DOCSLIB.ORG

Marten Van Cleve

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Marten Van Cleve MARTEN VAN CLEVE - THE MASSACRE OF THE INNOCENTS Comparative Study of Different Versions of the Subject and the Function of Drawings in Flemish Workshops During the 16th-Century Ellionore Schachnow Department of Culture and Aesthetics, Stockholm University Spring 2020 ABSTRACT Department: Department of Culture and Aesthetics, Stockholm University, Art History Address: 106 91 Stockholm University Supervisor: Maria Beatrice De Ruggieri Title and Subtitle: Marten van Cleve - The Massacre of the Innocents: Comparative Study of Different Versions of the Subject and the Function of Drawings in Flemish Workshops During the 16th-Century Author: Ellionore Schachnow Author’s Contact Information: Midskeppsgatan 1, 120 66, Stockholm, [email protected] Essay Level: Master’s Thesis Ventilation Semester: Spring 2020 This thesis examines Marten van Cleve’s painting the Massacre of the Innocents from the Stockholm University Art Collection through technical examinations that were conducted at Spökslottet in January 2020 (X-ray, UV, IRR). The aim of the thesis is to examine Marten van Cleve’s painting technique, style and composition by comparing the painting with 5 similar versions of the subject the Massacre of the Innocents. Moreover, the thesis compares the underdrawing of the painting from the Stockholm University Art collection with the drawing from Göttingen that are similar in composition and signed by Marten van Cleve. Additionally, this thesis examines the relationship between preparatory drawings and the underdrawings in the artists environment in order to learn more about Marten van Cleve’s painting process as well as achieve an insight into contemporary 16th-century Flemish artists. Keywords: Marten van Cleve, Maerten van Cleve, Marten van Cleef, The Massacre of the Innocents, Technical Art History Contents Introduction ................................................................................................................................ 1 Aim and Research Questions ................................................................................................. 2 Theoretical Framework .......................................................................................................... 2 Previous Research .................................................................................................................. 3 Material and Method .............................................................................................................. 5 Disposition ............................................................................................................................. 6 Delimitations .......................................................................................................................... 6 Technical Entry .......................................................................................................................... 7 Support ................................................................................................................................... 7 Ground Layers ........................................................................................................................ 8 Underdrawing ....................................................................................................................... 10 Underpainting ("Abbozzo") ................................................................................................. 11 Paint Layers .......................................................................................................................... 11 Varnish ................................................................................................................................. 12 Comparative Study of The Massacre of the Innocents ............................................................ 16 Copies of the Massacre of the Innocents .............................................................................. 16 Preliminary Notes About the Compared Paintings .............................................................. 17 Index of the Compared Paintings ......................................................................................... 19 Comparison .......................................................................................................................... 20 Marten van Cleve – The Massacre of the Innocents (Christie’s version) ........................ 20 Marten van Cleve – The Massacre of the Innocents under the Snow (Monaco version). 23 Marten van Cleve – The Massacre of the Innocents (Ader version) ................................ 24 Marten van Cleve – The Massacre of the Innocents (Private collection Switzerland) .... 25 Der Bethlehemitische Kindermord, Kunstsammlung der Universität (Göttingen) .......... 26 Conclusion ............................................................................................................................ 28 The Signed Drawing by Marten van Cleve from Göttingen .................................................... 29 Technical Notes About the Drawing .................................................................................... 30 Comparative Study Between the Drawing and the Painting ................................................ 31 Drawings in the 16th-Century Antwerp Workshop .................................................................. 33 Drawings and Underdrawings in Pieter Bruegel the Elder’s Workshop .............................. 35 Conclusion ................................................................................................................................ 