Pub Date : 2016-02-23DOI: 10.1163/18750176-12901001
Xander van Eck
Iconoclasm in a glass? Wouter Crabeths "Scourging of Heliodorus" and Dirck Crabeths "Cleansing of the Temple" in Gouda's Sint Janskerk. Two monumental stained-glass Windows, The Scourging of Heliodorus (1566) by Wouter Crabeth (ca.1535-1585) and the Cleansing of the Temple (1567) by his older brother Dirck Crabeth (ca.1525-1574), occupy the eastern walls of the transept of Gouda's Sint Janskerk, to the left and right of the ambulatory. They were part of the ambitious decoration campaign that started after the church was gutted by a fire in 1552. By the time the Sea Beggars took Gouda in 1572, twenty monumental windows had been realized. Although heavily restored, the ensemble survives until today. Clearly, the Heliodorus and the Cleansing of the Temple form a typological pair. The former tells the apocryphal story of general Heliodorus who comes to claim the treasures of the Temple, upon which the priest Onias prays to God, who sends an angel and a heavenly horseman to whip the general out (2 Maccabees 3, : 24-26). The composition is based on Raphaels version, which the glass painter knew through a print by Coornhert after Maerten van Heemskerck. It was donated by Erick of Brunswick II, a German count brought up in the Lutheran faith. He converted to Catholicism as an adult and became a staunch defender of that religion and a close ally of Philip II. Among his greatest achievements was the capture of the highest ranking generals of the French army at the battle of St. Quentin in 1557. The King then made him Lord of Woerden, a town next to gouda, where Eric started to live with his mistress, far from his estranged wife in Germany. The donation of this window in Gouda confirmed his newfound prominence in Holland and his closeness to Philip II, who in 1557 had donated the magnificent window in the North Wall of the transept, right next to Erick's. The donor's border included a portrait of the donor in full formal dress, plus his family arms going back four generations, and a patron saint - in this case St. Lawrence, whose death was celebrated at the 10th of August, the day of the battle of St. Quentin. It also bears a striking incription : CATHOLICAE RELIGIONIS ERGO, ('because of the Catholic religion'). It is the first time that the words 'Catholic religion' appear on a church monument in the Netherland. Ironically but understandably, it happened at a moment when the supremacy of this faith was waning. The Scourging of Heliodorus, dated 1566, was put in place in the spring of 1567. As Lord of Woerden, Erick of Brunswick's mercenaries had chased the Lutherans out of the town's parish church after they occupied it during the iconoclasm of 1566. No wonder that later authors like local historian Walvis (1713) and Conrad busquen Huet (1882-1884) explained the Windows as a memorial to the victory over the iconoclasts. It was only at the end of the twientieth century that this interpretation was refuted. Documents in the church archive show that productio
{"title":"Beeldenstorm in een glas? Wouter Crabeths Bestraffing van de tempelrover Heliodorus en Dirck Crabeths Tempelreiniging in de Sint Janskerk in Gouda","authors":"Xander van Eck","doi":"10.1163/18750176-12901001","DOIUrl":"https://doi.org/10.1163/18750176-12901001","url":null,"abstract":"Iconoclasm in a glass? Wouter Crabeths \"Scourging of Heliodorus\" and Dirck Crabeths \"Cleansing of the Temple\" in Gouda's Sint Janskerk.\u0000Two monumental stained-glass Windows, The Scourging of Heliodorus (1566) by Wouter Crabeth (ca.1535-1585) and the Cleansing of the Temple (1567) by his older brother Dirck Crabeth (ca.1525-1574), occupy the eastern walls of the transept of Gouda's Sint Janskerk, to the left and right of the ambulatory. They were part of the ambitious decoration campaign that started after the church was gutted by a fire in 1552. By the time the Sea Beggars took Gouda in 1572, twenty monumental windows had been realized. Although heavily restored, the ensemble survives until today.