Pub Date : 2017-04-17DOI: 10.1163/18750176-13003001
B. Ridderbos, M. Faries
{"title":"Hans Memling's Last Judgement in Gdansk: technical evidence and creative process","authors":"B. Ridderbos, M. Faries","doi":"10.1163/18750176-13003001","DOIUrl":"https://doi.org/10.1163/18750176-13003001","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2017-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76682279","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 : 2016-12-21DOI: 10.1163/18750176-12901008
M. Hell
A Bridled Atlas and his celestial globe. The History of a Statue on the Amsterdam Town Hall. The central figure at the back facade of the former city hall -now royal palace- in Amsterdam is the mythological giant Atlas. His presence is 'an allusion to universal peace', according to art historians who refer to the Treatry of Munster (1648) that also inspired other decorations by the architect Jacob van Campen (1596-1657). Yet in the visual language of the early modern period, the image of Atlas rather points to a transfer of power. During his preliminary design of the building, Van Campen was faced with the death of his former patron, stadtholder Frederick Henry of Orange, who was succeeded by his son, William II. The Amsterdam burgomasters agreed with a statue referring to their less-than-beloved stadtholder only because he was flanked and watched by two ladies: Temperantia (moderation) and Vigilantia (vigilance). Around 1667 the bronze Atlas with a large globe on his shoulders was placed on the tympan at the rear side of the town hall. Visitors who dared to climb into the sphere were rewarded with a magnificent view of the city. Coloured green by corrosion, Atlas still dominates the western side of the royal palace today.
{"title":"Een gebreidelde Atlas en zijn hemelkloot. De geschiedenis van een stadhuisbeeld","authors":"M. Hell","doi":"10.1163/18750176-12901008","DOIUrl":"https://doi.org/10.1163/18750176-12901008","url":null,"abstract":"A Bridled Atlas and his celestial globe. The History of a Statue on the Amsterdam Town Hall.\u0000The central figure at the back facade of the former city hall -now royal palace- in Amsterdam is the mythological giant Atlas. His presence is 'an allusion to universal peace', according to art historians who refer to the Treatry of Munster (1648) that also inspired other decorations by the architect Jacob van Campen (1596-1657). Yet in the visual language of the early modern period, the image of Atlas rather points to a transfer of power. During his preliminary design of the building, Van Campen was faced with the death of his former patron, stadtholder Frederick Henry of Orange, who was succeeded by his son, William II. The Amsterdam burgomasters agreed with a statue referring to their less-than-beloved stadtholder only because he was flanked and watched by two ladies: Temperantia (moderation) and Vigilantia (vigilance). Around 1667 the bronze Atlas with a large globe on his shoulders was placed on the tympan at the rear side of the town hall. Visitors who dared to climb into the sphere were rewarded with a magnificent view of the city. Coloured green by corrosion, Atlas still dominates the western side of the royal palace today.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2016-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83117618","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 : 2016-12-21DOI: 10.1163/18750176-12901010
Carla van de Puttelaar, F. G. Meijer
Oud Holland 2016 volume 129 3/4 Since 1862, a family collection in Scotland includes a Dutch portrait of a child with a sheep, painted in 1663 (fig. 1).1 An inscription indicates that the portrayed child is four years old. Although the painting is signed and dated, the painter had remained unidentified until the present authors inspected it in 2011. The signature appeared to read ‘A. v. Hendoorn’, but this name could not be connected to any known artist. However, when shown the photo of the signature, Rudi Ekkart suggested that it might be read as ‘A. v. Isendoorn’.
