The Changing Perception of the Five Senses
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Experiments in Religious Art: Style and Audience
CHAPTER 7 Experiments in Religious Art: Style and Audience The Raising of the Brazen Serpent (fig. 7.1; cat. H.25), engraved on two large copperplates by Pieter van der Heyden and published by Hieronymus Cock in 1555 with an important imperial privilege, re- cords the design of what must have been among the largest paintings Frans Floris produced for his illustrious early patron, the states- man and cleric Cardinal Antoine Perrenot de Granvelle (fig. 7.17). Depicting the punishment inflicted on the Israelites because of their doubts and ingratitude, this spectacular engraving is an image about the salvific powers of looking. God sent poisonous serpents to attack the restive Israelites in the desert. After Moses intervened, the deity commanded them to set up a brazen serpent so that all who looked on it would be healed (Numbers 21: 6–9). In its iconography and its materiality, van der Heyden’s print, an image made from “brazen” copper plates, advances the efficacy of sight as a vehicle for salvation. While the entwining of antique form and Christian content had become a convention of Renaissance art by the sixteenth century, the specificity of the allusions to classical and distinctly Roman art in this sacred istoria is particularly strik- ing. Many of Floris’s writhing figures are explicitly based on antique prototypes and the work of Michelangelo (particularly his Sistine ceiling) and they combine here to form an overpowering display of afflicted bodies arranged as though in a relief. The eye follows the undulating musculature of Floris’s contorted, tormented figures as they fill the image’s foreground, until eventually the gaze reaches the upper left corner where Moses raises up the serpent and those who look upon it are restored to health. -
December-2016.Pdf
the hollstein journal december 2016 It is my great pleasure to write these first few lines introducing our first e-newsletter. Via this medium, which we aim to publish at least twice a year, we will keep you informed about various Hollstein projects: more in depth information about some of our current projects, new research, publication schedules, as well as other activities connected to Dutch and Flemish and German prints before 1700. In this first issue you will be introduced by Ad Stijnman to Johannes Teyler and the à la poupée printing technique. These volumes to be published in our series The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts, 1450-1700 will be the first ever to be in full colour. Some of our previous volumes on the oeuvres of Hendrick Goltzius and Frans Floris already included a few colour plates but Teyler’s substantial oeuvre covers every colour of the rainbow. Marjolein Leesberg will discuss Gerard and Cornelis de Jode. Her research on the De Jode dynasty resulted in such a wealth of new material that we decided to divide The New Hollstein Dutch & Flemish volumes into two separate publications. The first will cover Gerard and Cornelis de Jode and the second following comprises the subsequent family members Pieter de Jode I, Pieter de Jode II, and Arnold de Jode. With the end of the year quickly approaching, I, on behalf of the whole team, would like to take the opportunity to wish you a Merry Christmas and a prosperous 2017. Frits Garritsen Director johannes teyler and dutch colour printing 1685-1710 The group of prints compiled for the forthcoming The à la poupée process had been used since 1457,2 New Hollstein volumes concern what are known as usually inking copper plates but also woodblocks in ‘Teyler prints’. -
Bruegel Notes Writing of the Novel Began October 20, 1998
Rudy Rucker, Notes for Ortelius and Bruegel, June 17, 2011 The Life of Bruegel Notes Writing of the novel began October 20, 1998. Finished first fully proofed draft on May 20, 2000 at 107,353 words. Did nothing for a year and seven months. Did revisions January 9, 2002 - March 1, 2002. Did additional revisions March 18, 2002. Latest update of the notes, September 7, 2002 64,353 Words. Table of Contents Table of Contents .................................................................................................... 1 Timeline .................................................................................................................. 9 Painting List .......................................................................................................... 10 Word Count ........................................................................................................... 12 Title ....................................................................................................................... 13 Chapter Ideas ......................................................................................................... 13 Chapter 1. Bruegel. Alps. May, 1552. Mountain Landscape. ....................... 13 Chapter 2. Bruegel. Rome. July, 1553. The Tower of Babel. ....................... 14 Chapter 3. Ortelius. Antwerp. February, 1556. The Battle Between Carnival and Lent......................................................................................................................... 14 Chapter 4. Bruegel. Antwerp. February, -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Defining De Backer New Evidence on the Last Phase of Antwerp Mannerism Before Rubens