38 Bibliography ............................................................................................................................. 40 Literature .............................................................................................................................. 40 Internet Sources ................................................................................................................ 41 List of Illustrations ................................................................................................................... 43 Introduction The story of the Massacre of the Innocents derives from the Bible (Matthew 2: 16-18). King Herod ordered the assassination of all the male children in Bethlehem under the age of two after being informed by the wise men that Jesus was born. In the painting The Massacre of the Innocents, the biblical scene is set in a snow-covered Flemish village. The motif has been interpreted as containing political connotations where the roman soldiers in the painting represents the Spanish army and German soldiers were ordered to regain control over Phillip II’s rebelling provinces.1 The captain on the horse in the foreground to the right is surrounded by a group of people who begs for mercy, in the centre of the painting there is a man that hands over a petition to a soldier on a horse. To the right a soldier leaves the house with a child under his arm and to the left there are two soldiers who tries to break into the house by force. There is a child that is murdered and bleeds in the snow in the foreground to the right and there is a woman with a child being chased by an armed soldier in the foreground to the right. The Massacre of the Innocents in the Stockholm University Art Collection has been attributed to the Flemish artist Marten van Cleve, but the painting is not signed. Previously the painting was attributed to Pieter Bruegel the Younger. Although, there is a drawing that is signed by Marten van Cleve in the copperplate collection of the university in Göttingen with a similar composition and figurative themes that indicates that the painting may be of the same old master.2 The Massacre of the Innocents by Marten van Cleve have been a part of the Huss collection3 and the Berg collection in 1882 and since 1884 the Massacre of the Innocents has been a part of the Stockholm University Art Collection.4 The Flemish artist Marten van Cleve (1527-1581) became a master in the Antwerp Guild of St Luke during 1551-2. Van Cleve studied under Frans Floris. In 1556 Marten van Cleve set up his own studio with apprentices that were recorded from 1558 and onwards, his sons Gillis II, Marten the younger, Joris and Nicolaas also used the studio. During the 1560s and 1570s the workshop of Marten van Cleve was productive, creating a vast amount of copies of van Cleves original paintings, although the chronology of his original works are unclear. The low-life scenes that depicts peasant weddings, festivities or plundering soldiers were influenced by the work of his 1 Christie’s, https://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5813550, retrieved 05/02/2020. 2 Karling, Sten, The Stockholm university collection of paintings: catalogue, University of Stockholm [Stockholms univ.], Stockholm, 1978. 3 As Pieter Bruegel the Younger. In the Huss collection catalogue, it says that the painting came from Löwenhielm’s collection although the painting is not mentioned in the Löwenhielm catalogue from 1857. 4 Weibull, Nina & Olausson, Magnus (red.), Mästerverk från Spökslottet: den Bergska samlingen, Nationalmuseum, Stockholm, 1995, pp 51–52. 1 contemporary Pieter Bruegel the Elder.5 There are at least 20 paintings with a similar composition that depicts the Massacre of the Innocents, although many have been attributed to Pieter Bruegel the Younger.6 The attribution of the different version have been disputed among scholars.
Load more

Recommended publications
  • Review of the Year 2012–2013
    review of the year TH E April 2012 – March 2013 NATIONAL GALLEY TH E NATIONAL GALLEY review of the year April 2012 – March 2013 published by order of the trustees of the national gallery london 2013 Contents Introduction 5 Director’s Foreword 6 Acquisitions 10 Loans 30 Conservation 36 Framing 40 Exhibitions 56 Education 57 Scientific Research 62 Research and Publications 66 Private Support of the Gallery 70 Trustees and Committees of the National Gallery Board 74 Financial Information 74 National Gallery Company Ltd 76 Fur in Renaissance Paintings 78 For a full list of loans, staff publications and external commitments between April 2012 and March 2013, see www.nationalgallery.org.uk/about-us/organisation/ annual-review the national gallery review of the year 2012– 2013 introduction The acquisitions made by the National Gallery Lucian Freud in the last years of his life expressed during this year have been outstanding in quality the hope that his great painting by Corot would and so numerous that this Review, which provides hang here, as a way of thanking Britain for the a record of each one, is of unusual length. Most refuge it provided for his family when it fled from come from the collection of Sir Denis Mahon to Vienna in the 1930s. We are grateful to the Secretary whom tribute was paid in last year’s Review, and of State for ensuring that it is indeed now on display have been on loan for many years and thus have in the National Gallery and also for her support for very long been thought of as part of the National the introduction in 2012 of a new Cultural Gifts Gallery Collection – Sir Denis himself always Scheme, which will encourage lifetime gifts of thought of them in this way.
