DOCSLIB.ORG

The Art of the Low Countries

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Art of the Low Countries ' ;. ERKfllY LIBRARY UNIVERSITY Of CALIFORNIA .^' // THE ART OF THE LOW COUNTRIES THE ART OF THE LOW COUNTRIES STUDIES BY W. R. [VALENTINER TRANSLATED BY MRS. SCHUYLER VAN RENSSELAER WITH 84 ILLUSTRATIONS ALEXANDER MORING LIMITED, THE DE LA MORE PRESS, 32 GEORGE STREET HANOVER SQUARE, LONDON, W. i 1920 : PUBLISHERS' NOTE der niederlandischen HIS is a translation of Aus BrunoCassirer) with twoadditional T^ i^«;?j/ (Berlin, Raphel Camp- ardcles, viz. :—the one on Govert and in America," huysen,' which was first published in "Art American Collections, and the list of the Rembrandts in which dates from 1914- Samson" The Article on Rembrandt's "Blinding of the one on appeared in The Burlington Magazine: Flandres Quentin Metsys in Les Anciens Arts de the Jahrbuch "Rembrandt at the Latin School" in "Rem- der Bniglich preussischen Kunstsammlungen: part of the article brandt's Representations of Susanna," Zeitschift on Van Dyck, and the one on Rubens in the fur bildende Kunst. used in The expression "Low Countries" has been Dutch art, which order to include Flemish as well as niederlandischen Kunst. are both covered by the term the Inwriting thenames of Dutchmen and Flemings in American names prefix van is spelt with a small 1;, but customary in of Dutch origin a capital Vis used, as is America. 632 TABLE OF CONTENTS PAGE Publishers' Note ^] ^^^^ List of Illustrations Linear Composition in Dutch Art ... 3 The Church Architecture of the Netherlands in the Middle Ages H The Haarlem School of Painting in the Fifteenth Century *^-'- 88 The Satirical Work of Quentin Metsys . The Brothers Covert and Raphel Camphuysen 95 Dutch Ceramic Tiles 117 Rembrandt at the Latin School . .130 Rembrandt's BUnding of Samson . .151 164 Rembrandt's Representations of Susanna . 174 Works by Rubens in American Collections . Works by van Dyck in American Collections . 199 BibUographical Notes 223 Appendices: Painters of the I. List of Works by Haarlem Fifteenth Century 229 in American Col- II. List of Works by Rubens lections 235 in American III. List of Works by van Dyck Collections 238 American IV. List of Works by Rembrandt in Collections 242 [ix] LIST OF ILLUSTRATIONS LINEAR COMPOSITION IN DUTCH ART FACTNG PAOB DiKK Bouts, The Feast of the Passover . 3 Kaiser Friedrich Museum, Berlin. Lucas van Leyden, Ecce Homo 4 Engraving. Rembrandt, Ecce Homo .... 6 Etching. Ter Borch, The Fortune Teller . 8 Albertina, Vienna. Jongkind, River View 10 Metropolitan Museum of Art, New York. THE CHURCH ARCHITECTURE OF THE NETHERLANDS P. Saenredam, Church of St. Mary, Utrecht 12 Amsterdam. P. Saenredam, Church of St. Mary Utrecht 14 • Amsterdam. Church of St. Servatius, Maastricht . 18 Church of St. Pancras, Leyden ... 20 [ xiii ] LIST OF ILLUSTRATIONS FACING PAGE G. Berkneyde, Church of St. Bavon, Haarlem 22 London. P. Saenredam, Church of St. Bavon, Haar- lem 26 Collection of Mr. J. G. Johnson, Philadelphia. Choir, Church of St. Bavon, Haarlem. 26 the haarlem school of painting in the fifteenth century Dirk Bouts, Madonna and Child . 38 National Gallery, London. Dirk Bouts, The Gathering of the Manna 40 Pinakothek, Munich. Dirk Bouts, St. Christopher .... 42 Pinakothek, Munich. Dirk Bouts, Portrait of a Man ... 44 Metropolitan Museum of Art, New York. OuwATER, The Raising of Lazarus . 