Pub Date : 2012-01-01DOI: 10.1163/18750176-90000001
M. Bloem
The article discusses the dating of miniature illuminated manuscripts from a breviary, a Latin liturgical book, from Egmond, the Netherlands, originating from the 15th century. The illustrations were created by a group of artists known as the Masters of Zweder van Culemborg. The medieval manuscripts were dated using technical research methods such as pigment analysis and infrared reflectography. Photographic images of paintings are presented including the "Flagellation of Christ," "Stoning of St. Stephen," and "Martyrdom of Saint Agnes."
这篇文章讨论了从15世纪荷兰埃格蒙德(Egmond)的一本拉丁礼仪书《祈祷书》(breviary)中找到的微型彩绘手稿的年代。这些插图是由一群被称为Zweder van cullemborg大师的艺术家创作的。这些中世纪手稿的年代是用颜料分析和红外反射法等技术研究方法确定的。展出了《基督的鞭笞》、《圣斯蒂芬的石刑》、《圣艾格尼丝的殉难》等绘画作品的照片。
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Pub Date : 2011-12-01DOI: 10.1163/003067212X13397495480862
Ulrike Kern
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Pub Date : 2011-12-01DOI: 10.1163/003067212X13397495480781
C. Fock
The family of Pieter Teding van Berkhout (1643-1713) originated from the West Frisian town of Hoorn, but by the time he was born they had moved to The Hague to take up high governmental offices in the province of Holland and West Friesland. The relatives of his mother, who was born into an important patrician family in Delft, opened the doors to a successful career in that city, where Pieter went to live after his marriage and where in due course he became a member of the city council and burgomaster. The diaries that he kept throughout his adult life reveal his close connection to the architect Jacob Roman (1640-1716), one of the main architects of the late seventeenth century, first as architect of the city of Leiden and later of King-Stadholder William III of Orange. Since Roman features in relatively few sources, Pieter's extensive diary entries, in which the architect is mentioned no fewer than 45 times (see Appendix), reveal several hitherto unknown facts about his career. Jacob Roman did not start out as an architect but followed in his father's footsteps by becoming a woodcarver ('beeldsnijder') whose main skill was the carving of ornamental decorations. It was in that capacity that Pieter Teding van Berkhout first commissioned him in 1677 to execute the decorative carvings on his coach, which was made to Pieter's specifications by craftsmen in The Hague. That was followed a year later by the decorations on a clock that Pieter wanted to present to Delfshaven, of which he was harbour master at the time. In both instances Pieter closely followed the progress of Roman's efforts during visits to his workshop in The Hague. Shortly afterwards, though, Jacob Roman shifted his interest increasingly to architecture (in 1681 finally abandoning his former profession). This coincided with Pieter's diary entry in September 1679 about discussions in Clingendael on architectural subjects between himself, his host and friend Philip Doublet and Jacob Roman. A few weeks later this was followed by Roman's visit to Pieter's house in Delft to discuss some plans Pieter had regarding his own buildings. Yet when Pieter rebuilt his country retreat of Pasgeld near Delft in 1681-1683, Roman's role must have been confined to advising on more general aspects, without any practical involvement in the planning and building process. And again, when