Pub Date : 2023-03-01DOI: 10.5092/jhna.2023.15.1.7
Deborah Hamer
This essay examines the Dutch Textile Trade Project’s use of the Dutch West India Company archives in the context of archival sources for the Dutch colony of New Netherland, which included parts of New York, New Jersey, Delaware, and Connecticut (1621 to 1664). While the digitization of the WIC’s New Netherland Papers has provided scholars with invaluable access to information about the former Dutch colony, it has also placed undue weight on this elite, semi-private collection of documents at the expense of other archival collections.
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Pub Date : 2022-10-01DOI: 10.5092/jhna.2022.14.2.4
Melanie Gifford, K. Dooley, J. Delaney
The findings of the recent comprehensive technical study (2020–2022) of all four works by or attributed to Vermeer at the National Gallery of Art, Washington, are presented in three articles in this issue. This section offers guidance on using the JHNA image viewers and expands on the brief technical overviews in the articles with additional detail on the analytical methods used. For those who have not previously used such documents, we offer suggestions on how to interpret technical evidence. For those who regularly use such evidence in their research, the specific operating parameters of each method can be found in the endnotes of each section below. Whereas prior studies mainly relied on microanalysis of paint samples and magnified examination of the painted surface with a stereomicroscope, this study also used extensive analysis based on non-invasive chemical imaging spectroscopy, the results of which are presented in the form of images and maps, rather than graphs, making them accessible to a wider audience.
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Pub Date : 2022-10-01DOI: 10.5092/jhna.2021.14.2.3
Marjorie E. Wieseman, Alexandra Libby, Melanie Gifford, Dina Anchin
The blocky brushwork and awkwardly positioned figure of Girl with a Flute (National Gallery of Art, Washington) have led many to doubt whether Johannes Vermeer, who painted the superficially similar Girl with the Red Hat (National Gallery of Art, Washington), also made this work. Over the last two years, curators, conservators, and scientists collaborated to resolve the uncertainty surrounding this painting and determined that the painting is not, in fact, by Vermeer. The artist who created this work was intimately familiar with Vermeer’s unique working methods and used the same materials and techniques but was unable to achieve Vermeer’s level of delicacy or expertise—raising the intriguing possibility that Vermeer had associates working with him in his studio.
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Pub Date : 2022-10-01DOI: 10.5092/jhna.2021.14.2.2
Alexandra Libby, Melanie Gifford, Dina Anchin, Marjorie E. Wieseman, K. Dooley, J. Delaney
Considered within the context of his biography, his overall artistic production, and the seventeenth-century Dutch market for tronies, a recent multidisciplinary investigation of Johannes Vermeer’s Girl with the Red Hat (National Gallery of Art, Washington) suggests that this small painting represents a pivotal moment in the artist’s career. Vermeer experimented here with bolder, more abstract brushwork and more highly contrasting pigments—an approach that grew out of his handling of the preparatory stages of the painting process and that he ultimately adopted in his high-life genre works as well. Positing the painting as an experimental foray that presaged Vermeer’s subsequent development also indicates a likely date of about 1669.
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Pub Date : 2022-10-01DOI: 10.5092/jhna.2021.14.2.1
Melanie Gifford, Dina Anchin, Alexandra Libby, Marjorie E. Wieseman, K. Dooley, L. Glinsman, J. Delaney
Recent scientific analysis of two genre paintings by Johannes Vermeer at the National Gallery of Art in Washington (Woman Holding a Balance and A Lady Writing) has uncovered a level of freedom and spontaneity in Vermeer’s preparatory painting stages that was not previously known. Researchers built on decades of research and used a suite of new, noninvasive analytical techniques to image Vermeer’s painted sketch and underpaint—layers hidden below the paintings’ surfaces—more clearly and precisely than was previously possible. Here we analyze and interpret our findings in the context of Vermeer’s career and in relation to works by his peers, high-life Dutch genre painters of the seventeenth century.
