Pub Date : 2018-09-06DOI: 10.5092/jhna.2018.10.2.1
Rafael Rene Barrientos Martinez, Larry Silver
{"title":"Metsys’s Musician: A Newly Recognized Early Work","authors":"Rafael Rene Barrientos Martinez, Larry Silver","doi":"10.5092/jhna.2018.10.2.1","DOIUrl":"https://doi.org/10.5092/jhna.2018.10.2.1","url":null,"abstract":"","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134101625","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 : 2018-03-01DOI: 10.5092/jhna.2018.10.1.3
Anne L. Williams
{"title":"Satirizing the Sacred: Humor in Saint Joseph's Veneration and Early Modern Art","authors":"Anne L. Williams","doi":"10.5092/jhna.2018.10.1.3","DOIUrl":"https://doi.org/10.5092/jhna.2018.10.1.3","url":null,"abstract":"","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126185084","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 : 2018-03-01DOI: 10.5092/jhna.2018.10.1.4
S. Glickman
{"title":"The Company One Keeps: View of Ambon (ca. 1617) in the Dutch East India Company’s Sociopolitical Landscape","authors":"S. Glickman","doi":"10.5092/jhna.2018.10.1.4","DOIUrl":"https://doi.org/10.5092/jhna.2018.10.1.4","url":null,"abstract":"","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"128 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131656834","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 : 2018-03-01DOI: 10.5092/jhna.2018.10.1.2
A. As-Vijvers
{"title":"The Missing Miniatures of the Hours of Louis Quarré","authors":"A. As-Vijvers","doi":"10.5092/jhna.2018.10.1.2","DOIUrl":"https://doi.org/10.5092/jhna.2018.10.1.2","url":null,"abstract":"","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120846871","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 : 2018-03-01DOI: 10.5092/JHNA.2018.10.1.1
Elliott D. Wise
{"title":"Cycles of Memory and Circular Compassion in a Germanic Passion Diptych","authors":"Elliott D. Wise","doi":"10.5092/JHNA.2018.10.1.1","DOIUrl":"https://doi.org/10.5092/JHNA.2018.10.1.1","url":null,"abstract":"","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122223515","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}
The Devote ghetiden vanden leven ende passie Jhesu Christi (Devout Hours on the Life and Passion of Jesus Christ) provides an intriguing case study of text and image relationships in the transitional age between manuscript and print. The 1483 and 1484/5 editions of the Devote ghetiden were an innovative commercial endeavor by the prolific printer Gerard Leeu. These editions of a new vernacular religious text, flexible in use and primarily aimed at laymen, combined with no less than eighty-four full-page illustrations, offered the lay reader an unprecedented level of visual material for private devotion located in the same object as the text. Changes in both composition and page layout, which occurred when text and image were refashioned in a different medium, altered the reader’s meditative experience, reflecting not only the multiform character and individuation of religious practice on the eve of the Reformation but also the influence of printed books on late medieval textual and visual culture as a whole.
{"title":"Religious Practice and Experimental Book Production. Text and Image in an Alternative Layman's \"Book of Hours\" in Print and Manuscript","authors":"A. Dlabačová","doi":"10.5092/JHNA.2017.9.2.2","DOIUrl":"https://doi.org/10.5092/JHNA.2017.9.2.2","url":null,"abstract":"The Devote ghetiden vanden leven ende passie Jhesu Christi (Devout Hours on the Life and Passion of Jesus Christ) provides an intriguing case study of text and image relationships in the transitional age between manuscript and print. The 1483 and 1484/5 editions of the Devote ghetiden were an innovative commercial endeavor by the prolific printer Gerard Leeu. These editions of a new vernacular religious text, flexible in use and primarily aimed at laymen, combined with no less than eighty-four full-page illustrations, offered the lay reader an unprecedented level of visual material for private devotion located in the same object as the text. Changes in both composition and page layout, which occurred when text and image were refashioned in a different medium, altered the reader’s meditative experience, reflecting not only the multiform character and individuation of religious practice on the eve of the Reformation but also the influence of printed books on late medieval textual and visual culture as a whole.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129821194","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}
{"title":"Sensory Piety as Social Intervention in a Mechelen Besloten Hofje","authors":"A. Pearson","doi":"10.5092/JHNA.2017.9.2.1","DOIUrl":"https://doi.org/10.5092/JHNA.2017.9.2.1","url":null,"abstract":"","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126842632","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}