{"title":"The Lives of the van Isendoorn Family of Painters and the Recognition of a Portrait of a Four-Year Old Child with a Sheep as the Work of Andries van Isendoorn (1624/25 – 1695/1702)","authors":"Carla van de Puttelaar, F. G. Meijer","doi":"10.1163/18750176-12901010","DOIUrl":"https://doi.org/10.1163/18750176-12901010","url":null,"abstract":"Oud Holland 2016 volume 129 3/4 Since 1862, a family collection in Scotland includes a Dutch portrait of a child with a sheep, painted in 1663 (fig. 1).1 An inscription indicates that the portrayed child is four years old. Although the painting is signed and dated, the painter had remained unidentified until the present authors inspected it in 2011. The signature appeared to read ‘A. v. Hendoorn’, but this name could not be connected to any known artist. However, when shown the photo of the signature, Rudi Ekkart suggested that it might be read as ‘A. v. Isendoorn’.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2016-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87544287","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 : 2016-12-21DOI: 10.1163/18750176-12901014
Editors Oud Holland
{"title":"About the Contributors/Over de auteurs","authors":"Editors Oud Holland","doi":"10.1163/18750176-12901014","DOIUrl":"https://doi.org/10.1163/18750176-12901014","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2016-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138532044","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 : 2016-12-21DOI: 10.1163/18750176-12901011
E. Geudeker
Many artists travelled abroad in the nineteenth century, and some of those journeys are noted in the art-historical literature. The registers of the passports that were required for travel abroad are an important and more complete source of information. Applications for passports were made to the local authority where the traveller lived, and the registers record the personal details of the applicant, profession and travel destination. Those registers have evidently been lost in various towns and cities, but they have been preserved in the city archives of The Hague and Rotterdam for the periods 1818-1847 and 1813-1893 respectively. They contain the details of 220 passport applications, which are included in the appendices to this article. What is not known, though, is whether the proposed journeys were actually undertaken and whether the destinations were ever reached.
{"title":"Haagse en Rotterdamse kunstenaars op reis in de eerste helft van de negentiende eeuw. Registers van afgegeven paspoorten voor het buitenland in het Haags Gemeentearchief en het Stadsarchief Rotterdam","authors":"E. Geudeker","doi":"10.1163/18750176-12901011","DOIUrl":"https://doi.org/10.1163/18750176-12901011","url":null,"abstract":"Many artists travelled abroad in the nineteenth century, and some of those journeys are noted in the art-historical literature. The registers of the passports that were required for travel abroad are an important and more complete source of information. Applications for passports were made to the local authority where the traveller lived, and the registers record the personal details of the applicant, profession and travel destination. Those registers have evidently been lost in various towns and cities, but they have been preserved in the city archives of The Hague and Rotterdam for the periods 1818-1847 and 1813-1893 respectively. They contain the details of 220 passport applications, which are included in the appendices to this article. What is not known, though, is whether the proposed journeys were actually undertaken and whether the destinations were ever reached.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2016-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73977858","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 : 2016-12-21DOI: 10.1163/18750176-12901007
Stefan Bartilla
A painting in a private Amsterdam collection, which until now had been attributed to Jacob Adriaensz Backer, shows a surprisingly close relation to the 1633 picture Penitent King David byHendrick Bloemaert in the National Gallery in Prague. After a close comparison with a passage from Scripture (Job chapter 42, verses 7-9) and a print by Adriaen Collaert, based on a drawing by Johannes Stradanus, the subject of the Amsterdam picture has been determined anew as Job's intercession at the Burnt Offering of His Friends. An analysis of style of the Job-painting, based on a comparison with works by Hendrick Bloemaert and his father Abraham Bloemaert, confirms the attribution to Hendrick Bloemaert. Lastly, the Amsterdam picture is identified with a painting, assumed to be lost, which according to a source from 1778, was painted by Hendrick Bloemaert and dedicated to the Sint Jobsgasthuis in Utrecht in 1633 and which depicts the "Gebed en Brand-offer van Hiob"
