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Ontdek Schilder, Tekenaar, Architect Jan Van Scorel

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Ontdek Schilder, Tekenaar, Architect Jan Van Scorel 71591 2 afbeeldingen Jan van Scorel man / Noord-Nederlands schilder, tekenaar, architect, hofschilder, kanunnik Naamvarianten In dit veld worden niet-voorkeursnamen zoals die in bronnen zijn aangetroffen, vastgelegd en toegankelijk gemaakt. Dit zijn bijvoorbeeld andere schrijfwijzen, bijnamen of namen van getrouwde vrouwen met of juist zonder de achternaam van een echtgenoot. Schoorel, Jan van Schoorl, Jan van Schoreel, Jan van Schorel, Jan van Scoreel, Jan van Scorelius, Jan van Scorellius, Jan van also erroneously called Jan van Scoreel/Schoreel Kwalificaties schilder, tekenaar, architect, hofschilder, kanunnik Nationaliteit/school Noord-Nederlands Geboren Schoorl 1495-08-01 Overleden Utrecht (stad) 1562-12-06 Familierelaties in dit veld wordt een familierelatie met één of meer andere kunstenaars vermeld. father of Peter Jansz. van Scorel, a.k.a. Peter Jansz. van Sijpenesse (c. 1530-1621), Maria Jansdr. van Schorel (1531-ca. 1575), Paulus van Scorel/Paulus van Sijpenes (1532-1619) and Victor van Scorel (1539-1562) Zie ook in dit veld vindt u verwijzingen naar een groepsnaam of naar de kunstenaars die deel uitma(a)k(t)en van de groep. Ook kunt u verwijzingen naar andere kunstenaars aantreffen als het gaat om samenwerking zonder dat er sprake is van een groep(snaam). Dit is bijvoorbeeld het geval bij kunstenaars die gedeelten in werken van een andere kunstenaar voor hun rekening hebben genomen (zoals bij P.P. Rubens en J. Brueghel I). Adrianus VI (pope) Deze persoon/entiteit in andere databases 406 treffers in RKDimages als kunstenaar 53 treffers in RKDlibrary als onderwerp 551 treffers in RKDexcerpts als kunstenaar 313 treffers in RKDtechnical als onderzochte kunstenaar Verder zoeken in RKDartists& Geboren 1495-08-01 Sterfplaats Utrecht (stad) Plaats van werkzaamheid Haarlem Plaats van werkzaamheid Keulen Plaats van werkzaamheid Speyer Plaats van werkzaamheid Straatsburg Plaats van werkzaamheid Basel (Zwitserland) Plaats van werkzaamheid Neurenberg Plaats van werkzaamheid Steyr Plaats van werkzaamheid Obervellach Plaats van werkzaamheid Venetië Plaats van werkzaamheid Bethlehem Plaats van werkzaamheid Jeruzalem (Israël) Plaats van werkzaamheid Rome Plaats van werkzaamheid Frankrijk Plaats van werkzaamheid Utrecht (stad) Plaats van werkzaamheid Gent Kwalificaties schilder Kwalificaties tekenaar Kwalificaties architect Kwalificaties hofschilder Kwalificaties kanunnik Materiaal/techniek olieverf Onderwerpen historie (als genre) Onderwerpen portret Onderwerpen landschap (als genre) Standplaats archief archief Godefridus Johannes Hoogewerff Biografische gegevens Werkzaam in Hier wordt vermeld waar de kunstenaar (langere tijd) heeft gewerkt en in welke periode. Ook relevante studiereizen worden hier vermeld. Haarlem 1517 - 1518 Keulen 1519 - 1520 Speyer 1519 - 1520 Straatsburg 1520 Basel (Zwitserland) 1520 Neurenberg 1520 met Albrecht Dürer here Steyr 1520 Obervellach 1520 Venetië 1520 Bethlehem went over sea from Venice to the Holy Land Jeruzalem (Israël) Venetië 1522 Rome 1522 - 1524 Frankrijk 1524 Utrecht (stad) 1524 - 1527 Haarlem 1527 - 1530 Utrecht (stad) 1530 - 1562 Frankrijk 1540 Gent 1550 Relaties met andere kunstenaars Leerling van In dit veld worden