DOCSLIB.ORG

Codart Courant 21/ Spring 2011/ Curator’S Collection ” C - a - H O S M I Tc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Codart Courant 21/ Spring 2011/ Curator’S Collection ” C - a - H O S M I Tc in this issue about codar t 2 Old Masters, modern times 3 curator’s news & note s Roelandt Savery: painter 1 t 2 in the services of Emperor Rudolf ii 4 Frescoes after Otto van Veen’s QuintiHoratiiFlacciEmblemata in Bieli n´ ski Palace at r 1 t Otwock Wielki 6 The VrouwMaria and the Braamcamp paintings 8 curator’s collectio n Rijksmuseum Twenthe 10 1 a n Flemish and Dutch Painting at the lw l-Landesmuseum für Kunst und Kulturgeschichte in Münster 12 Dutch painting 0 2 a d g r in the Spanish Royal Collections 14 curator’s case Art, music and spectacle in the age of Rubens 16 curator’s n u George Keyes, interviewed by Victoria Sancho Lobis 18 20 22 i intervie w codart activitie s faits diver s o r o & 23 24 p codart members new s upcoming exhibition s S C c 2 codar t is the international council for Hoogsteder & Hoogsteder, The Hague Jozef Deleu, writer, and founder and former curators of Dutch and Flemish art. Its aim is The Leiden Gallery, New York chief editor of the Flemish-Netherlands to further the study, the care, the accessibility Metropolitan Museum of Art, New York association Ons Erfdeel and the display of art from the Low Countries Amb. J. William Middendorf ii, Little Jeltje van Nieuwenhoven, former chair of in museums all over the world. codar t Compton the Dutch parliament serves as a platform for exchange and coopera - rk d (Netherlands Institute for Art History), Henk W. van Os, director emeritus of the tion between curators from different parts of The Hague Rijksmuseum, Amsterdam the world, with different levels of experience Rijksmuseum, Amsterdam Simon Schama, historian, writer and from different types and sizes of institu - ne w Joan and Marc Sherman, New York Jan G. F. Veldhuis, former president of the tions. codar t stimulates international ne w Gregor’s Lijsten, Spankeren University of Utrecht, Utrecht inter-museum cooperation through a variety ne w Simoons & Company, Bussum of activities, including congresses, study trips, ne w Rob Vellekoop, Rotterdam Program Committee publications and the website (www.codart.nl). Vlaamse Kunstcollectie (Koninklijk Museum Eric Domela Nieuwenhuis, curator, Rijks- By these means codar t strives to solidify voor Schone Kunsten Antwerpen, Musea dienst voor het Cultureel Erfgoed ( rc e), the cultural ties between the Netherlands and Brugge, Museum Schone Kunsten Gent) Rijswijk Flanders, and to make the artistic heritage of Waanders Publishers, Zwolle Nico van Hout, curator, Koninklijk Museum these countries accessible to the international voor Schone Kunsten Antwerpen ( kmsk a), art-loving public at large. Board of codar t Antwerp codar t was founded in 1998 on the Greetje van den Bergh (chair), former vice- Suzanne Laemers, curator, rk d, The Hague initiative of Gary Schwartz and the Instituut president of the board of the University Huigen Leeflang, curator of prints, Collectie Nederland ( ic n). It enjoys the of Amsterdam, Amsterdam Rijksmuseum, Amsterdam generous support of the Netherlands Ministry Emilie Gordenker, director of the Mauritshuis, Sander Paarlberg, curator, Dordrechts of Education, Culture and Science ( oc w). The Hague Museum, Dordrecht Sari van Heemskerck Pillis-Duvekot, former Sabine van Sprang, curator, Koninklijke codar t Courant member of parliament for the vv d (Dutch Musea voor Schone Kunsten van België, Bi-annual newsletter of the international Liberal Party), The Hague Brussels council for curators of Dutch and Flemish art. Jan Hoekema, mayor of the city of Wassenaar Adriaan Waiboer (chair), curator of Northern Publisher: Anthony Ruys, chairman of the supervisory European art, National Gallery of Ireland, codar t board of the Rijksmuseum, Amsterdam Dublin p.o. Box 90418 Manfred Sellink, director of the Musea Helen Wüstefeld, curator, Bibliotheca nl-2509 lk The Hague Brugge, Bruges Philosophica Hermetica, Amsterdam The Netherlands Arnout Weeda, former director of the e [email protected] Zuiderzeemuseum, Enkhuizen Website Committee t +31 70 333 9744 / f +31 70 333 9749 Rudi Ekkart (advisor to the board), director Piotr Borusowski, assistant curator, National www.codart.nl of the rk d, The Hague Museum in Warsaw, Poland Pascal Ennaert, coordinator, Vlaamse Kunst- Editorsandtranslators: Kist & Kilian Board of the Friends of collectie, Ghent Coordinators: Maartje Beekman, codar t Foundation Lars Hendrikman, curator, Bonnefanten- Jennifer Cardona, Gerdien Verschoor Hildelies Balk, head of European projects museum, Maastricht Design: Typography Interiority & Other at the Royal Library, The Hague Roman Koot, head of public services and chief Serious Matters, The Hague Greetje van den Bergh, former vice-president curator of the library and foreign art, rk d, Printedby: Drukkerij de Maasstad, Rotterdam of the board of the University of The Hague Cover: Gabriël Metsu, Deadcock , ca. 1659 -60, Amsterdam, Amsterdam Greta Koppel, curator, Kadriorg Art Museum, Museo Nacional de Prado, Madrid, Norbert Middelkoop, curator, Amsterdam Art Museum of Estonia, Tallinn inv. no. p-2103 Museum, Amsterdam Gero Seelig, curator, Staatliches Museum Wim Weijland, director of the National Schwerin, Schwerin iss n 1388 9559 Museum of Antiquities, Leiden Priscilla Valkeneers, scientific associate, Centrum voor de Vlaamse Kunst van Contributions are welcome. For more infor- Advisory committee to the Friends de 16de en 17de eeuw, Antwerp mation see: www.codart.nl/codart/courant of codar t Foundation Amy Walsh, curator of European paintings Hedy d’Ancona, former Minister of Culture and sculpture, Los Angeles County codar t Maecenases of the Netherlands Museum of Art ( lacm a), Los Angeles George Abrams, Boston Mària van Berge-Gerbaud, former director ne w Ger Eenens, Horn of the Fondation Custodia (Collection The European Fine Arts Fair ( tefa f), Helvoirt Frits Lugt), Paris Old Masters, modern times Gerdien Verschoor 3 Spring is here! And with it comes a beautiful members. Over the years, the newsletter has Partly as a result of the successful codar t- time to contemplate new developments developed into a podium created for and by light day in Bruges – with close to 100 attendees within codar t. The fall of 2010 offered the the members. Currently we are working on – we have decided to hold more such meetings opportunity to reflect on our activities on creating a digital newsletter with the purpose in the future under the heading codar tfocus . account of the congress and study trip of strengthening the content of the Courant The focus of these meetings – which will be c o evaluation forms dutifully filled in each year and the website. Soon, your article in the co-organized with our members – can lie on d a by participants, as well as the time to mull electronic Courant can be connected, not only a single specific exhibition or project, or on r t C over the solicited and unsolicited member to your curator’s page, but also to museum examining a permanent collection in greater o u r a reactions we came across in our mailbox. collections, background information in a depth in the company of the codar t n t 2 Also the brainstorming session organized digital catalogue, or even to your guided member host. The scale of the codar tfocus 1 / s p in November for the program committee professional tour on the YouTube channel gatherings will be smaller than the large r i n g unleashed a torrent of ideas. Some of the of your museum. These new features can annual congresses, making it possible to 2 0 1 suggestions of the members of the program optimize the Courant ’s functioning, and foster respond more quickly to actual events, sub - 1 committee dovetailed with ideas codar t more depth and network reinforcement. jects or exhibitions. The first focus gathering had already been entertaining for some time. Moreover, the electronic Courant can facilitate will be held in Dordrecht (the renovated Highly interesting is the core message of all an even greater dissemination of information Dordrechts Museum) and Leiden (Lucas van of the members who forwarded innovative on the Dutch and Flemish masters in Leyden exhibition in the Lakenhal). In a proposals: do not tamper with codar t’s museums and over the curatorial profession time when many curators are finding it formula for success, namely as an inter- in general. We are aiming at publishing the increasingly difficult to afford the longer national network of museum curators with electronic version of the Courant in the same codar t study trips, the codar tfocus days an annual meeting point (the codar t frequency, that is twice a year, but we are also will continue to make it possible to jointly congress), in-depth gatherings in museums, looking into the possibility of publishing explore in greater depth subjects vital to the a prize-winning website that continues to electronic articles in the interim. Members profession of curator. fill an enormous need, and a supply of remain strongly encouraged to send in con- All cultural institutions in the Netherlands information via a newsletter (the Courant ), tributions! are being affected by government cutbacks, and electronic News and Notifications. Every- and codar t is no exception. Many of you one seems to agree regarding the content of are fully aware of this, and I would like to take codar t’s activities, and we have absolutely this opportunity to thank all of the codar t no intention of changing any of it. However, members who responded to our appeal for it is worthwhile taking a critical look at the financial support with a voluntary contribu - forms and considering which ones are best tion. Your support is of great of importance suited to the times. to us! Given this background it is very A few years ago the codar t website was encouraging that the number of maecenases thoroughly renovated in terms of content and supporting codar t is growing steadily: appearance, as well as technical capacity.