Pieter made extensive alterations to his town house in Delft in 1687-1689, all of Roman's visits to Delft in that period to discuss architectural matters only took place when Pieter's renovations were well under way in accordance with plans developed by Pieter himself. Nevertheless, the relationship between the two men flourished, as Pieter Teding van Berkhout showed a marked interest in the building projects in which Jacob Roman was involved. The first time we hear of this is in February 1686, when Pieter visited Roman in Leiden to look at the latter's designs for Het Loo, when he designated Roman in his diary in so many wor
彼得·泰德·范·伯克豪特(1643-1713)的家族来自西弗里斯兰的霍恩镇，但在他出生的时候，他们已经搬到了海牙，在荷兰和西弗里斯兰省担任高级政府职务。他的母亲出生在代尔夫特一个重要的贵族家庭，母亲的亲戚为他在代尔夫特的事业打开了成功的大门。彼得婚后住在代尔夫特，并在适当的时候成为了市议会的成员和市长。他在整个成年生活中保存的日记揭示了他与建筑师雅各布·罗曼(1640-1716)的密切联系，雅各布·罗曼是17世纪后期的主要建筑师之一，首先是莱顿市的建筑师，后来是奥兰治国王威廉三世的建筑师。由于罗马在相对较少的来源中出现，Pieter的大量日记条目中提到建筑师不少于45次(见附录)，揭示了他的职业生涯中一些迄今为止未知的事实。雅各布·罗曼并不是一名建筑师，而是跟随父亲的脚步成为了一名木雕师，他的主要技能是雕刻装饰装饰。正是在这种身份下，彼得·泰德·范·伯克豪特于1677年首次委托他在他的马车上进行装饰雕刻，这是海牙的工匠按照彼得的规格制作的。一年后，彼得想把钟上的装饰送给当时他是德尔夫港港长的德尔夫港。在这两种情况下，彼得在访问罗曼在海牙的工作室期间密切关注他的工作进展。然而不久之后，雅各布·罗曼将他的兴趣逐渐转向建筑(1681年最终放弃了他以前的职业)。这与彼得在1679年9月的日记中关于他自己、他的主人和朋友菲利普·道布莱特和雅各布·罗曼在克林根达尔讨论建筑主题的内容相吻合。几周后，罗曼拜访了彼得在代尔夫特的家，讨论了彼得关于自己建筑的一些计划。然而，当彼得于1681年至1683年在代尔夫特附近重建他的乡间别墅帕斯盖尔德时，罗马的角色肯定仅限于在更一般的方面提供建议，而没有实际参与规划和建设过程。同样，当彼得在1687-1689年对他在代尔夫特的别墅进行大规模改造时，罗马在那个时期访问代尔夫特讨论建筑问题的所有时间都是在彼得按照他自己制定的计划进行翻修的时候。然而，两人之间的关系蓬勃发展，因为彼得·泰德·范·伯克豪特对雅各布·罗曼参与的建筑项目表现出了明显的兴趣。我们第一次听到这个消息是在1686年2月，当时彼得在莱顿拜访了罗曼，看了后者为海尔卢设计的建筑，他在日记中用了很多词指定罗曼为海尔卢第一阶段建筑的建筑师(在其他资料中仍然不确定)，尽管直到1689年，罗曼才成为威廉三世的官方建筑师。由于Pieter Teding van Berkhout对建筑和花园设计表现出极大的兴趣，在Roman的公司共同参观成为了一种受欢迎的消遣，尤其是在后来的几年里。例如，1700年，罗曼带彼得去了海牙国王的一些(未指明的)建筑，以及最近购买的波特兰伯爵汉斯·威廉·本廷克(Hans Willem Bentinck)位于Voorhout的房子，当时罗曼正在对其进行翻新。两年后，1702年2月，罗曼带着彼得参观了国王的另一位宠臣，阿尔伯马尔伯爵阿诺德·约斯特·范·吉佩尔的住所，该住所毗邻宾内霍夫庄园，根据彼得的日记，罗曼当时正在修缮庄园。罗曼的这两项活动在其他资料中都是未知的。那年晚些时候，彼得去了另一位朝臣威廉·阿德里安·范·拿索-奥迪克(Willem Adriaan van Nassau-Odijck)在广场上的房子，这一次罗曼不在，他是否受到后者的指使，从而可能表明他参与了可能的改造，这一点必须不得而知。但众所周知，Albemarle和Nassau-Odijck的乡村别墅De Voorst和Zeist都使用Roman作为建筑师。这并不是彼得·泰德·范·伯克胡特和雅各布·罗曼对海牙及其周边建筑的唯一访问。例如，当罗曼被新主人普鲁士国王任命为Noordeinde宫殿的总管时，他带着彼得参观了宫殿和花园。1705年，彼得在海牙的密友科内利斯·德·荣格·范·埃尔米特经常在他的乡间别墅杜内尔招待他，他打算在鹿特丹建造一座富丽堂皇的豪宅，彼得很快就去拜访了罗马，看了建筑师为它做的计划。
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Pub Date : 2011-12-01DOI: 10.1163/003067212X13397495480943
Teresa Posada Kubissa
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Pub Date : 2011-01-01DOI: 10.1163/003067212X13397495481023
Dominik Fugger
The Bean King, better known by the cry uttered by fellow revellers: “The King drinks!”, is not only one of the most prominent but also one of the most enduring of all Netherlandish genre subjects, perhaps best known through the paintings of Jacob Jordaens and Jan Steen. Up to now it had been thought that the earliest versions go back to Marten van Cleve (1527-1581). However, it has hitherto gone unnoticed that a French Book of Hours, executed some decades earlier, contains a miniature illustrating the festivity which formed a ritual part of the celebrations of the feast of the Epiphany. But unlike Van Cleve, whose Bean King makes merry with fellow peasants, the unknown book illuminator situates the scene in a courtly milieu. This change of setting challenges our views about iconographic continuity and raises questions about the function and transformation of such images.
