Pub Date : 2015-02-16DOI: 10.1163/18750176-90000205
Katrien Lichtert
{"title":"New perspectives on Pieter Bruegel the Elder's journey to Italy (c. 1552-1554/1555)","authors":"Katrien Lichtert","doi":"10.1163/18750176-90000205","DOIUrl":"https://doi.org/10.1163/18750176-90000205","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":"85775941","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: 10.1163/18750176-90000207
Frauke Laarmann-Westdijk
{"title":"Judith van Gent, Bartholomeus van der Helst (ca. 1613-1670). Een studie naar zijn leven en werk, Zwolle (WBooks) 2011. ISBN 978 90 400 7805 7","authors":"Frauke Laarmann-Westdijk","doi":"10.1163/18750176-90000207","DOIUrl":"https://doi.org/10.1163/18750176-90000207","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":"81461290","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: 10.1163/18750176-90000203
G. McDonald
{"title":"A further source for the Ghent Altarpiece? The Revelations of Bridget of Sweden","authors":"G. McDonald","doi":"10.1163/18750176-90000203","DOIUrl":"https://doi.org/10.1163/18750176-90000203","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":"81566346","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 : 2014-11-11DOI: 10.1163/18750176-90000200
E. Roobaert
Sint Jacob op Coudenberg in Brussels was the parish where the nobles and members of the court preferred to perform their religious duties in the seventeenth century. A few hitherto unknown passages in the archives reveal that David Teniers the Younger, court painter to Archdukes Leopold Willem and Don Juan, was well-known to the parish priests, partly because he had his children baptized there. Some influential people at court became godfathers to his children. Teniers himself and his wife frequently acted as godparents at baptisms and as witnesses at religious ceremonies in the church. Having become a member of the prestigious Confraternity of St Ildefonso, which was connected with the church, Teniers later joined its board of governors, for which he carried out minor commissions. the court painter also enjoyed close relations with the city government of Brussels, which had granted him free burgess rights in addition to some exemptions from municipal taxes.
{"title":"David Teniers de Jonge, kerkganger in de Coudenbergparochie en bevoorrecht poorter te Brussel","authors":"E. Roobaert","doi":"10.1163/18750176-90000200","DOIUrl":"https://doi.org/10.1163/18750176-90000200","url":null,"abstract":"Sint Jacob op Coudenberg in Brussels was the parish where the nobles and members of the court preferred to perform their religious duties in the seventeenth century. A few hitherto unknown passages in the archives reveal that David Teniers the Younger, court painter to Archdukes Leopold Willem and Don Juan, was well-known to the parish priests, partly because he had his children baptized there. Some influential people at court became godfathers to his children. Teniers himself and his wife frequently acted as godparents at baptisms and as witnesses at religious ceremonies in the church. Having become a member of the prestigious Confraternity of St Ildefonso, which was connected with the church, Teniers later joined its board of governors, for which he carried out minor commissions. the court painter also enjoyed close relations with the city government of Brussels, which had granted him free burgess rights in addition to some exemptions from municipal taxes.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2014-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87966097","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 : 2014-11-11DOI: 10.1163/18750176-90000199
Felice Geurdes
With approximately 350 paintings, eleven drawings and three etches, the familiar oeuvre of Utrecht-born painter Joost Cornelisz. Droochsloot (1585-1666) is nothing short of extensive. Numbering 180, his farming scenes comprise the majority of his work, but are generally unremarkable, thereby traditionally establishing Droochsloot as a mediocre, largely unexceptional painter. This article argues that his earlier works (1615-1630), which have not received the attention they deserve in the past, are a testament to the artist's ingenuity and profound understanding of the art market. Archive sources and apprenticeship contracts are absent, but based on stylistic comparison this research suggests that he may have been under the tutelage of David Vinckboons (1576-1629) and at a later date possibly at work in the studio of Frans Francken II (1581-1642). Particularly his early work displays striking similarities with that of both masters. Undisputedly, Droochsloot was in close contact with the artists of the Brueghel school. This Flemish style was not yet known in Utrecht, and was introduced there by Droochsloot. Moreover, in his work he depicted themes that did not have a pictorial tradition in his city of residence. However, Droochsloot does not present himself as an unresisting disciple of the Bruegel school. He adapted the Flemish style to the demands of his birthplace, and made important changes with respect to the works of the Catholic Flemish artists. The principal difference is that Droochsloots primarily aimed to depict everyday life. He made a conscious choice to detach his work from a specific faith, even in those works that represent Christian themes. He furthermore left out any scenes that might be cause for offense. In that respect, he is essentially different from his Flemish colleagues, who took a much more moralistic approach. These unique adjustments were undoubtedly a tactical move that made his work pleasing to a larger audience of buyers. In turn, despite the immense competition in Utrecht and the rest of the Northern Netherlands, Droochsloot was able to support himself as a painter for a considerable period of time.