最近，对约翰内斯·维米尔(Johannes Vermeer)在华盛顿国家美术馆(National Gallery of Art)展出的两幅风体画(拿着平衡的女人和写作的女人)的科学分析，揭示了维米尔在绘画准备阶段的自由和自发性，这在以前是不为人知的。研究人员在数十年的研究基础上，使用了一套新的、非侵入性的分析技术，对维米尔的素描和底漆——隐藏在画作表面之下的层——进行了比以前更清晰、更精确的成像。在这里，我们在维米尔的职业生涯的背景下分析和解释我们的发现，并与他的同行，十七世纪的荷兰高级风俗派画家的作品有关。
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Pub Date : 2021-09-01DOI: 10.5092/jhna.2021.13.2.1
C. R. Johnson Jr., W. Sethares, Margaret Holben Ellis
Identifying, comparing, and matching watermarks in pre-machine-made papers has occupied scholars of prints and drawings for some time. One popular but arduous approach is to overlay, either manually or digitally, an image of the watermark in question with its presumed match from a known source. For example, a newly discovered watermark in a Rembrandt print might be compared to a similar one reproduced in Erik Hinterding’s Rembrandt as an Etcher (2006). Such an overlay can confirm the pair as identical, i.e., as moldmates, or reveal their differences. But creating an accurate overlay for two images with different scales, orientations, or resolutions using standard image-manipulation tools can be time consuming and, ultimately, unsuccessful. Part One of this article describes advances in the emerging field of computational art history, specifically the development of digital image processing software, that can be used to semi-automatically create a reliable animated overlay of two watermarks, regardless of their relative “comparability.” Watermarks found in the prints of Rembrandt van Rijn (1606–1669) are used in three case studies to demonstrate the efficacy of user-generated overlay videos. Part Two discusses how searching for identical watermarks, i.e., moldmates, can be enhanced through the application of a new suite of software programs that exploit the data calculated during the creation of user-generated animated overlays. This novel watermark identification procedure allows for rapid, confident watermark searches with minimal user effort, given the existence of a pre-marked library of watermarks. Using a pre-marked library of Foolscap with Five-Pointed Collar watermarks, four case studies present different categories of previously undocumented matches 1) among Rembrandt’s prints; 2) between prints by Rembrandt and another artist, in this case Jan Gillisz van Vliet (1600/10–1668); and 3) between selected Rembrandt prints and contemporaneous Dutch historical documents.
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Pub Date : 2021-09-01DOI: 10.5092/jhna.2021.13.2.3
Marisa Mandabach
Three works by Peter Paul Rubens (1577–1640) entail mythologized scenes of spontaneous generation, or the creation of species from nature’s raw matter: Head of Medusa (ca. 1613–1618), The Discovery of Erichthonius (ca. 1616), and the oil sketch Deucalion and Pyrrha (ca. 1636). In these works Rubens naturalizes the life of painting within its materials, implying matter—paint, with its pigments and mediating liquids—as an intrinsic, animating quality of his images and even as a counterpart to or collaborator with the artist. This essay explores these ideas to show how Rubens’s technical and artisanal understanding of painting and its materials could have informed his interpretation of ancient myths.
