OUD HOLLAND最新文献

{"title":"Beeldenstorm in een glas? Wouter Crabeths Bestraffing van de tempelrover Heliodorus en Dirck Crabeths Tempelreiniging in de Sint Janskerk in Gouda","authors":"Xander van Eck","doi":"10.1163/18750176-12901001","DOIUrl":"https://doi.org/10.1163/18750176-12901001","url":null,"abstract":"Iconoclasm in a glass? Wouter Crabeths \"Scourging of Heliodorus\" and Dirck Crabeths \"Cleansing of the Temple\" in Gouda's Sint Janskerk.\u0000Two monumental stained-glass Windows, The Scourging of Heliodorus (1566) by Wouter Crabeth (ca.1535-1585) and the Cleansing of the Temple (1567) by his older brother Dirck Crabeth (ca.1525-1574), occupy the eastern walls of the transept of Gouda's Sint Janskerk, to the left and right of the ambulatory. They were part of the ambitious decoration campaign that started after the church was gutted by a fire in 1552. By the time the Sea Beggars took Gouda in 1572, twenty monumental windows had been realized. Although heavily restored, the ensemble survives until today.\u0000Clearly, the Heliodorus and the Cleansing of the Temple form a typological pair. The former tells the apocryphal story of general Heliodorus who comes to claim the treasures of the Temple, upon which the priest Onias prays to God, who sends an angel and a heavenly horseman to whip the general out (2 Maccabees 3, : 24-26). The composition is based on Raphaels version, which the glass painter knew through a print by Coornhert after Maerten van Heemskerck. It was donated by Erick of Brunswick II, a German count brought up in the Lutheran faith. He converted to Catholicism as an adult and became a staunch defender of that religion and a close ally of Philip II. Among his greatest achievements was the capture of the highest ranking generals of the French army at the battle of St. Quentin in 1557. The King then made him Lord of Woerden, a town next to gouda, where Eric started to live with his mistress, far from his estranged wife in Germany. The donation of this window in Gouda confirmed his newfound prominence in Holland and his closeness to Philip II, who in 1557 had donated the magnificent window in the North Wall of the transept, right next to Erick's.\u0000The donor's border included a portrait of the donor in full formal dress, plus his family arms going back four generations, and a patron saint - in this case St. Lawrence, whose death was celebrated at the 10th of August, the day of the battle of St. Quentin. It also bears a striking incription : CATHOLICAE RELIGIONIS ERGO, ('because of the Catholic religion'). It is the first time that the words 'Catholic religion' appear on a church monument in the Netherland. Ironically but understandably, it happened at a moment when the supremacy of this faith was waning.\u0000The Scourging of Heliodorus, dated 1566, was put in place in the spring of 1567. As Lord of Woerden, Erick of Brunswick's mercenaries had chased the Lutherans out of the town's parish church after they occupied it during the iconoclasm of 1566. No wonder that later authors like local historian Walvis (1713) and Conrad busquen Huet (1882-1884) explained the Windows as a memorial to the victory over the iconoclasts.\u0000It was only at the end of the twientieth century that this interpretation was refuted. Documents in the church archive show that productio","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"414 1","pages":"1-16"},"PeriodicalIF":0.3,"publicationDate":"2016-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91319154","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}

{"title":"Rediscovered portraits clarifying the family of Michiel van Musscher (1645-1705), and the preliminary development of his masterpiece, The Family of the Painter","authors":"R. Gerhardt","doi":"10.1163/18750176-12901003","DOIUrl":"https://doi.org/10.1163/18750176-12901003","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"1 1","pages":"31-36"},"PeriodicalIF":0.3,"publicationDate":"2016-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83846793","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}

