Imagination in the Chamber of Sleep: Karel Van Mander on Somnus and Morpheus*

Chapter 6 Imagination in the Chamber of Sleep: Karel van Mander on Somnus and Morpheus* Christine Göttler Self-Transformers: Proteus, Vertumnus, and Morpheus ‘As Proteus transformed himself amidst the waves out of burning love for the beautiful Pomona, so does Goltzius, the admirable engraver and origina- tor, change, with his varied art, for you, Oh Prince’.1 It was in these terms that Cornelius Schonaeus (Cornelis Schoon, 1540–1611), the Catholic rector of the Latin school of Haarlem, commended Hendrick Goltzius’s (1558–1617) engrav- ings of the Early Life of the Virgin, in a dedicatory inscription to Wilhelm V, Count Palatine and Duke of Bavaria. The inscription is located at the bottom of the first engraving in the series, an Annunciation that ‘reinvents’ and ‘restages’ the manners of various Italian masters [Fig. 6.1].2 Schonaeus’s use of the term ‘repertor’ in lieu of the more common ‘inventor’ signals the uniqueness of * I presented previous versions of this contribution at the conferences ‘Image, Imagination and Cognition: Medieval and Early Modern Theory and Practice’ (NIAS, Wassenaar, November 2012) and ‘The World from Above: New Studies and Approaches of the World Landscape Tradition’ (Lille and Brussels, January 2013), at lectures at the Kunsthistorisches Institut Florenz (Max Planck Institute, June 2013), the Universität Hamburg, and the Eberhard Karls Universität Tübingen (June 2015). I would like to express my sincere gratitude to all the participants at these events, especially to Hannah Baader, Frank Fehrenbach, Anna Pawlak, Maurice Saß, Caroline van Eck and Michel Weemans for their stimulating comments. Most especially, my thanks go to Claudia Swan for her attentive and generous close reading of this essay. 1 ‘SERENISSIMO PRINCIPI AC ILLUSTRISSIMO DOMINO D. GUILIELMO V COMITI PALAT. RHE. UTRIUSQUE BAVARIAE DUCI. ETC. Ut mediis Proteus se transforma- bat in undis,| Formosae cupido Pononae captus amore:| Sic varia PRINCEPS TIBI nunc se Goltzius arte | Commutat, sculptor mirabilis, atque repertor’. On Cornelius Schonaeus, see Bloemendal J., Spiegel van het dagelijks leven? Latijnse school en toneel in de noordelijke Nederlanden in de zestiende en de zeventiende eeuw (Hilversum: 2003) 60–63. Schonaeus fre- quently wrote verses for prints by Goltzius and Karel van Mander. 2 Leeflang H. – Luijten G. (eds.), Hendrick Goltzius (1558–1617): Drawings, Prints and Paintings, exh. cat., Rijksmuseum, Amsterdam (Zwolle: 2003) 210–215, cat. 75; Melion W.S., “The Meditative Function of Hendrick Goltzius’s ‘Life of the Virgin’ of 1593–94”, in Falkenburg R. – Melion W.S. – Richardson T.M. (eds.), Image and Imagination of the Religious Self in Late Medieval and Early Modern Europe, Proteus 1 (Turnhout: 2007) 279–426, especially 380–381. © koninklijke brill nv, leiden, 2018 | doi 10.1163/9789004365742_008 148 Göttler Figure 6.1 Hendrick Goltzius, The Annunciation, first plate of The Life of the Virgin series (1594, third state). Engraving, 47.2 × 35.3 cm. London, The British Museum, Dept. Prints & Drawings (inv. no. 1857,0613.451). Image © The British Museum.