\u0000Clearly, the Heliodorus and the Cleansing of the Temple form a typological pair. The former tells the apocryphal story of general Heliodorus who comes to claim the treasures of the Temple, upon which the priest Onias prays to God, who sends an angel and a heavenly horseman to whip the general out (2 Maccabees 3, : 24-26). The composition is based on Raphaels version, which the glass painter knew through a print by Coornhert after Maerten van Heemskerck. It was donated by Erick of Brunswick II, a German count brought up in the Lutheran faith. He converted to Catholicism as an adult and became a staunch defender of that religion and a close ally of Philip II. Among his greatest achievements was the capture of the highest ranking generals of the French army at the battle of St. Quentin in 1557. The King then made him Lord of Woerden, a town next to gouda, where Eric started to live with his mistress, far from his estranged wife in Germany. The donation of this window in Gouda confirmed his newfound prominence in Holland and his closeness to Philip II, who in 1557 had donated the magnificent window in the North Wall of the transept, right next to Erick's.\u0000The donor's border included a portrait of the donor in full formal dress, plus his family arms going back four generations, and a patron saint - in this case St. Lawrence, whose death was celebrated at the 10th of August, the day of the battle of St. Quentin. It also bears a striking incription : CATHOLICAE RELIGIONIS ERGO, ('because of the Catholic religion'). It is the first time that the words 'Catholic religion' appear on a church monument in the Netherland. Ironically but understandably, it happened at a moment when the supremacy of this faith was waning.\u0000The Scourging of Heliodorus, dated 1566, was put in place in the spring of 1567. As Lord of Woerden, Erick of Brunswick's mercenaries had chased the Lutherans out of the town's parish church after they occupied it during the iconoclasm of 1566. No wonder that later authors like local historian Walvis (1713) and Conrad busquen Huet (1882-1884) explained the Windows as a memorial to the victory over the iconoclasts.\u0000It was only at the end of the twientieth century that this interpretation was refuted. Documents in the church archive show that productio","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":"91319154","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: 10.1163/18750176-12901003
R. Gerhardt
{"title":"Rediscovered portraits clarifying the family of Michiel van Musscher (1645-1705), and the preliminary development of his masterpiece, The Family of the Painter","authors":"R. Gerhardt","doi":"10.1163/18750176-12901003","DOIUrl":"https://doi.org/10.1163/18750176-12901003","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":"83846793","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: 10.1163/18750176-12901002
I. Wolf
Two paintings about love and fertility by Peter van Lint. The collection of the Prado Museum in Madrid contains two pendants painted by the Antwerp artista Peter van Lint: a Triumph of love and a Triumph of fertility. They are on copper supports and are currently on permanent Ioan in Rome and on Mallorca. Fresh light has been shed on them by the discovery of two small and virtually identical panels. The paintings may have been commissioned from Van Lint by a patron who had a specific iconography in mind. This may be indicated by the large size of the copper plates, as well as the unusual subject combination of love and fertility. The Prado paintings are far more detailed than the small panels, and it is posible that the latter were made in preparation for the larger ones, possibly to secure the patron's approval. One remarkable modification in the shape of a woman in contemporary dress may have been included at his request. Regular trade with Spain in this period, where Van Lint's work was greatly appreciated, explains why the pictures have been in Spanish possession for so long. The scenes on the pendants have been given a new iconographic interpretation, and it turns out that the subjects of love and fertility como from two different sources. The Triumph of love is found in the visual arts not only in series with the Triumphs of Petrarch but also as a subject in its own right. The Triumph of fertility is not as common, mainly being found in series of the Four Elements in which Cybele symbolizes Earth. There is no evidence taht teres was a market for pendants illustrating love and fertility, so the provisional conclusion is that seems to be a unique combination in the visual arts.