阿姆斯特丹私人收藏中的一幅画，迄今为止一直被认为是雅各布·阿德里安斯·贝克尔的作品，与布拉格国家美术馆中亨德里克·布洛梅尔特1633年的画作《忏悔的大卫国王》有着惊人的密切关系。经过与圣经中的一段话(约伯记42章7-9节)和Adriaen Collaert根据Johannes Stradanus的绘画绘制的版画的仔细比较，阿姆斯特丹这幅画的主题被重新确定为约伯在他的朋友们的燔祭上的代祷。通过与Hendrick Bloemaert和他的父亲Abraham Bloemaert的作品进行比较，分析了Job-painting的风格，确认了Hendrick Bloemaert的作品。最后，阿姆斯特丹的这幅画与一幅被认为已经丢失的画相一致，根据1778年的消息来源，这幅画是由亨德里克·布卢默特(Hendrick Bloemaert)绘制的，并于1633年献给乌得勒支的圣Jobsgasthuis，描绘了“Gebed en Brand-offer van Hiob”。
{"title":"\"Hiobs Fürbitte vor dem Brandopfer seiner Freunde\" - ein wiederentdecktes Werk von Hendrick Bloemaert","authors":"Stefan Bartilla","doi":"10.1163/18750176-12901007","DOIUrl":"https://doi.org/10.1163/18750176-12901007","url":null,"abstract":"A painting in a private Amsterdam collection, which until now had been attributed to Jacob Adriaensz Backer, shows a surprisingly close relation to the 1633 picture Penitent King David byHendrick Bloemaert in the National Gallery in Prague. After a close comparison with a passage from Scripture (Job chapter 42, verses 7-9) and a print by Adriaen Collaert, based on a drawing by Johannes Stradanus, the subject of the Amsterdam picture has been determined anew as Job's intercession at the Burnt Offering of His Friends. An analysis of style of the Job-painting, based on a comparison with works by Hendrick Bloemaert and his father Abraham Bloemaert, confirms the attribution to Hendrick Bloemaert. Lastly, the Amsterdam picture is identified with a painting, assumed to be lost, which according to a source from 1778, was painted by Hendrick Bloemaert and dedicated to the Sint Jobsgasthuis in Utrecht in 1633 and which depicts the \"Gebed en Brand-offer van Hiob\"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2016-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87872376","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 : 2016-12-21DOI: 10.1163/18750176-12901009
E. Muls
There are three extant, southern Netherlandish group portraits of surgeons: "The anatomy lesson of Dr Joannes van Buyten" (1648) by the Antwerp portraitist Frans Denys (1610-1670), "The board of governors of the Bruges surgeons"(1677) by Philips Bernaerts, and "The anatomy lesson" (1679) featuring four Bruges surgeons by an anonymous artist. Civic group portraits from Bruges have received scant attention in the literature, and very little was known about Philips Bernaerts. Archival documents have aided the following reconstruction of how "The board of governors of the Bruges surgeons" came to be made, and demonstrate that the surgeons were a very active professional guild in the second half of the seventeenth century. The commission of this civic group portrait was an expression of their growing self-assurance and cohesion as a group. New biographical discoveries shed a light on the professional knowledge and activities of the II surgeons. They also tell us something about their personalities. Now, for the first time, it is posible to suggest a name for the candidate surgeon. The art-historical literature places the Ghent painter Philips Bernaerts, who was active there from 1640 onwards, alongside a namesake in Bruges. The archival research carried out for this article now reveals that they are one and the same person. Philips Bernaerts married Johanna Vandenberghe, with whom he had at least seven children in Ghent between 1651 an 1664. He died in Bruges on 18 August 1683, and was buried there in the friary of the Franciscan Recollects. Thanks to these new discoveries it is possible to sketch the first complete picture of Bernaerts's artistic activity. He was a prominent figure in the world of Ghent painters from 1646 to 1658-1660, among other things as member of the board of governors. He painted numerous works for religious houses and churches in and around Ghent, and in Bruges as well, mostly large altarpieces. Bernaerts is highly rated for his composition and colouring. Stylistically he was clearly indebted to Gaspar de Crayed (1584-1669), and Peter Paul Rubens (1577-1640). In 1677 Bernaerts became a master painter in Bruges and executed his large civic group portrait of "The board of governors of the Bruges surgeons" that same year. The canvas is an exception in his oeuvre in that he is not known to have painted any other portraits. There is no information about his artistic output after 1677.
