Journal of Historians of Netherlandish Art最新文献

{"title":"New Netherland Documents and the Dutch Textile Trade Project","authors":"Deborah Hamer","doi":"10.5092/jhna.2023.15.1.7","DOIUrl":"https://doi.org/10.5092/jhna.2023.15.1.7","url":null,"abstract":"This essay examines the Dutch Textile Trade Project’s use of the Dutch West India Company archives in the context of archival sources for the Dutch colony of New Netherland, which included parts of New York, New Jersey, Delaware, and Connecticut (1621 to 1664). While the digitization of the WIC’s New Netherland Papers has provided scholars with invaluable access to information about the former Dutch colony, it has also placed undue weight on this elite, semi-private collection of documents at the expense of other archival collections.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124984414","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Methodology & Resources: New Findings from the National Gallery of Art","authors":"Melanie Gifford, K. Dooley, J. Delaney","doi":"10.5092/jhna.2022.14.2.4","DOIUrl":"https://doi.org/10.5092/jhna.2022.14.2.4","url":null,"abstract":"The findings of the recent comprehensive technical study (2020–2022) of all four works by or attributed to Vermeer at the National Gallery of Art, Washington, are presented in three articles in this issue. This section offers guidance on using the JHNA image viewers and expands on the brief technical overviews in the articles with additional detail on the analytical methods used. For those who have not previously used such documents, we offer suggestions on how to interpret technical evidence. For those who regularly use such evidence in their research, the specific operating parameters of each method can be found in the endnotes of each section below. Whereas prior studies mainly relied on microanalysis of paint samples and magnified examination of the painted surface with a stereomicroscope, this study also used extensive analysis based on non-invasive chemical imaging spectroscopy, the results of which are presented in the form of images and maps, rather than graphs, making them accessible to a wider audience.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131790701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Vermeer’s Studio and the Girl with a Flute: New Findings from the National Gallery of Art","authors":"Marjorie E. Wieseman, Alexandra Libby, Melanie Gifford, Dina Anchin","doi":"10.5092/jhna.2021.14.2.3","DOIUrl":"https://doi.org/10.5092/jhna.2021.14.2.3","url":null,"abstract":"The blocky brushwork and awkwardly positioned figure of Girl with a Flute (National Gallery of Art, Washington) have led many to doubt whether Johannes Vermeer, who painted the superficially similar Girl with the Red Hat (National Gallery of Art, Washington), also made this work. Over the last two years, curators, conservators, and scientists collaborated to resolve the uncertainty surrounding this painting and determined that the painting is not, in fact, by Vermeer. The artist who created this work was intimately familiar with Vermeer’s unique working methods and used the same materials and techniques but was unable to achieve Vermeer’s level of delicacy or expertise—raising the intriguing possibility that Vermeer had associates working with him in his studio.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122656522","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Experimentation and Innovation in Vermeer’s Girl with the Red Hat: New Findings from the National Gallery of Art","authors":"Alexandra Libby, Melanie Gifford, Dina Anchin, Marjorie E. Wieseman, K. Dooley, J. Delaney","doi":"10.5092/jhna.2021.14.2.2","DOIUrl":"https://doi.org/10.5092/jhna.2021.14.2.2","url":null,"abstract":"Considered within the context of his biography, his overall artistic production, and the seventeenth-century Dutch market for tronies, a recent multidisciplinary investigation of Johannes Vermeer’s Girl with the Red Hat (National Gallery of Art, Washington) suggests that this small painting represents a pivotal moment in the artist’s career. Vermeer experimented here with bolder, more abstract brushwork and more highly contrasting pigments—an approach that grew out of his handling of the preparatory stages of the painting process and that he ultimately adopted in his high-life genre works as well. Positing the painting as an experimental foray that presaged Vermeer’s subsequent development also indicates a likely date of about 1669.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114397245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"First Steps in Vermeer’s Creative Process: New Findings from the National Gallery of Art","authors":"Melanie Gifford, Dina Anchin, Alexandra Libby, Marjorie E. Wieseman, K. Dooley, L. Glinsman, J. Delaney","doi":"10.5092/jhna.2021.14.2.1","DOIUrl":"https://doi.org/10.5092/jhna.2021.14.2.1","url":null,"abstract":"Recent scientific analysis of two genre paintings by Johannes Vermeer at the National Gallery of Art in Washington (Woman Holding a Balance and A Lady Writing) has uncovered a level of freedom and spontaneity in Vermeer’s preparatory painting stages that was not previously known. Researchers built on decades of research and used a suite of new, noninvasive analytical techniques to image Vermeer’s painted sketch and underpaint—layers hidden below the paintings’ surfaces—more clearly and precisely than was previously possible. Here we analyze and interpret our findings in the context of Vermeer’s career and in relation to works by his peers, high-life Dutch genre painters of the seventeenth century.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126064611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Overlay Videos for Quick and Accurate Watermark Identification, Comparison, and Matching: Creating and Using Overlay Videos","authors":"C. R. Johnson Jr., W. Sethares, Margaret Holben Ellis","doi":"10.5092/jhna.2021.13.2.1","DOIUrl":"https://doi.org/10.5092/jhna.2021.13.2.1","url":null,"abstract":"Identifying, comparing, and matching watermarks in pre-machine-made papers has occupied scholars of prints and drawings for some time. One popular but arduous approach is to overlay, either manually or digitally, an image of the watermark in question with its presumed match from a known source. For example, a newly discovered watermark in a Rembrandt print might be compared to a similar one reproduced in Erik Hinterding’s Rembrandt as an Etcher (2006). Such an overlay can confirm the pair as identical, i.e., as moldmates, or reveal their differences. But creating an accurate overlay for two images with different scales, orientations, or resolutions using standard image-manipulation tools can be time consuming and, ultimately, unsuccessful. Part One of this article describes advances in the emerging field of computational art history, specifically the