Load more

Recommended publications
  • Hans Rottenhammer's Use of Networks in the Copper
    arts Article Intermediaries and the Market: Hans Rottenhammer’s Use of Networks in the Copper Painting Market Sophia Quach McCabe Department of History of Art and Architecture, University of California, Santa Barbara, Santa Barbara, CA 93106, USA; [email protected] Received: 1 February 2019; Accepted: 16 June 2019; Published: 24 June 2019 Abstract: In Willem van Haecht’s Gallery of Cornelis van der Geest, The Last Judgment by the German artist Hans Rottenhammer stands prominently in the foreground. Signed and dated 1598, it is one of many copper panel paintings Rottenhammer produced and sent north of the Alps during his decade-long sojourn in Venice. That the work was valued alongside those of Renaissance masters raises questions about Rottenhammer’s artistic status and how the painting reached Antwerp. This essay examines Rottenhammer’s international market as a function of his relationships with artist-friends and agents, especially those in Venice’s German merchant community. By employing digital visualization tools alongside the study of archival documents, the essay attends to the intermediary connections within a social network, and their effects on the art market. It argues for Rottenhammer’s use of—and negotiation with—intermediaries to establish an international career. Through digital platforms, such as ArcGIS and Palladio, the artist’s patronage group is shown to have shifted geographically, from multiple countries around 1600 to Germany and Antwerp after 1606, when he relocated to Augsburg. Yet, the same trusted friends and associates he had established in Italy continued to participate in Rottenhammer’s business of art. Keywords: Hans Rottenhammer; social network; intermediaries; mediation; digital humanities; digital art history; merchants; art market; copper painting; Jan Brueghel the Elder 1.
    [Show full text]
  • Ontdek Schilder, Tekenaar, Prentkunstenaar Otto Van Veen
    79637 4 afbeeldingen Otto van Veen man / Noord-Nederlands, Zuid-Nederlands schilder, tekenaar, prentkunstenaar, hofschilder 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. Vaenius, Octavius Vaenius, Otho Vaenius, Otto Veen, Octavius van Veen, Otho van Venius, Octavius Venius, Otho Venius, Otto Kwalificaties schilder, tekenaar, prentkunstenaar, hofschilder Nationaliteit/school Noord-Nederlands, Zuid-Nederlands Geboren Leiden 1556 Thieme/Becker 1940; according to Houbraken 1718: born in 1558 Overleden Brussel 1629-05-06 Houbraken 1718, vol. 1, p. Rombouts/Van Lerius 1872/1961, vol.1, p. 375, note 3 Familierelaties in dit veld wordt een familierelatie met één of meer andere kunstenaars vermeld. son of Cornelis Jansz. van Veen (1519-1591) burgomaster of Leyden and Geertruyd Simons van Neck (born 1530); marrried with Maria Loets/Loots/Loos (Duverger 1992, vol. 6, p. 186-187); brother of Gijsbert, Pieter, Artus and Aechtjen Cornelis; father of Gertrude van Veen; his 6-year old son Cornelis was buried on 19 September 1605 in St. Jacob's Church 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.