46 Kaiser Friedrich Museum, Berlin. Follower of Dirk Bouts, Madonna and Child 48 Collection of Mr. Stephenson Clarke, Hayward Heath, England. Follower of Dirk Bouts, The Raising of Lazarus 50 Mexico. Follower of Dirk Bouts, The Sibyl and the Emperor Augustus 52 Staedel Institute, Frankfort. Follower of Dirk Bouts, The Marriage of Joseph and Mary 54 Collection of Mr. J. G. Johnson, Philadelphia. [xiv] LIST OF ILLUSTRATIONS FACING PAGE In the Manner of Geertgen, Portrait of the Burgomaster of Schiedam .... 58 Collection of Mr. J. G. Johnson, Philadelphia. Geertgen, Pieta 60 Hof Museum, Vienna. Geertgen, The Adoration of the Magi . 62 Rudolfinum, Prague. Geertgen, St. John the Baptist ... 64 Blaiser Friedrich Museum, Berlin. In the IVIanner of Geertgen, St. Martin 68 Collection of Mr. J. G. Johnson, Philadelphia. Master of the ^Iartyrdom of St. Lucy, The Crucifixion 72 Rijks Museum, Amsterdam. Master of The ^Iartyrdom of St. Lucy, The IVIartyrdom of St. Lucy .... 74 Rijks Museum, Amsterdam. Gerard David, The Virgin and St. John . 76 Museum, Antwerp. Jan Mostaert, The Sibyl and the Emperor Augustus 84 Musexmi, Antwerp. Jacob Cornelisz, The Crucifixion . 86 Collection of Mr. J. G. Johnson, Philadelphia. THE satirical WORK OF QUENTIN METSYS Quentin Metsys, Old ^Ian Dancing . 88 Uffizi, Florence. Quentin Metsys, Three ]VIen Carousing . 90 UflSzi, Florence. [xv] LIST OF ILLUSTRATIONS FACING PAGE QuENTiN Metsys, Seduction . 91 Collection of the Countess Pourtales, Paris. QuENTiN Metsys, St. Jerome .... 92 Collection of Mr. J. G. Johnson, Philadelphia. the brothers govert and raphel camphuysen Govert Camphuysen, Portrait Group . 100 Museum, Stockholm. Govert Camphuysen, Hen Alarmed by a Cat 104 Collection of Mr. J. G. Johnson, Philadelphia. Govert Camphuysen, The Halt at the Tavern 106 Collection of Mr. J. G. Johnson, Philadelphia. Govert Camphuysen, The Farm Near the Village 108 Collection of Mr. J. G. Johnson, Philadelphia. Raphel Dirksz Camphuysen, Cattle . .112 Collection of Mr. John D. Mcllhenny, Philadelphia. IIaphel Dirksz Camphuysen, Cattle Near a Castle 114 Collection of Mr, J. G. Johnson, Philadelphia. DUTCH ceramic TILES PiETER DE Hooch, Interior (showing tiles) . 118 Rijks Museum, Amsterdam. Tiles 122 About 1580-1630. Italian Influence. Tiles 124 About 1580-1630. Italian Influence. Tiles 124 About 1650. Chinese Influence. [xvi] LIST OF ILLUSTRATIONS FACING PAGE Blue and White Tiles 12G About 1630-1670. Blue and White Tiles 128 About 1630-1670. Polychrome Tiles 1^8 A. About 1725. B. About 1750. rembrandt in the latin school . 136 Rembrandt, Diana and Callisto . In the possession of the author. New York. Rembrandt, The Rape of Europa . .138 Collection of Herr Kappel, Berlin. Rembrandt, The Rape of Proserpine . 140 Kaiser Friedrich Museum, Berlin Rembrandt, A Scholar 148 Print Room, Dresden. Rembrandt's blinding of samson 156 Rembrandt, The Blinding of Samson . Staedel Institute. Frankfort. Rembrandt, The Blinding of Samson (detail) 160 Staedel Institute, Frankfort. Rembrandt, Christ Bearing the Cross . 162 Print Room, Berlin. Rembrandt's representations of susanna . 164 P. Lastman, Susanna and the Elders Kaiser Friedrich Museum, Berlin. Rembrandt (after lastman), Susanna and the Elders 1"^ Print Room, BerUn. [xvii] LIST OF ILLUSTRATIONS FACING PAGE Rembrandt, Susanna and the Elders . .166 Print Room, Berlin. Rembrandt, Susanna and the Elders . 166 Print Room, Amsterdam. Rembrandt, Susanna .168 Mauritshuis, The Hague. Rembrandt, Susanna and the Elders . 