{"title":"Pieter Bruegel the Elder’s Wedding Dance: An Iconic Painting Reconsidered","authors":"Yao-Fen You","doi":"10.1086/707418","DOIUrl":"https://doi.org/10.1086/707418","url":null,"abstract":"","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707418","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60710111","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}
e paint on a painting is not immune to the passage of time. Changes to the paint occur for a variety of reasons and at numerous points during the life of a painting. Some natural changes begin immediately as chemical reactions cause the paint to dry. Other natural degradation takes longer to occur and depends on the materials present, as well as what they are exposed to over time. In addition, human intervention can begin a dierent cycle of degradation. Paintings are sometimes vandalized, and this vandalism necessitates treatment—but if that treatment is done by someone who is unskilled, it can lead to further damage. Unfortunately, in the past many “restorers” sought to hide badly degraded areas of the paint layers by overpainting them (applying paint not just within the areas of actual paint loss but also beyond those areas, on top of the artist’s paint). Using the two copies of Bruegel’s painting (see Part 10, p. 96), as well as a color print presumed to be from the 1930s (see Part 11, p. 110), we have determined what types of degradation contributed to the present condition of e Wedding Dance, as well as what the painting may have looked like before each change occurred.
{"title":"Changes to the Paint Layers in The Wedding Dance","authors":"Blair Bailey","doi":"10.1086/707429","DOIUrl":"https://doi.org/10.1086/707429","url":null,"abstract":"e paint on a painting is not immune to the passage of time. Changes to the paint occur for a variety of reasons and at numerous points during the life of a painting. Some natural changes begin immediately as chemical reactions cause the paint to dry. Other natural degradation takes longer to occur and depends on the materials present, as well as what they are exposed to over time. In addition, human intervention can begin a dierent cycle of degradation. Paintings are sometimes vandalized, and this vandalism necessitates treatment—but if that treatment is done by someone who is unskilled, it can lead to further damage. Unfortunately, in the past many “restorers” sought to hide badly degraded areas of the paint layers by overpainting them (applying paint not just within the areas of actual paint loss but also beyond those areas, on top of the artist’s paint). Using the two copies of Bruegel’s painting (see Part 10, p. 96), as well as a color print presumed to be from the 1930s (see Part 11, p. 110), we have determined what types of degradation contributed to the present condition of e Wedding Dance, as well as what the painting may have looked like before each change occurred.","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707429","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45713338","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":"Bruegel’s Inscriptions","authors":"Aaron Steele","doi":"10.1086/707430","DOIUrl":"https://doi.org/10.1086/707430","url":null,"abstract":"","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707430","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43908853","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}
s (a sizeable object) after he arrived at the conference, was heard to ask, sadly: 'Is this what we have become?' (2012, 1) As Turner's anecdote makes evident, the "warning bells for cultural studies" (2012, 37) are not exclusively activated by the choice of material. They also address substantial questions of methodology and agenda in a cultural studies project. More precisely, Turner takes issue with the prevalent practice in cultural studies of "mistaking any analytical method for a political purpose" (2012, 173) and thereby reducing it to "a genre of academic performance" that is "merely self-serving" (2012, 158). Angela McRobbie, whose feminist repurposing of cultural studies effectively challenges the above assumptions that interdisciplinarity inevitably compromises the field's political potential, arrives at more ambiguous conclusions. Reflecting on the trajectory of "British Cultural Marxism," her talk at the Rosa-Luxemburg-Stiftung in October 2017 poses a research question that remains unanswered. The subtitle of her lecture – "From 'Working-Class Culture' to 'Common-Sense Neoliberalism'?" – may be read as a cautious comment on the development of cultural studies which reiterates Turner's findings about the field's subordination to a market-oriented logic of cultural exploitation. On the other hand, it may reference a broader shift in scholarly focus to the influence