    [Show full text]
  • Isabel Clara Eugenia and Peter Paul Rubens’S the Triumph of the Eucharist Tapestry Series
    ABSTRACT Title of Document: PIETY, POLITICS, AND PATRONAGE: ISABEL CLARA EUGENIA AND PETER PAUL RUBENS’S THE TRIUMPH OF THE EUCHARIST TAPESTRY SERIES Alexandra Billington Libby, Doctor of Philosophy, 2013 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archeology This dissertation explores the circumstances that inspired the Infanta Isabel Clara Eugenia, Princess of Spain, Archduchess of Austria, and Governess General of the Southern Netherlands to commission Peter Paul Rubens’s The Triumph of the Eucharist tapestry series for the Madrid convent of the Descalzas Reales. It traces the commission of the twenty large-scale tapestries that comprise the series to the aftermath of an important victory of the Infanta’s army over the Dutch in the town of Breda. Relying on contemporary literature, studies of the Infanta’s upbringing, and the tapestries themselves, it argues that the cycle was likely conceived as an ex-voto, or gift of thanks to God for the military triumph. In my discussion, I highlight previously unrecognized temporal and thematic connections between Isabel’s many other gestures of thanks in the wake of the victory and The Triumph of the Eucharist series. I further show how Rubens invested the tapestries with imagery and a conceptual conceit that celebrated the Eucharist in ways that symbolically evoked the triumph at Breda. My study also explores the motivations behind Isabel’s decision to give the series to the Descalzas Reales. It discusses how as an ex-voto, the tapestries implicitly credited her for the triumph and, thereby, affirmed her terrestrial authority. Drawing on the history of the convent and its use by the king of Spain as both a religious and political dynastic center, it shows that the series was not only a gift to the convent, but also a gift to the king, a man with whom the Infanta had developed a tense relationship over the question of her political autonomy.
    [Show full text]
  • Learned Love Sance
    The emblem is a wonderful invention of the Renais- Learned Love sance. The funny, mysterious, moralizing, learned or pious combinations of word and image in the Learned Love crossover emblematic genre can be characterized as a delicate network of motifs and mottoes. This network served as a receptacle for the traditions of the European visual and literary arts. In its turn it Proceedings of the Emblem Project Utrecht Conference on influenced architecture, painting, love poetry, chil- dren’s books, preaching and interior decoration. Dutch Love Emblems and the Internet (November 2006) Together emblem books and the culture to which they belong form a web of closely interre- lated references. It is surely no coincidence that digitised emblem books are popular items on what may be their modern counterpart: the World Wide Web. In 2003 the Emblem Project Utrecht set out to digitise 25 representative Dutch love emblem books. The love emblem is one of the best known emblem- atic subgenres, first developed in the Low Countries and soon popular all over Europe. To celebrate the completion of the work done by the Emblem Project Utrecht, a conference was held on November 6 and 7, 2006. The focus of this con- ference was twofold: the Dutch love emblem and the process of digitising the emblems. This volume contains the selected papers of this conference, com- plemented by a general introduction and additional papers by the editors. Stronks and Boot DANS (Data Archiving and Networked Services) is the national organization in the Netherlands for storing and providing permanent access to research data from the humanities and social sciences.
    [Show full text]
  • Dsm Magazine
    CONTACT US SUBSCRIBE SUBMIT PHOTOS PAST ISSUES SPECIAL ADVERTISING SECTIONS IA MAGAZINE ARTS DSM MAR/APR 2018 Lost and Found An unlikely investigation uncovers the naked truth behind a hidden treasure. ARTS Lost and Found ! " # 0 Showstoppers HOME ARTS DINING FASHION PEOPLE COMMUNITY NEWSLETTERS CALENDAR ! Facebook " Twitter # Pinterest Above: Skin, hair and fabric all share a fresh glow in this detail from a valuable artwork that languished in the shadows under centuries of darkened varnish and the grunge of time. Writer: Vicki L. Ingham Photographer: Duane Tinkey A dingy old painting pulled from a gloomy nook is about to experience a bright new life, with a new identity and a new value, enjoying it all from a perch on a wall at Hoyt Sherman Place. In many ways, the painting known as “Apollo and Venus” is a lottery winner in the art world, an instant celebrity plucked from obscurity by chance, destiny or mysterious intervention. Hoyt Sherman will unveil the restored painting March 21 at a special event (see details, page 146). As you may recall when we introduced the artwork in a previous dsm story, Hoyt Sherman’s executive director, Robert Warren, had been rummaging through a stash of old stuff, looking for Civil War flags, when he spotted some paintings tucked behind a table. One of them, a large, unsigned, oil-on-wood panel depicting a mythological scene, looked intriguing, he says, “so we pulled it out and put it on the table, thinking we’d go back to it.” Later, a member of the art and archives committee noticed it and texted Warren, saying, “I seem to recall that piece might be valuable.” As Warren wrapped the painting for protection, he noticed an auction tag on the back, identifying the work by name and attributing it to Italian artist Federico Barocci (1526-1612).
