DOCSLIB.ORG

Information to Users

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTE TO USERS This reproduction is the best copy available. UMI' Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ARTISTS IN PRINT Hierooymns Cock and His 1572 Scries of Engraved Portraits by SARAH HELEN MEIERS A thesis submitted to the Department of Art in conformity with the requirements for the degree of Master of Arts Queen’s University Kingston, Ontario, Canada March, 2002 copyright © Sarah Helen Meiers, 2002 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. National Library Bibliothdque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibiiographiques 395 WaCnglon Straat 395, rua WaCngton Ottawa ON kiaona Ottawa ON K1A0N4 Canada Canada varm i W N i W n a Our Mb Man iM mnei The author has granted a non­ L’auteur a accorde une licence non exclusive licence allowing the exclusive pennettant a la National Library of Canada to Bibliotheque nationale du Canada de reproduce, loan, distribute or sell reproduire, preter, distribuer ou copies of this thesis in microform, vendre des copies de cette these sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format electronique. The author retains ownership of die L’auteur conserve la propriete du copyright in this thesis. Neither die droit d’auteur qui protege cette these. thesis nor substantial extracts from it Ni la these ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent etre imprimis reproduced without the author’s ou autrement reproduits sans son permission. autorisation. 0-612-69318-X Canada Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Abstract Devoted to the representation of Dutch and Flemish artists, the portrait series Pictorum aliquot celebrium Germaniae infcrioris effigies was first published in 1572 by a prominent Antwerp printing house, In de Vier Winden. Honoured in the series as the twenty-third and final artist was the firm’s late founder, Hieronymus Cock (c. 1510-1570). Cock’s reputation as a leading Northern printmaker of the sixteenth century has been firmly established by existing scholarship, but Cock’s portrait series has escaped intensive examination. It is necessary to reassess how the collection was conceived and by whom. In addition to demonstrating how the series was produced, it is also important to consider how Cock’s portrait series related to art historiography, a field of study which had only begun to flourish in the sixteenth century. Four years prior to the publication of the portrait series, the illustrated second edition of Giorgio Vasari’s Lives of the Painters. Sculptors and Architects (1568) was released. A most popular compilation of artists’ biographies, Vasari’s work lauded Italy as the cradle of great art. Objecting to the consequently diminished stature of Dutch and Flemish painters, Karel van Mander dedicated his 1604 Schilder-Boeck (second edition 1618) to describing illustrious artists of the North. Did Cock’s portrait series constitute an early response to Vasari’s claims? This is a formidable question, but 1 will argue that by circumscribing the identities of Netherlandish artists in a series of portraits, Cock attempted to create and propagate a visual history of the arts in the Low Countries. ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Acknowledgments The completion of this thesis depended in large part on the support offered to me by my family, my friends, and the academic community at Queen's. I would like to thank my supervisor, Volker Manuth, for helping me to shape my ideas into sharp observations and, most especially, for introducing me to the rewards of conducting firsthand research in The Netherlands. I am indebted to the staff at the Rijksprentenkabinet in Amsterdam for their generous assistance and I must thank Ger Luijten for graciously taking the time to direct me to various prints and publications which proved essential to my research. Of great benefit to me has been the constant encouragement of my fellow students, but I wish to single out Victoria Pollard and John Potvin for their enthusiasm, advice, and friendship. And with love I thank Ryan Geris for proofreading my final draft and, more importantly, for inspiring me to push ahead when I felt most challenged. My deepest gratitude, however, belongs to my parents, Reg and Corinne Meiers, because they support me in everything and to my grandmother, Norma Bailey, because she helped me to study in Amsterdam. 1 dedicate this work to these three special persons. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Table of Contents Abstract............................................................................................................................. ii Acknowledgments ............................................................................................................. iii List of Illustrations ............................................................................................................. v Introduction. .......................................................................................................................1 Chapter One: The Appearance of the First Edition .............................................................9 Chapter Two: The Production of the Series .....................................................................23 Chapter Three: Precedents to Cock’s Model of a Northern School of Painting ...............53 Conclusion. ...................................................................................................................... 68 Appendix: The Verses of Lampsonius ............................................................................. 70 Bibliography..................................................................................................................... 77 Catalogue......................................................................................................................... 88 Illustrations .....................................................................................................................139 Vita................................................................................................................................ 205 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. List of Illustrations 1. Hubert van Eyck. Amsterdam. Rijksprentenkabinet, inv. no. 325-C-6, 1572. 2. Jan van Eyck. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 3. Hieronymus Bosch. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6. 1572. 4. Rogier van der Weyden. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6. 1572. 5. Dieric Bouts [Bernard van Orley]. Amsterdam, Rijksprentenkabinet, inv. no. 325- C-6. 1572. 6. Bernard van Orley [Dieric Bouts]. Amsterdam, Rijksprentenkabinet, inv. no. 325- C-6, 1572. 7. Jan Gossaert. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 8. Joachim Patinir. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 9. Quentin Metsys. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 10. Lucas van Leyden. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 11. Jan vanAmstel. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 12. Joos van Cleve. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 13. Matthijs Cock. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 14. Herri met de Bles. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 15. Jan Comelis Vermeyen. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 16. Pieter Coecke van Aelst. Amsterdam, Rijksprentenkabinet, inv. no. 325-C-6, 1572. 17. Jan van Scorel. Amsterdam,
Recommended publications
  • CORNELIS CORNELISZ. VAN HAARLEM (1562 – Haarlem – 1638)