170 Kaiser Friedrich Musemn, Berlin. Rembrandt, Susanna and the Elders . 172 Print Room, Berlin. works by rubens in american collections Rubens, Romulus and Remus .... 176 Collection of Mr. J. G. Johnson, Philadelphia. Rubens, Portrait of a Man and His Wife 178 Collection of Mrs. R. D. Evans, Boston. Rubens, Wolf and Fox Hunt . .180 Metropohtan Museum of Art, New York. Rubens, A Feast of the Gods . .184 Collection of Mrs. Untermyer, Yonkers, New York. Rubens, The Entrance of Henri IV into Paris 188 Collection of Mrs. J. W. Simpson, New York. Rubens, Portrait of Heliodoro de Barrera 190 Collection of Mr. F. T. Fleitmann, New York. Rubens, The Fall of Icarus . .192 Collection of Mr. J. G. Johnson, Philadelphia. Rubens, The Rape of the Sabines . .194 Collection of Mr. P. A. B. Widener, Philadelphia. [ xviii ] LIST OF ILLUSTRATIONS FACING PAGE Rubens, The Reconciliation of the Romans AND Sabines 196 Collection of Mr. J. G. Johnson, Philadelphia. Rubens, Landscape 198 Collection of Mr. J. G. Johnson, Philadelphia. Rubens, Cows 198 Collection of Mr. J. G. Johnson, Philadelphia. works by van dyck in american collections Van Dyck, An Apostle 199 In Private Ownership, New York. Van Dyck, Study Head 200 Collection of Mr. J. G. Johnson, Philadelphia. Van Dyck, The Repentant Magdalene 201 Collection of Mr. J. G. Johnson, Philadelphia. Van Dyck, Portrait of Frans Snyders 202 Collection of Mr. H. C. Frick, New York. Van Dyck, Portrait of the Marchesa Durazzo 204 Metropohtan Museum of Art, New York. Van Dyck, Portrait of Lucas van Uffelen 206 Metropolitan Museum of Art, New York. Van Dyck, Portrait of the Marchesa Brig- nole-Sala 208 Collection of Mr. P. A. B. VVidener, Philadelphia. Van Dyck, Portrait of the Marchesa Cat- TANEO 210 Collection of Mr. P. A. B. Widener, Philadelphia. Van Dyck, Portrait of a Genoese Lady . 212 Collection of Mr. C. P. Taft, Cincinnati. [xix] LIST OF ILLUSTRATIONS FACING PAGE Van Dyck, Portrait of Viscount Grandison 214 Collection of Mr. H. P. Whitney, New York. Van Dyck—Portrait of the Duke of Rich- mond and Lennox 216 Metropolitan Museum of Art, New York. [xx] THE ART OF THE LOW COUNTRIES I LINEAR COMPOSITION IN DUTCH ART COMING for the first time from Germany or Belgium into the Netherlands, we are surprised by the grave and simple character of the landscape, especially in the regions where art assumed its finest forms, the two provinces of South and North Holland. Instead of a hilly country clothed with vegetation of various kinds and cut up into fields of different colours, we find wide monotonous levels of meadowland intersected only by narrow ditches or broader canals running off toward the horizon. The roads, bordered by rows of slender trees, mostly elms and ashes, run parallel with these intersecting lines or, along the coast, are flanked on the seaward side by sand-dunes scantily overgrown. From the slightest elevation, even from the highroad, we see a symmetrical network of lines which, bounded in the most impressive way by the level unbroken sweep of the horizon, gives the landscape a serious character instinct with the quality which in the language of art we call style. Only the sand-dunes disturb the uniformity, swelling and sinking as though the sea were repeating its rhyth- [3] THE ART OF THE LOW COUNTRIES mic motion for a last time on the land and thus effecting a transition to the reposefulness of the interior country.