{"title":"Het vroege werk van Joost Cornelisz. Droochsloot. Nieuwe genres in de Domstad: 1615-1630","authors":"Felice Geurdes","doi":"10.1163/18750176-90000199","DOIUrl":"https://doi.org/10.1163/18750176-90000199","url":null,"abstract":"With approximately 350 paintings, eleven drawings and three etches, the familiar oeuvre of Utrecht-born painter Joost Cornelisz. Droochsloot (1585-1666) is nothing short of extensive. Numbering 180, his farming scenes comprise the majority of his work, but are generally unremarkable, thereby traditionally establishing Droochsloot as a mediocre, largely unexceptional painter. This article argues that his earlier works (1615-1630), which have not received the attention they deserve in the past, are a testament to the artist's ingenuity and profound understanding of the art market. Archive sources and apprenticeship contracts are absent, but based on stylistic comparison this research suggests that he may have been under the tutelage of David Vinckboons (1576-1629) and at a later date possibly at work in the studio of Frans Francken II (1581-1642). Particularly his early work displays striking similarities with that of both masters. \u0000Undisputedly, Droochsloot was in close contact with the artists of the Brueghel school. This Flemish style was not yet known in Utrecht, and was introduced there by Droochsloot. Moreover, in his work he depicted themes that did not have a pictorial tradition in his city of residence. However, Droochsloot does not present himself as an unresisting disciple of the Bruegel school. He adapted the Flemish style to the demands of his birthplace, and made important changes with respect to the works of the Catholic Flemish artists. The principal difference is that Droochsloots primarily aimed to depict everyday life. He made a conscious choice to detach his work from a specific faith, even in those works that represent Christian themes. He furthermore left out any scenes that might be cause for offense. In that respect, he is essentially different from his Flemish colleagues, who took a much more moralistic approach. These unique adjustments were undoubtedly a tactical move that made his work pleasing to a larger audience of buyers. In turn, despite the immense competition in Utrecht and the rest of the Northern Netherlands, Droochsloot was able to support himself as a painter for a considerable period of time.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2014-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82534900","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 : 2014-11-11DOI: 10.1163/18750176-90000198
M. Sullivan
{"title":"The timely art of Hieronymus Bosch: the left panel of The Garden of Earthly Delights","authors":"M. Sullivan","doi":"10.1163/18750176-90000198","DOIUrl":"https://doi.org/10.1163/18750176-90000198","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2014-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76720659","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 : 2014-11-11DOI: 10.1163/18750176-90000201
A. Jager
After the discovery of archival material, now for the first time a reconstruction of the life of Barend Jansz. Slordt (ca.1625-after 1690) is possible. Slordt was born in Medemblik in circa 1625, where he worked as an iron-seller. Slordt converted solely to painting after moving to Hoorn with his wife in 1661, where he went into business with the female art dealer Luijtgen Willemdr. Alter his wife died and Slordt ran into bankruptcy, he married for the second time in 1675 and moved to the hometown of his new wife, Schermerhorn. Although most of the local archives are lost due to a fire in 1699 that destroyed the town, the presence of the painter is recorded till 1690. As many as 69 of his paintings occur in the inventory of the Amsterdam art dealer Hendrick Meijeringh in 1687, but no mention of Slordt is made in the Amsterdam archives. Meijeringh possessed a large stock of relatively cheap history paintings, and it is likely that Slordt, whose paintings show signs of serial production and cost reducing methods, painted in the studio in the attic of the shop of Meijeringh. The resemblance with works by painters from Haarlem (Adrien Gael, Garrit de Wet and Adriaen Verdoel) that the art dealer kept in this studio as examples for his employees underlines this claim. It is most likely that Slordt kept living in Schermerhorn while working for periods in Amsterdam.