{"title":"De eed van de Brugse chirurgijnen , een corporatiestuk van Philips Bernaerts (1677). Een contextuele analyse met nieuwe gegevens over maker en geportretteerden","authors":"E. Muls","doi":"10.1163/18750176-12901009","DOIUrl":"https://doi.org/10.1163/18750176-12901009","url":null,"abstract":"There are three extant, southern Netherlandish group portraits of surgeons: \"The anatomy lesson of Dr Joannes van Buyten\" (1648) by the Antwerp portraitist Frans Denys (1610-1670), \"The board of governors of the Bruges surgeons\"(1677) by Philips Bernaerts, and \"The anatomy lesson\" (1679) featuring four Bruges surgeons by an anonymous artist. Civic group portraits from Bruges have received scant attention in the literature, and very little was known about Philips Bernaerts. Archival documents have aided the following reconstruction of how \"The board of governors of the Bruges surgeons\" came to be made, and demonstrate that the surgeons were a very active professional guild in the second half of the seventeenth century. The commission of this civic group portrait was an expression of their growing self-assurance and cohesion as a group. New biographical discoveries shed a light on the professional knowledge and activities of the II surgeons. They also tell us something about their personalities. Now, for the first time, it is posible to suggest a name for the candidate surgeon. The art-historical literature places the Ghent painter Philips Bernaerts, who was active there from 1640 onwards, alongside a namesake in Bruges. The archival research carried out for this article now reveals that they are one and the same person. Philips Bernaerts married Johanna Vandenberghe, with whom he had at least seven children in Ghent between 1651 an 1664. He died in Bruges on 18 August 1683, and was buried there in the friary of the Franciscan Recollects. Thanks to these new discoveries it is possible to sketch the first complete picture of Bernaerts's artistic activity. He was a prominent figure in the world of Ghent painters from 1646 to 1658-1660, among other things as member of the board of governors. He painted numerous works for religious houses and churches in and around Ghent, and in Bruges as well, mostly large altarpieces. Bernaerts is highly rated for his composition and colouring. Stylistically he was clearly indebted to Gaspar de Crayed (1584-1669), and Peter Paul Rubens (1577-1640). In 1677 Bernaerts became a master painter in Bruges and executed his large civic group portrait of \"The board of governors of the Bruges surgeons\" that same year. The canvas is an exception in his oeuvre in that he is not known to have painted any other portraits. There is no information about his artistic output after 1677.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2016-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81428578","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 : 2016-12-21DOI: 10.1163/18750176-12901012
R. Krul
The Dutch painter Johannes Anthonie Balthazar Stroebel (1821-1905) was born and raised in the Hague. He received his training at the local Teekenacademie (School of the Arts) and in the studios of Bartholomeus van Hove and his son Huib, both painters of historical architecture. Stroebel followed in their footsteps, while concentrating on spaces indoors enlivened by all manner of figures in seventeenth century dress, thus presenting a wide variety of scenes from everyday life in the past. All through the nineteenth century this type of historical scene enjoyed popularity in most European countries, with many artists successfully specializing in such topics. In the Netherlands however a different situation developed, although historical genre scenes were produced in considerable numbers. Countless Dutch painters tried their hand at such scenes once or twice, thereby adding to its overall quantity, but only to abandon history painting for ever. Merely a handful of artists held on to this subject matter throughout their careers. Stroebel was one of those few. His choice may have originated in individual interests, but will certainly have been influenced by the growing popularity of his personal brand - his rendering of natural sunlight in historical interiors. In spite of criticism of his technical qualities he was a respected artist and successful in exhibiting and selling his work. The results of earlier research into the reception of historical genre scenes in European countries other than the Netherlands suggest that the appreciation for Stroebel's work is likely to have been inspired by a lively cultural historical interest on the part of his admirers. A closer scrutiny of that appreciation however has shown that it was not so much the artist's presentation of life in the Netherland's Golden Age as his particular use of sunlight, often described as Rembrandtesque and almost invariably as charming, even delightful, that caught the attention and fuelled the enthusiasm of his Dutch contemporaries.