of neoliberalism on gender hierarchies (see e.g. McRobbie's The Aftermath of Feminism, 2008). While the question mark in the subtitle allows for both readings, McRobbie's ambiguity deliberately unsettles the above allegations and thereby raises more general questions about the functions and effects of meta-critical debates. Providing ample evidence that the institutionalization and resulting interdisciplinarity of research areas does not constitute a problem per se, McRobbie's talk insinuates that, in the words of Gesa Stedman, "[t]he hottest phase" of cultural studies "is followed by a cooler one," which is usually the case when "institutions are set up and become part of everyday scholarly practice" (2013, 4). In addition, the 'cooler' phases in the evolution of various disciplines commonly provoke competitions for the most political or most radical positions among different generations of scholars. Are the reproaches of Taylor, Turner and others justified or ascribable to this dynamic? In order to prepare this special issue, the editors surveyed approximately 60 pertinent international journals specializing in postcolonial and cultural studies. 1 Finding about 100 immediately relevant articles, we decided to approach them with Franco Moretti's method of 'distant reading' (2013a)2 and arrived at the following observations: The majority of articles prove that the disciplines are increasingly concerned with their own stocktaking, mainly occasioned by journal anniversaries or the publication of controversial interventions into the fields, which necessarily accompanies the est
{"title":"Introduction","authors":"Ellen Hanspach-Bernal","doi":"10.1086/707417","DOIUrl":"https://doi.org/10.1086/707417","url":null,"abstract":"s (a sizeable object) after he arrived at the conference, was heard to ask, sadly: 'Is this what we have become?' (2012, 1) As Turner's anecdote makes evident, the \"warning bells for cultural studies\" (2012, 37) are not exclusively activated by the choice of material. They also address substantial questions of methodology and agenda in a cultural studies project. More precisely, Turner takes issue with the prevalent practice in cultural studies of \"mistaking any analytical method for a political purpose\" (2012, 173) and thereby reducing it to \"a genre of academic performance\" that is \"merely self-serving\" (2012, 158). Angela McRobbie, whose feminist repurposing of cultural studies effectively challenges the above assumptions that interdisciplinarity inevitably compromises the field's political potential, arrives at more ambiguous conclusions. Reflecting on the trajectory of \"British Cultural Marxism,\" her talk at the Rosa-Luxemburg-Stiftung in October 2017 poses a research question that remains unanswered. The subtitle of her lecture – \"From 'Working-Class Culture' to 'Common-Sense Neoliberalism'?\" – may be read as a cautious comment on the development of cultural studies which reiterates Turner's findings about the field's subordination to a market-oriented logic of cultural exploitation. On the other hand, it may reference a broader shift in scholarly focus to the influence of neoliberalism on gender hierarchies (see e.g. McRobbie's The Aftermath of Feminism, 2008). While the question mark in the subtitle allows for both readings, McRobbie's ambiguity deliberately unsettles the above allegations and thereby raises more general questions about the functions and effects of meta-critical debates. Providing ample evidence that the institutionalization and resulting interdisciplinarity of research areas does not constitute a problem per se, McRobbie's talk insinuates that, in the words of Gesa Stedman, \"[t]he hottest phase\" of cultural studies \"is followed by a cooler one,\" which is usually the case when \"institutions are set up and become part of everyday scholarly practice\" (2013, 4). In addition, the 'cooler' phases in the evolution of various disciplines commonly provoke competitions for the most political or most radical positions among different generations of scholars. Are the reproaches of Taylor, Turner and others justified or ascribable to this dynamic? In order to prepare this special issue, the editors surveyed approximately 60 pertinent international journals specializing in postcolonial and cultural studies. 