newsletter - Historians of Netherlandish Art

historians of netherlandish art 

NEWSLETTER 

AND REVIEW OF BOOKS 

Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 

Vol. 27, No. 2 November 2010 

Lucas van Leyden, The Last Judgement Triptych, 1527, oil on panel, 300.5 x 434.5 cm. 

Museum De Lakenhal, Leiden, inv. no. S 244 

In the exhibition Lucas van Leyden and the Renaissance. Museum De Lakenhal, Leiden, 

March 19 – June 26, 2011 

HNA Newsletter, Vol. 23, No. 2, November 2006 

1

Historians of Netherlandish Art 

Offi cers 

President - Stephanie Dickey 

Bader Chair in Northern Baroque Art 

Queen’s University 

Kingston ON K7L 3N6 

Canada 

Vice-President - Amy Golahny 

Lycoming College 

Williamsport, PA 17701 

Treasurer - Rebecca Brienen 

University of Miami 

Art & Art History Department 

PO Box 248106 

Coral Gables FL 33124-2618 

European Treasurer and Liaison - Fiona Healy 

Seminarstrasse 7 

D-55127 Mainz 

Germany 

Board Members 

Dagmar Eichberger 

Wayne Franits 

Matt Kavaler 

Henry Luttikhuizen 

Shelley Perlove 

Joaneath Spicer 

Anne Woollett 

Newsletter & Membership Secretary 

Kristin Lohse Belkin 

23 South Adelaide Avenue 

Highland Park, New Jersey 08904 

Layout by Marty Perzan - Network Typesetting, Inc. 

HNA Newsletter 

ISSN 1067-4284 

2 HNA Newsletter, Vol. 23, No. 2, November 2006 


23 S. Adelaide Avenue, Highland Park, NJ 08904 

Telephone/Fax: (732) 937-8394 

E-Mail: KBelkin@aol.com 

www.hnanews.org 

Contents 

HNA News ............................................................................ 1 

Personalia ............................................................................... 2 

Exhibitions ............................................................................ 2 

Museum News ...................................................................... 6 

Scholarly Activities 

Future Conferences ............................................................... 8 

Past Conferences ................................................................ 10 

Conference Review ............................................................. 15 

Opportunities....................................................................... 16 

HNA Review of Books 

15 th Century .......................................................................... 19 

16 th Century ......................................................................... 20 

17 th -Century Flemish .......................................................... 28 

17 th -Century Dutch .............................................................. 30 

New Titles ........................................................................... 33 

Dissertations ........................................................................ 37


From the President 

Dear friends, 

It is a pleasure to report on the recent activities of our lively 

organization and its international community of members. 

This is the fi rst Newsletter since our conference Crossing 

Boundaries took place on May 27-29 in Amsterdam, and 

I am delighted to report a rousing success on all fronts. Our 

distinguished program committee put together a rich program 

of sessions and special events. Eric Jan Sluijter kindly 

arranged for the University of Amsterdam to provide meeting 

rooms, beginning with a plenary session held in the imposing, 

historical surroundings of the Aula, built in 1633 as a Lutheran 

church. Thanks to meticulous planning by co-organizers 

Fiona Healy and Nicolette Sluijter-Seijffert, everything ran 

smoothly, and we were able to accommodate a record number 

of participants from America and Europe. Sincere thanks are 

due to Nicolette, Fiona, Eric Jan, our program committee, and 

all who contributed their time, effort, and creative attention to 

the event. We are also grateful to the Samuel H. Kress Foundation 

for a grant that helped to defray travel costs for many of 

our American speakers. The conference program, abstracts of 

papers, and photos of the festivities are posted on our website 

(click under ‘Conferences’) – workshop summaries are still 

missing, and I urge all workshop chairs to send their summaries 

as soon as possible to Fiona Healy (fi onahealy@aol.com). 

Our new on-line journal, JHNA, has published its third 

issue, and the fourth is in the works. A variety of papers from 

the Amsterdam conference have been received for consideration, 

and it is not too late to send yours along. Articles submitted 

to JHNA undergo a rigorous peer review process, but 

can be published in a little as three months. Editor-in-Chief 

Alison Kettering reports that you can also check to see how 

many people are reading an article by tracing the number of 

‘hits’ on the site. Alison and co-editors Molly Faries and Jeffrey 

Chipps Smith encourage all of you to consider this publishing 

option. For information and to read current and back issues, 

log on to: www.jhna.org. 

Don’t forget to consult www.hnanews.org for the Newsletter, 

Review of Books, useful links, and other resources. 

Under Opportunities you will fi nd a number of calls for papers 

and fellowship opportunities. Apply by December 1 to be considered 

for HNA’s Fellowship for Scholarly Research, Publication 

and Travel. Recently, this fund has supported the publication 

of several important books, and we hope to continue 

serving our membership in this way for many years to come. 

Contributions to the Endowment that supports this effort are 

also van harte welkom! 

