OUD HOLLAND最新文献

{"title":"Jan van Huysum und der Hof von Mecklenburg-Schwerin","authors":"Gero Seelig","doi":"10.1163/18750176-90000035","DOIUrl":"https://doi.org/10.1163/18750176-90000035","url":null,"abstract":"In 1900 Friedrich Schlie published seven letters and a receipt by Jan Huysum from the Schwerin archives in \"Oud Holland\". It was only a fraction of the traces that can be found in Schwerin of van Huysum´s connection with the court of Mecklenburg-Schwerin. This relationship lasted from 1716 when the artist in Amsterdam received the visit of Christian Ludwig, younger brother of the reigning duke, almost until the artist´s death in 1749. The relationship was fueled after Christian Ludwig´s accession to power in 1732 by his eagerness to acquire works by the painter who had since como to fame. In spite of several visits to the artist over a number of years by the hereditary prince and the duke´s chamberlain the three larger works by van Huysum in Schwerin were, in the end, bought at auctions. Only two smaller pendant pieces were ordered directly from the artist by the duke who had to wait for delivery for a considerable number of years. It turned out that the pair was among the last pieces van Huysum painted. The correspondence published without discussion in 1900 only pertains to this order while the present article is aimed at giving the whole scope of the connection of Jan van Huysum to the Schwerin court and the importance of his art there.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"49 1","pages":"136-162"},"PeriodicalIF":0.3,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90297930","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":"Amor neemt de gedaante van Ascanius aan: een ‘nieuwe’ interpretatie van een schilderij van Nicolaas Verkolje","authors":"George van Hoof, E. Sluijter","doi":"10.1163/18750176-90000008","DOIUrl":"https://doi.org/10.1163/18750176-90000008","url":null,"abstract":"In 2011 the Rijksmuseum Twenthe in Enschede organised the exhibition Nicolaas Verkolje (1673-1746). Defluwelen hand / The velvet touch. One of the masterpieces in the show was a painting from the Musee des Beaux-Arts in Carcassonne which, as we know from auction catalogues, has been called Venus and the sleeping Cupid since the late eighteenth century (fig. 1). Respecting the tradition, that title and interpretation were adopted in the exhibition and catalogue. However, when a classics teacher at the Stedelijk Gymnasium in Nijmegen saw the painting illustrated in the catalogue he discussed the subject with his pupils. Together they concluded that the painting actually shows Cupid disguised as Ascanius, which is based on the story of Dido and Aeneas in book 1 of Virgil's Aeneid. The sleeping boy is not Cupid, but Ascanius; the standing child is Cupid who is being groomed by the Graces. Some anomalies in the painting now fell into place. The subject is exceptional in Dutch art history. Some 40 years before Verkolje, Gerard Hoet depicted the subject in his series of paintings of the love story of Dido and Aeneas in Slangenburg Castle near Doetinchem (fig. 2), and he may have used Vondel's translation, in which some details were added to the original story. Verkolje must have known Hoet's work, or a drawing based on it, and probably elaborated on Hoet's scene even further. The only other known depiction of the subject is a print by Gerard de Lairesse (fig. 3) from a slightly earlier date than Hoet's paintings. Lairesse, though, chose a completely different solution and stayed much closer to Virgil's version of the story.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"23 1","pages":"157-166"},"PeriodicalIF":0.3,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73394555","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":"Het doopsgezind milieu van Michiel van Musscher (1645-1705) en van andere schilders in zeventiende-eeuws Amsterdam: een revisie en ontdekking","authors":"Ruud Lambour","doi":"10.1163/18750176-90000011","DOIUrl":"https://doi.org/10.1163/18750176-90000011","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"144 1","pages":"193-214"},"PeriodicalIF":0.3,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77400632","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":"Nicolaas Verkolje 1673-1746. The Velvet Hand","authors":"L. D. Vries","doi":"10.1163/18750176-90000006","DOIUrl":"https://doi.org/10.1163/18750176-90000006","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"56 1","pages":"148-150"},"PeriodicalIF":0.3,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81646005","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":"Het portret van Immetje Groot geschilderd door Abraham Liedts","authors":"Carla van de Puttelaar","doi":"10.1163/18750176-90000014","DOIUrl":"https://doi.org/10.1163/18750176-90000014","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"7 