    CORNELIS CORNELISZ. VAN HAARLEM (1562 – Haarlem – 1638)

    CORNELIS CORNELISZ. VAN HAARLEM (1562 – Haarlem – 1638) _____________ The Last Supper Signed with monogram and dated 1636, lower centre On panel – 14¾ x 17⅜ ins (37.4 x 44.2 cm) Provenance: Private collection, United Kingdom since the early twentieth century VP 3691 The Last Supperi which Christ took with the disciples in Jerusalem before his arrest has been a popular theme in Christian art from the time of Leonardo. Cornelis van Haarlem sets the scene in a darkened room, lit only by candlelight. Christ is seated, with outstretched arms, at the centre of a long table, surrounded by the twelve apostles. The artist depicts the moment following Christ’s prediction that one among the assembled company will betray him. The drama focuses upon the reactions of the disciples, as they turn to one another, with gestures of surprise and disbelief. John can be identified as the apostle sitting in front of Christ who, as the gospel relates, ‘leaned back close to Jesus and asked, “Lord, who is it?”ii and Andrew, an old man with a forked beard, can be seen at the right-hand end of the table. Only Judas, recognisable by the purse of money he holds in his right handiii, turns away from the table and casts a shifty glance towards the viewer. The bread rolls on the table and the wine flagon held by the apostle on the right make reference to the sacrament of the eucharist. This previously unrecorded painting, dating from 1636, is a late work by Cornelis van Haarlem and is characteristic of the moderate classicism which informed his work from around 1600 onwards.
  • MAGIS Brugge

    MAGIS Brugge

    Artl@s Bulletin Volume 7 Article 3 Issue 2 Cartographic Styles and Discourse 2018 MAGIS Brugge: Visualizing Marcus Gerards’ 16th- century Map through its 21st-century Digitization Elien Vernackt Musea Brugge and Kenniscentrum vzw, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the Digital Humanities Commons, and the Medieval History Commons Recommended Citation Vernackt, Elien. "MAGIS Brugge: Visualizing Marcus Gerards’ 16th-century Map through its 21st-century Digitization." Artl@s Bulletin 7, no. 2 (2018): Article 3. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Cartographic Styles and Discourse MAGIS Brugge: Visualizing Marcus Gerards’ 16th-century Map through its 21st-century Digitization Elien Vernackt * MAGIS Brugge Project Abstract Marcus Gerards delivered his town plan of Bruges in 1562 and managed to capture the imagination of viewers ever since. The 21st-century digitization project MAGIS Brugge, supported by the Flemish government, has helped to treat this map as a primary source worthy of examination itself, rather than as a decorative illustration for local history. A historical database was built on top of it, with the analytic method called ‘Digital Thematic Deconstruction.’ This enabled scholars to study formally overlooked details, like how it was that Gerards was able to balance the requirements of his patrons against his own needs as an artist and humanist Abstract Marcus Gerards slaagde erin om tot de verbeelding te blijven spreken sinds hij zijn plan van Brugge afwerkte in 1562.
  • THE ICONOGRAPHY of MEXICAN FOLK RETABLOS by Gloria Kay

