Pub Date : 2019-08-05DOI: 10.1163/22145966-06801006
B. Ramakers
This essay concerns itself with the category of the costumed entry at the Leiden rhetoricians’ festival of 1596. The entry by the Haarlem chamber of rhetoric The Pelican was designed by Hendrick Goltzius. It is argued that inventions like Goltzius’s were considered examples of good or best practice from which other artists and craftsmen involved in entry-making could learn, both during and after the event. The latter purpose was served by the printed festival book, which contained information on both invention (iconography) and execution (materials and techniques) of the entry characters. The use of such festival books is further corroborated by an analysis of the book collection of the Pelican chamber, which has survived more or less complete.
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Pub Date : 2019-08-05DOI: 10.1163/22145966-06801008
J. Boulboullé
This article demonstrates how multi-layered and open-ended the genre of the manual could be. It focuses on the so-called Mayerne manuscript, a seventeenth-century source text, comprising more than 300 recipes and ‘how-to’ instructions. Many of the entries are dated and include geographical and professional information that identify artisans and master painters as sources of detailed descriptions of materials and techniques. The article deconstructs an interpretation of Theodore de Mayerne’s recipe compilation as a handbook intended for practical use, and instead shows that many voices lay behind Mayerne’s extensive documentation of artisanal know how. The article argues that the manuscript was perhaps never intended for publication, but that it provides an exceptional testimony to the practice of an early modern ethnographer of artisanal working methods. A closer look at Mayerne’s practice of note taking as a physician suggests that it functioned as a working tool to document technical and artisanal knowledge of materials.
这篇文章演示了手册的类型是如何多层次和开放式的。它的重点是所谓的梅耶恩手稿，这是一份17世纪的原始文本，包括300多个食谱和“操作”说明。许多条目都是有日期的，包括地理和专业信息，这些信息表明工匠和大师画家是材料和技术详细描述的来源。这篇文章解构了将Theodore de Mayerne的食谱汇编解读为实用手册的观点，并表明Mayerne大量的手工技术文档背后隐藏着许多不同的声音。这篇文章认为，这份手稿可能从未打算出版，但它为早期现代民族志学家的手工工作方法提供了一个特殊的证据。仔细观察梅耶恩作为医生的笔记实践，可以发现它是一种记录材料技术和手工知识的工作工具。
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Pub Date : 2019-08-05DOI: 10.1163/22145966-06801007
A. Lehmann
A close reading of the first handbook for teachers written in the Dutch Republic by Dirck Adriaensz Valcooch and the color recipes it contained, offers some answers to broader questions concerning the role of art making in general education: was the broad literacy movement in the Protestant Republic beneficial to creative practices? Did the ubiquitous presence of art works support the emergence of practice-based learning? And were pedagogical and artistic expertise related when it came to teaching art? In order to move the teacher’s manual closer to the domain of art history, this article first addresses the difficulties that instructive descriptions of color-related processes posed for Karel van Mander and others, and then briefly looks at how general education welcomed or discouraged creative practices before and around 1600. The analysis of Valcooch’s chapter on ink and paint against the background of wider pedagogical developments, argues that educational writings can significantly add to our understanding about how the artistic use of colors was conveyed in teaching.
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Pub Date : 2019-08-05DOI: 10.1163/22145966-06801011
J. Keizer
In seventeenth-century Holland, the role of the live model in the making of art and, importantly, as a vehicle for artistic training had become a topic of contention. No other aspect of artists’ education had received more criticism than the use of real-life models. Artists ran the risk of drawing too much attention to the live model, leaving the model’s features visible in their works. These works would look too much like life itself. This essay argues that seventeenth-century theorists devised an intricate concept of style in order to keep life in an artwork at bay. To train artists was to discipline them in style.