{"title":"Twee schilderijen van Peter van Lint over Liefde en Vruchtbaarheid","authors":"I. Wolf","doi":"10.1163/18750176-12901002","DOIUrl":"https://doi.org/10.1163/18750176-12901002","url":null,"abstract":"Two paintings about love and fertility by Peter van Lint.\u0000The collection of the Prado Museum in Madrid contains two pendants painted by the Antwerp artista Peter van Lint: a Triumph of love and a Triumph of fertility. They are on copper supports and are currently on permanent Ioan in Rome and on Mallorca. Fresh light has been shed on them by the discovery of two small and virtually identical panels.\u0000The paintings may have been commissioned from Van Lint by a patron who had a specific iconography in mind. This may be indicated by the large size of the copper plates, as well as the unusual subject combination of love and fertility. The Prado paintings are far more detailed than the small panels, and it is posible that the latter were made in preparation for the larger ones, possibly to secure the patron's approval. One remarkable modification in the shape of a woman in contemporary dress may have been included at his request.\u0000Regular trade with Spain in this period, where Van Lint's work was greatly appreciated, explains why the pictures have been in Spanish possession for so long. The scenes on the pendants have been given a new iconographic interpretation, and it turns out that the subjects of love and fertility como from two different sources. The Triumph of love is found in the visual arts not only in series with the Triumphs of Petrarch but also as a subject in its own right. The Triumph of fertility is not as common, mainly being found in series of the Four Elements in which Cybele symbolizes Earth. There is no evidence taht teres was a market for pendants illustrating love and fertility, so the provisional conclusion is that seems to be a unique combination in the visual arts.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"432 1","pages":"17-30"},"PeriodicalIF":0.3,"publicationDate":"2016-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77235451","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}

{"title":"Virtue and Alms : Charity as a Pauper in Cornelis De Man’s Allegory of the Virtuous Life","authors":"H. V. Asperen","doi":"10.1163/18750176-90000220","DOIUrl":"https://doi.org/10.1163/18750176-90000220","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"228 1","pages":"199-211"},"PeriodicalIF":0.3,"publicationDate":"2015-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77221792","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}

{"title":"Rediscovered: Michiel van Musscher’s ‘lost’ Portrait of Nicolaas Witsen","authors":"R. Gerhardt","doi":"10.1163/18750176-90000213","DOIUrl":"https://doi.org/10.1163/18750176-90000213","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"147 1","pages":"139-146"},"PeriodicalIF":0.3,"publicationDate":"2015-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73724971","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}

{"title":"Een vergeten leerling van Rembrandt: Jan Jansz. de Stomme","authors":"B. Broos","doi":"10.1163/18750176-90000212","DOIUrl":"https://doi.org/10.1163/18750176-90000212","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"22 1","pages":"125-138"},"PeriodicalIF":0.3,"publicationDate":"2015-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87898732","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}

{"title":"De Sinne-cunst van Adriaen van de Venne in theorie en praktijk","authors":"E. Buijsen","doi":"10.1163/18750176-90000211","DOIUrl":"https://doi.org/10.1163/18750176-90000211","url":null,"abstract":"Adriaen Pietersz. van de Venne (1589-1662) was a poet as well as a painter. In his eyes both art forms were closely related, a view that is clearly expressed in his Zeeusche Mey-clacht, ofte Schyn-kycker, a theoretical poem about art that was included in the 1623 anthology Zeeusche Nachtegael. In that learned ode of almost 400 lines he argued for the combination of painting and poetry in an art that would surpass all others, for which he coined the term Sinne-cunst (art of wit).\u0000Why, people may ask, was Sinne-cunst\u0000Raised so high above all other art?\u0000\"Because, I say, the mind plays so prodigiously within it \u0000That nothing else is so blessed with meaning\".\u0000Indications of what Van der Venne was aiming at with the combination of the two arts are also found in his books of poetry Tafereel van Sinne-mal (1623), Woudt van wonderlicke Sinne-Fabulen der Dieren (1632) and Sinne-Vonck op den Hollandtschen Turf (1634). According to him, the combination of Poesis and Pictura was based on the equivalence of these two sister arts, which can supplement and reinforce each other. However, he believed that the concept of Sinne-cunst also meant that the same principles applied to both poetry and painting, for both served as the bearers of wisdom and employed similar means to set the reader or viewer thinking. He discusses this at length in his Tafereel van de Belacchende Werelt of 1635, in which he explains the didactic and moralistic function of painting with the aid of some specific examples from his own oeuvre. Oddly enough, his views have attracted relatively little attention in the recent art-historical discussion about deeper meanings in seventeenth-century Dutch painting.\u0000After moving from Middelburg to The Hague around 1625, Van de Venne put his ideal of Sinnecunst into practice by including banderoles in many of his paintings, both grisaille and polychrome. The relationship between word and image can vary from one instance to the next. Sometimes the text is illustrated literally, as with the pendants \"Het sijn stercke beenen die Weelde konne[n] dragen' (Strong are the legs that can bear luxury) (fig.10) and 't Sijn ellendige beenen die Armoe moete[n] draege[n]' (Miserable are the legs that must bear poverty)(fig.12). The powerfully built young man in Strong Legs is literally carrying a woman symbolizing luxury. The blind man in Miserable legs is destitute, and is literally and figuratively bowed down by poverty. In other cases, such as He Who Guesses Misses (The Blind Leading the Blind, fig.14) and Unknown is Unloved (The Journey to Emmaus, fig.17), one first has to identify the subject of the scene in order to make a meaningful connection with the inscription on the banderole. In addition to existing saying Van de Venne often used combinations of words that he thought up himself,such as Rich Poverty (fig.20), the meaning of which only becomes clear in combination with the image. He also liked short, pithy expressions like All'-arm!, (Alarm!, but also a pla","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"50 1","pages":"83-124"},"PeriodicalIF":0.3,"publicationDate":"2015-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91269047","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}

{"title":"Twee panelen uit de kring van Jacob Cornelisz van Oostsanen in Museum Boijmans Van Beuningen","authors":"K. Veelenturf","doi":"10.1163/18750176-90000210","DOIUrl":"https://doi.org/10.1163/18750176-90000210","url":null,"abstract":"Two panels from the environment of Jacob Cornelisz van Oostsanen in the Museum Boijmans Van Beuningen. In the discussion of the iconography of two panels from the environment of Jacob Cornelisz van Oostsanen in the Museum Boijmans Van Beuningen of Rotterdam new interpretations are proposed. The panels make up the shutters of a triptych with a now lost central panel with unknown subject. The previously unidentified donor on the panel with St Christopher must be Mr Dirk Willemsz van Rietwijk, a canon of the St Catherine's chapter of the private Egmont chapel in Egmond aan den Hoef. The two saints depicted as sculptures on the reverses of the shutters, formerly identified as Edward the Confessor and an anonymous canonized monk from Scotland, appear to be St Adalbert and St Jeroen (Hieron), both saints strongly connected with the North of Holland, and especially with Egmond Abbey. The original triptych must have been painted for Mr. Dirk van Rietwijk c.1516, with the purpose to place it within the Egmond aan den Hoef collegiate chapel. When in 1516 Mr. Dirk suddenly died in the Flemish town of Louvain, this triptych apparently was brought to the collegiate church of St. Peter's in Louvain to serve as an epitaph near the grave of Mr. Dirk Willemsz van Rietwijk in the chapel of St. Dorothy.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"3 1","pages":"65-82"},"PeriodicalIF":0.3,"publicationDate":"2015-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78971584","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}

{"title":"De Nederlands-Italiaanse knipkunstenaar Joannes van Achelom omstreeks 1700","authors":"J. Verhave","doi":"10.1163/18750176-90000214","DOIUrl":"https://doi.org/10.1163/18750176-90000214","url":null,"abstract":"The authors venture to draw the attention of art historians to the art and craft of paper cutting. In this article they make it plausible that some miniature paper cut outs are made by a catholic man, Joannes van Achelom, from Amsterdam. The paper cuts are mounted as pendants, between glass and precios metal frames, and are dated around 1700; one points to grandduke Cosimo III. Indeed, at about 36 years of age, Joannes had been invited in 1668 to join prince Cosimo de'Medici, then visiting Amsterdam, and work at the Florentine court as an artist. He became a valet of the grandduke, and descriptions of ten of his paper cuts were identified in the art inventories of the court. Unfortunately, the real pieces of this scissor artist have not (yet) been traced. Van Achelom facilitated shelter and financial support in Florence for Dutch priests and students, on their way to or from Rome. One of them, his nephew Allardus Titsingh, priest in The Hague, inherited from his uncle Joannes a large collection of drawings from known Italian artists. This collection also contained eight paper cuts of exceptional quality, as witnessed by the German art connoisseur Zacharias von Uffenbach, who visited the priest in 1711. The whole collection was auctioned after the death of Allardus in 1713, without leaving a trace.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"8 1","pages":"147-160"},"PeriodicalIF":0.3,"publicationDate":"2015-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84624091","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}

{"title":"Designs for Altarpieces by Maarten van Heemskerck","authors":"I. M. Veldman","doi":"10.1163/18750176-90000204","DOIUrl":"https://doi.org/10.1163/18750176-90000204","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"2 1","pages":"17-38"},"PeriodicalIF":0.3,"publicationDate":"2015-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75779940","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}