彼得·范·林特的两幅关于爱和生育的画。马德里普拉多博物馆的藏品包括安特卫普艺术家彼得·范·林特(Peter van Lint)绘制的两个吊坠:爱情的胜利和生育的胜利。它们是用铜支撑的，目前在罗马和马略卡岛永久居留。两个几乎一模一样的小面板的发现给他们带来了新的曙光。这些画可能是范林特的赞助人委托的，他心中有一个特定的肖像。这可以从铜片的大尺寸以及爱情和生育的不同寻常的主题组合中看出。普拉多的画作比小画板要细致得多，后者可能是为大画板做准备，可能是为了获得赞助人的批准。在他的要求下，一个穿着现代服装的女人的形状可能被做了一个显著的修改。在这一时期与西班牙的经常性贸易中，范林特的作品受到了极大的赞赏，这解释了为什么这些画被西班牙人拥有这么长时间。吊坠上的场景被赋予了新的图像解释，原来爱情和生育的主题来自两个不同的来源。《爱的胜利》不仅与彼特拉克的《胜利》一起出现在视觉艺术中，而且也是一个独立的主题。生育的胜利并不常见，主要是在四元素系列中发现的，其中西布莉象征着地球。没有证据表明泰尔斯是一个展示爱情和生育能力的挂件市场，所以暂时的结论是，这似乎是视觉艺术中一个独特的组合。
{"title":"Twee schilderijen van Peter van Lint over Liefde en Vruchtbaarheid","authors":"I. Wolf","doi":"10.1163/18750176-12901002","DOIUrl":"https://doi.org/10.1163/18750176-12901002","url":null,"abstract":"Two paintings about love and fertility by Peter van Lint.\u0000The collection of the Prado Museum in Madrid contains two pendants painted by the Antwerp artista Peter van Lint: a Triumph of love and a Triumph of fertility. They are on copper supports and are currently on permanent Ioan in Rome and on Mallorca. Fresh light has been shed on them by the discovery of two small and virtually identical panels.\u0000The paintings may have been commissioned from Van Lint by a patron who had a specific iconography in mind. This may be indicated by the large size of the copper plates, as well as the unusual subject combination of love and fertility. The Prado paintings are far more detailed than the small panels, and it is posible that the latter were made in preparation for the larger ones, possibly to secure the patron's approval. One remarkable modification in the shape of a woman in contemporary dress may have been included at his request.\u0000Regular trade with Spain in this period, where Van Lint's work was greatly appreciated, explains why the pictures have been in Spanish possession for so long. The scenes on the pendants have been given a new iconographic interpretation, and it turns out that the subjects of love and fertility como from two different sources. The Triumph of love is found in the visual arts not only in series with the Triumphs of Petrarch but also as a subject in its own right. The Triumph of fertility is not as common, mainly being found in series of the Four Elements in which Cybele symbolizes Earth. There is no evidence taht teres was a market for pendants illustrating love and fertility, so the provisional conclusion is that seems to be a unique combination in the visual arts.","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":"77235451","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 : 2015-11-14DOI: 10.1163/18750176-90000220
H. V. Asperen
{"title":"Virtue and Alms : Charity as a Pauper in Cornelis De Man’s Allegory of the Virtuous Life","authors":"H. V. Asperen","doi":"10.1163/18750176-90000220","DOIUrl":"https://doi.org/10.1163/18750176-90000220","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2015-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77221792","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 : 2015-08-21DOI: 10.1163/18750176-90000212
B. Broos
{"title":"Een vergeten leerling van Rembrandt: Jan Jansz. de Stomme","authors":"B. Broos","doi":"10.1163/18750176-90000212","DOIUrl":"https://doi.org/10.1163/18750176-90000212","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2015-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87898732","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 : 2015-08-21DOI: 10.1163/18750176-90000210
K. Veelenturf
Two panels from the environment of Jacob Cornelisz van Oostsanen in the Museum Boijmans Van Beuningen. In the discussion of the iconography of two panels from the environment of Jacob Cornelisz van Oostsanen in the Museum Boijmans Van Beuningen of Rotterdam new interpretations are proposed. The panels make up the shutters of a triptych with a now lost central panel with unknown subject. The previously unidentified donor on the panel with St Christopher must be Mr Dirk Willemsz van Rietwijk, a canon of the St Catherine's chapter of the private Egmont chapel in Egmond aan den Hoef. The two saints depicted as sculptures on the reverses of the shutters, formerly identified as Edward the Confessor and an anonymous canonized monk from Scotland, appear to be St Adalbert and St Jeroen (Hieron), both saints strongly connected with the North of Holland, and especially with Egmond Abbey. The original triptych must have been painted for Mr. Dirk van Rietwijk c.1516, with the purpose to place it within the Egmond aan den Hoef collegiate chapel. When in 1516 Mr. Dirk suddenly died in the Flemish town of Louvain, this triptych apparently was brought to the collegiate church of St. Peter's in Louvain to serve as an epitaph near the grave of Mr. Dirk Willemsz van Rietwijk in the chapel of St. Dorothy.