在发现档案材料之后，现在第一次重建了Barend Jansz的生活。Slordt(约1625- 1690年后)是可能的。斯洛特大约于1625年出生在梅登布利克，在那里他是一个卖铁的人。1661年，斯洛特和妻子搬到霍恩，在那里他和女艺术品经销商路易根·威廉姆德做生意，之后他完全转向了绘画。在他的妻子去世、斯洛特破产后，他于1675年第二次结婚，并搬到了他新妻子舍默霍恩的家乡。虽然由于1699年的一场大火烧毁了小镇，大部分当地档案都丢失了，但直到1690年，画家的存在才被记录下来。1687年，阿姆斯特丹的艺术品经销商亨德里克·梅杰林(Hendrick Meijeringh)收藏了他的69幅画作，但阿姆斯特丹的档案中没有提到斯洛特。Meijeringh拥有大量相对便宜的历史画，Slordt的画有可能是在Meijeringh商店阁楼的工作室里画的，他的画显示出连续生产和降低成本的方法。与哈勒姆画家(Adrien Gael, Garrit de Wet和Adriaen Verdoel)的作品相似，艺术经销商保存在这个工作室作为他的员工的例子，强调了这一说法。很有可能斯洛特在阿姆斯特丹工作期间一直住在舍默霍恩。
{"title":"Barend Jansz. Slordt (ca. 1625-na 1690), 'galey-schilder' uit Schermerhorn","authors":"A. Jager","doi":"10.1163/18750176-90000201","DOIUrl":"https://doi.org/10.1163/18750176-90000201","url":null,"abstract":"After the discovery of archival material, now for the first time a reconstruction of the life of Barend Jansz. Slordt (ca.1625-after 1690) is possible. Slordt was born in Medemblik in circa 1625, where he worked as an iron-seller. Slordt converted solely to painting after moving to Hoorn with his wife in 1661, where he went into business with the female art dealer Luijtgen Willemdr. Alter his wife died and Slordt ran into bankruptcy, he married for the second time in 1675 and moved to the hometown of his new wife, Schermerhorn. Although most of the local archives are lost due to a fire in 1699 that destroyed the town, the presence of the painter is recorded till 1690. As many as 69 of his paintings occur in the inventory of the Amsterdam art dealer Hendrick Meijeringh in 1687, but no mention of Slordt is made in the Amsterdam archives. Meijeringh possessed a large stock of relatively cheap history paintings, and it is likely that Slordt, whose paintings show signs of serial production and cost reducing methods, painted in the studio in the attic of the shop of Meijeringh. The resemblance with works by painters from Haarlem (Adrien Gael, Garrit de Wet and Adriaen Verdoel) that the art dealer kept in this studio as examples for his employees underlines this claim. It is most likely that Slordt kept living in Schermerhorn while working for periods in Amsterdam.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2014-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90954243","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 : 2014-10-06DOI: 10.1163/18750176-90000190
M. V. Wamel
{"title":"'Zóó goed roomsch en zóó goed spaansch'. Anthonis Mor and the Problematic Position of Sixteenth-Century Artists with Spanish Patrons in Dutch Art History","authors":"M. V. Wamel","doi":"10.1163/18750176-90000190","DOIUrl":"https://doi.org/10.1163/18750176-90000190","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2014-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83786893","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 : 2014-10-06DOI: 10.1163/18750176-90000192
M. Roethlisberger
{"title":"More paintings by Abraham and Hendrick Bloemaert","authors":"M. Roethlisberger","doi":"10.1163/18750176-90000192","DOIUrl":"https://doi.org/10.1163/18750176-90000192","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2014-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89132488","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 : 2014-10-06DOI: 10.1163/18750176-90000193
N. Geerdink
The poetry by Jan Vos (amsterdam, 1610-1667) is known for its focus on the arts. Scholars have claimed that this was out of Vos's personal interest and that he was on friendly terms with many painters. This article argues that Vos's poetic concern with the arts is rather a consequence of his relationship of patronage with the Amsterdam city regents. This appears from an anlysis of Vos's epigrams about portratis and other paintings; an anlysis of the long epic poem "Strydt tusschen de Doodt en Natuur, of Zeege der Schilderkunst (1654); and of the poems in which Vos addresses individual painters.
{"title":"Jan Vos (1610-1667), de schilderkunst en de Amsterdamse regenten","authors":"N. Geerdink","doi":"10.1163/18750176-90000193","DOIUrl":"https://doi.org/10.1163/18750176-90000193","url":null,"abstract":"The poetry by Jan Vos (amsterdam, 1610-1667) is known for its focus on the arts. Scholars have claimed that this was out of Vos's personal interest and that he was on friendly terms with many painters. This article argues that Vos's poetic concern with the arts is rather a consequence of his relationship of patronage with the Amsterdam city regents. This appears from an anlysis of Vos's epigrams about portratis and other paintings; an anlysis of the long epic poem \"Strydt tusschen de Doodt en Natuur, of Zeege der Schilderkunst (1654); and of the poems in which Vos addresses individual painters.","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2014-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1163/18750176-90000193","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72545628","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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