Originalveröffentlichung in: Gazette des beaux-arts 6. Pér., 137, 143. année (2001), S. 167-192 DEFINING DE BACKER NEW EVIDENCE ON THE LAST PHASE OF ANTWERP MANNERISM BEFORE RUBENS BY ECKHARD LEUSCHNER VEN Carel van Mander, though praising has became an art-collector's synonym for a the great talent of the late 16th-century certain type of 'elegant' paintings made by the last painter Jacob ('Jacques') de Backer, knew generation of Antwerp artists before Rubens, just little about this Antwerp-based artist and as 'Jan Brueghel' once was a synonym for early E 1 the scope of his activities . It is, therefore, not 17th-century Antwerp landscapes. Yet, while many surprising to find De Backer's pictures cited in efforts have been made in recent years to comparatively few Antwerp art inventories of the constitute a corpus of Jan Brueghel's paintings and 17th and 18th centuries2. The provenance of only a drawings, the art of Jacob de Backer remains to be handful of the paintings today attributed to Jacob explored. de Backer can be documented. The artist's name, Scholarly approaches to De Backer have so far moreover, never features in the membership lists been limited to efforts at a traditional ceuvre ('liggeren') of Antwerp's guild of painters. The art catalogue3. Miiller Hofstede, Huet, Foucart, and market, however, does not appear to be impressed everyone else following them (the author of this by this fact: The name of De Backer is regularly paper included) tried to create or enlarge a corpus applied to late 16th-century Flemish pictures with of works of art produced by a distinct personality marble-like figures reminiscent of the Florentine called Jacob de Backer. -
The Leiden Collection Catalogue, 2Nd Ed
Abraham Bloemaert (Gorinchem 1566 – 1651 Utrecht) How to cite Bakker, Piet. “Abraham Bloemaert” (2017). Revised by Piet Bakker (2019). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/abraham-bloemaert/ (archived June 2020). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. Abraham Bloemaert was born in Gorinchem on Christmas Eve, 1566. His parents were Cornelis Bloemaert (ca. 1540–93), a Catholic sculptor who had fled nearby Dordrecht, and Aeltgen Willems.[1] In 1567, the family moved to ’s-Hertogenbosch, where Cornelis worked on the restoration of the interior of the St. Janskerk, which had been badly damaged during the Iconoclastic Fury of 1566. Cornelis returned to Gorinchem around 1571, but not for long; in 1576, he was appointed city architect and engineer of Utrecht. Abraham’s mother had died some time earlier, and his father had taken a second wife, Marigen Goortsdr, innkeeper of het Schilt van Bourgongen. Bloemaert probably attended the Latin school in Utrecht. He received his initial art education from his father, drawing copies of the work of the Antwerp master Frans Floris (1519/20–70). According to Karel van Mander, who describes Bloemaert’s work at length in his Schilder-boek, his subsequent training was fairly erratic.[2] His first teacher was Gerrit Splinter, a “cladder,” or dauber, and a drunk. The young Bloemaert lasted barely two weeks with him.[3] His father then sent him to Joos de Beer (active 1575–91), a former pupil of Floris. -
Winter Dialogue-Final-2
Docent Council Dialogue Winter 2013 Published by the Docent Council Volume XLIIl No 2 From Ethereal to Earthy The Legacy of Caravaggio 1 Inside the Dialogue Reflections on a Snowy Morning.......................Diane Macris, President, Docent Council Page 3 Winter Message..................................................Charlene Shang Miller, Docent and Tour Programs Manager Page 3 A Docent’s Appreciation of Alona Wilson........................................................JoAn Hagan, Docent Page 4 An Idea whose Time had Come................................Sandy Voice Page 5 Presentations:Works of Art from Burst of Light ......Docent Contributors Pages 7-20 The Transformative Genius of Caravaggio...............JoAn Hagan Page10 Flicks: The Dialogue Goes to the Cinema....................................................Sandy Voice Page 10 A Docent’s Guide to the Saints..................................Beth Malley Page 11 From the Sublime to the Ridiculous and Back..........Hope Vath Page 13 The Bookshelf: A Book Review.................................BethMalley Page 15 A Passion for Stickley ...............................................Laura Harris Page 20 From the Collection of Stephen Gray Docent Council Dialogue The Dialogue is created by and for docents and provides a forum for touring ideas and techniques, publishing information that is vital to docent interests such as museum changes, and recording docent activities and events. The newsletter is published in Fall, Winter, and Spring editions. Editorial Staff Sandy Voice Co-Editor -
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. -
Zu Den Martyrerbildern Anrwerpens Im Spaten 16. Jahrhundert