namen van leraren of leermeesters vermeld. Het gaat hier om die leermeesters die een relevante rol hebben gespeeld in de vorming van de leerling, dus niet om alle academieleraren die iemand heeft gehad. Zie ook het veld 'Opleiding'. Buys, Cornelis Cornelisz. (I) Cornelisz, Jacob Willemsz., Cornelis Leraar van in dit veld worden namen van leerlingen vermeld. Het gaat hier om die leerlingen waarbij de leraar een relevante rol heeft gespeeld in diens vorming, dus niet om alle academieleerlingen die iemand heeft gehad. Zie ook het veld 'Opleiding'. Heemskerck, Maarten van Meester van de Barmhartige Samaritaan Moro, Antonio Noort, Lambert van Schermus van Deventer, Martin Sustris, Lambert Maarten van Heemskerck was probably not so much an apprentice as well as working as an assistent in the Haarlems studio of Jan van Scorel. Invloed op In dit veld worden de kunstenaars vermeld op wie de beschreven kunstenaar invloed heeft gehad zonder dat er sprake was van een onderwijssituatie of van slaafse navolging. Posthumus, Herman Droochsloot, Joost Cornelisz. Faber von Kreuznach, Conrad Tetrode, Willem Danielsz. van Onderwerpen In dit veld worden de diverse onderwerpscategorieën of genres vermeld die in het oeuvre van de beschreven kunstenaar voorkomen. De inhoud van dit veld is doorgaans meer gebaseerd op het aanwezige beeldmateriaal in het RKD dan op de literatuur. historie (als genre), portret, landschap (als genre) Materiaal/techniek olieverf Literatuur Literatuur in RKDLibrary 53 treffers in RKDlibrary als onderwerp Van Mander/Floerke 1617/1906 , vol. 1, p. 263-280 Obreen 1877-1890 , Obreen vol. 5 (1882-1883), p. 331-333 (L. Van Hasselt, 'Contract van het kapittel van St. Marie te Utrecht en Jan van Oen, over het maken van het oxaal in de kerk, volgens het ontwerp van Jan van Scorel'') Binder 1908 , passim Thieme/Becker 1907-1950 , vol. 30 (1936), p. 401-404 Hoogewerff 1923 , passim Binder 1908 Hoogewerff 1955 , passsim Faries 1972 , passim Hollstein et al. 1949-2010 , vol. 26 [1982], p. 177-179 Turner et al. 1996 Witt Checklist 1978 Dacos/Meijer et al. 1995 , p. 318-323 Biesboer/Köhler et al. 2006 , p. 303-304 Helmus/Faries/Tamis 2011 , passim Leeflang/Van Schooten 2012 , passim Fagnart/Lecocq 2017 , p. 5, 8, 9, 62, 63, 187-189, 195, 197-200, 229, 230 Harnack 2018 , passim DiFuria 2019 , p. 59-76 Bartsch 2019 , p. 19-32 O. Granberg, Jan van Scorel och Gustaf Vasa', Svenska Fornminnesföreningens Tidskrift 5 1881-1883 (1882-1884), p. 268-271 L. Scheibler, 'W. von Bode: Verzeichnis der Gemälde des Jan van Scorel', Jahrbuch der Berliner Museen. Band 2, 1881, p. 212 ff. W. Martin, 'The Life of a Dutch Artist in the Seventeenth Century. Part II - Instruction in Painting', The Burlington Magazine 7 (1905), p. 416-427 Th. von Frimmel, 'Zum Altarwerk des Jan Scoorel in Obervellach', Blätter für Gemäldekunde, 2/9 (1906), p. 167-171 N. Beets, 'De aan Jan van Scorel toegeschreven Warmenhuizer gewelfschilderingen', Bulletin KNOB 1 (1908), p. 62-70 H.E. van Gelder, 'Nieuws over Jan van Scorel', Oud-Holland 36 (1918), p. 177-182 G. Glück, 'Ein neugefundenes Gemaelde Jan van Scorels. (Ruth und Naemi)', Bulletin KNOB (1908) nr. 3, p. 183-187 W. Vogelsang, '[recensie van] G. Hoogewerff, Jan van Scorel, peintre de la Renaissance hollandaise', Oudheidkundig Jaarboek. Bulletin van den Nederlandschen Oudheidkundigen Bond 4 (1924), p. 51 ff.. G.J. Hoogewerff, 'Jan van Scorel. Enkele