Pub Date : 2013-01-01DOI: 10.1163/18750176-90000035
Gero Seelig
In 1900 Friedrich Schlie published seven letters and a receipt by Jan Huysum from the Schwerin archives in "Oud Holland". It was only a fraction of the traces that can be found in Schwerin of van Huysum´s connection with the court of Mecklenburg-Schwerin. This relationship lasted from 1716 when the artist in Amsterdam received the visit of Christian Ludwig, younger brother of the reigning duke, almost until the artist´s death in 1749. The relationship was fueled after Christian Ludwig´s accession to power in 1732 by his eagerness to acquire works by the painter who had since como to fame. In spite of several visits to the artist over a number of years by the hereditary prince and the duke´s chamberlain the three larger works by van Huysum in Schwerin were, in the end, bought at auctions. Only two smaller pendant pieces were ordered directly from the artist by the duke who had to wait for delivery for a considerable number of years. It turned out that the pair was among the last pieces van Huysum painted. The correspondence published without discussion in 1900 only pertains to this order while the present article is aimed at giving the whole scope of the connection of Jan van Huysum to the Schwerin court and the importance of his art there.
1900年，弗里德里希·施利(Friedrich Schlie)在“奥德荷兰”的施维林档案中发表了七封信和一张简·惠瑟姆(Jan Huysum)的收据。这只是在施未林发现的范·休苏姆与梅克伦堡-施未林宫廷联系的一小部分痕迹。这种关系从1716年阿姆斯特丹的艺术家接受在位公爵的弟弟克里斯蒂安·路德维希的访问开始，一直持续到1749年艺术家去世。1732年，克里斯蒂安·路德维希(Christian Ludwig)上台后，他渴望获得这位声名鹊起的画家的作品，这一关系得到了进一步发展。尽管世袭的王子和公爵的侍从在几年里多次拜访这位艺术家，但van Huysum在Schwerin的三幅较大的作品最终还是在拍卖会上被买走了。只有两件较小的吊坠是由公爵直接从艺术家那里订购的，而公爵必须等待相当长的时间才能交货。事实证明，这两幅画是范·休瑟姆最后画的作品之一。1900年出版的没有讨论的信件只与这个顺序有关，而本文的目的是给出Jan van Huysum与Schwerin法院的联系的整个范围以及他的艺术在那里的重要性。
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Pub Date : 2012-01-01DOI: 10.1163/18750176-90000011
Ruud Lambour
{"title":"Het doopsgezind milieu van Michiel van Musscher (1645-1705) en van andere schilders in zeventiende-eeuws Amsterdam: een revisie en ontdekking","authors":"Ruud Lambour","doi":"10.1163/18750176-90000011","DOIUrl":"https://doi.org/10.1163/18750176-90000011","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77400632","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 : 2012-01-01DOI: 10.1163/18750176-90000008
George van Hoof, E. Sluijter
In 2011 the Rijksmuseum Twenthe in Enschede organised the exhibition Nicolaas Verkolje (1673-1746). Defluwelen hand / The velvet touch. One of the masterpieces in the show was a painting from the Musee des Beaux-Arts in Carcassonne which, as we know from auction catalogues, has been called Venus and the sleeping Cupid since the late eighteenth century (fig. 1). Respecting the tradition, that title and interpretation were adopted in the exhibition and catalogue. However, when a classics teacher at the Stedelijk Gymnasium in Nijmegen saw the painting illustrated in the catalogue he discussed the subject with his pupils. Together they concluded that the painting actually shows Cupid disguised as Ascanius, which is based on the story of Dido and Aeneas in book 1 of Virgil's Aeneid. The sleeping boy is not Cupid, but Ascanius; the standing child is Cupid who is being groomed by the Graces. Some anomalies in the painting now fell into place. The subject is exceptional in Dutch art history. Some 40 years before Verkolje, Gerard Hoet depicted the subject in his series of paintings of the love story of Dido and Aeneas in Slangenburg Castle near Doetinchem (fig. 2), and he may have used Vondel's translation, in which some details were added to the original story. Verkolje must have known Hoet's work, or a drawing based on it, and probably elaborated on Hoet's scene even further. The only other known depiction of the subject is a print by Gerard de Lairesse (fig. 3) from a slightly earlier date than Hoet's paintings. Lairesse, though, chose a completely different solution and stayed much closer to Virgil's version of the story.