NEWSLETTER 

Where shall we host out next conference? This will be a 

topic of discussion for the HNA Board at our annual meeting in 

February, to take place at the College Art Association conference 

in New York. We are open to suggestions, so please send 

your ideas to me (dickey.ss@gmail.com). The Board will also 

ratify a revised ByLaws document that brings our committee 

structure up to date and, as always, the Nominating Committee 

will be seeking candidates to run for Board positions. Please 

consider getting involved – you might even have the pleasure 

of planning our next conference! 

I wish you all the very best for a productive fall and a joyous 

holiday season. I know I will see some of you at upcoming 

conferences of the College Art Association, Renaissance Society 

of America, and other sister societies. As this Newsletter shows, 

HNA members are busier than ever. When you meet new colleagues, 

please encourage them to join us! 

Met vriendelijke groeten, 

Stephanie Dickey 

HNA News 

HNA at CAA New York, February 9-12, 2011 

The HNA-sponsored session is titled Netherlandish Art 

(ca. 1350-1750): Refl ecting on a Century of Scholarship, chaired 

by Gregory Clark (University of the South) and Amy Golahny 

(Lycoming College). It is scheduled for Friday, February 11, 

2:00-5:00pm. The business meeting and reception will take 

place immediately following the session at Syracuse University’s 

Lubin House (11 East 61 Street) from 5:30-7:30. 

JHNA 

Journal of Historians of Netherlandish Art (JHNA) 

The Journal of Historians of Netherlandish Art (www. 

jhna.org) announces the submission deadline for its sixth issue, 

summer 2011. 

Please consult the Journal’s Submission Guidelines at 

www.jhna.org/index.php/submissions 

JHNA is an open-access, peer-reviewed journal published 

twice per year. Articles focus on art produced in the Netherlands 

(north and south) during the early modern period (c. 

1400-c.1750), and in other countries and later periods as they 


1

elate to this earlier art. This includes studies of painting, 

sculpture, graphic arts, tapestry, architecture, and decoration, 

from the perspectives of art history, art conservation, museum 

studies, historiography, technical studies, and collecting history. 

Book and exhibition reviews, however, will continue to be 

published in the HNA Newsletter. 

The deadline for submission of articles for Issue 3: 1 is 

March 1 , 2011. 

Alison M. Kettering, Editor-in-Chief 

Molly Faries, Associate Editor 

Jeffrey Chipps Smith, Associate Editor 

HNA Fellowship for Scholarly Research, 

Publication or Travel: 2011-12 

Scholars of any nationality who have been HNA members 

in good standing for at least two years are eligible to apply. The 

topic of the research project must be within the fi eld of Northern 

European art ca. 1400-1800. Up to $1,000 may be requested 

for purposes such as travel to collections or research facilities, 

purchase of photographs or reproduction rights, or subvention 

of a publication. Winners will be notifi ed in February with 

funds to be distributed by April 1. The application should 

consist of: (1) a short description of project (1-2 pp); (2) budget; 

(3) list of further funds applied/received for the same project; 

and (4) current c.v. A selection from a recent publication may 

be included but is not required. Pre-dissertation applicants 

mustinclude a letter of recommendation from their advisor. 

Applications should be sent, preferably via e-mail, by 

December 1, 2010, to Amy Golahny, Vice-President, Historians 

of Netherlandish Art. E-mail: golahny@lycoming.edu. Address: 

608 West Hillside Ave, State College PA 16803. 

Personalia 

Rebecca Parker Brienen (University of Miami, Coral 

Gables) holds the John W. Kluge Fellowship at the Library of 

Congress, Washington, June-December 2010. 

Shira Brisman (Yale University) is a Pre-Doctoral Fellow at 

the Center for Advanced Study in the Visual Arts, Washington, 

for 2010-2011. Her topic of research is The Handwritten Letter and 

the Work of Art in the Age of the Printing Press, 1490-1530. 

Alan Chong, formerly Isabella Stewart Gardner Museum, 

Boston, has been appointed Director of the Asian Civilisations 

Museum in Singapore. 

Antien Knaap is a Visiting Fellow at the Jesuit Institute, 

Boston College, Chestnut Hill, Massachusetts. 

Elizabeth McGrath, formerly Professor in the History of 

Art and Curator of the Photographic Collection at the Warburg 

Institute, London, has retired. She is Professor emeritus. 

Walter Melion was made a Foreign Member of the Royal 

Netherlands Academy of Arts and Sciences (Division History 

and Social Sciences). 


Peter Parshall, formerly Curator of Old Master Prints at 

the National Gallery of Art, Washington, has retired. 

Shelley Perlove and Larry Silver were awarded the Roland 

H. Bainton Prize for Art History for their book Rembrandt’s 

Faith: Church and Temple in the Dutch Golden Age (Pennsylvania 

State University Press; reviewed in this journal November 

2009). 

Ron Spronk of Queen’s University, Kingston, Ontario, has 

been named Jheronimus Bosch Chair of the Faculty of Arts at 

the Radboud University Nijmegen as of September 1, 2010. 

