{"title":"圣安妮和杰罗姆·杜·奎诺伊的圣母(1602-1654):从作品的起源到肖像类型的创造","authors":"Géraldine Patigny","doi":"10.1163/18750176-90000036","DOIUrl":null,"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":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2013-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"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\":null,\"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\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2013-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"OUD HOLLAND\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1163/18750176-90000036\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"OUD HOLLAND","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1163/18750176-90000036","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0
摘要
直到最近,人们对杰罗姆·杜·奎诺伊(Jerome Du Quesnoy the Younger)对圣安妮和圣母雕塑群的两个版本知之甚少;一个用艾夫尼斯石制成(布鲁塞尔),另一个用大理石制成(马里纳)。然而,由于一份档案文件的发现,我们现在得知,这两个版本的雕像都是布鲁塞尔耶稣会委托给他的,当时他正在为奥地利的利奥波德·威廉(Leopold Wilhelm)担任雕塑家和建筑师。此外,该文件还允许阐明雕塑的创作过程以及艺术家必须遵守的指示。对这些雕塑群体的特殊肖像学的研究导致了几个假设,将它们置于杰罗姆·杜·奎诺伊,鲁本斯和德·诺尔兄弟的艺术背景中。
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
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.
OUD HOLLANDArts and Humanities-Visual Arts and Performing Arts
CiteScore
0.30
自引率
33.30%
发文量
7
期刊介绍:
The periodical Oud Holland is the oldest surviving art-historical periodical in the world. Founded by A.D. de Vries and N. der Roever in 1883, it has appeared virtually without interruption ever since. It is entirely devoted to the visual arts in the Netherlands up to the mid-nineteenth century and has featured thousands of scholarly articles by Dutch and foreign authors, including numerous pioneering art-historical studies. Almost from the magazine’s inception, the publication of archival information concerning Dutch artists has played an important role. From 1885 to his death in 1946, the renowned art historian Dr. Abraham Bredius set a standard of excellence for Oud Holland.