    THE ICONOGRAPHY of MEXICAN FOLK RETABLOS by Gloria Kay

    The iconography of Mexican folk retablos Item Type text; Thesis-Reproduction (electronic) Authors Giffords, Gloria Fraser, 1938- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 20:27:37 Link to Item http://hdl.handle.net/10150/552047 THE ICONOGRAPHY OF MEXICAN FOLK RETABLOS by Gloria Kay Fraser Giffords A Thesis Submitted to the Faculty of the DEPARTMENT OF ART In Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS WITH A MAJOR IN HISTORY OF ART In the Graduate College THE UNIVERSITY OF ARIZONA 19 6 9 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manu­ script in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. APPROVAL BY THESIS DIRECTOR This thesis has been approved on the date shown below: Robert M.
  • Scales As a Symbol of Metaphysical Judgement – from Misterium Tremendum to Misterium Fascinosum an Analysis of Selected Works of Netherlandish Masters of Painting

    Scales As a Symbol of Metaphysical Judgement – from Misterium Tremendum to Misterium Fascinosum an Analysis of Selected Works of Netherlandish Masters of Painting

    Santander Art and Culture Law Review 2/2015 (1): 259-274 DOI: 10.4467/2450050XSR.15.022.4520 VARIA Karol Dobrzeniecki* [email protected] Faculty of Law and Administration of the Nicolaus Copernicus University in Toruń ul. Władysława Bojarskiego 3 87-100 Toruń, Poland Scales as a Symbol of Metaphysical Judgement – from Misterium Tremendum to Misterium Fascinosum An Analysis of Selected Works of Netherlandish Masters of Painting Abstract: The aim of this article is to analyze the motif of scales in Netherlandish art from the 15th to the 17th century. The motif of scales was present in art from earliest times, but its role and func- tion differed in various historical epochs – antique, the middle ages, and the modern age. The core part of the article is devoted to the symbolic relationship between scales and different aspects of justice. The first painting taken into consideration is Rogier van der Weyden’s Last Judgment (approx. 1445 to 1450), and the last one – Jan Vermeer’s Woman Holding a Balance (approx. 1662-1663). The article attempts to answer some crucial questions. What were the meanings attributed to scales during the two centuries exam- ined? How did these meanings evolve, and was the interpretation of the symbol influenced by the ethos characteristic for particular peri- ods and geographical spaces, as well as transient fashions, religious * Karol Dobrzeniecki, Doctor of Law and art historian, currently serves as an Assistant Professor at the Department of Theory of Law and State, Faculty of Law and Administration of the Nicolaus Copernicus University in Toruń, Poland.
  • Quentin Matsys's a Grotesque Old Woman

    Quentin Matsys's a Grotesque Old Woman

    Portrait of Sixteenth-Century Disability? Quentin Matsys’s A Grotesque Old Woman Sara Newman, PhD Kent State University, USA Abstract: Scholars rarely examine art works from a disability studies perspective; their analyses often misinterpret those works, reinforcing contemporary assumptions about disability and its past representations. Accordingly, this paper examines a portrait by sixteenth-century Antwerp artist Quentin Matsys (1466-1529) from a historically situated disability studies perspective. A Grotesque Old Woman (c.1513) has been understood in terms of abnormality. Existing scholarship has suggested that she represents physical, gender, and sexual deviance in the spirit of Erasmian allegories, or an individual with Paget’s disease. Although these interpretations may inform contemporary scholarship, they shed little light on sixteenth-century disability and its artistic representations. This paper demonstrates how the portrait reflects a cultural transition from an earlier collective, religious model of disability to a more “municipal” one which considers disability vis-à-vis individuals engaged in daily commercial or personal activities. This analysis provides insight into how disability was understood in Matsys’s time, contributes to our understanding of the Dutch allegorical and portraiture traditions, and demonstrates what a historically situated disability model offers future research on artistic representations of disability. Key Words: art history, Netherlandish portraiture; the grotesque “I’ve always been intrigued by this painting. It’s fascinating because it is so meticulously and lovingly painted. You think, why would someone go to so much trouble in order to paint such a grotesque image? I always suspected there was something more to it than just a study in grotesquery” (Brown, 2008).
  • Fire, Smoke and Vapour. Jan Brueghel's 'Poetic Hells

