Pub Date : 2022-11-14DOI: 10.1163/22145966-07201002
Andrew W. Murray
The tomb of the Burgundian duke Philip the Bold in Dijon, designed by the Haarlem-born sculptor Claus Sluter, holds a key position in the development of Western funerary art, especially on account of the lively and moving depiction of the cortège of weepers around the tomb. In this monument it is they who provide an example to their beholders – namely, how to mourn the deceased ruler. Not only do these expressive statuettes encourage the viewer to pray for Philip’s soul, but they also evoke the actual funeral liturgy of the duke. While the clerical mourners move in a single direction and form a procession, the lay figures seem to move more freely, directing themselves towards the tomb’s onlookers and stimulating them to pray for Philip’s afterlife. This conflation of transitional and everlasting rituals expresses a duality in late Gothic attitudes towards death.
{"title":"Mourning and non-ordered religious behaviour in the tombs of Philip the Bold, John the Fearless and Margaret of Bavaria","authors":"Andrew W. Murray","doi":"10.1163/22145966-07201002","DOIUrl":"https://doi.org/10.1163/22145966-07201002","url":null,"abstract":"\u0000 The tomb of the Burgundian duke Philip the Bold in Dijon, designed by the Haarlem-born sculptor Claus Sluter, holds a key position in the development of Western funerary art, especially on account of the lively and moving depiction of the cortège of weepers around the tomb. In this monument it is they who provide an example to their beholders – namely, how to mourn the deceased ruler. Not only do these expressive statuettes encourage the viewer to pray for Philip’s soul, but they also evoke the actual funeral liturgy of the duke. While the clerical mourners move in a single direction and form a procession, the lay figures seem to move more freely, directing themselves towards the tomb’s onlookers and stimulating them to pray for Philip’s afterlife. This conflation of transitional and everlasting rituals expresses a duality in late Gothic attitudes towards death.","PeriodicalId":29745,"journal":{"name":"Netherlands Yearbook for History of Art-Nederlands Kunsthistorisch Jaarboek","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91085993","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}
Pub Date : 2022-11-14DOI: 10.1163/22145966-07201003
Sandra Hindriks
This essay examines the complex ways in which early Netherlandish artists used illusionistic devices including trompe l’œil as a means of forcing viewers to confront their own mortality. Her analysis unpacks deep associations between the representation of memento mori motifs and the viewer’s response, focusing on how such paintings paradoxically appeal to the notoriously fallible sense of sight in order to provoke deeper reflection on, and preparation for, the inevitable end of life. The relationship of trompe l’œil to the memento mori rests, in this discussion, on how such devices call attention to the ways in which painting itself invites responses that are both sensual and cognitive. The deception of the eye leads to a higher cognitive state of questioning earthly perception as well as the unfathomable nature of death. The frequent use of folding panels served to ‘enfold’ the viewer actively in the visual and conative dynamics of the painted representation.