aanvullingen', Mededeelingen van het Nederlandsch Historisch Instituut te Rome 4 (1924), p. 197-208 F. Winkler en O. Benesch, 'Two notes on Jan van Scorel as a draughtsman', Old Master Drawings nr. 2 (september 1926), p. 15-18 W. Cohen, 'Jan van Scorels "Einzug Christi in Jerusalem"', Oud-Holland 44 (1927), p. 23-29 G.J. Hoogewerff, 'Jan van Scorel of "Zuan Fiamengo"?', Oud-Holland 47 (1930), p. 169-188 F. Winkler, 'Jan van Scorel oder "Zuan Fiamengo" ', Oud-Holland 48 (1931), p. 172-178 G.J. Hoogewerff, 'Weerlegging van Dr. Winkler', Oud-Holland 48 (1931), p. 178-183 K. Steinbert, 'Unveröffentlichte Zeichnungen und Holzschnitte des Jan van Scorel', Oud-Holland 49 (1932), p. 281-288 P. Wescher, 'Jan Scorel und die beiden Cornelis Buys, der Ältere und der Jüngere', Oud-Holland 61 (1946), p. 82-95 Oud-Holland 70 (1955), p. 181 ff.: 'Mededelingen van het RKD', met verschillende korte artikelen over Van Scorel J.G. van Gelder, 'Jan van Scorel in Frankrijk en Vlaanderen', Simiolus 1 (1966-'67), p. 5-36 J.A.L. De Meyere, 'Utrechtse schilderkunst in de tweede helft van de 16de eeuw', Jaarboek Oud-Utrecht (1978), p. 106-191 M. Diaz Padron, 'Varios pintores flamencos: Hemessen, Scorel, Pietro de Lignis, G. Crayer y B. Beschey', Archivo español de Arte, 52 num. 206 (1979), p. ... M. Fairies, 'Jan van Scorel, Additional Documents from the Church Records of Utrecht', Oud Holland 85 (1970), p. 3-24 M. Faires, 'Underdrawings in the workshop production of Jan van Scorel. A study with infrared reflectography', Nederlands Kunsthistorisch Jaarboek 6 (1975), p. 89-228 H. Vlieghe, 'Rubens en Van Scorel', Oud Holland 94 (1980), p. 32-36 J. Bruyn, 'Over de betekenis van het werk van Jan van Scorel omstreeks 1530 voor oudere en jongere tijdgenoten (1)', Oud Holland 97 (1983), p. 117-124 and 217-233; 98 (1984), p. 1-12 and 98-100 Ch. Lucassen-Mackert,, 'Eine Zeichnung aus dem Atelier von Jan van Scorel und einige andere in Breda neugefundene Zeichnungen', Oud Holland 99 (1985), p. 16-29 H.L.M. Defoer and P. Dirkse, 'Het grafmonument van Jan van Scorel', Oud Holland 100 (1986), p. 171-196 M. Faries & J.R.J. van Asperen de Boer, 'Interdisciplinary Research: the Technical Examination of Panels in the Jan van Scorel Group by Art Historian and Scientist', in: M.B. Hall (ed.), Color and Technique in Renaissance Painting. Italy and the North, New York 1987, p. 75-87 M. Faries, 'Some Results of the Recent Scorel Research: Jan van Scorel's Definition of Landscape in Design and Color', in: M.B. Hall (ed.), Color and Technique in Renaissance Painting. Italy and the North, New York 1987, p. 89-103 J.P. Guépin, ' Hercules belegerd door de Pygmeeën, schilderijen van Jan van Scorel en Frans Floris naar een Icon van Philostratus', Oud Holland 102 (1988), p. 155-172. B.W. Meijer, 'Over Jan van Scorel in Venetië en het vroege werk van Lambert Sustris', Oud Holland 106 (1992), p. 1-19 M. Faries and M. Wolff, 'Landscape in the early paintings of Jan van Scorel', The Burlington Magazine 138 (1996), p. 724-733 M. Faries, 'Jan van Scorel's clerical patronage', Bollettino d'Arte" del Minestero per i beni e le attività culturali 100 (1997), p. 107-116 M. Faries, 'Jan van Scorel's Jerusalem Landscapes', in: L.S. Dixon (ed.), In Detail. New Studies of Northern Renaissance Art in Honor of Walter S. Gibson, Turnhout 1998, p. 113-134 M. Faries, 'Jan van Scorel as painter/entrepreneur', Le dessin sous-jacent dans la peinture.