    [Show full text]
  • Review of the Year 2010–2011
    TH E April – March NATIONAL GALLEY TH E NATIONAL GALLEY April – March Contents Introduction 5 Director’s Foreword 6 Acquisition 8 Loans 10 Conservation 16 Framing 20 Exhibitions and Display 26 Education 42 Scientifi c Research 46 Research and Publications 50 Private Support of the Gallery 54 Financial Information 58 National Gallery Company Ltd 60 Trustees and Committees of the National Gallery Board 62 Figurative Architectural Decoration inside and outside the National Gallery 63 For a full list of loans, staff publications and external commitments between April 2010 and March 2011, see www.nationalgallery.org.uk/about-us/organisation/ annual-review – The Trustees and Director of the National Gallery da Vinci), increased corporate membership and have spent much of the year just past in making sponsorship, income from donations or otherwise. plans to enable us to deal with the implications of The Government has made it clear that it cuts to our income Grant in Aid, the government wishes to encourage cultural institutions such as funding on which we, to a large extent, depend the National Gallery to place greater reliance on to provide our services to the public. private philanthropic support, and has this year At an early stage in the fi nancial year our income taken some fi rst steps to encourage such support, Grant in Aid was cut by %; and in the autumn we through relatively modest fi scal changes and other were told that we would, in the period to March initiatives. We hope that further incentives to , be faced with further cumulative cuts to our giving will follow, and we continue to ask for the income amounting to % in real terms.
    [Show full text]
  • Woman and Books
    Images of women reading or holding a book are very common in European Woman painting from the Renaissance onwards. Books have symbolic connotations of and Books status, knowledge and refinement. The tour highlights works containing this image and classifies them into three A Reflection through groups: Annunciation scenes, Renaissance portraits, and women reading in the Western Painting 19th and 20th centuries. Inés Alberdi images of the annunciation Professor of Sociology, The Annunciation is the episode in the life of the Virgin Mary where the Universidad Complutense, Madrid archangel Gabriel announces to her that she is going to give birth to Jesus, Commentaries on the works written by and she is often depicted holding a book in these scenes. Books are symbols the departments of Old Master Painting and Modern Painting, Museo Nacional of both elegance and piety. Reading adds a humanistic aspect to the idealisa­ Thyssen-Bornemisza tion of Mary as an example of female excellence. The image of a young girl reading, based on this iconography of the Virgin in the Annunciation, evokes an air of piety and virtuousness, but also of autonomy, of having free time for herself. And by extension it conveys a pos­ itive view of education for women. The iconography of the Annunciation is contradictory: the young woman’s words stress her submission and humil­ ity, but the presence of the book she holds expresses an idea of intellectual superiority and capacity. renaissance portraits Portraits of ladies with books have a noticeable elegance that is afforded by cul­ ture and the huge importance society attaches to knowledge.
    [Show full text]
  • The Holy Family with Two Saints, a Work from the Workshop of the Master of the Antwerp Adoration
    The Holy Family with Two Saints, a work from the workshop of the Master of the Antwerp Adoration Catheline Périer–D’Ieteren This text is published under an international Attribution–NonCommercial–NoDerivs Creative Commons licence (BY–NC–ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by–ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa–Fundación Museo de Bellas Artes de Bilbao Photography credits © Adri Verburg / Royal Museum of Fine Arts Antwerp: figs. 16, 17 and 18 © Bilboko Arte Ederren Museoa Fundazioa–Fundación Museo de Bellas Artes de Bilbao: figs. 1, 6–15, 22, 25, 28, 31, 33 and 39 © Christie’s Images / The Bridgeman Art Library Nationality: fig. 36 Cortesía Catheline Périer–D’leteren: figs. 24, 27, 30, 32 and 34 Cortesía Peter van den Brink: fig. 35 © Museum De Lakenhal, Leiden, The Netherlands: fig. 2 © Picture Library. Ashmolean Museum: fig. 20 © Prof. Dr. J.R.J. van Asperen de Boer / RKD, The Hague. Infrared reflectography was performed with a Grun- dig FA 70 television camera equipped with a Hamamatsu N 214 IR vidicon (1975); a Kodak wratten 87A filter cutting–on at 0.9 micron was placed between the vidicon target surface and the Zoomar 1:2 8/4 cm Macro Zoomatar lens.