2011年，恩斯赫德的国家博物馆组织了尼古拉·维尔科耶(1673-1746)展览。柔软的手/柔软的触感。展览中的杰作之一是来自卡尔卡松美术博物馆的一幅画，我们从拍卖目录中知道，自18世纪末以来，这幅画一直被称为维纳斯和沉睡的丘比特(图1)。尊重传统，展览和目录中采用了这个标题和解释。然而，当奈梅亨市立中学的一位古典文学老师看到目录上的这幅画时，他和学生们讨论了这个问题。他们共同得出结论，这幅画实际上是丘比特伪装成阿斯卡尼乌斯的样子，这是根据维吉尔的《埃涅伊德》第一卷中的狄多和埃涅阿斯的故事改编的。熟睡的男孩不是丘比特，而是阿斯卡尼厄斯;站着的孩子是丘比特，他正在被格雷斯打扮。这幅画中的一些反常之处现在变得清晰起来。这个主题在荷兰艺术史上是独一无二的。大约在Verkolje之前40年，Gerard Hoet在他的一系列画中描绘了在Doetinchem附近的Slangenburg城堡里的Dido和Aeneas的爱情故事(图2)，他可能使用了Vondel的翻译，在原始故事中添加了一些细节。Verkolje一定知道Hoet的作品，或者以它为基础的绘画，并且可能进一步阐述了Hoet的场景。唯一已知的关于这一主题的描述是杰拉德·德·莱尔塞(Gerard de Lairesse)的一幅版画(图3)，其创作时间略早于霍特的画作。然而，Lairesse选择了一个完全不同的解决方案，更接近于维吉尔的故事版本。
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Pub Date : 2012-01-01DOI: 10.1163/18750176-90000006
L. D. Vries
{"title":"Nicolaas Verkolje 1673-1746. The Velvet Hand","authors":"L. D. Vries","doi":"10.1163/18750176-90000006","DOIUrl":"https://doi.org/10.1163/18750176-90000006","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81646005","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 : 2012-01-01DOI: 10.1163/18750176-90000014
Carla van de Puttelaar
{"title":"Het portret van Immetje Groot geschilderd door Abraham Liedts","authors":"Carla van de Puttelaar","doi":"10.1163/18750176-90000014","DOIUrl":"https://doi.org/10.1163/18750176-90000014","url":null,"abstract":"","PeriodicalId":39579,"journal":{"name":"OUD HOLLAND","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2012-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74605772","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 : 2012-01-01DOI: 10.1163/18750176-90000020
Xander van Eck
The Roman Catholic Parish of Heiloo, a village near Alkmaar, possesses a painting dated 1631 combining three scenes. The top part shows St. Dominic and St. Catherine of Siena receiving the Rosary from Mary and the Christ child (fig. 1). This occurrence takes place on what seems to be the roof of a gallery, under which the two other scenes are located. To the right St. Dominic is seen performing a miracle: while in Toulouse, the heretic Albigenses challenged him to throw his writings in the fire, but they bounced back unscathed three times, causing the Albigenses to repent. A print by Theodoor Galle (fig. 2) was the basis for the composition. At the left St. Willibrord, who converted large parts of the Netherlands to Christianity in the eight century and became the first bishop of Utrecht, is shown praying next to a well in Heiloo, his followers standing by. The well as it looked in 1631 and the medieval church that still stands in the center of the village (fig. 5) are both portrayed in this scene. The painting was most probably commissioned as an altarpiece for a clandestine catholic church not far from the place where it is currently kept. In the first decades of the seventeenth century Heiloo was administered by Dominican missionaries, which explains the prominence of Dominican saints in two of the three scenes. The most prominent Dominican priest was Hyacintus Hermanni (fig. 6), a native of Alkmaar, who is here identified as the patron for this altarpiece. It is not signed, but there are strong similarities with the style of Alkmaar's leading figure painter at the time, Nicolaes van der Heck (fig. 8). Hermanni's portrait can be found to the right of the pillar dividing the two scenes, looking at the