{"title":"Vanitas and trompe-l’œil","authors":"Sandra Hindriks","doi":"10.1163/22145966-07201003","DOIUrl":"https://doi.org/10.1163/22145966-07201003","url":null,"abstract":"\u0000 This essay examines the complex ways in which early Netherlandish artists used illusionistic devices including trompe l’œil as a means of forcing viewers to confront their own mortality. Her analysis unpacks deep associations between the representation of memento mori motifs and the viewer’s response, focusing on how such paintings paradoxically appeal to the notoriously fallible sense of sight in order to provoke deeper reflection on, and preparation for, the inevitable end of life. The relationship of trompe l’œil to the memento mori rests, in this discussion, on how such devices call attention to the ways in which painting itself invites responses that are both sensual and cognitive. The deception of the eye leads to a higher cognitive state of questioning earthly perception as well as the unfathomable nature of death. The frequent use of folding panels served to ‘enfold’ the viewer actively in the visual and conative dynamics of the painted representation.","PeriodicalId":29745,"journal":{"name":"Netherlands Yearbook for History of Art-Nederlands Kunsthistorisch Jaarboek","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89281653","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}
Pub Date : 2022-11-03DOI: 10.1163/22145966-07101002
E. Jorink, J. Woodall, Edward H. Wouk
{"title":"Humans and other animals in the Low Countries","authors":"E. Jorink, J. Woodall, Edward H. Wouk","doi":"10.1163/22145966-07101002","DOIUrl":"https://doi.org/10.1163/22145966-07101002","url":null,"abstract":"","PeriodicalId":29745,"journal":{"name":"Netherlands Yearbook for History of Art-Nederlands Kunsthistorisch Jaarboek","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85953332","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}
Pub Date : 2022-01-01DOI: 10.1163/22145966-07101011
V.E. Mandrij
This article brings the 17th-century Dutch painter Otto Marseus van Schrieck and the contemporary German artist Maximilian Prüfer into dialogue. It investigates in particular Marseus’ and Prüfer’s use of butterfly scales as materials and motifs in their works of art. Both artists developed a similar technique of butterfly imprints (lepidochromy), which consists of transferring the scales of real butterflies onto another surface. The imprints thus combine medium with representation and the object being represented. The artists used a variety of animal substances to make their artworks, some still visible, some not, and gathered living animals to depict after life or to work with in other ways. Knowledge of and interest in natural history inform the work of both artists but their reflections on human relationships with other animals and with ‘nature’ differ.
{"title":"Painted by nature, printed by artists","authors":"V.E. Mandrij","doi":"10.1163/22145966-07101011","DOIUrl":"https://doi.org/10.1163/22145966-07101011","url":null,"abstract":"This article brings the 17th-century Dutch painter Otto Marseus van Schrieck and the contemporary German artist Maximilian Prüfer into dialogue. It investigates in particular Marseus’ and Prüfer’s use of butterfly scales as materials and motifs in their works of art. Both artists developed a similar technique of butterfly imprints (lepidochromy), which consists of transferring the scales of real butterflies onto another surface. The imprints thus combine medium with representation and the object being represented. The artists used a variety of animal substances to make their artworks, some still visible, some not, and gathered living animals to depict after life or to work with in other ways. Knowledge of and interest in natural history inform the work of both artists but their reflections on human relationships with other animals and with ‘nature’ differ.","PeriodicalId":29745,"journal":{"name":"Netherlands Yearbook for History of Art-Nederlands Kunsthistorisch Jaarboek","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79395342","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}
Pub Date : 2022-01-01DOI: 10.1163/22145966-07101009
Aneta Georgievska-Shine
This article addresses Rubens’s perspective on the human-animal by focusing on the satyr as one of his favourite mythological characters. This profoundly liminal being appears in a variety of roles throughout his oeuvre, including several paintings that remained in his private collection. In some of them, the satyr is primarily a figure for unbridled lustfulness and sensuality. In many others, however, this hybrid creature appears to hold the key to some of the mysteries of nature itself. Another facet of this analysis concerns the long-standing connection between this mythological character and literary satire. Rubens’s satyr-themed images bear a number of salient qualities of this literary genre as one that destabilizes boundaries: between the beautiful and the repulsive, the tragic and the comical, the sublime and the grotesque.
{"title":"‘Man carries all animals within himself’","authors":"Aneta Georgievska-Shine","doi":"10.1163/22145966-07101009","DOIUrl":"https://doi.org/10.1163/22145966-07101009","url":null,"abstract":"This article addresses Rubens’s perspective on the human-animal by focusing on the satyr as one of his favourite mythological characters. This profoundly liminal being appears in a variety of roles throughout his oeuvre, including several paintings that remained in his private collection. In some of them, the satyr is primarily a figure for unbridled lustfulness and sensuality. In many others, however, this hybrid creature appears to hold the key to some of the mysteries of nature itself. Another facet of this analysis concerns the long-standing connection between this mythological character and literary satire. Rubens’s satyr-themed images bear a number of salient qualities of this literary genre as one that destabilizes boundaries: between the beautiful and the repulsive, the tragic and the comical, the sublime and the grotesque.","PeriodicalId":29745,"journal":{"name":"Netherlands Yearbook for History of Art-Nederlands Kunsthistorisch Jaarboek","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76287910","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}
Pub Date : 2022-01-01DOI: 10.1163/22145966-07101004
Thomas Balfe
The shared embodiment of humans and animals, and the notion of the ‘creaturely’ human influentially discussed by Anat Pick, have recently emerged as vital concerns within Animal Studies. Aligning its critical stance with these perspectives, this article analyses the small painting in the Rijksmuseum, traditionally attributed to Jan de Baen, which depicts the 1672 murder of the Dutch politicians Johan and Cornelis de Witt. Pamphlets, broadsheets and other contemporary responses to the murder frequently compare the bodies of the De Witts – which were eviscerated, hung upside-down, shorn of body parts and allegedly partially eaten – to animal carcasses. Drawing on these contextual sources, the essay explores how the painting works with and against period constructions of the killing in terms of inter-species violence. It uncovers tentative admissions of human creatureliness in the painting’s representation of the murdered body as a temporal, material and fragile entity.