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  • The Historical Reputation of Jan Van Scorel's Portraits
    Countenances of the deepest attentiveness: the historical reputation of Jan van Scorel’s portraits* Albert Godycki Figure 1 Jan van Scorel, Twelve Members of the Utrecht Brotherhood of Jerusalem Pilgrims, c. 1525. Oil on panel. Utrecht: Centraal Museum. The historical fame of Jan van Scorel (1495 - 1562) can be said to rest on two factors: his earliest biographers emphasised his sojourn in Italy and marked him out as the bringer of a ‘new style’ back to his native Netherlands; for more recent art history, it is the privileged position which Alois Riegl accorded to the painter as the first artist to have created an autonomous group portrait.1 It is then perhaps to be expected that the bulk of Scorel’s output has been in the past interpreted through either or both of these methodological lenses. Yet, with all long-term historiographies the inevitable fluctuations in academic and more broadly social circumstances have variably conditioned the understanding and position of Scorel’s oeuvre in art historical narratives, not least in that of portraiture which is the concern of the present paper. By drawing attention to early biographers’ statements on Scorel, and by expanding Riegl’s analysis to include other portraits, not just the oft-cited series of Jerusalem Pilgrim portraits (fig. 1)2, this paper aims to examine how an illustrious * I wish to thank the conference organisers, Doctor Mateusz Grzeda and Professor Marek Walczak, for the opportunity to participate in the conference, and for the stimulating exchanges which it generated. This paper greatly benefited from those exchanges. My thanks also to Professor Joanna Woodall, whose patience seems to know no bounds.
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  • Jan Van Scorel's Crucifixion for the Oude Kerk, Amsterdam: the “Finest
    Volume 12, Issue 2 (Summer 2020) Jan van Scorel’s Crucifixion for the Oude Kerk, Amsterdam: The “finest painting in all of the regions of Flanders” Molly Faries, Henri Defoer [email protected], [email protected] Recommended Citation: Molly Faries, Henri Defoer, “Jan van Scorel’s Crucifixion for the Oude Kerk, Amsterdam: The “finest painting in all of the regions of Flanders”,” Journal of Historians of Netherlandish Art 12:2 (Summer 2020) DOI: 10.5092/jhna.12.2.1 Available at https://jhna.org/articles/jan-van-scorels-crucifixion Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 Jan van Scorel’s Crucifixion for the Oude Kerk, Amsterdam: The “finest painting in all of the regions of Flanders” Molly Faries, Henri Defoer This essay identifies one of Jan van Scorel’s most important, lost works—the Crucifixion for the high altar of the Oude Kerk, Amsterdam—by evaluating the evidence provided by workshop replicas, later copies, and other works influenced by the original painting. The questions surrounding the prestigious Oude Kerk commission play out in the context of Scorel’s reestablishment in the northern Netherlands after his return from Italy in 1524 and the responses by Scorel’s contemporaries such as Maarten van Heemskerck to his new Italianate style. 1 Jan van Scorel’s Crucifixion for the high altar of the Oude Kerk in Amsterdam is one of the paintings that Karel van Mander lamented was lost during the Iconoclasm in 1566, along with others in Utrecht, Gouda, and elsewhere.1 The sense of loss is made all the more palpable when one considers how the Oude Kerk painting was appreciated by those who had the chance to see it before it was destroyed.
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  • Portrait of Joost Aemsz Van Der Burch and the Artist’S Portrayals of ‘Great Lords of the Netherlands’
    354 the rijks a new attributionmuseum to jan van scorel bulletin A New Attribution to Jan van Scorel: The Portrait of Joost Aemsz van der Burch and the Artist’s Portrayals of ‘Great Lords of the Netherlands’ * • molly faries and matthias ubl • abstract This article posits a new attribution to Jan van Scorel of the imposing, frontal portrait of Joost Aemsz van der Burch (c. 1490­1570), Antwerp, The Phoebus Foundation, especially as compared with Scorel’s portrayal of Reinoud iii van Brederode (1492­1556), Lord of Vianen, Amsterdam, Rijksmuseum. Other portraits by Jan van Scorel that are related in terms of patronage are also discussed, including Portrait of Janus Secundus (1511­1536), The Hague, Haags Historisch Museum; Portrait of a Man in a private collection in England; Portrait of Jean ii de Carondelet (1469­1545), Brussels, Musées royaux des Beaux-Arts de Belgique; Portrait of Joris van Egmond (1504­1559), Amsterdam, Rijksmuseum; and Portrait of a Man, Antwerp, The Phoebus Foundation. These provide insights into Scorel’s development of portraiture on a more monumental scale, his distinction as a portraitist from his contemporary, Jan Cornelisz Vermeyen, and his clientele at courts in Breda, Mechelen and Brussels. he surprise of the 2015 Brussels Fig. 1 of his age, perfectly attuned to the T bozar exhibition, Faces Then: jan van scorel, entrepreneurial spirit that shaped the Renaissance Portraits from the Low Portrait of Joost history of the region. While this paint- Countries, was the hitherto complete - Aemsz van der Burch ing deserves all its recent acclaim, part (c. 1490-1570), ly unknown Portrait of Joost Aemsz c.
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