1","pages":"226-232"},"PeriodicalIF":0.3,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74605772","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":"'Dair hi tgout ende sulver toe dede': Haagse hofrekeningen in kunsthistorisch onderzoek","authors":"A. V. Egmond","doi":"10.1163/18750176-90000002","DOIUrl":"https://doi.org/10.1163/18750176-90000002","url":null,"abstract":"In the past, the method for approaching art and material culture mentioned in the Dutch account books of late medieval princely households has been characterized as 'gathering dead wood' and criticized for being too superficial'. Because of the financial purpose of the invoices it is impossible to really learn anything about the scarcely mentioned acquired objects of art'. In most cases, inventories are missing and the extant accounts are indeed used to create a reconstruction of pieces of art that no longer exist. Taking this approach, one will end up with lists of unidentified items and their prices whereas further meaning is desired. Accounts may seem useless for an art historical study. However, when the 'gathering of wood' is done thoroughly and put to a different use, the mentions in the account books can shed new light on the consumption of art by a prince and his household. The invoices can be used in a more social economical approach, instead of focusing on the pieces of art alone. Case in point is a survey of the accounts books written by order of Albert, duke of Bavaria-Straubing, count of Holland, Zealand and Hainaut. His The Hague court flourished from 1389 on when he decided to take on the Binnenhof as his permanent residence. Ample information is available to discuss the subject at length: both craftsmen and merchants were responsible for the supply of products of luxuries and art, mostly pieces of silverwork and embroideries. The chamberlains were responsible for the commission or acquisition of these goods. Even some cautious conclusions can be made on the careers of these goldsmiths, needle workers, merchants and chamberlains.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"83 1","pages":"90-101"},"PeriodicalIF":0.3,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89853155","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 altaarstuk voor parochianen en pelgrims in Heiloo","authors":"Xander van Eck","doi":"10.1163/18750176-90000020","DOIUrl":"https://doi.org/10.1163/18750176-90000020","url":null,"abstract":"The Roman Catholic Parish of Heiloo, a village near Alkmaar, possesses a painting dated 1631 combining three scenes. The top part shows St. Dominic and St. Catherine of Siena receiving the Rosary from Mary and the Christ child (fig. 1). This occurrence takes place on what seems to be the roof of a gallery, under which the two other scenes are located. To the right St. Dominic is seen performing a miracle: while in Toulouse, the heretic Albigenses challenged him to throw his writings in the fire, but they bounced back unscathed three times, causing the Albigenses to repent. A print by Theodoor Galle (fig. 2) was the basis for the composition. At the left St. Willibrord, who converted large parts of the Netherlands to Christianity in the eight century and became the first bishop of Utrecht, is shown praying next to a well in Heiloo, his followers standing by. The well as it looked in 1631 and the medieval church that still stands in the center of the village (fig. 5) are both portrayed in this scene. The painting was most probably commissioned as an altarpiece for a clandestine catholic church not far from the place where it is currently kept. In the first decades of the seventeenth century Heiloo was administered by Dominican missionaries, which explains the prominence of Dominican saints in two of the three scenes. The most prominent Dominican priest was Hyacintus Hermanni (fig. 6), a native of Alkmaar, who is here identified as the patron for this altarpiece. It is not signed, but there are strong similarities with the style of Alkmaar's leading figure painter at the time, Nicolaes van der Heck (fig. 8). Hermanni's portrait can be found to the right of the pillar dividing the two scenes, looking at the viewer and wearing liturgical clothing. The 'Well of Willibrord' had been a destination for pilgrims since late Medieval times, and on closer inspection the theme of pilgrimage pervades the whole painting. One of the followers of St. Willibrord was St. Adalbert (fig. 11), who was buried in the neighbouring village of Egmond, close to the famous Egmond Abbey. According to the legend he was a deacon and in the picture he is identifiable by the colourful cope he is wearing - the rest of Willibrord's followers are characterized as Benedictine monks. Behind Adalbert a heavenly ray of light is seen, going in the direction of a building on the horizon which, by its silhouette, can be recognized as Egmond Abbey, partly destroyed by the sea beggars in 1573 (figs. 9, 10). This building and the nearby well which had formed at Adalberts