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Press Contacts Patrick Milliman 212.590.0310, [email protected] Alanna Schindewolf 212.590.0311, [email protected] THE MORGAN HOSTS MAJOR EXHIBITION OF MASTER DRAWINGS FROM MUNICH’S FAMED STAATLICHE GRAPHISCHE SAMMLUNG SHOW INCLUDES WORKS FROM THE RENAISSANCE TO THE MODERN PERIOD AND MARKS THE FIRST TIME THE GRAPHISCHE SAMMLUNG HAS LENT SUCH AN IMPORTANT GROUP OF DRAWINGS TO AN AMERICAN MUSEUM Dürer to de Kooning: 100 Master Drawings from Munich October 12, 2012–January 6, 2013 **Press Preview: Thursday, October 11, 10 a.m. until 11:30 a.m.** RSVP: (212) 590-0393, [email protected] New York, NY, August 25, 2012—This fall, The Morgan Library & Museum will host an extraordinary exhibition of rarely- seen master drawings from the Staatliche Graphische Sammlung, Munich, one of Europe’s most distinguished drawings collections. On view October 12, 2012– January 6, 2013, Dürer to de Kooning: 100 Master Drawings from Munich marks the first time such a comprehensive and prestigious selection of works has been lent to a single exhibition. Johann Friedrich Overbeck (1789–1869) Italia and Germania, 1815–28 Dürer to de Kooning was conceived in Inv. 2001:12 Z © Staatliche Graphische Sammlung München exchange for a show of one hundred drawings that the Morgan sent to Munich in celebration of the Staatliche Graphische Sammlung’s 250th anniversary in 2008. The Morgan’s organizing curators were granted unprecedented access to the Graphische Sammlung’s vast holdings, ultimately choosing one hundred masterworks that represent the breadth, depth, and vitality of the collection. The exhibition includes drawings by Italian, German, French, Dutch, and Flemish artists of the Renaissance and baroque periods; German draftsmen of the nineteenth century; and an international contingent of modern and contemporary draftsmen.
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Circle of Hendrick Goltzius, Study of a Male Lumpsucker
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Lawrence W. Nichols: the Paintings of Hendrick Goltzius (1558-1617). a Monograph and Catalogue Raisonné (= Aetas Aurea, Vol. XX
Lawrence W. Nichols: The Paintings of Hendrick Goltzius (1558-1617). A Monograph and Catalogue Raisonné (= Aetas Aurea, vol. XXII), Doornspijk: Davaco Publishers 2013 ISBN-13: 978-90-70288-28-0, 466 pages, 207 plates, € 275 Reviewed by: Christian Tico Seifert, Scottish National Gallery, Edinburgh This book has been long awaited and, to say it straightaway, the wait has been worthwhile. Hot on the heels of Marjolein Leesberg’s superb New Hollstein volumes on Hendrick Goltzius’s prints, Lawrence Nichols has finally published his magisterial monograph on the painter Goltzius.[1] It is a hefty, clothbound volume, beautifully designed and printed. The book opens with a chapter on the tantalising but crucial question why Goltzius in 1600, aged forty-two and famous across Europe as the most skilful engraver of his age, lay down the burin for- ever to take up brushes and oil paint. Nichols, rightly in my view, dismisses poor health and failing eyesight as the main reasons for Goltzius decision. However, it should be remembered that the one-year-old Goltzius had been severely burnt in an accident that left his right hand crippled for life. Decades of printmaking could have exhausted the strength of his hand. Certainly, holding pen and brush is physically easier than controlling the burin on a copper plate. Nichols carefully examines Goltzius’s prints and drawings and detects a ‘lifelong predilection for tonal gradation, if not actual color’ (21). His portrait drawings in red and black chalks, heightened with white and subtly washed, show him as a sensitive colourist, and his chiaroscuro woodcuts demonstrate his interest as a printmaker in colour.
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Cornelis Cornelisz, Who Himself Added 'Van Haarlem' to His Name, Was One of the Leading Figures of Dutch Mannerism, Together
THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com Cornelis Cornelisz van Haarlem (Haarlem 1562 – 1638) Venus, Cupid and Ceres Oil on canvas 38 x 43 in. (96.7 x 109.2 cm.) Signed with monogram and dated upper right: ‘CH. 1604’ Provenance Private collection, New York Cornelis Cornelisz, who himself added ‘van Haarlem’ to his name, was one of the leading figures of Dutch Mannerism, together with his townsman Hendrick Goltzius and Abraham Bloemaert from Utrecht. He was born in 1562 in a well-to-do Catholic family in Haarlem, where he first studied with Pieter Pietersz. At the age of seventeen he went to France, but at Rouen he had to turn back to avoid an outbreak of the plague and went instead to Antwerp, where he remained for a year with Gilles Coignet. The artist returned to Haarlem in 1581, and two years later, in 1583, he received his first important commission for a group portrait of a Haarlem militia company (now in the Frans Hals Museum, Haarlem). From roughly 1586 to 1591 Cornelis, together with Goltzius and Flemish émigré Karel van Mander formed a sort of “studio brotherhood” which became known as the ‘Haarlem Academy’. In the 1590’s he continued to receive many important commissions from the Municipality and other institutions. Before 1603, he married the daughter of a Haarlem burgomaster. In 1605, he inherited a third of his wealthy father-in-law’s estate; his wife died the following year. From an illicit union with Margriet Pouwelsdr, Cornelis had a daughter Maria in 1611.