荷兰画家约翰内斯·安东尼·巴尔萨泽·施特罗贝尔(1821-1905)在海牙出生和长大。他在当地的tekenacademy(艺术学院)和Bartholomeus van Hove和他的儿子Huib的工作室接受了他的训练，他们都是历史建筑画家。Stroebel跟随他们的脚步，同时专注于室内空间，由17世纪服装的各种人物活跃起来，从而呈现了过去日常生活中的各种场景。整个19世纪，这种历史场景在大多数欧洲国家都很受欢迎，许多艺术家成功地专门从事这类主题。然而，在荷兰，尽管制作了相当数量的历史类型场景，但情况却有所不同。无数的荷兰画家尝试过一两次这样的场景，从而增加了它的整体数量，但只是永远放弃了历史绘画。只有少数艺术家在他们的职业生涯中一直坚持这一主题。史特博就是其中之一。他的选择可能源于个人兴趣，但肯定受到他个人品牌日益流行的影响——他在历史室内渲染自然阳光。尽管批评他的技术素质，他是一个受人尊敬的艺术家和成功的展览和销售他的作品。早期对除荷兰以外的欧洲国家对历史类型场景的接受情况的研究结果表明，对斯特罗贝尔作品的欣赏很可能是受到他的崇拜者对文化历史兴趣的启发。然而，对这种欣赏的仔细审查表明，与其说是艺术家对荷兰黄金时代生活的表现，不如说是他对阳光的特殊使用，经常被描述为伦勃朗风格，几乎总是迷人的，甚至令人愉快，这引起了他的荷兰同时代人的注意，并激发了他们的热情。
{"title":"Johannes Anthonie Balthazar Stroebel (1821-1905). Oudhollands leven en Hollands licht","authors":"R. Krul","doi":"10.1163/18750176-12901012","DOIUrl":"https://doi.org/10.1163/18750176-12901012","url":null,"abstract":"The Dutch painter Johannes Anthonie Balthazar Stroebel (1821-1905) was born and raised in the Hague. He received his training at the local Teekenacademie (School of the Arts) and in the studios of Bartholomeus van Hove and his son Huib, both painters of historical architecture. Stroebel followed in their footsteps, while concentrating on spaces indoors enlivened by all manner of figures in seventeenth century dress, thus presenting a wide variety of scenes from everyday life in the past. All through the nineteenth century this type of historical scene enjoyed popularity in most European countries, with many artists successfully specializing in such topics. In the Netherlands however a different situation developed, although historical genre scenes were produced in considerable numbers. Countless Dutch painters tried their hand at such scenes once or twice, thereby adding to its overall quantity, but only to abandon history painting for ever. Merely a handful of artists held on to this subject matter throughout their careers. Stroebel was one of those few. His choice may have originated in individual interests, but will certainly have been influenced by the growing popularity of his personal brand - his rendering of natural sunlight in historical interiors. In spite of criticism of his technical qualities he was a respected artist and successful in exhibiting and selling his work. The results of earlier research into the reception of historical genre scenes in European countries other than the Netherlands suggest that the appreciation for Stroebel's work is likely to have been inspired by a lively cultural historical interest on the part of his admirers. A closer scrutiny of that appreciation however has shown that it was not so much the artist's presentation of life in the Netherland's Golden Age as his particular use of sunlight, often described as Rembrandtesque and almost invariably as charming, even delightful, that caught the attention and fuelled the enthusiasm of his Dutch contemporaries.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2016-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84926104","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 : 2016-08-31DOI: 10.1163/18750176-12901006
M. Hommes, P. Bakker
{"title":"A Triumph with no Battle: The Significance of a Painted Wall Hanging (1778) in the Hofkeshuis in Almelo","authors":"M. Hommes, P. Bakker","doi":"10.1163/18750176-12901006","DOIUrl":"https://doi.org/10.1163/18750176-12901006","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2016-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90913004","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 : 2016-02-23DOI: 10.1163/18750176-12901004
J. Aono
{"title":"Adriaan Waiboer, Gabriel Metsu (1629-1667): Life and Work – Catalogue Raisonné , New Haven and London, Yale University Press, 2012. 408 pp. 78 colour illus., 170 b/w illus., ISBN 9780300170481","authors":"J. Aono","doi":"10.1163/18750176-12901004","DOIUrl":"https://doi.org/10.1163/18750176-12901004","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2016-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78091359","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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