Pub Date : 2024-02-29DOI: 10.5092/jhna.2024.16.1.1
Ingrid Falque
The aim of this essay is to survey debates about early Netherlandish paintings as devotional objects from roughly the late 1980s to about 2020. During this period, an important shift in the study of this topic occurred: religious images were increasingly considered as devotional objects by virtue of how they were thought to have been used rather than how they appeared. In the last decades, questions about the functions of devotional imagery, about pictorial rhetoric, and about the responses that rhetoric might provoke in viewers, as well as its relationship to contemporaneous spiritual literature, have become core questions for subsequent scholarship dedicated to early Netherlandish painting. The essay concludes with a section devoted to research perspectives.
{"title":"Early Netherlandish Paintings as Devotional Objects: State of Research ca. 1990-2020","authors":"Ingrid Falque","doi":"10.5092/jhna.2024.16.1.1","DOIUrl":"https://doi.org/10.5092/jhna.2024.16.1.1","url":null,"abstract":"The aim of this essay is to survey debates about early Netherlandish paintings as devotional objects from roughly the late 1980s to about 2020. During this period, an important shift in the study of this topic occurred: religious images were increasingly considered as devotional objects by virtue of how they were thought to have been used rather than how they appeared. In the last decades, questions about the functions of devotional imagery, about pictorial rhetoric, and about the responses that rhetoric might provoke in viewers, as well as its relationship to contemporaneous spiritual literature, have become core questions for subsequent scholarship dedicated to early Netherlandish painting. The essay concludes with a section devoted to research perspectives.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"54 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140408585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-29DOI: 10.5092/jhna.2024.16.1.2
Olenka Horbatsch
For a brief moment in the early sixteenth-century Low Countries, etching became a significant technique for elite commissions. I examine the two earliest etchings made in the Low Countries as a case study: the portrait of Maximilian I by Lucas van Leyden and the portrait of Charles V by Jan Gossart, both made for the Hapsburg-Burgundian court in 1520. The etching technique was integral to the success of the two portrait prints, for both artists as well as their patron. This is a localized instance of artistic emulation and competition within the emergence of a new technique and subject: the Netherlandish portrait print.
在十六世纪早期的低地国家，蚀刻画曾一度成为精英委托的重要技术。我将以低地国家最早的两幅蚀刻版画为例进行研究：卢卡斯-凡-莱登 (Lucas van Leyden) 的马克西米利安一世肖像和扬-戈萨尔 (Jan Gossart) 的查理五世肖像，这两幅作品都是 1520 年为哈布斯堡-勃艮第宫廷制作的。对于两位艺术家及其赞助人来说，蚀刻技术是这两幅肖像版画取得成功不可或缺的因素。这是尼德兰肖像版画这一新技术和新题材出现时艺术模仿和竞争的局部实例。
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Pub Date : 2024-02-29DOI: 10.5092/jhna.2024.16.1.3
Barbara Kaminska
The lives and careers of deaf and mute painters in the early modern Netherlands challenge the perception of disabled artists as self-taught outsiders and the assumption that a premodern experience of disability must have necessarily resulted in poverty and exclusion. Rather than approaching deafness and speechlessness as marginalizing “defects,” I propose to regard them as categories that allow us to reconsider how painting was understood in the seventeenth century. As part of that discourse, this article also examines the idea of sensory compensation, including its roots and impact on theory and historiography of art.
{"title":"Mute Painting: Deafness and Speechlessness in the Theory and Historiography of Dutch Art","authors":"Barbara Kaminska","doi":"10.5092/jhna.2024.16.1.3","DOIUrl":"https://doi.org/10.5092/jhna.2024.16.1.3","url":null,"abstract":"The lives and careers of deaf and mute painters in the early modern Netherlands challenge the perception of disabled artists as self-taught outsiders and the assumption that a premodern experience of disability must have necessarily resulted in poverty and exclusion. Rather than approaching deafness and speechlessness as marginalizing “defects,” I propose to regard them as categories that allow us to reconsider how painting was understood in the seventeenth century. As part of that discourse, this article also examines the idea of sensory compensation, including its roots and impact on theory and historiography of art.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"21 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140412745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-29DOI: 10.5092/jhna.2024.16.1.4
This essay revisits one of the most acclaimed paintings of Rembrandt van Rijn’s later years, Aristotle with the Bust of Homer (1654; The Metropolitan Museum of Art). The painter’s approach to the subject of this work owes much to visual precedents and to the reception of Aristotle among early modern men of letters, including within the intellectual circles of seventeenth-century Holland. The unusual appearance of the philosopher, which has often led to conflicting interpretations, becomes much clearer when considered against the long-standing perception of his cultural “otherness.” The stance and gesture of this Aristotle not only affirm his identity but point to key aspects of his epistemology, focusing on the role of touch as the first step toward knowledge.