    [Show full text]
  • Artists at Work Artists at Work
    Artists at Work Artists at Work Deanna Petherbridge and Anita Viola Sganzerla edited by Ketty Gottardo and Rachel Sloan Contents First published to accompany Artists at Work The Courtauld Gallery, London, 3 May – 15 July 2018 The Courtauld Gallery is supported by the 7 Higher Education Funding Council for England (hefce) Foreword The programme of the Gilbert and Ildiko Butler Drawings Gallery is generously supported by The International Music and Art Foundation 9 Preface 11 Playful Images of Allegory and Actuality Copyright © 2018 Texts copyright © 2018 the authors deanna petherbridge All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any storage or retrieval system, without the prior permission in writing from the copyright holder and publisher. 32 isbn 978-1-911300-44-1 British Library Cataloguing in Publication Data Catalogue A catalogue record for this book is available from the British Library anita viola sganzerla Produced by Paul Holberton Publishing 89 Borough High Street, London se1 1nl www.paulholberton.com 83 Designed by Laura Parker Bibliography and Photographic Credits Printing by Gomer Press, Llandysul front cover: Cat. 19 (detail) back cover: Cat. 7 (detail) frontispiece: Cat. 3 (detail, larger than actual size) Foreword Following A Civic Utopia, organised in 2016 with Drawing I wish to extend my warm thanks to Anita Viola Matter Trust, Artists at Work is the second exhibition in the Sganzerla, curator of the Katrin Bellinger collection, Gilbert and Ildiko Butler Drawings Gallery to present works who wrote the catalogue entries for this publication and chiefly from a single collection, other than The Courtauld’s contributed to many other aspects of the exhibition.
    [Show full text]
  • April 2007 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 24, No. 1 www.hnanews.org April 2007 Have a Drink at the Airport! Jan Pieter van Baurscheit (1669–1728), Fellow Drinkers, c. 1700. Rijksmuseum, Amsterdam. Exhibited Schiphol Airport, March 1–June 5, 2007 HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Officers President - Wayne Franits Professor of Fine Arts Syracuse University Syracuse NY 13244-1200 Vice President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Treasurer - Leopoldine Prosperetti Johns Hopkins University North Charles Street Baltimore MD 21218 European Treasurer and Liaison - Fiona Healy Marc-Chagall-Str. 68 D-55127 Mainz Germany Board Members Contents Ann Jensen Adams Krista De Jonge HNA News .............................................................................. 1 Christine Göttler Personalia ................................................................................ 2 Julie Hochstrasser Exhibitions ............................................................................... 2 Alison Kettering Ron Spronk Museum News ......................................................................... 5 Marjorie E. Wieseman Scholarly Activities Conferences: To Attend ..........................................................
    [Show full text]
  • Sign of the Times a Concise History of the Signature in Netherlandish Painting 1432-1575
    SIGN OF THE TIMES A CONCISE HISTORY OF THE SIGNATURE IN NETHERLANDISH PAINTING 1432-1575 [Rue] [Date et Heure] Ruben Suykerbuyk Research Master’s Thesis 2012-2013 Supervisor: Prof. Dr. P.A. Hecht Art History of the Low Countries in its European Context Utrecht University – Faculty of Humanities (xxx)yyy-yyyy “Wenn eine Wissenschaft so umfassend, wie die Kunstgeschichte es tut und tun muß, von Hypothesen jeden Grades Gebrauch macht, so tut sie gut daran, die Fundamente des von ihr errichteten Gebäudes immer aufs neue auf ihre Tragfähigkeit zu prüfen. Im folgenden will ich an einigen Stellen mit dem Hammer anklopfen.” Dehio 1910, p. 55 TABLE OF CONTENTS VOLUME I I. INTRODUCTION 1 II. PROLOGUE 9 III. DEVELOPMENTS IN ANTWERP 19 Some enigmatic letters 22 The earliest signatures 28 Gossart’s ‘humanistic’ signature 31 Increasing numbers 36 Proverbial exceptions 52 A practice spreads 54 IV. EPILOGUE 59 V. CONCLUSION 63 VI. BIBLIOGRAPHY 66 VOLUME II I. IMAGES II. APPENDICES Appendix I – Timeline Appendix II – Signatures Marinus van Reymerswale Appendix III – Authentication of a painting by Frans Floris (1576) Appendix IV – Signatures Michiel Coxcie I. INTRODUCTION 1 Investigating signatures touches upon the real core of art history: connoisseurship. The construction of oeuvres is one of the basic tasks of art historians. Besides documents, they therefore inevitably have to make use of signatures. However, several great connoisseurs – Berenson, Friedländer – emphasize that signatures are faked quite often. Consequently, an investigation of signature practices can easily be criticized for the mere fact that it is very difficult to be sure of the authenticity of all the studied signatures.