人类和动物的共同体现，以及Anat Pick所讨论的有影响力的“生物”人类的概念，最近成为动物研究领域的重要关注点。根据这些观点，本文分析了国立博物馆的这幅小画，传统上认为是Jan de Baen的作品，描绘了1672年荷兰政治家Johan和Cornelis de Witt的谋杀案。当时的小册子、大报和其他对这起谋杀案的回应经常把德威特夫妇的尸体比作动物尸体——他们被掏空内脏，倒挂着，被剪掉身体的一部分，据说还被吃掉了一部分。在这些背景资料的基础上，本文探讨了这幅画是如何与物种间暴力的杀戮时期结构一起工作的。它揭示了在绘画中将被谋杀的身体表现为一个暂时的、物质的和脆弱的实体时，对人类生物性的尝试性承认。
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Pub Date : 2022-01-01DOI: 10.1163/22145966-07101005
Robert Bauernfeind
This article examines the depiction of polar bears in Dutch painting and graphics from the late 16th to the early 18th centuries. Reports of the first encounters between Dutch humans and polar bears established the idea of these animals as aggressive predators. This idea dominated the image of the bear in illustrated travelogues as well as in allegorical depictions of the Arctic and whaling pictures. The polar bear thus became a symbol for the dangers of the region and appears as an obstacle to the human exploitation of the Arctic. However, depictions of the bloody hunt for polar bears indicate the economically motivated triumph of Europeans in this inhospitable area.
{"title":"‘Verscheurende Beyren’","authors":"Robert Bauernfeind","doi":"10.1163/22145966-07101005","DOIUrl":"https://doi.org/10.1163/22145966-07101005","url":null,"abstract":"This article examines the depiction of polar bears in Dutch painting and graphics from the late 16th to the early 18th centuries. Reports of the first encounters between Dutch humans and polar bears established the idea of these animals as aggressive predators. This idea dominated the image of the bear in illustrated travelogues as well as in allegorical depictions of the Arctic and whaling pictures. The polar bear thus became a symbol for the dangers of the region and appears as an obstacle to the human exploitation of the Arctic. However, depictions of the bloody hunt for polar bears indicate the economically motivated triumph of Europeans in this inhospitable area.","PeriodicalId":29745,"journal":{"name":"Netherlands Yearbook for History of Art-Nederlands Kunsthistorisch Jaarboek","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89116879","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}
Pub Date : 2022-01-01DOI: 10.1163/22145966-07101010
J. Greer
This article is concerned with representations of insects and insect habitats in late nineteenth- and early twentieth-century Dutch art and print culture. It adopts an eco-critical approach, with an eye toward multispecies studies. The article considers the ecologically conceived image of bees, butterflies, and other insects gathering pollen from a wide range of flowering plant life in Theo van Hoytema’s lithograph announcing the Biological Exhibition: the Life of Plants and Animals held in 1910 at the Royal Zoological Botanical Gardens in The Hague. This closely observed water’s-edge environment is considered in the context of the wider body of works on paper done by Van Huitema especially during the seminal period of the 1890s, and within the growing print culture surrounding the Dutch naturalist and environmental movements in the early years of the twentieth century.