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Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010
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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.
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In 1590, the Dutch Painter and Printmaker Hendrick Goltzius (Fig. 1)
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Homage to Goltzius: Four Disgracers in One
HOMAGE TO GOLTZIUS: FOUR DISGRACERS IN ONE Lawrence O. Goedde The Fralin Art Museum at the University of Virginia was recently given a drawing that is immediately recognizable as an adaptation of Hendrick Goltzius’s famous series of engravings, The Four Disgracers, of 1588. This artist apparently found in Goltzius’s demonstration of artistry both an inspiration and a challenge since he or she not only set about copying the four figures but also combined them into a single composition. The result is a work that reveals a clear determination to rival the virtuosity of the original; and to some degree it succeeds, creating a work in the spirit of Goltzius himself. DOI: 10.18277/makf.2015.02 he Fralin Art Museum at the University of Virginia was recently given a drawing (fig. 1) based on the work of Hendrick Goltzius that is immediately recognizable as an adaptation of Goltzius’s famous series of engravings The Four Disgracers, of 1588 (fig. 2).1 Displaying four figures tumbling through the air and seen from unusual Tangles, Goltzius’s prints, which are based on designs by Cornelis Cornelisz. van Haarlem, demonstrate his artistic virtuosity in a variety of ways.2 Not only are the four figures depicted with their limbs splayed out, in poses requiring the use of extreme foreshortening, but each is also carefully composed within the circular field of a tondo format, enhancing the effect of twisting motion through space. The prints display Goltzius’s command of male anatomy in the convoluted poses, which on closer examination are basically the same pose seen from different angles.
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Crossing Parallels
ETH Zürich Graphische Sammlung HG E 52 Rämistrasse 101 8092 Zürich T +41 44 632 40 46 [email protected] gs.ethz.ch Zurich, 24 November 2020 Press Release CROSSING PARALLELS. AGOSTINO CARRACCI AND HENDRICK GOLTZIUS 9 December 2020 until 14 March 2021 Every era chooses its stars. And each epoch that follows determines whether their light will fade or shine even brighter. Wouldn’t we just love to know which famous figures of our time will still enthuse our great-grandchildren? Knowing the answer to that is a privilege held by the art of centuries long past. Agostino Carracci (1557–1602) and Hendrick Goltzius (1558–1617) are amongst those who succeeded. They were the leading engravers of the late 16th century – one in Italy and the other in the Netherlands –, and even today their works are shown in exhibitions, traded on the art market, discussed in seminars and taken by artists as sources of inspiration. Yet surprisingly, the two artists have never before been confronted in an exhibition. For, in addition to their success as engravers, there are further parallels: both were interested in literature and art theory, and each of them founded an academy in his own hometown. Independently of one another, they both discovered the illusionistic potential of lines that swell and taper and made an important contribution to the development of the engraving technique, paving the way for the print of the baroque era. Despite their outstanding success in the medium of print, both of them, in older age, turned increasingly to painting instead. The exhibition, however, does more than simply draw the parallels in their lives.
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Mlincoln Thesis Formatted
ABSTRACT Title of Document: HENDRICK GOLTZIUS’S PROTEAN ICONOGRAPHY: 1582-1590 Matthew David Lincoln, Master of Arts, 2012 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archaeology Karel van Mander famously characterized Goltzius as a “Proteus or Vertumnus of art”, a turn of phrase that has been taken to refer to his virtuosic skill at engraving in the styles of all the best masters. Often overlooked is the fact that Goltzius also conspicuously exercised his abilities as an iconographer in his early career as a print publisher. Between 1582, when he started his Haarlem print studio, and 1590, when he departed for Italy, Goltzius used classical rhetorical methods to construct innovative compositions. He thus promoted not only his skillful hand, but also his inventive and resourceful mind. This thesis considers Goltzius’s intellectual circles in Haarlem during this critical professional period, presents several case studies of his inventive iconographies, and concludes with two new interpretations of mythological artworks based on the artist’s rarely-acknowledged use of iconographic manuals and emblem books. HENDRICK GOLTZIUS’S PROTEAN ICONOGRAPHY: 1582-1590 By Matthew David Lincoln Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2012 Advisory Committee: Professor Arthur K. Wheelock, Jr., Chair Professor Anthony Colantuono Professor Meredith Gill © Copyright by Matthew David Lincoln 2012 DISCLAIMER The thesis document that follows has had referenced material removed in respect for the owner’s copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland College Park’s library collection.
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The Trope of Anthropomorphosis in Hendrick Goltzius's Venus and Cupid
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