Pub Date : 2022-01-01DOI: 10.1163/22145966-07101003
Sarah-Maria Schober
Although our systems of thought have long accustomed us to differentiate sharply between the human world of ‘culture’ and the animal world of ‘nature’, both sides of this very influential dichotomy are entangled in complex and indissoluble ways. The civet cat and its very special perfume—civet—provide a perfect example of this ‘merging’. The idea of taming the untamable, expressed in paintings of civet cats and textual sources, has been especially fruitful and became a promising preoccupation especially for artists like Joris Hoefnagel to enrich their work with an intellectual hybridity. The article shows how—in painting, perfume, and writing—nature and culture complemented one another, rather than standing in opposition. Owing to the animal’s odour, its mysterious nature, and debates about its (un)tamability, the image of the civet cat served as a focal point through which early modern Europeans wrestled with and redefined the realms of human and animal, of art and science, and of culture and nature.
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Pub Date : 2020-11-16DOI: 10.1163/22145966-07001002
Joanna Woodall, Bart Ramakers, Ann-Sophie Lehmann
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Pub Date : 2020-11-16DOI: 10.1163/22145966-07001006
Edward H. Wouk
The Portrait of Lambert Lombard of circa 1560 is unique among early modern likenesses in its intimate portrayal of an artist as friend. This essay moves beyond the questions of attribution that have hitherto dominated discussions of the painting and focuses instead on the dialogic encounter the image establishes between sitter and beholder. That encounter, I contend, reflects a novel period concept of friendship as a social ideal and as a model for artistic practice. Working within humanist frameworks, Lombard’s pupils actively constructed an image of their teacher as scholar and affectionate pedagogue. While other images of Lombard emphasized the artist’s erudition at the expense of his personal warmth, this disarmingly nonchalant portrait negotiates a balance between the aloof scholar and engaged friend. Like Dominicus Lampsonius’s biography of the artist, published in 1565, the Portrait of Lambert Lombard envisions the artist as a friend who is both erudite and loving.
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Pub Date : 2020-11-16DOI: 10.1163/22145966-07001005
A. Zamboni
This article explores the intersection between friendship and artistic collaboration through a focus on the engraving production of a group of itinerant Netherlandish artists who, in the wake of the Dutch Revolt, lived and worked in Munich, seat of the court of Wilhlem V. The first part of this contribution introduces Joris Hoefnagel, several printmakers from the Sadeler dynasty and other artists active in Munich. An analysis of the artistic gifts which the Netherlanders exchanged in Munich suggests that they enjoyed membership of an egalitarian circle sustained by friendship and artistic aspirations. The second half of the article examines the engraved series Salus Generis Humani (1590): the co-creation of Joris Hoefnagel, Aegidius II Sadeler and Hans von Aachen. Through a collaborative working practice, the three artists conceived engravings that self-reflectively alluded to their composite facture and which constituted another expression of the humanist friendship underpinning their professional and personal contacts.
这篇文章探讨了友谊和艺术合作之间的交汇点，通过关注荷兰起义后，在威廉五世法院所在地慕尼黑生活和工作的一群巡回荷兰艺术家的雕刻生产。这篇文章的第一部分介绍了约里斯·霍夫纳格尔，Sadeler王朝的几位版画家和其他活跃在慕尼黑的艺术家。对荷兰人在慕尼黑交换的艺术礼物的分析表明，他们享有一个由友谊和艺术抱负维持的平等主义圈子的成员资格。文章的后半部分考察了雕刻系列Salus Generis Humani (1590): Joris Hoefnagel, Aegidius II Sadeler和Hans von Aachen的共同创作。通过合作实践，三位艺术家构思了版画，这些版画自我反思地暗示了他们的复合制作，并构成了人文主义友谊的另一种表达，支撑了他们的专业和个人联系。
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Pub Date : 2020-11-16DOI: 10.1163/22145966-07001001
Editors Netherlands Yearbook for History of
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Pub Date : 2020-11-16DOI: 10.1163/22145966-07001004
B. Ramakers
In 1534, on the occasion of the 50th anniversary of religious life, Jan Donteclocke, a Franciscan tertiary from Bruges, threw a banquet for relatives, friends, and fellow brethren. What we know about it comes from a dinner play performed at the event, the Play of a jubilee, written by the Bruges rhetorician Cornelis Everaert. The play’s characters personify aspects of friendship: Benevolence, Affection, and Friendship itself. They presented the jubilarian with four Latin chronograms (on sheets or scrolls of paper or wooden panels) which contained the dates of Donteclocke’s birth, profession, ordination, and jubilee. Chronograms, because of their playful, riddle-like character, were ideal vehicles of humanist wit and ingenuity. The article discusses these chronograms as expressions of friendship and analyses how they may have sparked conversation among the dinner guests, thus attesting to a culture of spirited conviviality existing beyond the circles of learned humanists or well-to-do bourgeois.