Boijmans van Beuningen博物馆Jacob Cornelisz van Oostsanen环境中的两块面板。在对鹿特丹Boijmans van Beuningen博物馆Jacob Cornelisz van Oostsanen环境中的两块面板的图像学讨论中，提出了新的解释。这些嵌板组成了一幅三联画的百叶窗，中间嵌板的主题未知，现已丢失。与圣克里斯托弗同在画板上的先前身份不明的捐赠者一定是德克·威廉姆兹·范·里特维克先生，他是埃格蒙德和登霍夫的埃格蒙特私人教堂圣凯瑟琳分会的一名教长。在百叶窗背面的雕塑中描绘的两位圣徒，以前被认为是忏悔者爱德华和一位来自苏格兰的匿名封圣僧侣，似乎是圣阿达伯特和圣杰伦(希伦)，这两位圣徒都与荷兰北部，尤其是埃格蒙德修道院有着密切的联系。这幅三联画的原作一定是1516年左右为德克·范·里特维克(Dirk van Rietwijk)先生画的，目的是把它放在埃格蒙德·安登·霍夫(Egmond aan den Hoef)学院教堂里。1516年，德克先生在弗拉芒的鲁汶镇突然去世，这幅三联画显然被带到鲁汶的圣彼得学院教堂，作为德克·威勒姆兹·范·里特维克先生在圣多萝西教堂的坟墓旁的墓志铭。
{"title":"Twee panelen uit de kring van Jacob Cornelisz van Oostsanen in Museum Boijmans Van Beuningen","authors":"K. Veelenturf","doi":"10.1163/18750176-90000210","DOIUrl":"https://doi.org/10.1163/18750176-90000210","url":null,"abstract":"Two panels from the environment of Jacob Cornelisz van Oostsanen in the Museum Boijmans Van Beuningen. In the discussion of the iconography of two panels from the environment of Jacob Cornelisz van Oostsanen in the Museum Boijmans Van Beuningen of Rotterdam new interpretations are proposed. The panels make up the shutters of a triptych with a now lost central panel with unknown subject. The previously unidentified donor on the panel with St Christopher must be Mr Dirk Willemsz van Rietwijk, a canon of the St Catherine's chapter of the private Egmont chapel in Egmond aan den Hoef. The two saints depicted as sculptures on the reverses of the shutters, formerly identified as Edward the Confessor and an anonymous canonized monk from Scotland, appear to be St Adalbert and St Jeroen (Hieron), both saints strongly connected with the North of Holland, and especially with Egmond Abbey. The original triptych must have been painted for Mr. Dirk van Rietwijk c.1516, with the purpose to place it within the Egmond aan den Hoef collegiate chapel. When in 1516 Mr. Dirk suddenly died in the Flemish town of Louvain, this triptych apparently was brought to the collegiate church of St. Peter's in Louvain to serve as an epitaph near the grave of Mr. Dirk Willemsz van Rietwijk in the chapel of St. Dorothy.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2015-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78971584","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 : 2015-08-21DOI: 10.1163/18750176-90000211
E. Buijsen
Adriaen Pietersz. van de Venne (1589-1662) was a poet as well as a painter. In his eyes both art forms were closely related, a view that is clearly expressed in his Zeeusche Mey-clacht, ofte Schyn-kycker, a theoretical poem about art that was included in the 1623 anthology Zeeusche Nachtegael. In that learned ode of almost 400 lines he argued for the combination of painting and poetry in an art that would surpass all others, for which he coined the term Sinne-cunst (art of wit). Why, people may ask, was Sinne-cunst Raised so high above all other art? "Because, I say, the mind plays so prodigiously within it That nothing else is so blessed with meaning". Indications of what Van der Venne was aiming at with the combination of the two arts are also found in his books of poetry Tafereel van Sinne-mal (1623), Woudt van wonderlicke Sinne-Fabulen der Dieren (1632) and Sinne-Vonck op den Hollandtschen Turf (1634). According to him, the combination of Poesis and Pictura was based on the equivalence of these two sister arts, which can supplement and reinforce each other. However, he believed that the concept of Sinne-cunst also meant that the same principles applied to both poetry and painting, for both served as the bearers of wisdom and employed similar means to set the reader or viewer thinking. He discusses this at length in his Tafereel van de Belacchende Werelt of 1635, in which he explains the didactic and moralistic function of painting with the aid of some specific examples from his own oeuvre. Oddly enough, his views have attracted relatively little attention in the recent art-historical discussion about deeper meanings in seventeenth-century