{"title":"Aristotle’s Difference","authors":"","doi":"10.5092/jhna.2024.16.1.4","DOIUrl":"https://doi.org/10.5092/jhna.2024.16.1.4","url":null,"abstract":"This essay revisits one of the most acclaimed paintings of Rembrandt van Rijn’s later years, Aristotle with the Bust of Homer (1654; The Metropolitan Museum of Art). The painter’s approach to the subject of this work owes much to visual precedents and to the reception of Aristotle among early modern men of letters, including within the intellectual circles of seventeenth-century Holland. The unusual appearance of the philosopher, which has often led to conflicting interpretations, becomes much clearer when considered against the long-standing perception of his cultural “otherness.” The stance and gesture of this Aristotle not only affirm his identity but point to key aspects of his epistemology, focusing on the role of touch as the first step toward knowledge.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"42 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140414585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-29DOI: 10.5092/jhna.2024.16.1.5
Perry Chapman
{"title":"Editors' Greeting","authors":"Perry Chapman","doi":"10.5092/jhna.2024.16.1.5","DOIUrl":"https://doi.org/10.5092/jhna.2024.16.1.5","url":null,"abstract":"","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"6 11-12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140412571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.5092/jhna.2023.15.2.2
Alison Kettering
During the first half of the 1590s, Hendrick Goltzius created several large colored-chalk portraits of his artist friends, as well as two self-portraits. Mid-career, he traveled from Haarlem to Italy, encountering drawings and oil paintings that suggested new possibilities for employing color in portraiture. Already renowned as a graphic artist, Goltzius began to refashion himself as a master of color. I argue that these brilliant drawings provide valuable insight into his transition from linear expression to full-fledged oil painting in 1600. Equally important, they demonstrate an expansion of his technical prowess, using colored chalks (and washes) to evoke the presence and personality of sitters, especially through glowing flesh. Taken as a group, these presentation drawings gain resonance by representing a community of artists, bound by friendship and profession.
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Pub Date : 2023-09-01DOI: 10.5092/jhna.2023.15.2.4
Elizabeth Honig, Jessica Stevenson Stewart, Yanzhang (Tony) Cui
This state-of-the-field article surveys the economic histories of Netherlandish art. Tracing major contributions by scholars following in the footsteps of Michael Montias, we present the developments of art historical econometrics and consider the evolving ways in which economic analyses address topics such as supply, demand, price, labor, and form. We show the various applications of economic methods and pay particular attention to the interrelations between quantitative research and other modes of inquiry: archival, technical, biographical, stylistic, digital, regional, global, and so forth.
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Pub Date : 2023-09-01DOI: 10.5092/jhna.2023.15.2.1
Sylvia Alvares-Correa
The Passion of Christ in Jerusalem (ca. 1500; Museu Nacional do Azulejo) weaves an episodic account of Christ’s Passion through a unified Jerusalem cityscape. Previous scholars have classified it as a northern import, a work by a Netherlandish artist commissioned as a gift for Queen Dona Leonor of Portugal by Emperor Maximilian I. Material evidence, however, suggests that it was produced in Portugal and that the artist modified and assimilated Netherlandish iconographies, combining them with Portuguese cultural references, to create a unique work shaped by and for the audience it served: the Poor Clare nuns of the Madre de Deus convent outside of Lisbon. The Lisbon Passion is a hybrid work that synthesizes a range of visual inspirations and adds to the hybridization of the convent itself, bridging Lisbon and Jerusalem.
耶稣在耶路撒冷受难(约1500年;国家博物馆(Museu Nacional do Azulejo)通过统一的耶路撒冷城市景观编织了一个关于基督受难的插曲。先前的学者将其归类为北方进口，是一位荷兰艺术家的作品，受马克西米利安一世(Maximilian i)皇帝委托作为礼物送给葡萄牙王后莱昂诺尔(Dona Leonor)。然而，物质证据表明，它是在葡萄牙制作的，艺术家修改并吸收了荷兰的肖像，将它们与葡萄牙文化参考相结合，创造了一个独特的作品，由它所服务的观众塑造并为他们服务:在里斯本郊外圣母女修道院的可怜的克莱尔修女们。里斯本受难是一个混合的工作，综合了一系列的视觉灵感，并增加了修道院本身的杂交，连接里斯本和耶路撒冷。
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Pub Date : 2023-09-01DOI: 10.5092/jhna.2023.15.2.3
Andrea Pearson
Specialists in the study of gender and sexuality in early modern northern art are clarifying—and resolving—problems of evidence and method to transform the field. This essay assesses contributions that bear on visual culture in the fifteenth and sixteenth centuries, primarily in the Netherlands, with attention to gender, intersectionality, queering, and trans theory. Of particular importance is the concept of “female agency,” which assesses the exercise and limits of women’s power under patriarchy. I break from convention by proposing a more flexible and inclusive model, termed “situational agency,” which allows for greater variety and change in human experience and for variability in gender and power. Importantly, it resolves problems of context and periodization that have limited our understanding of early modern northern art.
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