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Pub Date : 2011-01-01DOI: 10.1163/187501711798264184
E. Grasman
The article reviews the book "Frits Lugt 1884-1970: Leven voor de kunst," by J.F. Heijbroek.
这篇文章回顾了J.F. Heijbroek的《水果之路1884-1970:Leven voor de kunst》一书。
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Pub Date : 2011-01-01DOI: 10.1163/187501711798264175
W. Groot
The intention of my article is to reopen the investigation into the heritage of the Crabeth family and their activities as glaziers of stained-glass windows along with other works of art they produced in the sixteenth century.For a long time it was believed that Pieter Dircksz Crabeth and his famous sons Dirck and Wouter originated from Gouda, where they achieved their greatest work: eighteen stained-glass windows for Sint Janskerk. In my contribution I give an account of the pre-Gouda period and make clear that their field of activities was wider and more far-reaching than is commonly agreed upon.Profiles of their patrons provide an insight into the network to which the Crabeths belonged. Their contacts with the land of Cuijk and the prince bishopric of Liege have been investigated and documented.Count Floris of Egmond-Buren and his commission to Pieter Crabeth to make eight windows for his castle in Grave in 1522 is highlighted. Research shows a patronage relationship between the house of Egmond and the Crabeth family.In a letter written by Abbott Nicolas de Malaise we find evidence of a stay by Dirck and Wouter Crabeth at Saint Hubert d'Ardenne around 1523 due to the rebuilding of the abbey church in Renaissance style. The impetus for this letter was a fatal accident caused by Wouter Crabeth's horse. The article goes into the judicial implications of such an event and the consequences for the person involved at that time. The letter expresses the abbot's concern about Wouter's stay in Saint-Hubert with regard to the continuity of the building project.Twenty years later Pieter and Dirck Crabeth are again invited by Abbott Remacle de Marche to produce stained-glass windows for the abbey church in Saint Hubert, which had been destroyed by fire in the intervening years. The window of Adolf von Schauenburg, who later became archbishop of Cologne, is a wonderful example from this period and it is the only known glass by Pieter Crabeth still in situ. Research into stylistic elements of the rendering of the suffragan bishop in the Gouda cartoon Confirmatio and the patron saint Lambert in the Schauenburg window show a remarkable resemblance between the two figures.In view of the activities of the Crabeths in Saint Hubert d'Ardenne, critical research is called for into the authorship of the windows in the bishopric of Liege and the probability of the glaziers being involved in glass production studios in its capital.New insights based upon thorough studies of material and written sources with detailed notes and glosses, along with recent archival investigations, are presented here in the hope that discussion about Pieter Crabeth and his sons Dirck and Wouter will be given new life and put into a wider perspective.