Dutch painting. After moving from Middelburg to The Hague around 1625, Van de Venne put his ideal of Sinnecunst into practice by including banderoles in many of his paintings, both grisaille and polychrome. The relationship between word and image can vary from one instance to the next. Sometimes the text is illustrated literally, as with the pendants "Het sijn stercke beenen die Weelde konne[n] dragen' (Strong are the legs that can bear luxury) (fig.10) and 't Sijn ellendige beenen die Armoe moete[n] draege[n]' (Miserable are the legs that must bear poverty)(fig.12). The powerfully built young man in Strong Legs is literally carrying a woman symbolizing luxury. The blind man in Miserable legs is destitute, and is literally and figuratively bowed down by poverty. In other cases, such as He Who Guesses Misses (The Blind Leading the Blind, fig.14) and Unknown is Unloved (The Journey to Emmaus, fig.17), one first has to identify the subject of the scene in order to make a meaningful connection with the inscription on the banderole. In addition to existing saying Van de Venne often used combinations of words that he thought up himself,such as Rich Poverty (fig.20), the meaning of which only becomes clear in combination with the image. He also liked short, pithy expressions like All'-arm!, (Alarm!, but also a pla
奥斯塔Pietersz。凡·德·凡纳(1589-1662)是一位诗人，也是一位画家。在他看来，这两种艺术形式是密切相关的，这一观点在他的《艺术之诗》(zeeeusche Mey-clacht, ofte schynkycker)中得到了明确表达，这是一首关于艺术的理论诗，被收录在1623年的《艺术之诗》选集中。在这首近400行的学术颂歌中，他主张将绘画和诗歌结合在一起，形成一种超越其他所有艺术的艺术，为此他创造了“Sinne-cunst”(机智的艺术)一词。人们可能会问，为什么《罪论》比其他所有艺术都要高?“因为，我说，心灵在其中发挥着如此巨大的作用，没有什么比它更有意义了。”凡·德·凡纳的诗歌《Tafereel Van Sinne-mal》(1623年)、《Woudt Van wonderlicke Sinne-Fabulen der Dieren》(1632年)和《Sinne-Vonck op den Hollandtschen Turf》(1634年)也表明了他将这两种艺术结合起来的目的。在他看来，诗与画的结合是建立在这两种姊妹艺术对等的基础上的，它们可以相互补充，相互促进。然而，他认为，罪恶的概念也意味着同样的原则适用于诗歌和绘画，因为它们都是智慧的承载者，并采用类似的手段来设定读者或观众的思维。他在1635年的《Tafereel van de Belacchende Werelt》一书中详细讨论了这一点，在这本书中，他用自己作品中的一些具体例子解释了绘画的说教和道德功能。奇怪的是，在最近关于17世纪荷兰绘画的深层意义的艺术史讨论中，他的观点却很少引起人们的注意。在1625年左右从米德尔堡搬到海牙之后，凡·德·凡纳将他对辛尼昆斯特的理想付诸实践，在他的许多画作中包括了花格画和多彩画。单词和图像之间的关系可能因实例而异。有时文字是按字面意思来说明的，比如挂饰“heet sijn stercke beenen die Weelde konne[n] dragen”(图10)和“t sijn ellendige beenen die Armoe moete[n] draege”(悲惨的是必须忍受贫穷的腿)(图12)。《强壮的双腿》中强壮的年轻男子抱着一个象征奢华的女人。穿着可怜的腿的盲人是贫困的，他在字面上和比喻上都被贫困压垮了。在其他情况下，如《猜错了的人》(《瞎子领瞎子》，图14)和《不为人知的人》(《以马忤斯之旅》，图17)，人们首先必须确定场景的主题，以便与手章上的铭文建立有意义的联系。除了已有的说法外，Van de Venne还经常使用自己构思的词语组合，例如Rich Poverty(图20)，只有结合图像，其含义才会变得清晰。他还喜欢一些短小精悍的表达，比如“胳膊!”(报警!(但也是一个文字游戏，意思是“都很穷!”)和jammerlijack !(可悲!)，加上感叹号给人的印象是，这是主要人物(或旁观者)在喊出来的(图2)。22、23和26)。文字和图像在很多情况下是可以互换的。这些单词或单词组合往往是模棱两可的，可以有多种解释，但并不是说所有的观众都能发现所有可能的联系。一个人发现意义层次的深度在很大程度上取决于他或她的语言技能和联想能力。换句话说，手卷上的文字并不是对场景的明确解释。然而，它确实提供了思考的食物，其解释的深度取决于观众自己的贡献。通过赋予哑巴声音，即沉默的形象，Van de Venne创造了充满意义的场景，吸引了观众的智力。在这方面，他的画与banderoles和当代象征文学之间有明显的联系，他作为插画家密切参与其中。然而，一个重要的区别是，缺乏解释性的传说(警句)，这是一个标志的重要组成部分，所以绘制的图像必须包含足够的信息，以建立一个有意义的连接与文字在徽章。范·德·凡纳也意识到，这些场景至少要引起人们的微笑，否则他就无法传达自己的信息。一个明智的教训必须用幽默来包装，或者像他自己在他的Belacchende Werelt中所说的那样，“以愚为智”(“以笑教”的近亲)。这不仅包括文字上的巧妙的文字游戏，还包括图像上的视觉笑话。为了使他的场景更容易辨认，范·德·凡纳经常借鉴流行的绘画传统，比如炼金术士，或者吵闹的农民或乞丐。最重要的是，他更喜欢老彼得·勃鲁盖尔设计的版画。
{"title":"De Sinne-cunst van Adriaen van de Venne in theorie en praktijk","authors":"E. Buijsen","doi":"10.1163/18750176-90000211","DOIUrl":"https://doi.org/10.1163/18750176-90000211","url":null,"abstract":"Adriaen Pietersz. van de Venne (1589-1662) was a poet as well as a painter. In his eyes both art forms were closely related, a view that is clearly expressed in his Zeeusche Mey-clacht, ofte Schyn-kycker, a theoretical poem about art that was included in the 1623 anthology Zeeusche Nachtegael. In that learned ode of almost 400 lines he argued for the combination of painting and poetry in an art that would surpass all others, for which he coined the term Sinne-cunst (art of wit).\u0000Why, people may ask, was Sinne-cunst\u0000Raised so high above all other art?\u0000\"Because, I say, the mind plays so prodigiously within it \u0000That nothing else is so blessed with meaning\".