Load more

Recommended publications
  • Observing Protest from a Place
    VISUAL AND MATERIAL CULTURE, 1300-1700 Knox Giles Knox Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt of Italian Renaissance Art Challenge the Knowledge Sense and FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Sense Knowledge and the Challenge of Italian Renaissance Art 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 medieval 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 Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt Giles Knox Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS This book was published with support from the Office of the Vice Provost for Research, Indiana University, and the Department of Art History, Indiana University.
    [Show full text]
  • Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship
    Georgia State University ScholarWorks @ Georgia State University Art and Design Faculty Publications Ernest G. Welch School of Art and Design 2016 More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship John Decker Georgia State University, [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/art_design_facpub Part of the Art and Design Commons Recommended Citation John R. Decker, “More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship,” JHNA 8:1 (Winter 2016) DOI: 10.5092/jhna.2016.8.1.2. This Article is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Faculty Publications by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. Journal of Historians of Netherlandish Art Volume 8, Issue 1 (Winter 2016) More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kinship John R. Decker [email protected] Recommended Citation: John R. Decker, “More Strength for Contemplation: Spiritual Play in the Amsterdam Holy Kin- ship,” JHNA 8:1 (Winter 2016) DOI: 10.5092/jhna.2016.8.1.1 Available at http://www.jhna.org/index.php/vol-8-1-2016/322-john-r-decker Published by Historians of Netherlandish Art: http://www.hnanews.org/ Terms of Use: http://www.jhna.org/index.php/terms-of-use Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication.
    [Show full text]
  • The Institution of the Rosary. Establishing the Context for A
    Klara H. Broekhuijsen The Institution of the Rosary. Establishing the context for a recently discovered copy after a lost panel by Geertgen tot Sint Jans in the Pommersfelden Book of Hours, Ms. 343* In the Museum der bildenden Künste in Leipzig there is a sixteenth-century panel depicting The Institution of the Rosary. The style of the figures and the way in which different moments from the story are distributed organically over the picture surface suggest that it is a copy after a lost work that Geertgen tot Sint Jans painted for the Haarlem Confraternity of the Rosary (fig. 1).1 The left half shows the Virgin appear- ing to the kneeling St Dominic, who is receiving the rosary from the Christ Child. The door in the left background opens onto a room in which the bare-chested St 1 Dominic is kneeling before a crucifix with a rosary in his hand. The right half of Copy after Geertgen tot Sint Jans, the painting shows the dissemination of the rosary. In the foreground, St Dominic The Institution of the Rosary, panel, 28 x 42 cm. Leipzig, Museum der accompanied by another friar is presenting a rosary to Queen Blanche of Castile. He bildenden Künste. Photo: Museum is preaching its use from a pulpit in the background. der bildenden Künste, Leipzig. 220 Oud Holland Jaargang/Volume 123 - 2010 Nr. 3/4 2 Copy after Geertgen tot Sint Jans, St Dominic Presenting a Rosary to Queen Blanche of Castile, panel. England, private collection. Photograph taken from Ring 1952 (note 2). There are two other sixteenth century copies after Geertgen’s Institution of the Rosary, but they reproduce only parts of the scenes in the Leipzig painting.
    [Show full text]
  • In .The in .The
    M O O D Y B I B L E I N S T I T U T E ‘ S T TOODD.. AAYY IINN THTHEE WOWOAUGUSTRR 2004DD I am gentle and humble in heart, and you will find rest for your souls. Matthew 11:29 GODLY LEISURE—THE WISDOM OF OUR TIME TODAY WITH PRESIDENT STOWELL ARE YOU SLEEPY? Having trouble concentrating? Maybe it’s time for rest, for He “blessed the seventh those sleepless nights. Experts have dis- day and made it holy” (3). covered that too little sleep impairs our ability That is not to say that too much rest to concentrate. Our brain, without adequate cannot be dangerous. Scripture speaks of sleep, can be so depleted in energy that it fails rest as both a blessing and a curse. to make important connections. Research has Proverbs 6 warns, “How long will you lie also shown that deep sleep helps release there, you sluggard? When will you get up important growth hormones in from your sleep?” (v. 9). On the other hand, children and young teens. For Ecclesiastes 5:12 concludes, “The sleep of a people of all ages, sleep has laborer is sweet.” proven vital to both memory In the New Testament, Jesus tells us, and learning. “Come to me, all you who are weary Not surprisingly, ABC’s news and burdened, and I will give you rest” magazine show 20/20 reported (Matt. 11:28). Revelation 14:13 says, that “tens of millions of “They will rest from their labor, for their Americans” suffer from severe deeds shall follow them.” sleep deprivation.