viewer and wearing liturgical clothing. The 'Well of Willibrord' had been a destination for pilgrims since late Medieval times, and on closer inspection the theme of pilgrimage pervades the whole painting. One of the followers of St. Willibrord was St. Adalbert (fig. 11), who was buried in the neighbouring village of Egmond, close to the famous Egmond Abbey. According to the legend he was a deacon and in the picture he is identifiable by the colourful cope he is wearing - the rest of Willibrord's followers are characterized as Benedictine monks. Behind Adalbert a heavenly ray of light is seen, going in the direction of a building on the horizon which, by its silhouette, can be recognized as Egmond Abbey, partly destroyed by the sea beggars in 1573 (figs. 9, 10). This building and the nearby well which had formed at Adalberts grave were also visited by pilgrims from all over the Republic. An even greater attraction for pilgrims coming to Heiloo was the site known as Our Lady of Solace (Onze Lieve Vrouw ter Nood) in the hamlet of Oesdom. It consisted of the ruins of a chapel that used to house a miraculous statue of Mary. The chapel had been partially torn down by the protestants in 1573 and the miraculous statue disappeared as well, but these misfo
在阿尔克马尔附近的一个村庄，罗马天主教的黑卢教区，有一幅1631年的画，包括三个场景。顶部描绘了圣多米尼克和锡耶纳的圣凯瑟琳从圣母玛利亚和圣婴耶稣手中接过玫瑰经(图1)。这件事发生在一个画廊的屋顶上，另外两个场景就在画廊的屋顶下。在右边，圣多米尼克正在表演一个奇迹:而在图卢兹，异端的阿尔比宗派挑战他把他的作品扔进火里，但他们三次毫发无损地反弹回来，导致阿尔比宗派忏悔。西奥多·加勒(图2)的版画是构成的基础。在左边，圣威利布罗德(St. Willibrord)在八世纪使荷兰大部分地区皈依基督教，并成为乌得勒支(Utrecht)的第一位主教。他在海卢(Heiloo)的一口井旁祈祷，他的追随者站在旁边。1631年的井和仍屹立在村庄中心的中世纪教堂(图5)都被描绘在这一场景中。这幅画很可能是被委托作为一个秘密的天主教教堂的祭坛画，离它现在保存的地方不远。在17世纪的头几十年里，海卢由多米尼加传教士管理，这解释了多米尼加圣徒在三个场景中的两个突出地位。最著名的多米尼加牧师是Hyacintus Hermanni(图6)，他是阿尔克马尔人，在这里被认为是这幅祭坛画的赞助人。这幅画没有署名，但与阿尔克马尔当时的主要人物画家尼古拉斯·范德赫克(Nicolaes van der Heck)的风格有很大的相似之处(图8)。赫曼尼的肖像位于分隔两个场景的柱子的右侧，看着观众，穿着礼拜服。自中世纪晚期以来，“威利伯德之井”一直是朝圣者的目的地，仔细观察，朝圣的主题贯穿了整幅画。圣阿达伯是圣威利伯德的追随者之一(图11)，他被埋葬在邻近的埃格蒙德村，靠近著名的埃格蒙德修道院。根据传说，他是一名执事，在这幅画中，他穿着色彩鲜艳的斗篷，可以认出他来——其余的威利布罗德的追随者被描述为本笃会的僧侣。在阿德贝身后，可以看到一道天光，正朝着地平线上一座建筑的方向照去，从它的轮廓可以看出，这是埃格蒙德修道院，1573年部分被海上乞丐摧毁。9、10)。这座建筑和附近在阿达贝尔墓旁形成的井也吸引了来自共和国各地的朝圣者前来参观。对前来海卢朝圣的朝圣者来说，一个更有吸引力的地方是位于奥斯多姆村的“安慰圣母”(Onze Lieve Vrouw ter Nood)。它由一座教堂的废墟组成，这座教堂曾经供奉着一尊神奇的玛丽雕像。1573年，教堂的一部分被新教徒拆除，雕像也消失了，但这些不幸使这个地方对生活在新教国家的天主教徒来说更加神圣。还有新的奇迹:在1630年的一幅朝圣家庭的照片中，废墟的墙壁上隐约显示出圣母显灵，她的姿势让人想起我们祭坛上圣母显灵的姿势(图2)。12、13)。不仅在这幅画中，上述三个地点被联系在一起——1704年的一幅印刷地图，题为“hylo -er ryskaartje”(“Heiloo旅行地图”)，是专门为朝圣者指明通往Willibrord, Adalbert和Mary圣殿的道路(图15)。因此，这个祭坛上复杂的图像可以解释为多米尼加修士管理Heiloo教区的尝试，将他们的命令的特定奉献与附近朝圣地点的当地奉献合并在一起。中央柱子上方的一个朝圣者浮雕形象强化了朝圣主题(图17)。
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Pub Date : 2012-01-01DOI: 10.1163/18750176-90000002
A. V. Egmond
In the past, the method for approaching art and material culture mentioned in the Dutch account books of late medieval princely households has been characterized as 'gathering dead wood' and criticized for being too superficial'. Because of the financial purpose of the invoices it is impossible to really learn anything about the scarcely mentioned acquired objects of art'. In most cases, inventories are missing and the extant accounts are indeed used to create a reconstruction of pieces of art that no longer exist. Taking this approach, one will end up with lists of unidentified items and their prices whereas further meaning