    [Show full text]
  • The Leiden Collection
    Emperor Commodus as Hercules ca. 1599–1600 and as a Gladiator oil on panel Peter Paul Rubens 65.5 x 54.4 cm Siegen 1577 – 1640 Antwerp PR-101 © 2017 The Leiden Collection Emperor Commodus as Hercules and as a Gladiator Page 2 of 11 How To Cite Van Tuinen, Ilona. "Emperor Commodus as Hercules and as a Gladiator." InThe Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. © 2017 The Leiden Collection Emperor Commodus as Hercules and as a Gladiator Page 3 of 11 Peter Paul Rubens painted this bold, bust-length image of the eccentric Comparative Figures and tyrannical Roman emperor Commodus (161–92 A.D.) within an illusionistic marble oval relief. In stark contrast to his learned father Marcus Aurelius (121–80 A.D.), known as “the perfect Emperor,” Commodus, who reigned from 180 until he was murdered on New Year’s Eve of 192 at the age of 31, proudly distinguished himself by his great physical strength.[1] Toward the end of his life, Commodus went further than any of his megalomaniac predecessors, including Nero, and identified himself with Hercules, the superhumanly strong demigod of Greek mythology famous for slaughtering wild animals and monsters with his bare hands. According to the contemporary historian Herodian of Antioch (ca.
    [Show full text]
  • Abstracts of Amsterdam 2010 Conference Workshops
    HNA in Amsterdam - "Crossing Boundaries" Workshop Summaries Rethinking Riegl Jane Carroll [email protected] Alison Stewart [email protected] In 1902, Alois Riegl wrote the Urquelle for all subsequent studies of Northern European group portraits, Das holländische Gruppenporträt. In that work, Riegl expanded art history beyond the contemporary emphasis on formalism and stylistic evolution. Drawing upon his interest in the relationship of objects within a work, Riegl asked his readers to expand that idea to include the viewer of art as an active participant in the understanding of visual works, an element he called “attentiveness.” In short, Riegl's book crossed the accepted boundary of what art history could consider and made viewing art a living exchange between present and past, and between viewer and object. Since its publication, all who have dealt with group portraiture have had to come into dialogue with Riegl’s book. In 1999, the Getty responded to a revived interest in Riegl's theories and republished The Group Portraiture of Holland in a new translation with historical introduction by Wolfgang Kemp. This reissuing increased the accessibility of Riegl’s work and reintroduced him to new generations of art historians. Prompted by that volume, we would like to gather together a group of scholars before the extensive collection of group portraits in the Amsterdams Historisch Museum. The venue of their Great Hall seems a perfect spot in which to reexamine the larger claims of Riegl’s work, and discuss current understandings of Dutch group portraiture. In keeping with the conference theme, we will explore how this genre crosses such boundaries as public vs.
    [Show full text]
  • The Craftsman Revealed: Adriaen De Vries, Sculptor
    This page intentionally left blank The Craftsman Revealed Adriaen de Vries Sculptor in Bronze This page intentionally left blank The Craftsman Revealed Adriaen de Vries Sculptor in Bronze Jane Bassett with contributions by Peggy Fogelman, David A. Scott, and Ronald C. Schmidtling II THE GETTY CONSERVATION INSTITUTE Los ANGELES The Getty Conservation Institute Timothy P. Whalen, Director Jeanne Marie Teutónico, Associate Director, Programs The Getty Conservation Institute works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research, education and training, model field projects, and the dissemination of the results of both its own work and the work of others in the field. In all its endeavors, the GCI focuses on the creation and delivery of knowledge that will benefit the professionals and organizations responsible for the conservation of the world's cultural heritage. Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu © 2008 J. Paul Getty Trust Gregory M. Britton, Publisher Mark Greenberg, Editor in Chief Tevvy Ball, Editor Sheila Berg, Copy Editor Pamela Heath, Production Coordinator Hespenheide Design, Designer Printed and bound in China through Asia Pacific Offset, Inc. FRONT COVER: Radiograph of Juggling Man, by Adriaen de Vries. Bronze. Cast in Prague, 1610–1615. J. Paul Getty Museum, Los Angeles. Inv. no. 90.SB.44. Library of Congress Cataloging-in-Publication Data Bassett, Jane. The craftsman revealed : Adriaen de Vries, sculptor in bronze / Jane Bassett ; with contributions by Peggy Fogelman, David A. Scott, and Ronald C.