我这篇文章的目的是重新调查克拉伯斯家族的遗产，以及他们在16世纪制作彩色玻璃窗和其他艺术作品的活动。很长一段时间以来，人们认为彼得·德克什·克拉贝斯和他著名的儿子德克和沃特都起源于豪达，他们在那里完成了他们最伟大的作品:圣扬斯克的18扇彩色玻璃窗。在我的发言中，我叙述了前豪达时期，并明确指出，他们的活动领域比普遍商定的更广泛和更深远。他们的赞助人的档案可以让我们了解到克拉伯夫妇所属的网络。他们与奎克土地和列日亲王教区的接触已被调查和记录。1522年，埃格蒙德-布伦的弗洛里斯伯爵委托彼得·克拉伯斯为他的坟墓城堡制作八扇窗户。研究表明埃格蒙德家族和克拉伯斯家族之间存在赞助关系。在阿博特·尼古拉斯·德·马恩斯写的一封信中，我们发现了1523年左右，德克和沃特·克拉贝斯因重建文艺复兴风格的修道院教堂而住在圣休伯特·阿登纳的证据。这封信的动机是沃特·伊丽莎白的马造成的一次致命事故。本文探讨了此类事件的司法含义以及当时所涉人员的后果。这封信表达了修道院院长对伍特尔在圣休伯特的逗留对建筑项目的连续性的担忧。二十年后，Pieter和Dirck Crabeth再次受到Abbott Remacle de Marche的邀请，为圣休伯特的修道院教堂制作彩色玻璃窗，该教堂在随后的几年中被大火烧毁。阿道夫·冯·绍恩堡(Adolf von Schauenburg)后来成为科隆大主教，他的窗户就是这一时期的一个很好的例子，它是彼得·克拉贝斯(Pieter Crabeth)设计的唯一已知的玻璃。对豪达漫画《确认》中的妇女参教会主教和肖恩堡橱窗中的守护神兰伯特的风格元素的研究表明，这两个人物之间有着惊人的相似之处。鉴于克拉伯在圣休伯特达阿登的活动，需要对列日主教区窗户的作者身份进行批判性研究，以及玻璃工匠参与其首都玻璃生产工作室的可能性。基于对材料和书面资料的深入研究，加上详细的注释和注释，以及最近的档案调查，这里提出了新的见解，希望关于彼得·克拉伯斯和他的儿子德克和沃特的讨论将被赋予新的生命，并进入更广阔的视野。
{"title":"De glazeniersfamilie Crabeth en hun werkzaamheden in Saint-Hubert d'Ardenne","authors":"W. Groot","doi":"10.1163/187501711798264175","DOIUrl":"https://doi.org/10.1163/187501711798264175","url":null,"abstract":"The intention of my article is to reopen the investigation into the heritage of the Crabeth family and their activities as glaziers of stained-glass windows along with other works of art they produced in the sixteenth century.For a long time it was believed that Pieter Dircksz Crabeth and his famous sons Dirck and Wouter originated from Gouda, where they achieved their greatest work: eighteen stained-glass windows for Sint Janskerk. In my contribution I give an account of the pre-Gouda period and make clear that their field of activities was wider and more far-reaching than is commonly agreed upon.Profiles of their patrons provide an insight into the network to which the Crabeths belonged. Their contacts with the land of Cuijk and the prince bishopric of Liege have been investigated and documented.Count Floris of Egmond-Buren and his commission to Pieter Crabeth to make eight windows for his castle in Grave in 1522 is highlighted. Research shows a patronage relationship between the house of Egmond and the Crabeth family.In a letter written by Abbott Nicolas de Malaise we find evidence of a stay by Dirck and Wouter Crabeth at Saint Hubert d'Ardenne around 1523 due to the rebuilding of the abbey church in Renaissance style. The impetus for this letter was a fatal accident caused by Wouter Crabeth's horse. The article goes into the judicial implications of such an event and the consequences for the person involved at that time. The letter expresses the abbot's concern about Wouter's stay in Saint-Hubert with regard to the continuity of the building project.Twenty years later Pieter and Dirck Crabeth are again invited by Abbott Remacle de Marche to produce stained-glass windows for the abbey church in Saint Hubert, which had been destroyed by fire in the intervening years. The window of Adolf von Schauenburg, who later became archbishop of Cologne, is a wonderful example from this period and it is the only known glass by Pieter Crabeth still in situ. Research into stylistic elements of the rendering of the suffragan bishop in the Gouda cartoon Confirmatio and the patron saint Lambert in the Schauenburg window show a remarkable resemblance between the two figures.In view of the activities of the Crabeths in Saint Hubert d'Ardenne, critical research is called for into the authorship of the windows in the bishopric of Liege and the probability of the glaziers being involved in glass production studios in its capital.New insights based upon thorough studies of material and written sources with detailed notes and glosses, along with recent archival investigations, are presented here in the hope that discussion about Pieter Crabeth and his sons Dirck and Wouter will be given new life and put into a wider perspective.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2011-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88187055","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 : 2011-01-01DOI: 10.1163/187501711798264193
M. V. E. Hommes, Emilie Froment