    [Show full text]
  • Body, Identity, and Narrative in Titian's Paintings
    Winter i WITTENBERG UNIVERSITY BODY, IDENTITY, AND NARRATIVE IN TITIAN’S PAINTINGS AN UNDERGRADUATE THESIS SUBMITTED TO DR. ALEJANDRA GIMENEZ-BERGER BY LESLIE J. WINTER IN PARTIAL FULFILLMENT OF THE DEGREE BACHELOR OF ARTS WITH HONORS IN ART HISTORY APRIL 2013 Winter ii Table of Contents Pages Abstract iii. 1. Introduction 1. 2. The Painted Parts of the Whole Individual 4. 3. Istoria and The Power of the Figure in Renaissance Art 16. 4. Titian’s Religious Paintings 29. 5. Titian’s Classicizing Paintings 38. 6. Conclusion 48. Endnotes 49. Figure List 55. Figures 57. Bibliography 70. Winter iii Abstract: In the Renaissance, the bodies of individuals were understood as guides to their internal identities, which influenced the public understanding of the figure represented in art—be it in terms of politics, personal life, or legacy. The classicizing and religious paintings by Titian (c. 1488/90-1576) show the subject’s state of being, at a particular moment in a story, through the use of body language. The body is a vehicle for narrative that demonstrates the sitter’s identity, relating the intricacies of the body to both the mind and the story. By exploring the humanist combination of philosophical theories regarding the relationship between the soul and the body, it is clear that Titian used these concepts to elevate the human figures in his narrative paintings. Formal analysis and Renaissance artistic theories by Alberti and others suggest that Renaissance artists operated under the assumption that how their sitters appeared was tantamount to representing their identities. Current scholarship has not yet considered this particular relationship in Titian’s works.
    [Show full text]
  • Download 1 File
    ILLUSTRATED GUIDE IONAL MUSEUM IN NAPLES SANCTIONED BY THE MINISTRY OF EDUCATION RICHTER & CO, - NAPLES PUBLISHERS ILLUSTRATED GUIDE TO THE NATIONAL MUSEUM IN NAPLES EDITORS: G. DE PETRA, formerly Director of the Natio- nal Museum and professor at the University of Naples. A. SOGLIANO, Director of the Ex- cavations at Pompei and professor at the Univer- of sity Naples. G. PATRONI , Professor at the University of Pavie. L. MAR1ANI, Pro- fessor at the University of Pise. E. GABRICI, Director of the Coin Collection in the Natio- nal Museum. D. BASS1 , Director of the Collection of Papyri from Herculaneum. O. MARUCCHI, Director of the Egyptian Col- lection in the Vatican. A. CONT1, Director of the Picture Gallery in the National Museum. PUBLISHERS RICHTER & Co. NAPLES All rights reserved. PREFATORY NOTE This guide book is, with the exception of those pages describing the Picture Gallery, an excerpt from the ency- clopaedic Guida Illustrata del Museo Nazionale di Na- poli, approvata dal Ministero della Pubblica Istruzione, compilata da D. Bassi, E. Gabrici, L. Mariani, O. Ma- rucchi, G. Patroni, G. de Petra, A. Sogliano, per cura di A. Ruesch . The numbers preceding the several descrip- tive notes are identical with those in the Italian work referred to above. In parenthesis are quoted in many cases the numbers affixed to the various objects on the occasion of a recent inventory. For literary references and further information the student is referred to the original Italian edition. ..II..II.JI..II..II ' The National Museum. In the year 1738 the Bourbon King Charles of Naples conceived the idea of presenting the capital of his newly-acquired kingdom with a Mu- seum which should contain all the collected art treasures inherited under the Farnese bequest.