1 Finding about 100 immediately relevant articles, we decided to approach them with Franco Moretti's method of 'distant reading' (2013a)2 and arrived at the following observations: The majority of articles prove that the disciplines are increasingly concerned with their own stocktaking, mainly occasioned by journal anniversaries or the publication of controversial interventions into the fields, which necessarily accompanies the est","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707417","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42556743","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":"Markets and Materials in Bruegel’s Antwerp","authors":"Katharine M. Campbell","doi":"10.1086/707423","DOIUrl":"https://doi.org/10.1086/707423","url":null,"abstract":"","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707423","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42790540","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":"Additional Image Credits","authors":"","doi":"10.1086/707436","DOIUrl":"https://doi.org/10.1086/707436","url":null,"abstract":"","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707436","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48229529","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}
To better understand Bruegel’s use of pigments in the paint layer of e Wedding Dance, it is important to examine their historical context. How did artists obtain their pigments? Who made them, who sold them, and by what processes were they actually made? Just as the Antwerp Guild of Saint Luke controlled the sale of paintings (see Part 1, p. 30) and the fabrication of painting panels (see Part 2, p. 35), it played a central role in the regulation of pigment production and sales. e guild provided a network in which painters could operate, allowing them to connect with art dealers and suppliers of materials. Some art dealers played a dual role, not only selling artworks to the public, but also selling pigments to artists. is type of specialized pigment dealer was known as a verfvercopere (Dutch for “paint seller”) or marchand de couleurs (French for “merchant of colors”).120 Beginning in 1561 the registers of the Antwerp Guild of Saint Luke list some of these dealers as professional pigment sellers.121 e emergence of formal pigment sellers’ shops allowed artists to purchase their specialized, highquality pigments from merchants dedicated solely to supplying artists’ materials, rather than from the apothecaries or general purpose pharmacies that artists in Rome, Paris, and London patronized. Venice was the only other European city with a similar infrastructure of professional pigment merchants (vendecolori in Italian).122 Bruegel may have purchased his pigments (or the raw materials for them) from this type of Antwerp dealer. Even though he painted e Wedding Dance while living in Brussels, Antwerp was the commercial center through which such pigments arrived in the Low Countries before they were distributed elsewhere. Moreover, Bruegel received his training within Antwerp’s distinctive artistic culture, and it was the city that shaped his artistic thinking and professional networks. Since Bruegel was a member of the Antwerp Guild of Saint Luke, it seems reasonable to assume that he purchased his pigments from pigment sellers who were part of his social circle through the guild. How were such pigments actually made, and who made them? Painters may have purchased their pigments ready-made from either a pigment dealer or an apothecary, outsourced their manufacture to either an apprentice or a specialized pigment maker, or used some combination of these sources. (For more information on the grinding and storage of pigments, see Part 5, p. 63.)
为了更好地理解勃鲁盖尔在《婚礼舞蹈》的颜料层中使用的颜料，研究它们的历史背景是很重要的。艺术家是如何获得颜料的？是谁制造的，是谁出售的，它们实际上是通过什么工艺制造的？正如安特卫普圣卢克公会控制绘画的销售（见第1部分，第30页）和绘画面板的制造（见第2部分，第35页）一样，它在颜料生产和销售的监管中发挥了核心作用。e公会提供了一个画家可以运作的网络，使他们能够与艺术品经销商和材料供应商建立联系。一些艺术品经销商扮演着双重角色，不仅向公众出售艺术品，还向艺术家出售颜料。是一种专门的颜料经销商，被称为verfvercopere（荷兰语中“颜料销售商”的意思）或marchand de couleurs（法语中“色彩商人”的意思，来自专门供应艺术家材料的商人的高品质颜料，而不是来自罗马、巴黎和伦敦艺术家光顾的药剂师或通用药店。威尼斯是唯一一个拥有类似专业颜料商人基础设施的欧洲城市。122勃鲁盖尔可能从这种类型的安特卫普经销商那里购买了他的颜料（或颜料的原材料）。尽管他在布鲁塞尔时画了《婚礼舞蹈》，但安特卫普是这种颜料在其他地方分销之前到达低地国家的商业中心。此外，勃鲁盖尔在安特卫普独特的艺术文化中接受了培训，正是这座城市塑造了他的艺术思想和职业网络。由于勃鲁盖尔是安特卫普圣卢克公会的成员，因此可以合理地假设，他是通过该公会从颜料销售商那里购买颜料的。这些颜料实际上是如何制造的，是谁制造的？画家可能从颜料经销商或药剂师那里购买现成的颜料，将其制造外包给学徒或专业颜料制造商，或者使用这些来源的组合。（有关颜料研磨和储存的更多信息，请参阅第5部分，第63页。）
{"title":"Pigments and Pigment Making in Bruegel’s Time Period","authors":"Katharine M. Campbell","doi":"10.1086/707426","DOIUrl":"https://doi.org/10.1086/707426","url":null,"abstract":"To better understand Bruegel’s use of pigments in the paint layer of e Wedding Dance, it is important to examine their historical context. How did artists obtain their pigments? Who made them, who sold them, and by what processes were they actually made? Just as the Antwerp Guild of Saint Luke controlled the sale of paintings (see Part 1, p. 30) and the fabrication of painting panels (see Part 2, p. 35), it played a central role in the regulation of pigment production and sales. e guild provided a network in which painters could operate, allowing them to connect with art dealers and suppliers of materials. Some art dealers played a dual role, not only selling artworks to the public, but also selling pigments