is desired. Accounts may seem useless for an art historical study. However, when the 'gathering of wood' is done thoroughly and put to a different use, the mentions in the account books can shed new light on the consumption of art by a prince and his household. The invoices can be used in a more social economical approach, instead of focusing on the pieces of art alone. Case in point is a survey of the accounts books written by order of Albert, duke of Bavaria-Straubing, count of Holland, Zealand and Hainaut. His The Hague court flourished from 1389 on when he decided to take on the Binnenhof as his permanent residence. Ample information is available to discuss the subject at length: both craftsmen and merchants were responsible for the supply of products of luxuries and art, mostly pieces of silverwork and embroideries. The chamberlains were responsible for the commission or acquisition of these goods. Even some cautious conclusions can be made on the careers of these goldsmiths, needle workers, merchants and chamberlains.
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Pub Date : 2012-01-01DOI: 10.1163/18750176-90000009
T. Bueren, S.A.C. Dudok van Heel
The article discusses the identification process of persons depicted in the 1512 painting "De Geboorte van Christus," (The Birth of Christ) by Dutch painter Jacob Corneliszn, located at the Museo Nazionale di Capodimonte in Naples, Italy. The painting was intended for the Kartuizerklooster Sint Andries, a Carthusian monastery located close to Amsterdam, the Netherlands. The painting was donated by Margriet Dirk Boelenznsdr. Persons were identified by a combination of archival research and the visual comparison of contemporaneous portraits.
这篇文章讨论了1512年荷兰画家Jacob Corneliszn在意大利那不勒斯的卡波迪蒙特国家博物馆(Museo Nazionale di Capodimonte)所画的《基督的诞生》(De Geboorte van Christus)中人物的身份识别过程。这幅画是为位于荷兰阿姆斯特丹附近的卡尔图斯修道院圣安德烈斯(Kartuizerklooster)准备的。这幅画是玛格丽特·德克·博伦兹斯德捐赠的。通过档案研究和同时期肖像的视觉比较来确定人物。
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Pub Date : 2012-01-01DOI: 10.1163/18750176-90000003
H. Miedema
The development of art theory in the Dutch Golden Age was preceded by its introduction in the southern Netherlands in the sixteenth century. A survey of that area inevitably begins with the views of Leon Battista Alberti, which were elaborated upon at the beginning of the century by Francesco Lancilotti. Leonardo da Vinci's Libro della Pittura, which was not published until 1651, and then only in a mutilated French translation, must have been passed on and filtered down in many manuscripts in the course of the sixteenth and seventeenth centuries. German treatises like Albrecht Diirer's show that the evolving ideas also permeated northern Europe. In Liege, in particular, it was the painter Lambert Lombard who mastered the theoretical knowledge and passed it on to several of his pupils. As a result, the ideas also spread to Antwerp, most notably in the circle of Frans Floris. It must have been from the Ghent tapestry designer and poet Lucas de Heere, a pupil of Floris's, that the Fleming Karel van Mander learned of the prevailing ideas. Van Mander developed them further during his stay in Italy, and it was this that enabled him to write his didactic poem, 'Den grondt der edel vry schilder-const", in the North Holland city of Haarlem.