    [Show full text]
  • Christoph Gertner ADORATION of the SHEPHERDS
    Christoph Gertner Arnstadt, Thuringia circa 1580-1620 ADORATION OF THE SHEPHERDS Christoph Gertner Arnstadt, Thuringia, circa 1580-1620 Adoration of the Shepherds Oil on black slate and agate 26.4 x 13.9 cm The present painting of the Adoration of the Shepherds, oil on black stone (slate or basalt?) and agate (according to the owner and conservator), 26,4 X 13.9 cm, can be unequivocally attributed to Christoph Gertner, even on the basis of photographs. It represents the same subject (shepherds, Mary, and Joseph adoring the Christ Child) has almost identical dimensions (26.4 x 13.9 cm versus 26.5 x 14 cm) to a painting that has been attributed to Christoph Gertner, now in a private collection in New York.1 It is also similarly constructed. In both instances a circular piece of lighter colored stone, in the New York example alabaster, has been inserted into an opening and conjoined to darker colored stone, in New York, black marble. With the exception of the head of the Virgin, the poses and gestures of the figures in both instances are identical. The touch (with impasto highlights on the edges of the folds, and the black of the stone used for shadows, for example). The painting under consideration is however not a copy of the New York version, but a another version of the invention. The composition has been altered to concentrate on the Shepherds and Holy Family at the bottom; the shepherd on the left has been pushed to the edge of the composition, and the amount of the scene in heaven has been diminished slightly.
    [Show full text]
  • Thomas Dacosta Kaufmann 146 Mercer Street Princeton, N.J
    Thomas DaCosta Kaufmann 146 Mercer Street Princeton, N.J. 08540 Tel: 609-921-0154 ; cell : 609-865-8645 Fax: 609-258-0103 email: [email protected] CURRICULUM VITAE Education Collegiate School, New York, valedictorian Yale University, B.A., summa cum laude with exceptional distinction in History, the Arts and Letters, 1970 Yale University, M.A., with Honors, in History, 1970 Warburg Institute, University of London, M.Phil. Dissertation: Theories of Light in Renaissance Art and Science (Advisor: E. H. Gombrich), 1972 Harvard University, Ph. D., in Fine Arts Dissertation: “Variations on the Imperial Theme; Studies in Ceremonial Art, and Collecting in the Age of Maximilian II and Rudolf II” (Advisor: J. S. Ackerman), 1977 Employment Princeton University, Department of Art and Archaeology Frederick Marquand Professor of Art and Archaeology, 2007- Assistant Professor, 1977-1983; Associate Professor, 1983-1989; Professor, 1989-; Junior Advisor, 1978-1980; Departmental Representative (i.e., vice-chair for Undergraduate Studies, and Senior Advisor), 1983-1987, 1990-1991 Chairman, Committee for Renaissance Studies, 1990-93 University of San Marino, History Department, Professor, Lecture Cycle, 2010 Summer Art Theory Seminar, Globalization, School of Art Institute of Chicago, 2008, Professor Forschungsschwerpunkt Geschichte und Kultur Ostmitteleuropa (former Academy of Sciences, Berlin; Max-Planck-Gesellschaft), Visiting Professor, 1994 Herzog Anton Ulrich Museum, Braunschweig, Stiftung Niedersachsen, Summer Course, Visiting Professor, 1994 University of Pennsylvania, Department of Art History Visiting Professor, 1980 Awards, Fellowships, and other Distinctions Elected Member, Latvian Academy of Sciences, 2020 Honorary Doctorate (Doctor historiae artrium, h.c.), Masaryk University, Brno, 2013 Wissenschaftlicher Gast, Kunsthistorisches Institut in Florenz, 2013 Nina Maria Gorissen Fellow in History (Berlin Prize Fellowship), American Academy in Berlin, 2013 Honorary Doctorate (Doctor phil.
