of line passed down through generations, their craft was not mechanical.
    [Show full text]
  • 'A Man of Sorrows, and Acquainted with Grief'
    ‘A Man of Sorrows, and Acquainted with Grief’ Imagery of the Suffering Christ in the Art of the Late Medieval Low Countries and Counter-Reformation Spain Candidate Number: R2203 MA Art History, Curatorship and Renaissance Culture The Warburg Institute, School of Advanced Study 30/09/2015 Word Count: 14,854 Table of Contents Introduction 3 Chapter 1: The Man of Sorrows – A Reassessment 6 Chapter 2: Early Netherlandish Images of the Suffering Christ 14 Chapter 3: Counter-Reformation Spanish Polychrome Sculptures 21 Chapter 4: Comparison and Analysis: Netherlandish Influences on Spanish Polychrome Sculpture 27 Conclusion 35 Figures 37 Table of Figures 56 Bibliography 58 2 Introduction During the later Middle Ages in Europe, there was a great increase in private devotion: a rise in the production of Books of Hours, the increase of mendicant orders and the new development of private chapels in churches and cathedrals all contributed towards religion being much more personal and intimate than ever before.1 Especially in Northern Europe, where the Imitatio Christi of Thomas à Kempis2 gained previously unknown popularity, private devotion was encouraged. The Devotio Moderna, which took hold especially in the Low Countries and Germany, emphasised a systematic and personal approach to prayer.3 Devotional images, which could engage with believers on a one-on-one, personal level, were majorly important features of way of practising religion, and the use of images as foci for devotion was encouraged by many writers, not only Thomas à Kempis, but also
    [Show full text]
  • In 1590, the Dutch Painter and Printmaker Hendrick Goltzius (Fig. 1)
    THE BEER OF BACCHUS VISUAL STRATEGIES AND MORAL VALUES IN HENDRICK GOLTzius’ REPRESENTATIONS OF SINE CERERE ET LIBERO FRIGET VENUS Ricardo De Mambro Santos n 1590, the Dutch painter and printmaker Hendrick Goltzius (Fig. 1) created a sim- Iple yet refined composition representing a motif directly borrowed from Terence’s Eunuchus, namely the sentence Sine Cerere et Libero friget Venus (« Without Ceres and 1 Bacchus, Venus would freeze »). Sixteen years later, around 1606, after having depicted several times the same subject in very different compositions, the master elaborated his last representation of this theme in a most monumental pen werck (‘pen work’), in which he included a self-portrait staring at the viewer and holding in both hands the 2 tools of his metamorphic art : the burins. Many scholarly publications have correctly identified the textual source of these works and, therefore, analysed Goltzius’ visual constructions in strict relation to Terence’s play, stressing that the sentence was used 3 « to describe wine and food as precondition for love ». In spite of such a systematic attention, however, no research has been undertaken in the attempt to historically interpret Goltzius’ works within their original context of production, in connection with the social, artistic and economic boundaries of their first ambient of reception, the towns of Haarlem and Amsterdam at the turn of the centuries. As I shall demonstrate in this paper, the creation of such a coherent corpus of prints, drawings and paintings is directly associated
    [Show full text]
  • Ana Diéguez-Rodríguez the Artistic Relations Between Flanders and Spain in the 16Th Century: an Approach to the Flemish Painting Trade
    ISSN: 2511–7602 Journal for Art Market Studies 2 (2019) Ana Diéguez-Rodríguez The artistic relations between Flanders and Spain in the 16th Century: an approach to the Flemish painting trade ABSTRACT Such commissions were received by important workshops and masters with a higher grade of This paper discusses different ways of trading quality. As the agent, the intermediary had to between Flanders and Spain in relation to take care of the commission from the outset to paintings in the sixteenth century. The impor- the arrival of the painting in Spain. Such duties tance of local fairs as markets providing luxury included the provision of detailed instructions objects is well known both in Flanders and and arrangement of shipping to a final destina- in the Spanish territories. Perhaps less well tion. These agents used to be Spanish natives known is the role of Flemish artists workshops long settled in Flanders, who were fluent in in transmitting new models and compositions, the language and knew the local trade. Unfor- and why these remained in use for longer than tunately, very little correspondence about the others. The article gives examples of strong commissions has been preserved, and it is only networks among painters and merchants the Flemish paintings and altarpieces pre- throughout the century. These agents could served in Spanish chapels and churches which also be artists, or Spanish merchants with ties provide information about their workshop or in Flanders. The artists become dealers; they patron. would typically sell works by their business Last, not least it is necessary to mention the partners not only on the art markets but also Iconoclasm revolt as a reason why many high in their own workshops.
    [Show full text]
  • UC Berkeley UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 Permalink https://escholarship.org/uc/item/6r20h5s3 Author Kelly, Jessen Lee Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 By Jessen Lee Kelly A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History of Art in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Elizabeth Honig, Chair Professor Whitney Davis Professor Niklaus Largier Fall 2011 © 2011, by Jessen Lee Kelly All rights reserved. Abstract Renaissance Futures: Chance, Prediction, and Play in Northern European Visual Culture, c. 1480-1550 By Jessen Lee Kelly Doctor of Philosophy in History of Art University of California, Berkeley Professor Elizabeth Honig, Chair This dissertation examines the relationships between chance and visual culture during the Northern Renaissance, focusing on the use of images in the deliberate, ritualized application of chance in games and divination. I argue that, prior to the development of probability theory in the seventeenth century, images served a critical function in encountering and negotiating uncertainties about the future. The casting of lots for prognostication and play was nothing new in the fifteenth and sixteenth centuries. Yet, aided in part by the growing print industry, the period witnessed the development of new and varied forms for these practices, forms that were increasingly pictorial in character.
    [Show full text]
  • Colijn De Coter, the Lamentation (Pietà), Ca
    Fall 2020 Faculty Curriculum: Resiliency and Surviving Trauma Colijn de Coter, The Lamentation (Pietà), ca. 1510-15 Oil on three joined oak panels left: 44 x 14 5/8 in., center: 41 1/2 x 29 1/8 in., right: 43 7/8 x 14 5/8 in. Gift of Charles R. Crane, 13.1.1 Fall 2020 Faculty Curriculum: Resiliency and Surviving Trauma Artist Biography Few surviving archival documents provide us with details of the life and career of the painter Colijn de Coter (Netherlandish, ca. 1455—ca. 1538/1539). His name is mentioned in the contracts for two artworks (both of which are now lost or unidentified) and is inscribed on only three surviving paintings, although more have been attributed to him (like the Chazen’s painting). His birthdate can be extrapolated from the information presented in a later document dated 1479 in which he is described as a married painter and the tenant of a house in Brussels. He appears registered as a free master with the painters’ Guild of St. Luke in Antwerp as “Colyn van Brusele” (Colin of Brussels), who was commissioned to paint the vault of a chapel near Mechelen. The account books of the Brussels Confraternity of St. Eligius record that the artist was paid for a painting between 1509 and 1511. He likely died in or shortly before 1538-39. Known at the time as the “Low Countries,” the areas of present-day Belgium (including Brussels), Luxembourg, and the Netherlands were under the rule of the duchy of Burgundy from the end of the fourteenth to the end of the fifteenth centuries, along with Northern France.
    [Show full text]
  • Rembrandt's 1654 Life of Christ Prints
    REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St.
    [Show full text]
  • 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.
    [Show full text]