development of digital image processing software, that can be used to semi-automatically create a reliable animated overlay of two watermarks, regardless of their relative “comparability.” Watermarks found in the prints of Rembrandt van Rijn (1606–1669) are used in three case studies to demonstrate the efficacy of user-generated overlay videos. Part Two discusses how searching for identical watermarks, i.e., moldmates, can be enhanced through the application of a new suite of software programs that exploit the data calculated during the creation of user-generated animated overlays. This novel watermark identification procedure allows for rapid, confident watermark searches with minimal user effort, given the existence of a pre-marked library of watermarks. Using a pre-marked library of Foolscap with Five-Pointed Collar watermarks, four case studies present different categories of previously undocumented matches 1) among Rembrandt’s prints; 2) between prints by Rembrandt and another artist, in this case Jan Gillisz van Vliet (1600/10–1668); and 3) between selected Rembrandt prints and contemporaneous Dutch historical documents.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131565233","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Matter as an Artist: Rubens’s Myths of Spontaneous Generation","authors":"Marisa Mandabach","doi":"10.5092/jhna.2021.13.2.3","DOIUrl":"https://doi.org/10.5092/jhna.2021.13.2.3","url":null,"abstract":"Three works by Peter Paul Rubens (1577–1640) entail mythologized scenes of spontaneous generation, or the creation of species from nature’s raw matter: Head of Medusa (ca. 1613–1618), The Discovery of Erichthonius (ca. 1616), and the oil sketch Deucalion and Pyrrha (ca. 1636). In these works Rubens naturalizes the life of painting within its materials, implying matter—paint, with its pigments and mediating liquids—as an intrinsic, animating quality of his images and even as a counterpart to or collaborator with the artist. This essay explores these ideas to show how Rubens’s technical and artisanal understanding of painting and its materials could have informed his interpretation of ancient myths.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132024961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"JHNA Conversations 1: A Curatorial Roundtable on Expanded and Expanding Narratives in the Museum","authors":"Yao-Fen You, Elizabeth Cleland, Alejandro Vergara, Bert Watteeuw","doi":"10.5092/jhna.2021.13.2.2","DOIUrl":"https://doi.org/10.5092/jhna.2021.13.2.2","url":null,"abstract":"As the cultural sector continues to grapple with the challenging and transformative events of 2020 spotlighting the exclusionary practices and social norms that structure museums, JHNA commissioned two roundtables to reflect on the challenges of curating Northern European art. This first one, “Expanded and Expanding Narratives in the Museum,” unites four curators in discussion about the evolving trajectory of art history and the possibilities for new narratives in the galleries. In addressing the increasing momentum for new art-historical ecologies in recent years, the participants discuss the inherently marginalizing effects of canonization; signal the tensions between the art market, perceived museum audiences, and historical collections that continue to shape museum presentations and collecting practices; and highlight some objects from the early modern period that suggest pathways forward for more expansive conversations in museum spaces. The discussion closes with a look at the global entanglement of early modern Europe. This point will be taken up by the next JHNA Conversation, to be published in the winter 2022 issue, which will reconvene the curatorial team for the groundbreaking exhibition Asia in Amsterdam: The Culture of Luxury in the Golden Age, organized by the Rijksmuseum and the Peabody Essex Museum in 2015–16. Discussants, including a member of their advisory committee from the cultural sector in Indonesia, will reflect on the humility and resourcefulness necessary to present shameful racist histories, the impact of sharing personal—rather than merely collective—stories in the galleries, and the need for museums to participate in the healing of historical wounds. It will also address new research methodologies that inherently expand inclusiveness and surface new types of historical data, leading to a more people-oriented presentation of art history. Both conversations, edited and condensed for clarity for publication in JHNA, have been organized and moderated by Yao-Fen You, Acting Deputy Director of Curatorial and Senior Curator and Head of Product Design and Decorative Arts, Cooper Hewitt, Smithsonian Design Museum, New York.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130729435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Jan van Goyen: Virtuoso, Innovator, and Market Leader","authors":"E. J. Sluijter","doi":"10.5092/jhna.13.2.4","DOIUrl":"https://doi.org/10.5092/jhna.13.2.4","url":null,"abstract":"This article is a translation from the original Dutch, which first appeared in the catalogue for the exhibition Jan van Goyen (Stedelijk Museum De Lakenhal, Leiden, 1996). The essay examines the “strategies” regarding style, subject matter, technique, and price level that Jan van Goyen appears to have used to position himself in the art market. In particular, it discusses the radical change in style and the continuous innovations that Van Goyen introduced into his landscapes as he became a market leader. The Postscript offers insight into the origin and aim of the essay and refers to relevant information that emerged after the initial publication date.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117012564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Art Ownership in Leiden in the Seventeenth Century","authors":"C. Fock","doi":"10.5092/JHNA.2021.13.1.4","DOIUrl":"https://doi.org/10.5092/JHNA.2021.13.1.4","url":null,"abstract":"This article originally appeared as “Kunstbezit in Leiden in de 17de eeuw” in Th. H. Lunsingh-Scheurleer et al., Het Rapenburg: Geschiedenis van een Leidse gracht, vol. 5b, (Leiden: Rijksuniversiteit Leiden, 1990), 3–36. The larger publication comprises eleven volumes on the architecture, interior decoration, residents’ histories, and contents of the houses in this section of the Rapenburg, from the Middle Ages to the twentieth century. Fock’s chapter centers on art owned by collectors and others living on Leiden’s famous canal—their professions, social status, the kinds of art that they had in their possession, and the positioning of those works within their households. Works have been identified with the aid of auction catalogues and public notarial inventories.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"122 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116164658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}