grave were also visited by pilgrims from all over the Republic. An even greater attraction for pilgrims coming to Heiloo was the site known as Our Lady of Solace (Onze Lieve Vrouw ter Nood) in the hamlet of Oesdom. It consisted of the ruins of a chapel that used to house a miraculous statue of Mary. The chapel had been partially torn down by the protestants in 1573 and the miraculous statue disappeared as well, but these misfo","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"71 1","pages":"28-44"},"PeriodicalIF":0.3,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77009246","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 Geboorte van Christus door Jacob Corneliszn. De identificatie van de geportretteerde personen","authors":"T. Bueren, S.A.C. Dudok van Heel","doi":"10.1163/18750176-90000009","DOIUrl":"https://doi.org/10.1163/18750176-90000009","url":null,"abstract":"The article discusses the identification process of persons depicted in the 1512 painting \"De Geboorte van Christus,\" (The Birth of Christ) by Dutch painter Jacob Corneliszn, located at the Museo Nazionale di Capodimonte in Naples, Italy. The painting was intended for the Kartuizerklooster Sint Andries, a Carthusian monastery located close to Amsterdam, the Netherlands. The painting was donated by Margriet Dirk Boelenznsdr. Persons were identified by a combination of archival research and the visual comparison of contemporaneous portraits.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"4 1","pages":"169-179"},"PeriodicalIF":0.3,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83682146","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 I. Het begin; de Zuidelijke Nederlanden","authors":"H. Miedema","doi":"10.1163/18750176-90000003","DOIUrl":"https://doi.org/10.1163/18750176-90000003","url":null,"abstract":"The development of art theory in the Dutch Golden Age was preceded by its introduction in the southern Netherlands in the sixteenth century. A survey of that area inevitably begins with the views of Leon Battista Alberti, which were elaborated upon at the beginning of the century by Francesco Lancilotti. Leonardo da Vinci's Libro della Pittura, which was not published until 1651, and then only in a mutilated French translation, must have been passed on and filtered down in many manuscripts in the course of the sixteenth and seventeenth centuries. German treatises like Albrecht Diirer's show that the evolving ideas also permeated northern Europe. In Liege, in particular, it was the painter Lambert Lombard who mastered the theoretical knowledge and passed it on to several of his pupils. As a result, the ideas also spread to Antwerp, most notably in the circle of Frans Floris. It must have been from the Ghent tapestry designer and poet Lucas de Heere, a pupil of Floris's, that the Fleming Karel van Mander learned of the prevailing ideas. Van Mander developed them further during his stay in Italy, and it was this that enabled him to write his didactic poem, 'Den grondt der edel vry schilder-const\", in the North Holland city of Haarlem.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"57 1","pages":"102-116"},"PeriodicalIF":0.3,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83103307","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":"Otto Marseus van Schrieck in Rome: een opdracht van Cassiano dal Pozzo","authors":"J. Rutgers","doi":"10.1163/187501712800242796","DOIUrl":"https://doi.org/10.1163/187501712800242796","url":null,"abstract":"A letter of 1652 by the Italian scientist Cassiano dal Pozzo sheds new light on the Roman activity of the Dutch still-life painter Otto Marseus van Schrieck. Dal Pozzo writes to the Florentine botanist Giovanni Nardi to say that he intends having 'Otho Merceus' make drawings of a precious specimen of a 'cedrato', a type of citrus fruit, which he has received from the Medici garden. That drawing on vellum will enable him to make this discovery known to his friends. The Dutch master is said to have worked for him on at least one other occasion with satisfactory results. This commission by Dal Pozzo places Otto Marseus van Schrieck as a botanical draughtsman at the centre of a group of early modern scientists, the members of the Accademia del Linceo. They included the Florentine cardinals Leopoldo and Gian Carlo de' Medici, both of whom are also known as Italian patrons of the artist. Early sources, among them Balthasar Monconys's diary, already state that Van Schrieck made many drawings for his own use while in Italy, presumably botanical ones, among others. It was not known that he also did so professionally at the time. Later in life, back in Holland, he made comparable botanical studies on commission for Agneta Block.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":"22 1","pages":"59-64"},"PeriodicalIF":0.3,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83920288","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}