这篇文章是关于昆虫和昆虫栖息地的代表在十九世纪末和二十世纪初荷兰艺术和印刷文化。它采用一种生态批判的方法，着眼于多物种研究。这篇文章考虑了Theo van Hoytema于1910年在海牙皇家动物植物园举办的生物展览:植物和动物的生命的石版画中蜜蜂、蝴蝶和其他昆虫从各种开花植物中收集花粉的生态构想图像。这种密切观察的水边环境被认为是在Van Huitema更广泛的纸上作品的背景下进行的，特别是在19世纪90年代的开创性时期，以及在20世纪初荷兰自然主义者和环境运动周围不断增长的印刷文化中。
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Pub Date : 2022-01-01DOI: 10.1163/22145966-07101007
Maurice Saß
This article focuses on the intersection of the hunt and art as it is reflected in three early modern depictions of artists as successful hunters: Gabriel Metsu’s Hunter getting dressed after bathing, Ary de Vois’s Self-portrait as a hunter, and Rembrandt’s A dead bittern held high by a hunter. These three self-referential paintings show different ways in which the hunt and dead animals were used to characterise artistic practice, and to what extent they were underpinned by the semantics of other forms of ‘the chase’: the pursuit of love, knowledge, and power.
本文关注的是狩猎与艺术的交集，因为它反映在三幅早期现代艺术家作为成功猎人的描绘中:加布里埃尔·梅苏(Gabriel Metsu)的《猎人在洗澡后穿衣服》、阿里·德·沃瓦(Ary de Vois)的《猎人自画像》和伦勃朗的《猎人高举的死海鸟》。这三幅自我指涉的画作展示了狩猎和死亡动物被用来描绘艺术实践的不同方式，以及它们在多大程度上受到其他形式的“追逐”语义的支撑:对爱、知识和权力的追求。
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Pub Date : 2022-01-01DOI: 10.1163/22145966-07101008
Cynthia von Bogendorf Rupprath
In 1634 the chief judicial officer of Leiden’s strict Counter-Remonstrant government, Willem de Bont, held an extravagant funeral for his pet dog Tyter. News of the event produced a flurry of satirical songs (by the persecuted Remonstrants) and poems (by Vondel and others), castigating the childless Bont for giving his dog a funeral normally reserved for a child of the elite. These satires illuminate aspects of the human-dog relationship amidst the theological-political turmoil of early seventeenth-century Leiden. The popular assumption that the Remonstrants hanged Tyter leads to a study of contemporary criminal prosecution of animals and humans alike, and a look at contradictions in the treatment of Leiden’s dogs. Visually, the serenity of Jan Miense Molenaer’s pendant paintings of the event belie the satires. Ironically, Bont thought of his dog as a fellow human but treated the Leiden Remonstrants like dogs, while many regarded Bont himself as a beast.
{"title":"A dog and his man","authors":"Cynthia von Bogendorf Rupprath","doi":"10.1163/22145966-07101008","DOIUrl":"https://doi.org/10.1163/22145966-07101008","url":null,"abstract":"In 1634 the chief judicial officer of Leiden’s strict Counter-Remonstrant government, Willem de Bont, held an extravagant funeral for his pet dog Tyter. News of the event produced a flurry of satirical songs (by the persecuted Remonstrants) and poems (by Vondel and others), castigating the childless Bont for giving his dog a funeral normally reserved for a child of the elite. These satires illuminate aspects of the human-dog relationship amidst the theological-political turmoil of early seventeenth-century Leiden. The popular assumption that the Remonstrants hanged Tyter leads to a study of contemporary criminal prosecution of animals and humans alike, and a look at contradictions in the treatment of Leiden’s dogs. Visually, the serenity of Jan Miense Molenaer’s pendant paintings of the event belie the satires. Ironically, Bont thought of his dog as a fellow human but treated the Leiden Remonstrants like dogs, while many regarded Bont himself as a beast.","PeriodicalId":29745,"journal":{"name":"Netherlands Yearbook for History of Art-Nederlands Kunsthistorisch Jaarboek","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88801749","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}
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