OUD HOLLAND最新文献_第10页

New Light on Three Miniatures from the Egmond Breviary 《埃格蒙德祈祷书》中三幅微缩图的新发现

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2012-01-01 DOI: 10.1163/18750176-90000001

M. Bloem

引用次数: 1

Light and Shadow, Clouds and Sunrays: The Concept of Reddering in Netherlandish Art 光与影，云与阳光:荷兰艺术中的渲染概念

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2011-12-01 DOI: 10.1163/003067212X13397495480862

Ulrike Kern

引用次数: 1

Jacob Roman and his connection with the Delft regent Pieter Teding van Berkhout 雅各布·罗曼和他与代尔夫特摄政王彼得·泰德·范·伯克豪特的关系

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2011-12-01 DOI: 10.1163/003067212X13397495480781

C. Fock

{"title":"Jacob Roman and his connection with the Delft regent Pieter Teding van Berkhout","authors":"C. Fock","doi":"10.1163/003067212X13397495480781","DOIUrl":"https://doi.org/10.1163/003067212X13397495480781","url":null,"abstract":"The family of Pieter Teding van Berkhout (1643-1713) originated from the West Frisian town of Hoorn, but by the time he was born they had moved to The Hague to take up high governmental offices in the province of Holland and West Friesland. The relatives of his mother, who was born into an important patrician family in Delft, opened the doors to a successful career in that city, where Pieter went to live after his marriage and where in due course he became a member of the city council and burgomaster. The diaries that he kept throughout his adult life reveal his close connection to the architect Jacob Roman (1640-1716), one of the main architects of the late seventeenth century, first as architect of the city of Leiden and later of King-Stadholder William III of Orange. Since Roman features in relatively few sources, Pieter's extensive diary entries, in which the architect is mentioned no fewer than 45 times (see Appendix), reveal several hitherto unknown facts about his career. Jacob Roman did not start out as an architect but followed in his father's footsteps by becoming a woodcarver ('beeldsnijder') whose main skill was the carving of ornamental decorations. It was in that capacity that Pieter Teding van Berkhout first commissioned him in 1677 to execute the decorative carvings on his coach, which was made to Pieter's specifications by craftsmen in The Hague. That was followed a year later by the decorations on a clock that Pieter wanted to present to Delfshaven, of which he was harbour master at the time. In both instances Pieter closely followed the progress of Roman's efforts during visits to his workshop in The Hague. Shortly afterwards, though, Jacob Roman shifted his interest increasingly to architecture (in 1681 finally abandoning his former profession). This coincided with Pieter's diary entry in September 1679 about discussions in Clingendael on architectural subjects between himself, his host and friend Philip Doublet and Jacob Roman. A few weeks later this was followed by Roman's visit to Pieter's house in Delft to discuss some plans Pieter had regarding his own buildings. Yet when Pieter rebuilt his country retreat of Pasgeld near Delft in 1681-1683, Roman's role must have been confined to advising on more general aspects, without any practical involvement in the planning and building process. And again, when Pieter made extensive alterations to his town house in Delft in 1687-1689, all of Roman's visits to Delft in that period to discuss architectural matters only took place when Pieter's renovations were well under way in accordance with plans developed by Pieter himself. Nevertheless, the relationship between the two men flourished, as Pieter Teding van Berkhout showed a marked interest in the building projects in which Jacob Roman was involved. The first time we hear of this is in February 1686, when Pieter visited Roman in Leiden to look at the latter's designs for Het Loo, when he designated Roman in his diary in so many wor","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"81 1","pages":"185-208"},"PeriodicalIF":0.3,"publicationDate":"2011-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73649333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

'Christ Carrying the Cross', the first rediscovered painting by Matthijs Willenhoudt 《背着十字架的基督》，这是马提斯·威伦豪特首次重新发现的画作

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2011-12-01 DOI: 10.1163/003067212X13397495480943

Teresa Posada Kubissa

引用次数: 0

Ein ,,Bohnenkönig“ im Stundenbuch. Zum Verhältnis von später Buch- und früher Genremalerei 在课本上写了“科西姆王”后期作品与后期作品之间的关系

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2011-01-01 DOI: 10.1163/003067212X13397495481023

Dominik Fugger

引用次数: 0

Frits Lugt 1884-1970. Leven voor de kunst. Biografie 弗里茨·卢格特1884-1970。为艺术而活。传记

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2011-01-01 DOI: 10.1163/187501711798264184