{"title":"Rembrandt’s nature","authors":"J. Keizer","doi":"10.1163/22145966-06801011","DOIUrl":"https://doi.org/10.1163/22145966-06801011","url":null,"abstract":"In seventeenth-century Holland, the role of the live model in the making of art and, importantly, as a vehicle for artistic training had become a topic of contention. No other aspect of artists’ education had received more criticism than the use of real-life models. Artists ran the risk of drawing too much attention to the live model, leaving the model’s features visible in their works. These works would look too much like life itself. This essay argues that seventeenth-century theorists devised an intricate concept of style in order to keep life in an artwork at bay. To train artists was to discipline them in style.","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":"85398998","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 : 2019-08-05DOI: 10.1163/22145966-06801005
Edward H. Wouk
The artist and polymath Lambert Lombard of Liège developed a radical outlook on the theory and practice of artistic creation that he sought to illustrate in a ‘grammar’ of formal studies. Devised during a period of intense crisis for image-making in northern Europe, this ‘grammar’ offered a means to restore authority to the visual arts by recovering a canon of forms that had been perfected in antiquity yet became diluted over time. The present article examines the development and function of Lombard’s ‘grammar’, focusing on its role in the instruction he provided to a new generation of Netherlandish artists. It explores similarities between Lombard’s project and Aby Warburg’s celebrated Mnemosyne Atlas, compiled between 1924 and 1929. This comparison provides new insights into the visual, material and conceptual strategies through which Lombard’s ‘grammar’ illuminated the entwined properties of motion and emotion that he defined as the essence of perfect art.
{"title":"Pathosformel as grammar","authors":"Edward H. Wouk","doi":"10.1163/22145966-06801005","DOIUrl":"https://doi.org/10.1163/22145966-06801005","url":null,"abstract":"The artist and polymath Lambert Lombard of Liège developed a radical outlook on the theory and practice of artistic creation that he sought to illustrate in a ‘grammar’ of formal studies. Devised during a period of intense crisis for image-making in northern Europe, this ‘grammar’ offered a means to restore authority to the visual arts by recovering a canon of forms that had been perfected in antiquity yet became diluted over time. The present article examines the development and function of Lombard’s ‘grammar’, focusing on its role in the instruction he provided to a new generation of Netherlandish artists. It explores similarities between Lombard’s project and Aby Warburg’s celebrated Mnemosyne Atlas, compiled between 1924 and 1929. This comparison provides new insights into the visual, material and conceptual strategies through which Lombard’s ‘grammar’ illuminated the entwined properties of motion and emotion that he defined as the essence of perfect art.","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":"88467177","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 : 2019-08-05DOI: 10.1163/22145966-06801012
E. Downey
This contribution presents a much-needed overview of Netherlandish workshop activities in Rome, and a reevaluation of their impact on the cultural environment of the city. Focusing on the workshops of Paul Bril, Herman van Swanevelt, Vincent Adriaenssen Leckerbetien (‘Il Manciola’), Cornelis Bloemaert II, and the now obscure painter Salomon Backereel, it elucidate the process by which these and other Dutch and Flemish artists trained aspiring painters and contributed to the overall educational program of the city. Not only is there more information about how their workshops functioned, but also these artists exemplify the status and professional activities of many Netherlandish artists in the city.
这篇文章对罗马的荷兰工作坊活动进行了概述，并对其对城市文化环境的影响进行了重新评估。重点关注Paul Bril, Herman van Swanevelt, Vincent Adriaenssen Leckerbetien (' Il Manciola ')， Cornelis Bloemaert II和现在不知名的画家Salomon Backereel的工作室，它阐明了这些和其他荷兰和佛兰德艺术家培养有抱负的画家并为城市的整体教育计划做出贡献的过程。不仅有更多关于他们的工作室如何运作的信息，而且这些艺术家也代表了许多荷兰艺术家在这座城市的地位和专业活动。
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In 1962, the Dutch art audience was confronted with a remarkable participatory art project in the Stedelijk Museum Amsterdam: a dynamic labyrinth that visitors could enter, be part of and contribute to. This article analyses the particular relation between participation and instruction in the Dylaby exhibition. After a brief sketch of its particular setup, its ideals, plans and precursors are discussed, together with other contemporary proposals for labyrinths. This is followed by a short excursion into theoretical interpretations of participatory art, centering on the dynamics of freedom and control in this particular art practice. The third part focuses on procedures of guidance and instruction with regard to particular artworks. On the basis of historical source material forms of instruction are reconstructed and examined. Finally, the options of visitors to discover for themselves how to participate will be addressed, with a short detour to the pedagogical theory of Paolo Freire.