    [Show full text]
  • "MAN with a BEER KEG" ATTRIBUTED to FRANS HALS TECHNICAL EXAMINATION and SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian
    Centre for Conservation and Technical Studies Fogg Art Museum Harvard University 1'1 Ii I "MAN WITH A BEER KEG" ATTRIBUTED TO FRANS HALS TECHNICAL EXAMINATION AND SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian July 1984 ___~.~J INDEX Abst act 3 In oduction 4 ans Hals, his school and circle 6 Writings of Carel van Mander Technical examination: A. visual examination 11 B ultra-violet 14 C infra-red 15 D IR-reflectography 15 E painting materials 16 F interpretatio of the X-radiograph 25 G remarks 28 Painting technique in the 17th c 29 Painting technique of the "Man with a Beer Keg" 30 General Observations 34 Comparison to other paintings by Hals 36 Cone usions 39 Appendix 40 Acknowl ement 41 Notes and References 42 Bibliog aphy 51 ---~ I ABSTRACT The "Man with a Beer Keg" attributed to Frans Hals came to the Centre for Conservation and Technical Studies for technical examination, pigment analysis and restoration. A series of samples was taken and cross-sections were prepared. The pigments and the binding medium were identified and compared to the materials readily available in 17th century Holland. Black and white, infra-red and ultra-violet photographs as well as X-radiographs were taken and are discussed. The results of this study were compared to 17th c. materials and techniques and to the literature. 3 INTRODUCTION The "Man with a Beer Keg" (oil on canvas 83cm x 66cm), painted around 1630 - 1633) appears in the literature in 1932. [1] It was discovered in London in 1930. It had been in private hands and was, at the time, celebrated as an example of an unsuspected and startling find of an old master.
    [Show full text]
  • Rembrandt [PDF]
    Rembrandt Oil Paintings Rembrandt [Holland, 1606 - 1669] Biblical Scene 1642 Oil on wood 28 5/8 x 24 1/8 inches (73 x 61.5 cm) Hermitage, St Petersburg, Russia Oil Painting ID: 28801 | Order the painting The Risen Christ Appearing to Mary Magdalen 1638 Oil on wood 24 x 19 3/8 inches (61 x 49.5 cm) Royal Collection, Buckingham Palace, London, England Oil Painting ID: 28802 | Order the painting The Archangel Leaving the Family of Tobias 1637 Oil on wood 25 7/8 x 20 3/8 inches (66 x 52 cm) Musée du Louvre, Paris, France Oil Painting ID: 28803 | Order the painting The Blinding of Samson The Blinding of Samson, 1636, Stadelscleskunstinstut, Frankfurt Oil Painting ID: 28804 | Order the painting Belshazzar's Feast 1635 Oil on canvas 66 1/8 x 82 1/4 inches (168 x 209 cm) National Gallery, London, England Oil Painting ID: 28805 | Order the painting 1/3 The Sacrifice of Abraham 1635 Oil on canvas 75 7/8 x 52 1/4 inches (193 x 133 cm) Hermitage, St Petersburg, Russia Oil Painting ID: 28806 | Order the painting Descent from the Cross 1634 Oil on canvas 62 1/8 x 46 inches (158 x 117 cm) Hermitage, St Petersburg, Russia Oil Painting ID: 28807 | Order the painting The Incredulity of St. Thomas 1634 Oil on wood 20 3/4 x 20 inches (53 x 51 cm) Pushkin Museum, Moscow, Russia Oil Painting ID: 28808 | Order the painting The Anatomy Lecture of Dr. Nicolaes Tulp 1632 Oil on canvas 66 5/8 x 85 1/8 inches (169.5 x 216.5 cm) Mauritshuis, The Hague, Netherlands Oil Painting ID: 28809 | Order the painting Balaam's Ass 1626 Oil on panel 24 3/4 x 18 1/4 inches (63 x 46.5 cm) Musée Cognacq-Jay, Paris, France Oil Painting ID: 28810 | Order the painting Total 14 pages, 1/14 | Page : [1] 2 3 4 5 Rembrandt (Nationality : Holland, 1606 - 1669) Rembrandt [Rembrandt van Rijn] was a Dutch baroque artist who ranks as one of the greatest painters in the history of Western art.