to artists. is type of specialized pigment dealer was known as a verfvercopere (Dutch for “paint seller”) or marchand de couleurs (French for “merchant of colors”).120 Beginning in 1561 the registers of the Antwerp Guild of Saint Luke list some of these dealers as professional pigment sellers.121 e emergence of formal pigment sellers’ shops allowed artists to purchase their specialized, highquality pigments from merchants dedicated solely to supplying artists’ materials, rather than from the apothecaries or general purpose pharmacies that artists in Rome, Paris, and London patronized. Venice was the only other European city with a similar infrastructure of professional pigment merchants (vendecolori in Italian).122 Bruegel may have purchased his pigments (or the raw materials for them) from this type of Antwerp dealer. Even though he painted e Wedding Dance while living in Brussels, Antwerp was the commercial center through which such pigments arrived in the Low Countries before they were distributed elsewhere. Moreover, Bruegel received his training within Antwerp’s distinctive artistic culture, and it was the city that shaped his artistic thinking and professional networks. Since Bruegel was a member of the Antwerp Guild of Saint Luke, it seems reasonable to assume that he purchased his pigments from pigment sellers who were part of his social circle through the guild. How were such pigments actually made, and who made them? Painters may have purchased their pigments ready-made from either a pigment dealer or an apothecary, outsourced their manufacture to either an apprentice or a specialized pigment maker, or used some combination of these sources. (For more information on the grinding and storage of pigments, see Part 5, p. 63.)","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707426","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41721146","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}
In e Wedding Dance, Bruegel applied the paint in a thin, smooth layer, a method that he typically used in his paintings.181 Rather than relying on a thick layer of paint to cover his dark underdrawing, he seems to have preferred using a thin layer of opaque paint that was densely packed with pigment.182 Although an overall sequence to Bruegel’s paint application is dicult to discern, what is apparent is that he followed the design he laid out in his underdrawing by generally using a paint application method known as painting (or working) in reserve. With this technique, the artist paints certain elements of the composition first and leaves other adjacent areas “in reserve” to be painted later.183 When we view e Wedding Dance flat and at an oblique angle in visible lighting, we can see evidence of this method in the slight paint ridges surrounding various figures and architectural elements.184 Painting in reserve is a distinguishing feature of Bruegel’s painting technique, and we can observe evidence of this method in many of his works, including the Rotterdam Tower of Babel (after 1563), Return of the Herd (1565),185 Hunters in the Snow (1565), Winter Landscape with Bird Trap (1565), e Gloomy Day (1565), Massacre of the Innocents (ca. 1565–67), and Census at Bethlehem (1566).186 is method of painting is a thoughtful way to avoid wasting precious materials—and thus money—because the artist did not apply pigments, which were sometimes expensive, in areas where they were not needed.187 However, Oberthaler, as well as Currie and Allart, notes that Bruegel did not always follow this method strictly throughout a whole composition.188 In e Wedding Dance, although he painted in reserve, Bruegel seems to have worked on smaller groups of figures at the same time. He would start by painting the key element on whichever figure he deemed to be the central person in a group. He would then proceed to paint whatever items visually overlap that element. For example, on the basis of how the paint overlaps, we can tell that within the group of figures that includes the bride (person 13), Bruegel painted her carbon black–based dress first.189 en within that group (persons 11, 12, 4, 5, 14, and 15), he painted the various elements that adjoin the bride’s dress, such as person 12’s dark sleeve, person 15’s gray-striped fur cu, and person 4’s now-brown jacket.190 Although these items appear to overlap the dress, the overlapping is only visual; Bruegel in fact painted each color adjacent to the others rather than actually overlaying them. However, the deteriorated condition of the paint layer makes it dicult to discern a more specific order of paint application beyond a general approach of beginning with the central figure in a grouping and then working outward within the group. e order varies even in each figure grouping, let alone throughout the entire composition.