    [Show full text]
  • HNA November 2017 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 34, No. 2 November 2017 Peter Paul Rubens, Centaur Tormented by Peter Paul Rubens, Ecce Homo, c. 1612. Cupid. Drawing after Antique Sculpture, State Hermitage Museum, St. Petersburg 1600/1608. Wallraf-Richartz-Museum, © The State Hermitage Museum, Cologne © Rheinisches Bildarchiv Köln St. Petersburg 2017 Exhibited in Peter Paul Rubens: The Power of Transformation. Kunsthistorisches Museum, Vienna, October 17, 2017 – January 21, 2018 Städel Museum, Frankfurt, February 8 – May 21, 2018. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art www.hnanews.org E-Mail: [email protected] Historians of Netherlandish Art Offi cers President – Paul Crenshaw (2017-2021) Providence College Department of Art History 1 Cummingham Square Providence RI 02918-0001 Vice-President – Louisa Wood Ruby (2017-2021) The Frick Collection and Art Reference Library 10 East 71 Street New York NY 10021 Treasurer – David Levine Southern Connecticut State University 501 Crescent Street New Haven CT 06515 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents President's Message .............................................................. 1 In Memoriam ......................................................................... 2 Board Members Personalia ............................................................................... 4 Arthur
    [Show full text]
  • Marketing Art in Antwerp, 1460-1560: Our Lady's Pand Author(S): Dan Ewing Source: the Art Bulletin, Vol
    Marketing Art in Antwerp, 1460-1560: Our Lady's Pand Author(s): Dan Ewing Source: The Art Bulletin, Vol. 72, No. 4 (Dec., 1990), pp. 558-584 Published by: CAA Stable URL: https://www.jstor.org/stable/3045762 Accessed: 05-01-2019 07:20 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms CAA is collaborating with JSTOR to digitize, preserve and extend access to The Art Bulletin This content downloaded from 35.176.47.6 on Sat, 05 Jan 2019 07:20:20 UTC All use subject to https://about.jstor.org/terms Marketing Art in Antwerp, 1460-1560: Our Lady's Pand Dan Ewing The Pand market operated by the Church of Our Lady in Antwerp from 1460 to 1560, during the annual trade fairs, was the largest and most important public art market in Europe for most of the period. The financial history of Our Lady's Pand is well documented, since the church 's account books survive and record the income received from the Pand for the years 1468-1560. These accounts are analyzed, and the findings combined with information from other contemporary sources, to pro- vide a picture of the Pand's operation, scale, growth, and decline.
    [Show full text]
  • Jan De Beer's Lifetime Reputation and Posthumous Fate
    Volume 7, Issue 2 (Summer 2015) Jan de Beer’s Lifetime Reputation and Posthumous Fate Dan Ewing [email protected] Recommended Citation: Dan Ewing, “Jan de Beer’s Lifetime Reputation and Posthumous Fate,” JHNA 7:2 (Summer 2015) DOI: 10.5092/jhna.2015.7.2.1 Available at https://jhna.org/articles/jan-de-beers-lifetime-reputation-posthumous-fate/ 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 JHNA 7:2 (Summer 2015) 1 JAN DE BEER’S LIFETIME REPUTATION AND POSTHUMOUS FATE Dan Ewing This article assembles the evidence for the lifetime reputation of the Antwerp painter Jan de Beer (ca. 1475–1527/28), rediscovered by Georges Hulin de Loo and Max J. Friedländer in the early twentieth century. At the time of their publications little was known about the artist’s life, but the evidence now available concerning his important reputation includes archival sources published since Friedländer’s day, an unpublished contract, early literary sources, and reevalu- ations of the artist’s work for the guild and church. The factors involved in his late sixteenth-century disappearance from the historical record are also analyzed. DOI: 10.5092/jhna.2015.7.2.1 1 n 1902, while examining early Netherlandish drawings in the British Museum, the Ghent scholar Georges Hulin de Loo recognized the inscription in the upper left corner of a sheet of head studies catalogued by the museum as a work of Joachim Patinir (fig.