彼得·保罗·鲁本斯(Peter Paul Rubens, 1577-1640)的三幅作品描绘了自然发生的神话场景，或从自然的原料中创造物种:《美杜莎的头》(约1613-1618)、《埃里希顿尼的发现》(约1616)和油画素描《丢卡利翁和皮拉》(约1636)。在这些作品中，鲁本斯将绘画的生命自然化在其材料中，暗示物质-颜料及其颜料和介质液体-作为他图像的内在，有活力的品质，甚至作为艺术家的对应物或合作者。本文探讨了这些观点，以展示鲁本斯对绘画及其材料的技术和手工理解如何影响他对古代神话的解释。
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Pub Date : 2021-09-01DOI: 10.5092/jhna.2021.13.2.2
Yao-Fen You, Elizabeth Cleland, Alejandro Vergara, Bert Watteeuw
As the cultural sector continues to grapple with the challenging and transformative events of 2020 spotlighting the exclusionary practices and social norms that structure museums, JHNA commissioned two roundtables to reflect on the challenges of curating Northern European art. This first one, “Expanded and Expanding Narratives in the Museum,” unites four curators in discussion about the evolving trajectory of art history and the possibilities for new narratives in the galleries. In addressing the increasing momentum for new art-historical ecologies in recent years, the participants discuss the inherently marginalizing effects of canonization; signal the tensions between the art market, perceived museum audiences, and historical collections that continue to shape museum presentations and collecting practices; and highlight some objects from the early modern period that suggest pathways forward for more expansive conversations in museum spaces. The discussion closes with a look at the global entanglement of early modern Europe. This point will be taken up by the next JHNA Conversation, to be published in the winter 2022 issue, which will reconvene the curatorial team for the groundbreaking exhibition Asia in Amsterdam: The Culture of Luxury in the Golden Age, organized by the Rijksmuseum and the Peabody Essex Museum in 2015–16. Discussants, including a member of their advisory committee from the cultural sector in Indonesia, will reflect on the humility and resourcefulness necessary to present shameful racist histories, the impact of sharing personal—rather than merely collective—stories in the galleries, and the need for museums to participate in the healing of historical wounds. It will also address new research methodologies that inherently expand inclusiveness and surface new types of historical data, leading to a more people-oriented presentation of art history. Both conversations, edited and condensed for clarity for publication in JHNA, have been organized and moderated by Yao-Fen You, Acting Deputy Director of Curatorial and Senior Curator and Head of Product Design and Decorative Arts, Cooper Hewitt, Smithsonian Design Museum, New York.
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This article is a translation from the original Dutch, which first appeared in the catalogue for the exhibition Jan van Goyen (Stedelijk Museum De Lakenhal, Leiden, 1996). The essay examines the “strategies” regarding style, subject matter, technique, and price level that Jan van Goyen appears to have used to position himself in the art market. In particular, it discusses the radical change in style and the continuous innovations that Van Goyen introduced into his landscapes as he became a market leader. The Postscript offers insight into the origin and aim of the essay and refers to relevant information that emerged after the initial publication date.
本文翻译自荷兰语原文，原文首次出现在Jan van Goyen展览的目录中(莱顿雷克哈尔市立博物馆，1996年)。这篇文章探讨了关于风格、主题、技术和价格水平的“策略”，扬·凡·戈扬似乎已经用来在艺术市场上定位自己。特别是，它讨论了风格的激进变化和不断的创新，凡·戈扬引入他的风景，因为他成为了市场的领导者。后记提供了对文章起源和目的的洞察，并参考了最初出版日期后出现的相关信息。
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Pub Date : 2021-03-01DOI: 10.5092/JHNA.2021.13.1.4
C. Fock
This article originally appeared as “Kunstbezit in Leiden in de 17de eeuw” in Th. H. Lunsingh-Scheurleer et al., Het Rapenburg: Geschiedenis van een Leidse gracht, vol. 5b, (Leiden: Rijksuniversiteit Leiden, 1990), 3–36. The larger publication comprises eleven volumes on the architecture, interior decoration, residents’ histories, and contents of the houses in this section of the Rapenburg, from the Middle Ages to the twentieth century. Fock’s chapter centers on art owned by collectors and others living on Leiden’s famous canal—their professions, social status, the kinds of art that they had in their possession, and the positioning of those works within their households. Works have been identified with the aid of auction catalogues and public notarial inventories.
本文原载于《新时期莱顿的艺术》。H. lunsing - scheurleer et al.， heet Rapenburg: Geschiedenis van een Leidse gracht, vol. 5b， (Leiden: Rijksuniversiteit Leiden, 1990) 3-36。较大的出版物包括从中世纪到二十世纪的建筑、室内装饰、居民的历史和拉彭堡这部分房屋的内容的十一卷。福克这一章的重点是生活在莱顿著名运河边的收藏家和其他人所拥有的艺术品——他们的职业、社会地位、他们拥有的艺术品种类，以及这些艺术品在他们家庭中的地位。在拍卖目录和公证清单的帮助下，这些作品已被确定。
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