E. Grasman

引用次数: 0

De glazeniersfamilie Crabeth en hun werkzaamheden in Saint-Hubert d'Ardenne 克莱贝斯玻璃家族和他们在圣休伯特阿登的工作

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2011-01-01 DOI: 10.1163/187501711798264175

W. Groot

{"title":"De glazeniersfamilie Crabeth en hun werkzaamheden in Saint-Hubert d'Ardenne","authors":"W. Groot","doi":"10.1163/187501711798264175","DOIUrl":"https://doi.org/10.1163/187501711798264175","url":null,"abstract":"The intention of my article is to reopen the investigation into the heritage of the Crabeth family and their activities as glaziers of stained-glass windows along with other works of art they produced in the sixteenth century.For a long time it was believed that Pieter Dircksz Crabeth and his famous sons Dirck and Wouter originated from Gouda, where they achieved their greatest work: eighteen stained-glass windows for Sint Janskerk. In my contribution I give an account of the pre-Gouda period and make clear that their field of activities was wider and more far-reaching than is commonly agreed upon.Profiles of their patrons provide an insight into the network to which the Crabeths belonged. Their contacts with the land of Cuijk and the prince bishopric of Liege have been investigated and documented.Count Floris of Egmond-Buren and his commission to Pieter Crabeth to make eight windows for his castle in Grave in 1522 is highlighted. Research shows a patronage relationship between the house of Egmond and the Crabeth family.In a letter written by Abbott Nicolas de Malaise we find evidence of a stay by Dirck and Wouter Crabeth at Saint Hubert d'Ardenne around 1523 due to the rebuilding of the abbey church in Renaissance style. The impetus for this letter was a fatal accident caused by Wouter Crabeth's horse. The article goes into the judicial implications of such an event and the consequences for the person involved at that time. The letter expresses the abbot's concern about Wouter's stay in Saint-Hubert with regard to the continuity of the building project.Twenty years later Pieter and Dirck Crabeth are again invited by Abbott Remacle de Marche to produce stained-glass windows for the abbey church in Saint Hubert, which had been destroyed by fire in the intervening years. The window of Adolf von Schauenburg, who later became archbishop of Cologne, is a wonderful example from this period and it is the only known glass by Pieter Crabeth still in situ. Research into stylistic elements of the rendering of the suffragan bishop in the Gouda cartoon Confirmatio and the patron saint Lambert in the Schauenburg window show a remarkable resemblance between the two figures.In view of the activities of the Crabeths in Saint Hubert d'Ardenne, critical research is called for into the authorship of the windows in the bishopric of Liege and the probability of the glaziers being involved in glass production studios in its capital.New insights based upon thorough studies of material and written sources with detailed notes and glosses, along with recent archival investigations, are presented here in the hope that discussion about Pieter Crabeth and his sons Dirck and Wouter will be given new life and put into a wider perspective.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"17 1","pages":"81-111"},"PeriodicalIF":0.3,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88187055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

'Een doek van geene beteekenis' De nachtelijke samenzwering van Claudius Civilis in het Schakerbos van Govert Flinck en Jürgen Ovens technisch onderzocht 在戈弗特·弗林克和尤尔根·欧文斯的《沙克森林》中，克劳迪亚斯·西维尔斯的夜间阴谋被技术调查

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2011-01-01 DOI: 10.1163/187501711798264193