    [Show full text]
  • Self-Portrait with Donna Venusta Is One of the Best-Documented and Most Admired Compositions by This German Painter, Whose Life Was Defined by Extensive Travel
    HANS VON AACHEN (COLOGNE, 1552 - PRAGUE, 1615) Oil on canvas, 44 x 34 ⁵/₈ (112 x 88 cm) Inscription on the score: “Vinum et musica letivicant [sic] cor […]” (“Wine and music gladden the heart”) Collection of Francis Astley-Corbett, 4th Baronet [1859-1939], Elsham Hall, Lincolnshire; his sale, Christie, Manson & Woods, London, 8 July 1927, lot 103 (as Andrea Schiavone; 26 rue Laffitte, 75009 Paris Tel : + 33 1 40 22 61 71 e-mail : [email protected] http://www.canesso.art 44 x 34½ in (111.8 x 87.6 cm), sold for £78.15.0 [75 guineas] to the dealer Frank Sabin; Paris, private collection; Venice, with Ettore Viancini; 1975, private collection. SELECTED LITERATURE -Joachim Jacoby, Hans von Aachen 1552-1615, Berlin, 2000, pp. 16-17, fig. I, pp. 203-205, no. 61 (with earlier literature); -Bernard Aikema, in Hans von Aachen 1552-1615. Court artist in Europe, exh. cat. ed. by Thomas Fusenig (Aachen, Suermondt-Ludwig-Museum, 11 March – 1 June 2010; Prague, Císařská konírna, 1 July – 3 October 2010; Vienna, Kunsthistorisches Museum, 19 October 2010 – 9 January 2011), pp. 85, 89, 96, and pp. 104-105, no. 6; -Bernard Aikema, “Hans von Aachen in Italy: A Reappraisal”, in Hans von Aachen in context (symposium proceedings, Prague, 22-25 September 2010), ed. by Lubomír Konečný and Štěpán Vácha, Prague, 2012, pp. 20-21, fig. 3; -Lothar Sickel, “Anthonis Santvoort. Ein niederländischer Maler, Verleger und Kunstvermittler in Rom. Mit einem Exkurs zum Testament Cornelis Corts”, in Ein privilegiertes Medium und die Bildkulturen Europas. Deutsche, französische und niederländische Kupferstecher und Graphikverleger in Rom von 1590 bis 1630 (symposium proceedings, Rome, Bibliotheca Hertziana, 10-11 November 2008), ed.
    [Show full text]
  • History in the Making – Isabella
    ISABELLA HISTORY IN THE MAKING FASHION & TEXTILES TEACHERS’ RESOURCE HISTORY IN THE MAKING Key Stage 4 & 5: Art & Design and Design & Technology Also suitable for Higher Education Groups Supported by the Arts and Humanities Research Council with thanks to Kings College London 1 FOREPART (PANEL) LIMEWOOD MANNEQUIN BODICE CHOPINES (SHOES) SLEEVE RUFFS GOWN NECK RUFF & REBATO HEADTIRE FARTHINGALE STOCKINGS & GARTERS WIG SMOCK 2 3 4 5 Contents Introduction: Early Modern Dress 9 Archduchess Isabella 11 Isabella undressing / dressing guide 12 Early Modern Materials 38 6 7 Introduction Early Modern Dress For men as well as women, movement was restricted in the Early Modern period, and as you’ll discover, required several The era of Early Modern dress spans between the 1500s to pairs of hands to put on. the 1800s. In different countries garments and tastes varied hugely and changed throughout the period. Despite this variation, there was a distinct style that is recognisable to us today and from which we can learn considerable amounts in terms of design, pattern cutting and construction techniques. Our focus is Europe, particularly Belgium, Spain, Austria and the Netherlands, where our characters Isabella and Albert lived or were connected to during their reign. This booklet includes a brief introduction to Isabella and Albert and a step-by-step guide to undressing and dressing them in order to gain an understanding of the detail and complexity of the garments, shoes and accessories during the period. The clothes you see would often be found in the Spanish courts, and although Isabella and Albert weren’t particularly the ‘trend-setters’ of their day, their garments are a great example of what was worn by the wealthy during the late 16th and early 17th centuries in Europe.
    [Show full text]