    [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]
  • The Triumph of Flora
    Myths of Rome 01 repaged 23/9/04 1:53 PM Page 1 1 THE TRIUMPH OF FLORA 1.1 TIEPOLO IN CALIFORNIA Let’s begin in San Francisco, at the California Palace of the Legion of Honor in Lincoln Park. Through the great colonnaded court, past the Corinthian columns of the porch, we enter the gallery and go straight ahead to the huge Rodin group in the central apse that dominates the visitor’s view. Now look left. Along a sight line passing through two minor rooms, a patch of colour glows on the far wall. We walk through the Sichel Glass and the Louis Quinze furniture to investigate. The scene is some grand neo-classical park, where an avenue flanked at the Colour plate 1 entrance by heraldic sphinxes leads to a distant fountain. To the right is a marble balustrade adorned by three statues, conspicuous against the cypresses behind: a muscular young faun or satyr, carrying a lamb on his shoulder; a mature goddess with a heavy figure, who looks across at him; and an upright water-nymph in a belted tunic, carrying two urns from which no water flows. They form the static background to a riotous scene of flesh and drapery, colour and movement. Two Amorini wrestle with a dove in mid-air; four others, airborne at a lower level, are pulling a golden chariot or wheeled throne, decorated on the back with a grinning mask of Pan. On it sits a young woman wearing nothing but her sandals; she has flowers in her hair, and a ribboned garland of flowers across her thighs.
    [Show full text]
  • |||GRATIS||| Geertgen Tot Sint Jans Ebook
    GEERTGEN TOT SINT JANS GRATIS EBOOK Auteur: Aart Van Der Kuijl Aantal pagina's: 304 pagina's Verschijningsdatum: 2019-12-13 Uitgever: Uitgeverij Loutje Bv EAN: 9789491936227 Taal: nl Link: Download hier The Holy Kinship (Geertgen tot Sint Jans) - Wikipedia Geertgen tot Sint Jans ca. The principal source of knowledge concerning Geertgen tot Sint Jans, also called Geertgen van Haarlem, is the Dutch biographer Karel van Mander, who wrote about him in John as well as a pupil of Albert van Ouwater. Van Mander records that Geertgen died at the age of More recent discoveries, however, suggest that he was actually born in Leiden and that he served a portion of his apprenticeship in Flanders, probably at Bruges. In any case, his paintings display a marked Flemish influence, especially from the works of Hugo van der Goes. The earliest painting attributed to Geertgen is the Holy Kinship ca. Geertgen's Adoration of the Magi in Geertgen tot Sint Jans, from a few years later, reveals the added inspiration of Van der Goes for the composition and the quality of the continuous landscape recession. Geertgen's Geertgen tot Sint Jans works are characterized by feelings of intense devotion as well Geertgen tot Sint Jans increasing formal innovation. A small Nativity in London, for example, is not only profoundly emotive but highly original, representing as it does the first true nocturne in Western art. In much the same way, the famous St. John the Baptist in the Wilderness is expressive of deep religious sentiment yet also reveals the "most advanced conception of landscape to appear in 15th-century Flemish painting" Charles D.
    [Show full text]
  • An Expanded View of the Forms and Functions of 15Th-Century Netherlandish Devotional Art
    SEEKING THE PERSONAL: AN EXPANDED VIEW OF THE FORMS AND FUNCTIONS OF 15TH-CENTURY NETHERLANDISH DEVOTIONAL ART By BRENNA FRANCES BRALEY A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Brenna Frances Braley ACKNOWLEDGMENTS I would first like to thank the members of my committee, John L. Ward and Robin Poynor, for all of their help and encouragement while working on this project. I also thank Julie Kauffman, Johanna Kauffman, Bonnie Hampton, and Jody Berman (for their technological assistance), Joshua Braley, Linda Braley, and Rance Braley (for their help as proofreaders), and all the rest of my friends and family (for their unending patience and moral support). iii TABLE OF CONTENTS page ACKNOWLEDGMENTS ................................................................................................. iii LIST OF FIGURES .............................................................................................................v ABSTRACT...................................................................................................................... vii CHAPTER 1 INTRODUCTION ........................................................................................................1 2 HISTORICAL AND THEOLOGICAL CONTEXT....................................................5 3 THE PHYSICAL AND THE SPIRITUAL ................................................................26 4 RELIGIOUS EXPERIENCE AND
    [Show full text]