{"title":"That’s what friends are for","authors":"B. Ramakers","doi":"10.1163/22145966-07001004","DOIUrl":"https://doi.org/10.1163/22145966-07001004","url":null,"abstract":"In 1534, on the occasion of the 50th anniversary of religious life, Jan Donteclocke, a Franciscan tertiary from Bruges, threw a banquet for relatives, friends, and fellow brethren. What we know about it comes from a dinner play performed at the event, the Play of a jubilee, written by the Bruges rhetorician Cornelis Everaert. The play’s characters personify aspects of friendship: Benevolence, Affection, and Friendship itself. They presented the jubilarian with four Latin chronograms (on sheets or scrolls of paper or wooden panels) which contained the dates of Donteclocke’s birth, profession, ordination, and jubilee. Chronograms, because of their playful, riddle-like character, were ideal vehicles of humanist wit and ingenuity. The article discusses these chronograms as expressions of friendship and analyses how they may have sparked conversation among the dinner guests, thus attesting to a culture of spirited conviviality existing beyond the circles of learned humanists or well-to-do bourgeois.","PeriodicalId":29745,"journal":{"name":"Netherlands Yearbook for History of Art-Nederlands Kunsthistorisch Jaarboek","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86122938","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 : 2020-05-20DOI: 10.1163/22145966-06901001
Editors Netherlands Yearbook for History of
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Pub Date : 2019-08-05DOI: 10.1163/22145966-06801010
Jaya Remond
This article examines the Amsterdam engraver and draftsman Crispijn de Passe’s art manual, ’t Light der Teken en Schilderkonst, in order to study the processes that turned image-making practices into forms of knowledge worthy of being preserved on paper. I argue that De Passe, who was born into a prominent family of artists, championed the multi-purpose functionality of drawing skills, and that De Passe’s experience at Antoine de Pluvinel’s riding academy in Paris played a key role in the manual’s genesis, as well as in the creation, codification and stabilization of artistic knowledge. By examining forms of haptic engagement (such as traces of manipulation), I show how such manuals were used, collected, and prized as valuable objects in early modern Europe. Acquiring and cultivating drawing skills would become imbued with great epistemic, material, and monetary value for different types of publics in the long seventeenth century
本文考察了阿姆斯特丹雕刻家和制图员Crispijn de Passe的艺术手册《Light der Teken en Schilderkonst》，以研究将图像制作实践转化为值得保存在纸上的知识形式的过程。我认为，德·帕塞出生于一个显赫的艺术家家庭，他倡导绘画技能的多用途功能，德·帕塞在巴黎安托万·德·普鲁维尼埃尔(Antoine De Pluvinel)骑术学院的经历在手册的起源以及艺术知识的创造、编纂和稳定中发挥了关键作用。通过研究触觉参与的形式(如操纵的痕迹)，我展示了这些手册是如何在早期现代欧洲被使用、收集和作为有价值的物品而被珍视的。在漫长的17世纪，获得和培养绘画技能对不同类型的公众来说具有巨大的知识、物质和货币价值
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Pub Date : 2019-08-05DOI: 10.1163/22145966-06801001
Editors Netherlands Yearbook for History of
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Pub Date : 2019-08-05DOI: 10.1163/22145966-06801002
A. Lehmann, E. Jorink, B. Ramakers
{"title":"Lessons in Art, lessons for life","authors":"A. Lehmann, E. Jorink, B. Ramakers","doi":"10.1163/22145966-06801002","DOIUrl":"https://doi.org/10.1163/22145966-06801002","url":null,"abstract":"","PeriodicalId":29745,"journal":{"name":"Netherlands Yearbook for History of Art-Nederlands Kunsthistorisch Jaarboek","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72687670","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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