DAVlD FREEDBERG Zu den Martyrerbildern Anrwerpens im spaten 16. Jahrhundert Kaum jemand, der im Koninklijk Museum voor Schone Kunsten in Antwerpen die Raume durchschreitet, in denen die Werke der Generation vor der Zeit von Peter Paul Rubens zu sehen sind, kann behaupten, er ware nicht von den groBformatigen Olgemalden einer Reihe ausnehmend grausamer Martyrerszenen beeindruckt wor den. Es handelt sich um die Gemalde "Oas Martyrium der Heiligen Crispinus und Crispinianus« (Abb. 1-3), "Oas Beinwunder und Martyrium der Heiligen Cosmas und Oamian" (Abb. 4 und 5), "Oiokletian verurteilt den Heiligen Sebastian zum Tode«, »Szene aus dem Martyrium des Heiligen Sebastian« (Abb. 6a und b) und "Szenen aus dem Martyrium des Heiligen Georg« (Abb. 7a und b), alle von Am brosius Francken. 1 • Dies ist die von Carolin Behrmann ins Deutsche übertragene und mit mir gemeinsam auf den neu esren Forschungsstand gebrachte Version meines Artikels "The Represemation of Marryrdoms du ring the Early Counrer-Reformation in Antwerp«, erschienen in: The Burlington Magazine, Vol. 118, No. 876, Man 1976, S. 128-138. Eine langere Srudie über dieses wichtige Kapirel der Kunsr geschichre, Religion und der Reprasenration von Marryrium und der Foher habe ich in Planung, doch hat sich der status questionis des spezifischen hier diskucierten Problems kaum geandert seirdem ich den Artikel geschrieben habe. lch nehme an, diese Situation wird sich bald andern, besonders im Lichre der Arbeir von Carolin Behrmann, Koenraad Jonckheere und der Autoren in diesem Band. Hier beschranke ich mich lediglich darauf, die wichtigsren bibliographischen Erganzungen nachzu rragen und einige (mitnichren aile) der /acunae und Fehler des Originalrexres anzugehen. -
Frans Pourbus De Oudere(1545-1581)
Universiteit Gent Academiejaar 2011-2012 FRANS POURBUS DE OUDERE (1545-1581) EEN BLIK OP ZIJN LEVEN EN OEUVRE VOLUME I: TEKST Masterproef voorgelegd aan de Faculteit Letteren en Wijsbegeerte, Vakgroep Kunst-, Muziek- en Theaterwetenschappen, voor het verkrijgen van de graad van Master, door Gaëlle Brackez (00702512). Promotor: prof. dr. K. Jonckheere. INHOUDSTAFEL VOLUME I: TEKST Voorwoord ....................................................................................................................... 4 Inleiding ....................................................................................................................... 5 DEEL I: HET LEVEN EN OEUVRE VAN FRANS POURBUS DE OUDERE ............... 8 1. Leven ....................................................................................................................... 8 2. Oeuvre ..................................................................................................................... 14 2.1. Portretten ......................................................................................................... 14 2.2. Religieuze werken .......................................................................................... 19 De impact van zijn leermeesters: een artistieke interactie met Pieter Pourbus en Frans Floris ................................................................... 19 De impact van de religieuze conflicten: een analyse naar de ontwikkeling op schilderkunstig vlak ............................................................................. -
The Rape of Europa by Martin De Vos in the Collection of the Bilbao Fine Arts Museum
The Rape of Europa by Martin de Vos in the collection of the Bilbao Fine Arts Museum Lieneke Nijkamp 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 © Albertina, Vienna: fig. 16 © Ashmolean Museum, University of Oxford: fig. 20 © Bilboko Arte Ederren Museoa-Museo de Bellas Artes de Bilbao: figs. 1, 9-10 and 14 © bpk | Bayerische Staatsgemäldesammlungen: fig. 18 © Erik Cornelius/Nationalmuseum: fig. 12 © Isabella Stewart Gardner Museum, Boston, MA, USA/Bridgeman Images: fig. 8 © Jack Kilgore & Co.: fig. 17 © Lyon MBA - Photo Alain Basset: fig. 11 © Mauritshuis, The Hague: fig. 7 © Museo de Bellas Artes de Sevilla: fig. 5 © Museum Plantin-Moretus, Antwerp-UNESCO, World Heritage: fig. 2 © Real Academia de Bellas Artes de San Fernando: fig. 6 © Royal Museum of Fine Arts Antwerp. Lukas-Art in Flanders vzw, photo Hugo Maertens: fig. 4 © Royal Museums of Fine Arts of Belgium, Brussels / photo : J. Geleyns / Ro scan: fig. 3 © The State Hermitage Museum. Photo by Svetlana Suetova: fig. -
The Young Talent in Italy
Originalveröffentlichung in: Jonckheere, Koenraad (Hrsg.): Michiel Coxcie, 1499 - 1592, and the giants of his age : [...on the occasion of the exhibition "Michiel Coxcie: the Flemish Raphael", M - Museum Leuven, 31 October 2013 - 23 February 2014], London 2013, S. 50-63 und 198-204 Eckhard Leuschner THE YOUNG TALENT IN ITALY 4U ichiel Coxcie appears to have been in Italy between about 1530 and a.539.1 With just two exceptions (see below), no contemporary archival documentation relating to this phase of his career has so far been published. Giorgio Vasari mentions that he met Coxcie in Rome in M1532,2 and the surviving paintings, drawings and prints indicate that that is where he spent almost all his time in Italy. As far as the art history of Rome in the Cinquecento is concerned, the 1530s may well be the least studied decade of the century. 3 That is partly due to the political events of the previous years, especially the Sack of Rome in 1527 and its aftermath. When the troops of Emperor Charles V stripped the city of its treasures and political importance, they also weakened the finances of local patrons and the demand for art in general. However, the onset of the Reformation in the North had made itself felt even before then, and the number of works of art commissioned and produced in Rome had been in decline since the early 1520s.4 Although the city ’s artistic life never came to a complete standstill (not even during or immediately after the sack), the scarcity of information on artists active in Rome around 1530 speaks for itself.