{"title":"Bruegel’s Paint Application in The Wedding Dance","authors":"Blair Bailey","doi":"10.1086/707428","DOIUrl":"https://doi.org/10.1086/707428","url":null,"abstract":"In e Wedding Dance, Bruegel applied the paint in a thin, smooth layer, a method that he typically used in his paintings.181 Rather than relying on a thick layer of paint to cover his dark underdrawing, he seems to have preferred using a thin layer of opaque paint that was densely packed with pigment.182 Although an overall sequence to Bruegel’s paint application is dicult to discern, what is apparent is that he followed the design he laid out in his underdrawing by generally using a paint application method known as painting (or working) in reserve. With this technique, the artist paints certain elements of the composition first and leaves other adjacent areas “in reserve” to be painted later.183 When we view e Wedding Dance flat and at an oblique angle in visible lighting, we can see evidence of this method in the slight paint ridges surrounding various figures and architectural elements.184 Painting in reserve is a distinguishing feature of Bruegel’s painting technique, and we can observe evidence of this method in many of his works, including the Rotterdam Tower of Babel (after 1563), Return of the Herd (1565),185 Hunters in the Snow (1565), Winter Landscape with Bird Trap (1565), e Gloomy Day (1565), Massacre of the Innocents (ca. 1565–67), and Census at Bethlehem (1566).186 is method of painting is a thoughtful way to avoid wasting precious materials—and thus money—because the artist did not apply pigments, which were sometimes expensive, in areas where they were not needed.187 However, Oberthaler, as well as Currie and Allart, notes that Bruegel did not always follow this method strictly throughout a whole composition.188 In e Wedding Dance, although he painted in reserve, Bruegel seems to have worked on smaller groups of figures at the same time. He would start by painting the key element on whichever figure he deemed to be the central person in a group. He would then proceed to paint whatever items visually overlap that element. For example, on the basis of how the paint overlaps, we can tell that within the group of figures that includes the bride (person 13), Bruegel painted her carbon black–based dress first.189 en within that group (persons 11, 12, 4, 5, 14, and 15), he painted the various elements that adjoin the bride’s dress, such as person 12’s dark sleeve, person 15’s gray-striped fur cu, and person 4’s now-brown jacket.190 Although these items appear to overlap the dress, the overlapping is only visual; Bruegel in fact painted each color adjacent to the others rather than actually overlaying them. However, the deteriorated condition of the paint layer makes it dicult to discern a more specific order of paint application beyond a general approach of beginning with the central figure in a grouping and then working outward within the group. e order varies even in each figure grouping, let alone throughout the entire composition.","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707428","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46582115","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}
Bruegel painted e Wedding Dance on an oak panel. is panel is an important component of the painting because it provided the smooth support for his remarkably thin ground and paint layers. e specific oak timber used to build the panel traveled from the Baltic ports to Antwerp via the trading routes of the Hanseatic League—a confederation of merchant guilds and market towns in northern Europe—before it was delivered to Bruegel’s studio as a panel.28 is wood panel tells us not only about an artist who was able to access materials of the highest quality, but also about the history of the powerful merchant city of Antwerp and about trade and organized labor during the mid-sixteenth century. Although the wooden panel has been altered over the centuries, it remains a repository of important information. Many of the manufacturing marks and assembly techniques are clearly consistent with those found on Bruegel’s other panels, and they show the practices of the workshop that made these panels. Recent wood analysis and dating of the various wooden planks has placed the panel even more thoroughly within Bruegel’s oeuvre, drawing more specific connections