\u0000Indications of what Van der Venne was aiming at with the combination of the two arts are also found in his books of poetry Tafereel van Sinne-mal (1623), Woudt van wonderlicke Sinne-Fabulen der Dieren (1632) and Sinne-Vonck op den Hollandtschen Turf (1634). According to him, the combination of Poesis and Pictura was based on the equivalence of these two sister arts, which can supplement and reinforce each other. However, he believed that the concept of Sinne-cunst also meant that the same principles applied to both poetry and painting, for both served as the bearers of wisdom and employed similar means to set the reader or viewer thinking. He discusses this at length in his Tafereel van de Belacchende Werelt of 1635, in which he explains the didactic and moralistic function of painting with the aid of some specific examples from his own oeuvre. Oddly enough, his views have attracted relatively little attention in the recent art-historical discussion about deeper meanings in seventeenth-century Dutch painting.\u0000After moving from Middelburg to The Hague around 1625, Van de Venne put his ideal of Sinnecunst into practice by including banderoles in many of his paintings, both grisaille and polychrome. The relationship between word and image can vary from one instance to the next. Sometimes the text is illustrated literally, as with the pendants \"Het sijn stercke beenen die Weelde konne[n] dragen' (Strong are the legs that can bear luxury) (fig.10) and 't Sijn ellendige beenen die Armoe moete[n] draege[n]' (Miserable are the legs that must bear poverty)(fig.12). The powerfully built young man in Strong Legs is literally carrying a woman symbolizing luxury. The blind man in Miserable legs is destitute, and is literally and figuratively bowed down by poverty. In other cases, such as He Who Guesses Misses (The Blind Leading the Blind, fig.14) and Unknown is Unloved (The Journey to Emmaus, fig.17), one first has to identify the subject of the scene in order to make a meaningful connection with the inscription on the banderole. In addition to existing saying Van de Venne often used combinations of words that he thought up himself,such as Rich Poverty (fig.20), the meaning of which only becomes clear in combination with the image. He also liked short, pithy expressions like All'-arm!, (Alarm!, but also a pla","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2015-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91269047","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 : 2015-08-21DOI: 10.1163/18750176-90000214
J. Verhave
The authors venture to draw the attention of art historians to the art and craft of paper cutting. In this article they make it plausible that some miniature paper cut outs are made by a catholic man, Joannes van Achelom, from Amsterdam. The paper cuts are mounted as pendants, between glass and precios metal frames, and are dated around 1700; one points to grandduke Cosimo III. Indeed, at about 36 years of age, Joannes had been invited in 1668 to join prince Cosimo de'Medici, then visiting Amsterdam, and work at the Florentine court as an artist. He became a valet of the grandduke, and descriptions of ten of his paper cuts were identified in the art inventories of the court. Unfortunately, the real pieces of this scissor artist have not (yet) been traced. Van Achelom facilitated shelter and financial support in Florence for Dutch priests and students, on their way to or from Rome. One of them, his nephew Allardus Titsingh, priest in The Hague, inherited from his uncle Joannes a large collection of drawings from known Italian artists. This collection also contained eight paper cuts of exceptional quality, as witnessed by the German art connoisseur Zacharias von Uffenbach, who visited the priest in 1711. The whole collection was auctioned after the death of Allardus in 1713, without leaving a trace.