    [Show full text]
  • Courant 11/January 2006
    codart Courant 11/January 2006 codartCourant contents Published by Stichting codart P.O. Box 76709 2 codart: plans, friends, and a flute play 11 codartactivities in 2005 nl-1070 ka Amsterdam by Jacob van Eyck 11 Report on the study trip to Sweden The Netherlands 3 A new board member introduced 15 codartactivities in 2006 [email protected] 3 News and notes from around the world 15 codart negenCongress: Dutch www.codart.nl 3 austriaUlrich Becker, New galleries and Flemish art in the land of for Old Masters in Schloß Eggenberg in Graz Rembrandt 12-14 March 2006, Leiden Managing editor: Rachel Esner 4 belgiumGeert Souvereyns, 17 codart negenStudy trip to e [email protected] Introducing the vlaamsekunstcollectie the eastern and northern provinces Editors: Wietske Donkersloot 5 hungaryJulia Tatrai, Barent of the Netherlands 14-19 March 2006 and Gerdien Verschoor Fabritius Manoah’s sacrifice in the 21 Appointments t +31 (0)20 305 4515 Szépmüvészeti Múzeum in Budapest 21 codart membership news f +31 (0)20 305 4500 6 netherlandsHildelies Balk, 22 Membership directory e [email protected] Hannema’s Old Master paintings in the 36 codartdates Translations: Laura Watkinson new Museum de Fundatie in Zwolle 36 Preview of upcoming exhibitions and 7 polandDariusz Kacprzak, Introducing other events, January-May 2006 codart board the collection of the Muzeum Sztuki in Lódz´ Henk van der Walle, chairman 10 russiaVadim Sadkov and Marina Arnout Weeda, secretary-treasurer Senenko, News from the Pushkin State Greetje van den Bergh Museum of Art in Moscow Rudi Ekkart, director of the Rijksbureau 11 usaWalter Liedtke, Dutch paintings in voor Kunsthistorische Documentatie The Metropolitan Museum of Art in New Jan Houwert, chairman of the Board of York Management of the Koninklijke Wegener N.V.
    [Show full text]
  • Renaissance and Baroque Drawings, January 27, 2006-April 9, 2006
    Design and Description: Renaissance and Baroque Drawings, January 27, 2006-April 9, 2006 Beginning in the early Renaissance (ca. 1400), artists and their patrons sought new ways to make art and its subject matter correspond more directly to the world of their viewers. In the pursuit of increasingly naturalistic art, drawing became a regular part of artistic practice. The Italian word for drawing, disegno, also may be translated as “design.” In artists’ workshops and emerging art academies in Renaissance Italy, young apprentices were taught to follow clearly defined steps in the design of frescos, panel paintings, sculpture, and prints. Artists began with free- form sketches that explored compositional ideas and also with studies from life or antique sculpture. These were followed with drawings that explored the effects of light, shadow, and spatial illusion. Lastly, artists created fully realized drawings to integrate all of these design elements into models (called modelli) for the final works. In Germany and the Netherlands, preparatory drawings became common only in the 1550s. Instead, drawings were presented to patrons as finished works or as contractual agreements. They were also used in instruction: artists often made drawings of completed paintings to use as workshop examples. For these reasons, many early Northern drawings are highly finished, emphasizing the descriptive detail, texture, and reflective effects of light for which Northern painters were known. By the 17th century (Baroque period), artists from all over Europe traveled to Italy for part of their training. As a result, the Italian tradition of systematic design permeated artistic practice throughout the continent. As well, new genres such as landscape emerged with emphasis upon sketching on site.
    [Show full text]