    Fire, Smoke and Vapour. Jan Brueghel's 'Poetic Hells

    FIRE, SMOKE AND VAPOUR. JAN BRUEGHEL’S ‘POETIC HELLS’: ‘GHESPOOCK’ IN EARLY MODERN EUROPEAN ART Christine Göttler Karel van Mander, in the ‘Life of Jeronimus Bos’ in his Schilder-Boeck of 1604, speaks of the ‘wondrous or strange fancies’ (wonderlijcke oft seldsaem versieringhen), which this artist ‘had in his head and expressed with his brush’ – the ‘phantoms and monsters of hell ( ghespoock en ghe- drochten der Hellen) which are usually not so much kindly as ghastly to look upon’.1 Taking one of Bosch’s depictions of the Descent of Christ into the Limbo of the Fathers as an example, van Mander further notes that ‘it’s a wonder what can be seen there of odd spooks (oubolligh ghespoock); also, how subtle and natural (aerdigh en natuerlijck) he was with ames, \ res, smoke and vapours’.2 In the Schilder-Boeck, van Mander frequently uses the word ‘aerdigh’ to describe the aesthetically pleasing quality of small works or small details;3 here, ‘aerdigh’ refers to the natural and lively depiction of res. As it has been observed, van Mander’s list of Bosch’s painterly expres- sions echoes Erasmus’s often-cited eulogy on Dürer in the Dialogus de recta Latini Graecique sermonis pronuntiatione (Dialogue About the Correct Pro- nunciation of Latin and Greek), published in Basel in 1528. According to 1 Mander K. van, The Lives of the Illustrious Netherlandish and German Painters, from the \ rst edition of the Schilder-boeck (1603–1604), ed. H. Miedema, 6 vols. (Davaco: 1994–99) I 124f. (f. 216v): ‘Wie sal verhalen al de wonderlijcke oft seldsaem versieringhen/die Ieronimus Bos in’t hooft heeft ghehadt/en met den Pinceel uytghedruckt/van ghe- spoock en ghedrochten der Hellen/dickwils niet alsoo vriendlijck als grouwlijck aen te sien.’ Here and in the following, my translation is largely based on the one given in Miedema’s edition of The Lives; I use, however, a more literal translation of van Mander’s expressions.
  • The Drawings of Cornelis Visscher (1628/9-1658) John Charleton

    The Drawings of Cornelis Visscher (1628/9-1658) John Charleton

    The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam .................................................................................................................
  • 'Uytnemende Schilder Van Antwerpen' Leeflang, Micha

    'Uytnemende Schilder Van Antwerpen' Leeflang, Micha

    University of Groningen 'Uytnemende Schilder van Antwerpen' Leeflang, Micha IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2007 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Leeflang, M. (2007). 'Uytnemende Schilder van Antwerpen': Joos van Cleve: atelier, productie en werkmethoden. s.n. Copyright Other than for strictly personal use, 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), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 28-09-2021 8. Summary This study on Joos van Cleve and his workshop is part of a research project at the University of Groningen, sponsored by the Dutch Organization for Scientific Research, NWO, entitled: Antwerp Painting Before Iconoclasm: a Socio-Economic Approach (2000-2004). Before this project, artistic developments in Antwerp had never been studied systematically following a historical, socio-economic approach. The research was innovative and was intended to map out the common ground between: technical studies documenting changes in workshop practice and quantitative analysis of archival documents about the market and the behaviour of customers.
  • Encyklopédia Kresťanského Umenia