作者大胆地引起艺术史学家对剪纸艺术和工艺的注意。在这篇文章中，他们似乎认为一些微型剪纸是由来自阿姆斯特丹的天主教徒Joannes van Achelom制作的。剪纸作为挂件安装在玻璃和珍贵的金属框架之间，可以追溯到1700年左右;一个指向了科西莫三世。事实上，1668年，36岁的乔安妮被邀请加入科西莫·德·美第奇王子的行列，当时他正在阿姆斯特丹访问，并作为艺术家在佛罗伦萨宫廷工作。他成为了大公的贴身侍从，他的十处剪纸被记录在宫廷的艺术品目录中。不幸的是，这位剪刀艺术家的真实作品还没有被追踪到。Van Achelom在佛罗伦萨为往返罗马的荷兰牧师和学生提供住所和经济支持。其中之一是他的侄子、海牙的牧师阿拉杜斯·提辛格(Allardus Titsingh)，他从叔叔约翰尼斯(Joannes)那里继承了大量意大利知名艺术家的画作。1711年，德国艺术鉴赏家乌芬巴赫(Zacharias von Uffenbach)拜访了这位牧师，他亲眼目睹了这一收藏，其中还包括八幅品质卓越的剪纸。1713年Allardus去世后，所有藏品都被拍卖，没有留下任何痕迹。
{"title":"De Nederlands-Italiaanse knipkunstenaar Joannes van Achelom omstreeks 1700","authors":"J. Verhave","doi":"10.1163/18750176-90000214","DOIUrl":"https://doi.org/10.1163/18750176-90000214","url":null,"abstract":"The authors venture to draw the attention of art historians to the art and craft of paper cutting. In this article they make it plausible that some miniature paper cut outs are made by a catholic man, Joannes van Achelom, from Amsterdam. The paper cuts are mounted as pendants, between glass and precios metal frames, and are dated around 1700; one points to grandduke Cosimo III. Indeed, at about 36 years of age, Joannes had been invited in 1668 to join prince Cosimo de'Medici, then visiting Amsterdam, and work at the Florentine court as an artist. He became a valet of the grandduke, and descriptions of ten of his paper cuts were identified in the art inventories of the court. Unfortunately, the real pieces of this scissor artist have not (yet) been traced. Van Achelom facilitated shelter and financial support in Florence for Dutch priests and students, on their way to or from Rome. One of them, his nephew Allardus Titsingh, priest in The Hague, inherited from his uncle Joannes a large collection of drawings from known Italian artists. This collection also contained eight paper cuts of exceptional quality, as witnessed by the German art connoisseur Zacharias von Uffenbach, who visited the priest in 1711. The whole collection was auctioned after the death of Allardus in 1713, without leaving a trace.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2015-08-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84624091","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 : 2015-02-16DOI: 10.1163/18750176-90000204
I. M. Veldman
{"title":"Designs for Altarpieces by Maarten van Heemskerck","authors":"I. M. Veldman","doi":"10.1163/18750176-90000204","DOIUrl":"https://doi.org/10.1163/18750176-90000204","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2015-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75779940","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：