Because of its extreme darkness, The nocturnal conspiracy of Claudius Civilis by Govert Flinck (16151660) and Jurgen Ovens (1623-1678) holds an isolated position within the decoration program with the Batavian revolt in the galleries of Amsterdam's former Town Hall. Of course the canvas depicts a nocturnal scene with light from only the fire and the moon, but in this painting the darkness dominates virtually everything. The rough, rather sketchy execution, whereby large parts of the canvas are left unpainted is also peculiar. Because of this appearance, some art historians have thought it an outrage that this 'painting with no value' should have replaced Rembrandt's masterpiece with the same subject. However, Flinck and Ovens - both pupils of Rembrandt - were painters of the first rank and there is nothing in the oeuvre of either master that is reminiscent of this rather unbalanced gallery painting. The question is therefore: to what does this piece owe its inaccessible appearance? This, of course, also relates to the manufacture-process and function of the canvas. Archival records and historical texts contain many relevant details on the paintings' genesis but have so far mainly given rise to confusion. The technical investigation, carried out during the 2007-2009 conservation campaign of the Batavian series, now demonstrates that the painting's extreme appearance traces back to both its peculiar genesis that is wholly different from that of the other gallery paintings and to its unfortunate conservation history. It was found that the piece was never intended to be a permanent decoration: the canvas is the one surviving remnant of a series of temporary festive decorations that Flinck had produced in the summer of 1659 in honour of the visit of Amalia van Solms and the Orange family to the Town Hall. Because of the painting's temporary nature, Flinck has modified his usual working procedures. Rather than taking sturdy, durable linen he chose a thin, fine canvas; and instead of applying to his canvas a reliable ground layer he painted on it directly. Flinck elected for fast-drying water-based paint (gum arabic) and worked with an extremely modest palette: he coloured his canvas with a thinned brown paint and on this base modelled his figures with only black contours and beige highlights. The original idea was that Flinck's temporary works would be replaced by permanent decorations from his hand, consisting of twelve paintings. But because of his untimely death in 1660, the commission was divided between Jordaens, Lievens and Rembrandt. Rembrandt's painting, to replace Flinck's work with the nocturnal conspiracy, was almost immediately removed, probably in the summer of 1662. When the Bishop of Cologne visited Amsterdam shortly afterwards, this empty space needed to be filled in a hurry and Flinck's old decoration was retrieved from storage. Jurgen Ovens was commissioned to 'work up [= finish] a sketch by Govert Flinck into a complete ordonnance'.
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Pub Date : 2011-01-01DOI: 10.1163/187501711797281177
Jeroen Goudeau
The article reviews the book "The City Rehearsed; Object, Architecture, and Print in the Worlds of Hans Vredeman de Vries," by Christopher P. Heuer.
这篇文章评论了《排练的城市》这本书;《Hans Vredeman de Vries世界中的物体、建筑和印刷》，作者:Christopher P. Heuer。
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Pub Date : 2011-01-01DOI: 10.1163/187501711798264201
E. Kok
Jacob Backer signed and dated (1640) a history piece that until now was entitled David and Bathsheba and is located in Tokyo. The image however, lacks the traditional iconographical motifs from which we can recognize this old biblical story.In this article I propose that the painting is a portrait historie of the wealthy Amsterdam couple Marinus Lowysse and Eva Ment represented as Isaac and Rebecca. Backer modelled his biblical love couple after Rafael's fresco Isaac and Rebecca spied upon by Abemelich in the Vatican. Backer must have known that image from Sisto Badalocchio's print of 1607 in Historia del Testamento Vecchio - this collection of fifty prints was reprinted in Amsterdam in 1638.The identification as Isaac and Rebecca does not show at first sight in the present painting. Therefore, we have to take in consideration that the current image is heavily over painted and the canvas is reduced by almost 65 %. Fortunately a drawing in Braunschweig – that was convincingly attributed by Peter van den Brink as a modello by Backer - offers a clear idea of the monumental standing format of the original painting and it's explicit erotic content. This is particular notable in the slung-leg motif that contemporaries undoubtedly would have recognized as the act of making love. The erotic allusions, the rare subject, and the unusual huge standing format are indicative of a commission.The identification of the commissioners derives from the striking likeness, in features and clothing, that the man in the Tokyo painting shows with the portrait of Marinus Lowysse, that he – as we know - commissioned from Backer in the same year of 1640, a Portrait historie of Marinus Lowysse en Eva Ment, with their children, presenting the history of Christ and the Canaanite Woman, now in Middelburg. Recently an unknown painting of Backer turned up at the art market, which is very likely another portrait of Marinus Lowysse; apparently he was an important client of Backer.
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