M. V. E. Hommes, Emilie Froment

{"title":"'Een doek van geene beteekenis' De nachtelijke samenzwering van Claudius Civilis in het Schakerbos van Govert Flinck en Jürgen Ovens technisch onderzocht","authors":"M. V. E. Hommes, Emilie Froment","doi":"10.1163/187501711798264193","DOIUrl":"https://doi.org/10.1163/187501711798264193","url":null,"abstract":"Because of its extreme darkness, The nocturnal conspiracy of Claudius Civilis by Govert Flinck (16151660) and Jurgen Ovens (1623-1678) holds an isolated position within the decoration program with the Batavian revolt in the galleries of Amsterdam's former Town Hall. Of course the canvas depicts a nocturnal scene with light from only the fire and the moon, but in this painting the darkness dominates virtually everything. The rough, rather sketchy execution, whereby large parts of the canvas are left unpainted is also peculiar. Because of this appearance, some art historians have thought it an outrage that this 'painting with no value' should have replaced Rembrandt's masterpiece with the same subject. However, Flinck and Ovens - both pupils of Rembrandt - were painters of the first rank and there is nothing in the oeuvre of either master that is reminiscent of this rather unbalanced gallery painting. The question is therefore: to what does this piece owe its inaccessible appearance? This, of course, also relates to the manufacture-process and function of the canvas. Archival records and historical texts contain many relevant details on the paintings' genesis but have so far mainly given rise to confusion. The technical investigation, carried out during the 2007-2009 conservation campaign of the Batavian series, now demonstrates that the painting's extreme appearance traces back to both its peculiar genesis that is wholly different from that of the other gallery paintings and to its unfortunate conservation history. It was found that the piece was never intended to be a permanent decoration: the canvas is the one surviving remnant of a series of temporary festive decorations that Flinck had produced in the summer of 1659 in honour of the visit of Amalia van Solms and the Orange family to the Town Hall. Because of the painting's temporary nature, Flinck has modified his usual working procedures. Rather than taking sturdy, durable linen he chose a thin, fine canvas; and instead of applying to his canvas a reliable ground layer he painted on it directly. Flinck elected for fast-drying water-based paint (gum arabic) and worked with an extremely modest palette: he coloured his canvas with a thinned brown paint and on this base modelled his figures with only black contours and beige highlights. The original idea was that Flinck's temporary works would be replaced by permanent decorations from his hand, consisting of twelve paintings. But because of his untimely death in 1660, the commission was divided between Jordaens, Lievens and Rembrandt. Rembrandt's painting, to replace Flinck's work with the nocturnal conspiracy, was almost immediately removed, probably in the summer of 1662. When the Bishop of Cologne visited Amsterdam shortly afterwards, this empty space needed to be filled in a hurry and Flinck's old decoration was retrieved from storage. Jurgen Ovens was commissioned to 'work up [= finish] a sketch by Govert Flinck into a complete ordonnance'. ","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"7 1","pages":"141-170"},"PeriodicalIF":0.3,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75227003","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The City Rehearsed; Object, Architecture, and Print in the Worlds of Hans Vredeman de Vries 《排练的城市》;汉斯·弗雷德曼·德弗里斯世界中的物体、建筑和印刷

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2011-01-01 DOI: 10.1163/187501711797281177

Jeroen Goudeau

引用次数: 1

A love couple revealed, Jacob Adriaensz Backer's so called David en Bathsheba identified as Isaac and Rebecca 一对情侣透露，Jacob Adriaensz Backer所谓的David en拔示巴被确认为以撒和丽贝卡

IF 0.3 2区艺术学

OUD HOLLAND Pub Date : 2011-01-01 DOI: 10.1163/187501711798264201

E. Kok

{"title":"A love couple revealed, Jacob Adriaensz Backer's so called David en Bathsheba identified as Isaac and Rebecca","authors":"E. Kok","doi":"10.1163/187501711798264201","DOIUrl":"https://doi.org/10.1163/187501711798264201","url":null,"abstract":"Jacob Backer signed and dated (1640) a history piece that until now was entitled David and Bathsheba and is located in Tokyo. The image however, lacks the traditional iconographical motifs from which we can recognize this old biblical story.In this article I propose that the painting is a portrait historie of the wealthy Amsterdam couple Marinus Lowysse and Eva Ment represented as Isaac and Rebecca. Backer modelled his biblical love couple after Rafael's fresco Isaac and Rebecca spied upon by Abemelich in the Vatican. Backer must have known that image from Sisto Badalocchio's print of 1607 in Historia del Testamento Vecchio - this collection of fifty prints was reprinted in Amsterdam in 1638.The identification as Isaac and Rebecca does not show at first sight in the present painting. Therefore, we have to take in consideration that the current image is heavily over painted and the canvas is reduced by almost 65 %. Fortunately a drawing in Braunschweig – that was convincingly attributed by Peter van den Brink as a modello by Backer - offers a clear idea of the monumental standing format of the original painting and it's explicit erotic content. This is particular notable in the slung-leg motif that contemporaries undoubtedly would have recognized as the act of making love. The erotic allusions, the rare subject, and the unusual huge standing format are indicative of a commission.The identification of the commissioners derives from the striking likeness, in features and clothing, that the man in the Tokyo painting shows with the portrait of Marinus Lowysse, that he – as we know - commissioned from Backer in the same year of 1640, a Portrait historie of Marinus Lowysse en Eva Ment, with their children, presenting the history of Christ and the Canaanite Woman, now in Middelburg. Recently an unknown painting of Backer turned up at the art market, which is very likely another portrait of Marinus Lowysse; apparently he was an important client of Backer.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"123 1","pages":"119-140"},"PeriodicalIF":0.3,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79482245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0