{"title":"Strategies of Display in the Galleries of Amalia van Solms","authors":"Saskia Beranek","doi":"10.5092/jhna.2017.9.2.4","DOIUrl":"https://doi.org/10.5092/jhna.2017.9.2.4","url":null,"abstract":"","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131512319","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}
{"title":"Ter Brugghen’s Saint Sebastian Tended by Irene","authors":"Valerie L. Hedquist","doi":"10.5092/jhna.2017.9.2.3","DOIUrl":"https://doi.org/10.5092/jhna.2017.9.2.3","url":null,"abstract":"","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120975153","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}
Pieter de Molijn is considered by present-day art historians to be one of the founders of what is referred to as the tonal phase of naturalistic Dutch landscape painting, a position largely attributable to his Landscape with Dunes painted in 1626. Nevertheless, art historians such as Wolfgang Stechow have suggested that his paintings after 1630 were old-fashioned, lacked originality, and exhibited no further artistic development, and therefore they typify him as merely an epigone of Jan van Goyen and Salomon van Ruisdael. For most of these art historians, innovation seems to be the most important criterion on which to grant painters a place in the art-historical canon. Contemporary sources, however, indicate that de Molijn deserves as much attention as the more recognized artist Jan van Goyen. These sources prove that de Molijn enjoyed a solid reputation right up until his death in 1661. He was active in broadening the art market by producing monochrome landscapes and finding new ways to sell them to a wider public. In addition, Arnold Houbraken and other connoisseurs valued his later, more delicate and colorful landscapes. These were bought by collectors who appreciated de Molijn’s craftsmanship and the works’ subtle references to famous landscape painters of the past. Pieter de Molijn developed a successful business model by simultaneously working in different styles for different clients, thus securing his niche in a competitive art market.
Pieter de Molijn被当今的艺术史学家认为是荷兰自然主义风景画调性阶段的奠基人之一，这一地位主要归功于他1626年创作的《沙丘风景》。然而，艺术史学家如Wolfgang Stechow认为他在1630年之后的绘画是过时的，缺乏独创性，没有进一步的艺术发展，因此他们代表他只是扬·凡·戈扬和所罗门·凡·鲁伊斯达尔的追随者。对于这些艺术史学家中的大多数人来说，创新似乎是赋予画家在艺术史经典中一席之地的最重要标准。然而，当代的资料表明，莫林应该得到与更知名的艺术家扬·凡·戈扬一样多的关注。这些资料证明，莫林在1661年去世前一直享有很高的声誉。他积极拓宽艺术市场，制作单色风景画，并寻找新的方式向更广泛的公众出售。此外，阿诺德·霍布拉肯(Arnold Houbraken)和其他鉴赏家也很欣赏他后来创作的更精致、更丰富多彩的风景画。这些作品被收藏家购买，他们欣赏de Molijn的工艺和作品对过去著名风景画家的微妙参考。Pieter de Molijn开发了一种成功的商业模式，同时为不同的客户以不同的风格工作，从而在竞争激烈的艺术市场中确保自己的利基。
{"title":"Pieter de Molijn (1597-1661) : a Dutch painter and the art market in the seventeenth century","authors":"M. Boers","doi":"10.5092/JHNA.2017.9.2.5","DOIUrl":"https://doi.org/10.5092/JHNA.2017.9.2.5","url":null,"abstract":"Pieter de Molijn is considered by present-day art historians to be one of the founders of what is referred to as the tonal phase of naturalistic Dutch landscape painting, a position largely attributable to his Landscape with Dunes painted in 1626. Nevertheless, art historians such as Wolfgang Stechow have suggested that his paintings after 1630 were old-fashioned, lacked originality, and exhibited no further artistic development, and therefore they typify him as merely an epigone of Jan van Goyen and Salomon van Ruisdael. For most of these art historians, innovation seems to be the most important criterion on which to grant painters a place in the art-historical canon. Contemporary sources, however, indicate that de Molijn deserves as much attention as the more recognized artist Jan van Goyen. These sources prove that de Molijn enjoyed a solid reputation right up until his death in 1661. He was active in broadening the art market by producing monochrome landscapes and finding new ways to sell them to a wider public. In addition, Arnold Houbraken and other connoisseurs valued his later, more delicate and colorful landscapes. These were bought by collectors who appreciated de Molijn’s craftsmanship and the works’ subtle references to famous landscape painters of the past. Pieter de Molijn developed a successful business model by simultaneously working in different styles for different clients, thus securing his niche in a competitive art market.","PeriodicalId":104162,"journal":{"name":"Journal of Historians of Netherlandish Art","volume":"362 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-08-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133202991","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}
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