    Encyklopédia Kresťanského Umenia

    Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Anton Veľký - (356); tiež Anton z Komy, Anton Egyptský, Anton Pustovník, Anton opát; v angl. umení označovaný ako Anton opát; používaný opát, kresťanský svätec a pustovník, narodený v Egypte, kde potom, čo rozdal svoj majetok, strávil veľa rokov na púšti; zakladateľ asketického života; uzdravoval chorých počas epidémií v 11.st. (epidémia ruže známa ako oheň sv. Antonína); otec mníšstva; zobrazovaný ako fúzatý starec v mníšskej kutne s kapucňou, palicou v tvare písmena tau (pozri kríž egyptský antonský), tau sa objavuje v bielej alebo modrej aj na vrchnej strane jeho plášťa; v ruke drží zvonček a sprevádza ho prasa, ktoré má niekedy zvonček zavesený na krku (bravčová masť vraj používaná ako liek proti ohňu sv. Antona; v inom výklade zvonček na odháňanie zlých duchov a nepriamo odkaz na pokušenie sv. Antona; neskorokeltské reliéfy na krížoch s výjavmi zo života sv. Antona ovplyvnené koptským umením (abstrahovanie reálneho tvaru v spojení so symbolikou významu a kompozíciou horor vacui); postava Antonína jednou z postáv na stĺpe morovom; hlavným námetom so sv. Antonom je Pokušenie sv. Antona; pozri Pavol Pustovník; sviňa (Biedermann); koptské umenie; kríž antonský http://be.wikipedia.org/wiki/%D0%90%D0%BD%D1%82%D0%BE%D0%BD%D1%96%D0%B 9_%D0%92%D1%8F%D0%BB%D1%96%D0%BA%D1%96 http://www.flickr.com/photos/28433765@N07/8602834641/in/photostream/ http://www.adolphus.nl/xus/antongameriknmusea.html C. Crivelli: Sv. Anton Veľký, sv. Hieronymus a sv. Ondrej (predela oltárneho triptychu, 1482) Heslo ANTON VEĽKÝ - AP Strana 1 z 55 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Sv.
  • Cornelis Cornelisz, Who Himself Added 'Van Haarlem' to His Name, Was One of the Leading Figures of Dutch Mannerism, Together

    Cornelis Cornelisz, Who Himself Added 'Van Haarlem' to His Name, Was One of the Leading Figures of Dutch Mannerism, Together

    THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com Cornelis Cornelisz van Haarlem (Haarlem 1562 – 1638) Venus, Cupid and Ceres Oil on canvas 38 x 43 in. (96.7 x 109.2 cm.) Signed with monogram and dated upper right: ‘CH. 1604’ Provenance Private collection, New York Cornelis Cornelisz, who himself added ‘van Haarlem’ to his name, was one of the leading figures of Dutch Mannerism, together with his townsman Hendrick Goltzius and Abraham Bloemaert from Utrecht. He was born in 1562 in a well-to-do Catholic family in Haarlem, where he first studied with Pieter Pietersz. At the age of seventeen he went to France, but at Rouen he had to turn back to avoid an outbreak of the plague and went instead to Antwerp, where he remained for a year with Gilles Coignet. The artist returned to Haarlem in 1581, and two years later, in 1583, he received his first important commission for a group portrait of a Haarlem militia company (now in the Frans Hals Museum, Haarlem). From roughly 1586 to 1591 Cornelis, together with Goltzius and Flemish émigré Karel van Mander formed a sort of “studio brotherhood” which became known as the ‘Haarlem Academy’. In the 1590’s he continued to receive many important commissions from the Municipality and other institutions. Before 1603, he married the daughter of a Haarlem burgomaster. In 1605, he inherited a third of his wealthy father-in-law’s estate; his wife died the following year. From an illicit union with Margriet Pouwelsdr, Cornelis had a daughter Maria in 1611.
  • Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010

    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.
  • Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600

    Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600

    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic.