OUD HOLLAND最新文献

{"title":"Lawrence W. Nichols, The Paintings of Hendrick Goltzius 1558-1617. A Monograph and Catalogue Raisonné (Aetas Aurea, Monographs on Dutch & Flemish Painting, vol. XXIII), Davaco Publishers, Doornspijk 2013, 466 pp., 207 ills., ISBN 9789070288 28 1","authors":"Y. Bleyerveld","doi":"10.1163/18750176-90000196","DOIUrl":"https://doi.org/10.1163/18750176-90000196","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"41 1","pages":"115-163"},"PeriodicalIF":0.3,"publicationDate":"2014-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73372693","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":"Historiestukken in zilver: penningen van Johannes Lutma junior","authors":"Dirk Jan Biemond","doi":"10.1163/18750176-90000195","DOIUrl":"https://doi.org/10.1163/18750176-90000195","url":null,"abstract":"History in silver : medals by Johannes Lutma the Younger. \u0000In his theoretical discourse the seventeenth-century painter Joachim von Sandrart allocated a key role to the paragone : the interdependence of the different arts. He included several Dutch silversmiths in his pantheon as artists whose work engaged in a dialogue with the visual arts (note 3). \u0000This article focuses on Johannes Lutma the Younger (1624-1689), who like his father of the same name was one of the leading Amsterdam silversmiths, artists who wre given a category of their own in guild documents. Around 1668 Joost van den Vondel placed the work of the Lutmas literally within the context of sculpture and painting, singling the son out for particular praise for his history pieces (notes 2 and 6). \u0000Vondel's remarks can be assessed in detail with the aid of Lutma's medals. The one commemorating the Treaty of Westminster (c.1655) and the portrait of his father (1659) show the son in a dialogue with sculpture (figs. 16, 32 ). The same aspiration is evident in the portrait medals of Cornelis Witsen and Catharina Opcy (1669), for which the models were made around 1653 (figs. 37, 38). Painterly principles were deployed in the Breda peace medal (1669), the one marking the opening of the Stroobosser Canal (1654) and the marriage medals with the story of Isaac and Rebecca of around (figs. 20, 27, 39, 40). \u0000Lutma's dialogues with painting can be associated with fairly modern currents in the Netherlands of the 1650s. The Stroobosser medal, for instance, recalls the Arcadian Dutch landscapes of his contemporary Nicolaas Berchem, while the design and execution of the medal with Isaac and Rebecca has echoes of Rembrandt' s mid-century history painting. Since works by those artists are mentioned in Lutma' s probate inventory (note 94), he clearly held them in high regard, so it is only logical to place his inventions in those visual traditions. His creations are autonomous interpretations. The relationship between the marriage medal and a history painting of a decade later by Gerbrandt van den Eeckhout is of a fundamentally different nature 8fig. 46). Eeckhout based the central composition on Lutma' s medal, possibly at the request of an as yet unidentified couple. \u0000Since the context of most of the above medals is known it is possible to outline the world in which the younger Lutma' s work functioned. It emerges that the historical medals for the city of Amsterdam were intended for an international public. Other categories played a part in the private sphere of the Amsterdam burgomasters and their immediate circle. \u0000Pieter de Graeff and Cornelis Witsen awarded Lutma private commissions. Both men were deeply interested in medals and had costly collections with a strong international slant (notes 54, 111, 115, 116, 117; note 103). A precise and detailed picture is provided by an auction catalogue of an anonymous collector (notes 44, 85). In 1714 the collection contained no fewer than 1,106 modern meda","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"72 1","pages":"116-154"},"PeriodicalIF":0.3,"publicationDate":"2014-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88589992","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":"A Painting by Michael Sweerts on the Roman Art Market","authors":"P. Cavazzini","doi":"10.1163/18750176-90000194","DOIUrl":"https://doi.org/10.1163/18750176-90000194","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"77 1 1","pages":"109-115"},"PeriodicalIF":0.3,"publicationDate":"2014-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77407263","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":"Mozes, muiters en munten. De Wet in Maerten de Vos’ Panhuyspaneel volgens de ‘methode Radermacher’","authors":"John T. Hanou","doi":"10.1163/18750176-90000191","DOIUrl":"https://doi.org/10.1163/18750176-90000191","url":null,"abstract":"Moses, mutineers, money : the Law in Maerten de Vos' Panhuys panel (1575) according to Johan Radermacher. \u0000The panel shows Moses and Aaron with the Ten Commandments, surrounded by Israelites, philosophers and members of the Antwerp merchant families Hooftman and Panhuys (some as portraits histories), backed by relatives and friends. The black-and-white tablets of the Law dominate the center of the otherwise richly colored painting. They are divided in illuminated \"divine\" and shadowed \"human\" commandments. Moses' right hand and its shadow pont mirror-wise at hte top of each tablet, starting with \"thou shalt not make images\" and \"thou shalt honor thy father and mother\". Several Israelites point at a collection of valuables in the foreground, or melancholically look at their bare hands. A frame inscription refers to Exodus 34.35, in whick Moses, after suppressing a heretical mutiny around the image of theGolden Calf, renewed the broken covenant with Israel' s spiritual God. \u0000Next, the people volunteered labor and precious goods to build His tabernacle. \u0000The painting's (unofficial) title refers to its provenance from the Panhuys legacy. Researchers have concentrated so far on identifying the portrayed persons. They are mostly membeers of a humanist group of intellectuals , merchants and artists around Antwerp book printer Christoffel Plantijn. Some believe the scene expresses support of the spiritualist protestant sect of the Huis der Liefde (House of Love). \u0000Research by the author identifies a contemporary event as the incentive for the panel. Invading Spanish mutineers terrorized Antwerp in 1574, in an attempt to extort their back pay from the city magistrate. His article describes religious, political and societal factors determining the burghers' reaction to this rampage. Gillis Hooftman, Peeter Panhuys and their families responded voluntarily to the city council's plea to Ioan cash and valuables to buy off the rebel troops. The author also establishes that Hooftman, Panhuys and their staff-employee, humanist, linguist and art connoisseur Johan Radermacher were covert Calvinists. They supported William of Orange, since 1566 leader of the Dutch Revolt against the catholic king of Spain. Radermacher designed the iconographical programs for a sequence of five paintings De Vos did for Hooftman's dining-room in 1568. The cycle showed scenes from Paul's missionary travels, and covertly criticized papist idolatry and the magistrate's impotence during the 1566 iconoclastic fury, by methodically dovetailing selections from Calvin's Commentary on Acts with contemporary events and persons. Radermacher re-applied this method to the Panhuys panel, by comparing the biblical rebellion around the Golden Calf to the spanish mutiny and the Israelites' voluntary gifts to the burghers' ransom money. A synthesis of humanist and religious thougts on civil government in Calvin's Institution clarifies the connection with the Law : even the ancient philosophers believed","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"25 1","pages":"61-78"},"PeriodicalIF":0.3,"publicationDate":"2014-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74025879","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":"From One Piece of Canvas. The Supports of the Eight Craeyvanger Children's Portraits","authors":"P. Noble","doi":"10.1163/18750176-90000044","DOIUrl":"https://doi.org/10.1163/18750176-90000044","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"175 1","pages":"25-30"},"PeriodicalIF":0.3,"publicationDate":"2014-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77534165","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":"Paradise for ever: more on the patronage and iconography of the Triptych with the miracles of Christ in the National Gallery of Victoria","authors":"H. Hudson","doi":"10.1163/18750176-90000027","DOIUrl":"https://doi.org/10.1163/18750176-90000027","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"45 1","pages":"1-16"},"PeriodicalIF":0.3,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74263251","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 ontwikkeling van de kunsttheorie in de Hollandse Gouden Eeuw II. Karel van Mander","authors":"H. Miedema","doi":"10.1163/18750176-90000028","DOIUrl":"https://doi.org/10.1163/18750176-90000028","url":null,"abstract":"The development of art theory in the Dutch Golden Age. II. Karel van Mander. Karel van Mander´s didactic poem Den Grondt der Edel Vry Schilder-const, which the present author published 40 years ago, is now the subject of fresh study that focuses on the impressions that the young Karel must have experienced in Rome, with the emphasis on the academy principle. His didactic poem is modelled on the epideictic poema didascalica in the manner of Virgil´s Georgics, and must have been intended primarily as a manual for the gentle amateur. Its only use to young apprentices, at most, would have been as a reminder of what they learned from their master. Emphasis is placed on the influence of L.B. Alberti´s De Pictura, which was known to Van Mander from the idiosyncratic edition of 1547 by Gualterus Rivius. The symmetrical arrangement of the text in chapters suggests the symbolims of a laborious ascent to the temple of fame, and at the same tieme sketches a development from drawings by way of the fall of light and ingenuity to the painting of histories and composition. The author admits that his edition of 1973 may have placed a little too much emphasis on an allegorical explanation of details, but concludes that there is no reason to depart from that commentary.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"19 1","pages":"17-30"},"PeriodicalIF":0.3,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72942144","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":"Short Contribution: Nogmaals over een oud raadsel: Jacob van Ruisdael, Arnold Houbraken en de Amsterdamse naamlijst van geneesheren","authors":"Jan Paul Hinrichs","doi":"10.1163/18750176-90000032","DOIUrl":"https://doi.org/10.1163/18750176-90000032","url":null,"abstract":"In 1932 Wijnman published an article on the life of Jacob van Ruisdael and other members of his family in \"Oud Holland\". There has been much speculation over Ruisdael being a phisician as well as an artist ever since. Wijnman found the artist´s name in a professional list of Amsterdam´s doctors, which supported Houbraken´s statement, published in 1721, that Ruisdael had performed operations. This article refers to evidence from medical and academic history which has not been taken into consideration so far. In the light of new arguments, Wijnman´s claim regarding Ruisdael´s medical career has become questionable.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"71 1","pages":"58-62"},"PeriodicalIF":0.3,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80858536","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":"Sainte Anne et la Vierge de Jérôme Du Quesnoy le Jeune (1602-1654): de la genèse de l'oeuvre à la création d'un type iconographique","authors":"Géraldine Patigny","doi":"10.1163/18750176-90000036","DOIUrl":"https://doi.org/10.1163/18750176-90000036","url":null,"abstract":"Until recently, only little was known about the two versions that Jerome Du Quesnoy the Younger made of the sculptural group of Saint Anne and the Virgin; one in Avesnes stone (Brussels) and the other in marble (Malines). Thanks to the discovery of an archival document, however, we are now informed that both versions of the group were commissioned to him by the Brussels Jesuits when he was working as sculptor and architect for Leopold Wilhelm of Austria. The document furthermore allows to shed light on the process of creation of both sculptures and on the instructions the artist had to comply to. The study of the particular iconography of these sculptural groups leads to several hypotheses that place them in the artistic context of Jerome Du Quesnoy the Elder, Rubens and the De Nole brothers.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"46 1","pages":"163-177"},"PeriodicalIF":0.3,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86157379","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":"Book Review: Didier Martens, Peinture flamande et goût ibérique aux XVème et XVIème siècles, Brussel (Le livre Timperman), 2010. 333 pp. : ill. ISBN 9789077723968.","authors":"Mireille Madou","doi":"10.1163/18750176-90000030","DOIUrl":"https://doi.org/10.1163/18750176-90000030","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"13 11 1","pages":"49-51"},"PeriodicalIF":0.3,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86380257","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}