to his other panels.29 A thorough examination of the wooden panel, however, reveals that the top section of e Wedding Dance is a later addition by someone other than Bruegel—an assessment that significantly alters our understanding of the artist’s compositional intentions. Because its condition and colors are dierent from those of the rest of the painting, the top section has been under scrutiny since at least the restorer William Suhr’s 1942 report. Yet ultimately it was the logic of the panel itself that led us to speculate that this section was not just a later repair, but in fact a complete invention. is hypothesis has now been confirmed both by wood analysis and by a comparison of the painting with a copy in the collection of the Gemäldegalerie in Berlin: Wedding Dance in the Open (plate 7). O A K : A J O U R N E Y F R O M T H E B A LT I C T O A N T W E R P
勃鲁盖尔在橡木镶板上画了《婚礼之舞》。他的面板是这幅画的重要组成部分，因为它为他非常薄的地面和油漆层提供了平滑的支撑。用于建造面板的特定橡木木材从波罗的海港口通过汉萨同盟的贸易路线运送到安特卫普，汉萨同盟是北欧商人协会和集镇的联盟，然后作为面板交付给勃鲁盖尔的工作室。28号木板不仅向我们讲述了一位能够获得最高质量材料的艺术家，还讲述了强大的商业城市安特卫普的历史，以及16世纪中期的贸易和有组织的劳工。虽然木板经过几个世纪的改变，但它仍然是重要信息的储存库。许多制造标记和组装技术与勃鲁盖尔其他镶板上的明显一致，它们显示了制作这些镶板的车间的做法。29 .最近对各种木板的木材分析和年代测定表明，这块木板更彻底地属于勃鲁盖尔的作品，与他的其他木板有更具体的联系然而，对木板的彻底检查表明，《婚礼之舞》的顶部部分是后来由布鲁盖尔以外的人添加的，这一评估大大改变了我们对艺术家创作意图的理解。由于它的状态和颜色与这幅画的其他部分完全不同，至少从修复者威廉·苏尔(William Suhr) 1942年的报告开始，它的顶部部分就一直受到仔细的审查。然而，最终是面板本身的逻辑让我们推测，这部分不仅仅是后来的修复，实际上是一个完整的发明。他的假设现在已经被木材分析和与柏林Gemäldegalerie收藏的复制品的比较所证实:开放的婚礼舞蹈(第七版)。O a K: a J U R N E Y F R O M T H B a LT I T O a N T W E R P
{"title":"The Wooden Panel of The Wedding Dance","authors":"Ellen Hanspach-Bernal","doi":"10.1086/707424","DOIUrl":"https://doi.org/10.1086/707424","url":null,"abstract":"Bruegel painted e Wedding Dance on an oak panel. is panel is an important component of the painting because it provided the smooth support for his remarkably thin ground and paint layers. e specific oak timber used to build the panel traveled from the Baltic ports to Antwerp via the trading routes of the Hanseatic League—a confederation of merchant guilds and market towns in northern Europe—before it was delivered to Bruegel’s studio as a panel.28 is wood panel tells us not only about an artist who was able to access materials of the highest quality, but also about the history of the powerful merchant city of Antwerp and about trade and organized labor during the mid-sixteenth century. Although the wooden panel has been altered over the centuries, it remains a repository of important information. Many of the manufacturing marks and assembly techniques are clearly consistent with those found on Bruegel’s other panels, and they show the practices of the workshop that made these panels. Recent wood analysis and dating of the various wooden planks has placed the panel even more thoroughly within Bruegel’s oeuvre, drawing more specific connections to his other panels.29 A thorough examination of the wooden panel, however, reveals that the top section of e Wedding Dance is a later addition by someone other than Bruegel—an assessment that significantly alters our understanding of the artist’s compositional intentions. Because its condition and colors are dierent from those of the rest of the painting, the top section has been under scrutiny since at least the restorer William Suhr’s 1942 report. Yet ultimately it was the logic of the panel itself that led us to speculate that this section was not just a later repair, but in fact a complete invention. is hypothesis has now been confirmed both by wood analysis and by a comparison of the painting with a copy in the collection of the Gemäldegalerie in Berlin: Wedding Dance in the Open (plate 7). O A K : A J O U R N E Y F R O M T H E B A LT I C T O A N T W E R P","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/707424","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44889831","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":"The Contemporary Japanese Ceramics Collection at the Detroit Institute of Arts","authors":"Natsu Oyobe","doi":"10.1086/701458","DOIUrl":"https://doi.org/10.1086/701458","url":null,"abstract":"","PeriodicalId":36609,"journal":{"name":"Bulletin of the Detroit Institute of Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1086/701458","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42935030","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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