荷兰黄金时代艺术理论的发展早于16世纪在荷兰南部的引入。对这一领域的调查不可避免地从莱昂·巴蒂斯塔·阿尔贝蒂的观点开始，这些观点在本世纪初由弗朗西斯科·兰奇洛蒂详细阐述。列奥纳多·达·芬奇的《绘画书》直到1651年才出版，当时只有一个残缺不全的法语译本，在16世纪和17世纪的许多手稿中，这本书一定被流传下来，并被过滤掉了。像阿尔布雷希特·迪勒(Albrecht Diirer)这样的德国论文表明，不断发展的思想也渗透到了北欧。特别是在列日，画家朗伯特·伦巴第掌握了理论知识，并将其传授给了他的几个学生。结果，这种思想也传播到了安特卫普，尤其是在弗朗斯·弗洛里斯的圈子里。弗洛里斯的学生、根特挂毯设计师兼诗人卢卡斯·德·赫里(Lucas de Heere)一定是弗莱明·卡雷尔·范·曼德(Karel van Mander)从他那里了解到当时流行的思想。范曼德在意大利逗留期间进一步发展了这些思想，正是这使他能够在荷兰北部城市哈勒姆创作他的说教诗《Den grondt der edel very child -const》。
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Pub Date : 2012-01-01DOI: 10.1163/187501712800242796
J. Rutgers
A letter of 1652 by the Italian scientist Cassiano dal Pozzo sheds new light on the Roman activity of the Dutch still-life painter Otto Marseus van Schrieck. Dal Pozzo writes to the Florentine botanist Giovanni Nardi to say that he intends having 'Otho Merceus' make drawings of a precious specimen of a 'cedrato', a type of citrus fruit, which he has received from the Medici garden. That drawing on vellum will enable him to make this discovery known to his friends. The Dutch master is said to have worked for him on at least one other occasion with satisfactory results. This commission by Dal Pozzo places Otto Marseus van Schrieck as a botanical draughtsman at the centre of a group of early modern scientists, the members of the Accademia del Linceo. They included the Florentine cardinals Leopoldo and Gian Carlo de' Medici, both of whom are also known as Italian patrons of the artist. Early sources, among them Balthasar Monconys's diary, already state that Van Schrieck made many drawings for his own use while in Italy, presumably botanical ones, among others. It was not known that he also did so professionally at the time. Later in life, back in Holland, he made comparable botanical studies on commission for Agneta Block.
意大利科学家Cassiano dal Pozzo于1652年写的一封信，为荷兰静物画家Otto Marseus van Schrieck在罗马的活动提供了新的线索。达尔·波佐写信给佛罗伦萨植物学家乔瓦尼·纳尔迪，说他打算让“奥索·梅塞乌斯”为他从美第奇花园收到的一种珍贵的“雪松”标本画一幅画。那张牛皮纸上的画将使他能够把他的发现告诉他的朋友。据说这位荷兰大师至少在其他场合为他工作过一次，结果令人满意。Dal Pozzo的这项委托将Otto Marseus van Schrieck作为一名植物绘图员，置于一群早期现代科学家的中心，这些科学家是Linceo学院的成员。他们包括佛罗伦萨枢机主教莱奥波尔多和吉安·卡洛·德·美第奇，这两人也都是这位艺术家的意大利赞助人。早期的资料，包括Balthasar Monconys的日记，已经表明，Van Schrieck在意大利时画了许多自用的画，可能是植物画，等等。人们并不知道，他当时也是以专业的方式这么做的。后来，回到荷兰，他受Agneta Block委托进行了类似的植物学研究。
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