1962年，荷兰艺术观众在阿姆斯特丹市立博物馆(Stedelijk Museum Amsterdam)看到了一个引人注目的参与式艺术项目:一个充满活力的迷宫，游客可以进入，成为其中的一部分，并为之做出贡献。本文分析了Dylaby展览中参与与指导的特殊关系。在简要介绍了迷宫的特殊设置之后，讨论了其理想、计划和前身，以及其他当代迷宫的建议。接下来是对参与式艺术的理论解释的短途旅行，集中在这种特殊艺术实践中的自由和控制的动态。第三部分侧重于具体艺术品的指导和指导程序。在历史资料的基础上，对教学形式进行了重构和考察。最后，通过对保罗·弗莱雷(Paolo Freire)的教学理论的简短介绍，参观者可以选择自己发现如何参与。
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Pub Date : 2019-08-05DOI: 10.1163/22145966-06801003
Caecilie Weissert
The Exercitatio alphabetica, published in Antwerp in 1569, was unique in form and content because the whole book was packed with richness and variation. The article shows how this book brings together three different domains: the demands of calligraphic textbooks, the ideals of a virtuoso artist (the writing master, inventor of ornaments and reproduction artist), and the creative principles of the art of eloquence as formulated by Erasmus of Rotterdam in his textbook De copia. The ideals set out here were meant to act as guiding principles for the visual artists whose work the book displayed and for the authors who were responsible for text selection and additions, as well as for users of the book itself. This art book also showed the latter how difficult and complicated but also how beautiful the art of calligraphy could be, and provided readers the opportunity to practice through observation, reading, and imitation.
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Pub Date : 2019-08-05DOI: 10.1163/22145966-06801009
E. Travers
The painter and engraver, Jacob van der Gracht produced one of the first anatomical manuals for members of his profession that visibly references the format and content of medical publications. However, his reliance on figures in the style of Andreas Vesalius has caused his publication to be viewed as an abridged copy of De humani corporis fabrica (Basel, 1543) and has obscured the legacy of Van der Gracht’s contributions. Adapting these figures for a new purpose, Van der Gracht’s manual advocates for anatomical instruction to enhance artists’ skills in rendering lifelike effects, especially a convincing sense of movement. This article investigates the range of sources upon which Van der Gracht’s drew, how they were altered to suit artists’ interests, and his publication’s posterity. I argue that Van der Gracht used the familiar images of renowned sixteenth-century anatomists to bolster his publication’s success and elevate the credibility of his profession.
画家和雕刻家雅各布·范德·格拉赫特(Jacob van der Gracht)为他的专业人员制作了最早的解剖学手册之一，该手册明显地参考了医学出版物的格式和内容。然而，他对Andreas Vesalius风格人物的依赖导致他的出版物被视为De humani corporis fabrica(巴塞尔，1543)的删节版，并掩盖了Van der Gracht贡献的遗产。Van der Gracht的手册将这些人物用于新的目的，提倡解剖学指导，以提高艺术家渲染逼真效果的技能，特别是令人信服的运动感。本文调查了范德格拉赫特绘画的来源范围，他们是如何改变以适应艺术家的兴趣，以及他的出版物的后代。我认为，范德格拉赫特使用了人们熟悉的16世纪著名解剖学家的形象来促进他的出版物的成功，并提高了他的职业的可信度。
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Pub Date : 2019-01-01DOI: 10.1163/22145966-06801004
K. Jonckheere
In this paper, I argue that the early modern intellectual culture in Early Modern Europe was basically a ‘culture of quaestio’ in which the ‘question’ played a fundamental role as an educational tool, a intellectual method and - as a consequence - as a line of reasoning. Using Peter Paul Rubens’s Double portrait of Seneca and Nero and Pieter Aertsen’s Jesus in the House of Mary and Martha as prime examples, I’ll argue that certain works of art – with artistic ambition – were conceived as quaestiones disputatae rather than self-confirmatory narratives, fully in line with the intellectual/pedagogical principles of quaestiones in the early modern Low Countries.
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