Mia Tokumitsu (University of Pennsylvania) is the Robert 

H. and Clarice Smith Fellow at the Center for Advanced Study 

in the Visual Arts, Washington, for 2010-2011. Her topic of 

research is ‘Die Kleine, die Feine, die Reine, die Eine’: The Sculpture 

of Leonhard Kern (1588-1662). 

An Van Camp was appointed curator of Dutch and Flemish 

drawings and prints at the British Museum. She replaces 

Martin Royalton Kisch who retired in December 2009. 

Carl Van de Velde celebrated his 50th anniversary at the 

Centrum voor de Vlaamse Kunst van de 16de en de 17de eeuw, 

Antwerp. He was hired as its fi rst research assistant in October 

1960. His fi rst job was to travel to London to compile the 

immense documentation of Ludwig Burchard who had died in 

September of that year. While spending many years as professor, 

chair and dean at Brussels University, Carl never ceased to 

attend to the affairs of the Centrum where he continues to work 

since his retirement from the university. 

Laura Weigert (Rutgers University) is a Samuel H. Kress 

Fellow at the Center for Advanced Study in the Visual Arts, 

Washington, for 2010-2011. Her topic of research is Images in 

Action: The Theatricality of Franco-Flemish Art in the Late Middle 

Ages. 

Exhibitions 

United States and Canada 

Africans in Black and White: Images of Blacks in 16th- and 17th-Century Prints. Rudenstine Gallery, W.E.B. Du Bois 

Institute for African and African American Research, Harvard 

University, Cambridge, September 2 – December 3, 2010. Curated 

by David Bindman and Antien Knaap. 

The Humor and Wit of Pieter Bruegel the Elder. The 

Center Art Gallery, Calvin College, Grand Rapids, Michigan, 

October 21 – December 11, 2010 (closed during Thanksgiving 

Break). Thirty-six engravings from a private Midwest collection. 

Curated by Henry Luttikhuizen. With a series of accompanying 

lectures: Henry Luttikhuizen (Calvin College), Laughing 

and Learning within the World Turned Upside-Down. An 

Introduction to the Exhibition (October 21, 2010); Bret Rothstein 

(Indiana University), How to Make a Mess of Things in the 

Sixteenth-Century Low Countries (October 27, 2010); Larry Silver 

(University of Pennsylvania), Breaking a Smile from Bosch 

to Bruegel (November 3, 2010); Rebecca Konyndyk De Young 

(Calvin College), Desert Monks and Medieval Trees: Sources 

and Developments of the Seven Deadly Sins Tradition (Novem-

er 10, 2010); Jim VandenBosch (Calvin College), The Wit and 

Wisdom of the Grotesque (November 17, 2010). 

The Frick Art Reference Library’s Dutch Cousin: Frederik 

Johannes Lugt. Frick Art Reference Library, New York, January 

1 – December 31, 2010. 

An Eye for the Sensual: Selections from the Resnick Collection. 

Los Angeles County Museum, Los Angeles, October 2, 

2010 – January 2, 2011. 

The Mourners: Medieval Tomb Sculptures from the 

Court of Burgundy. Dallas Museum of Art, October 3, 2010 – 

January 2, 2011; Minneapolis Institute of Art, January 23 – April 

17, 2011; LA County Museum of Art, Los Angeles, May 8 – July 

31, 2011; Fine Arts Museum, Legion of Honor, San Francisco, 

August 21, 2011 – January 1, 2012; Museum of Fine Arts, Richmond, 

January 20 – April 15, 2012. The tour originated at the 

Metropolitan Museum of Art. 

Miró: The Dutch Interiors. Metropolitan Museum of Art, 

New York, October 5, 2010 – January 7, 2011. Dutch Interior I 

(Museum of Modern Art, New York), Dutch Interior II (Peggy 

Guggenheim Collection, Venice), Dutch Interior III (Metropolitan 

Museum of Art) were directly infl uenced by The Lute Player 

(1661) by Hendrick Sorgh, and by Children Teaching a Cat to 

Dance by Jan Steen. The exhibiiton was previously at the Rijksmuseum, 

Amsterdam. 

Arcimboldo, 1526-1593: Nature and Fantasy. National 

Gallery of Art, Washington DC, September 19, 2010 – January 9, 

2011; Palazzo Reale, Milan, February 27 – May 8, 2011. 

Man, Myth, and Sensual Pleasures: Jan Gossart’s Renaissance. 

Metropolitan Museum of Art, New York, October 5, 

2010 – January 16, 2011; National Gallery, London, February 16 

– May 22, 2011. Curated by Maryan Ainsworth; with catalogue 

raisonné by Maryan Ainsworth. To be reviewed. 

The Northern Renaissance in Transition. The Alexander 

Gallery, Madison Avenue, New York, opens October 6, 2010. On 

view are a diptych with Saint Jerome in His Study and The Holy 

Trinity by the Master of the Lille Adoration, and The Annunciation 

by Jan de Beer. 

A Matter of Faith: Relics, Art and Sanctity in the Middle 

Ages. Cleveland Museum of Art, Cleveland, October 17, 2010 – 

January 16, 2011; The Walters Art Museum, Baltimore, February 

13 – May 8, 2011; The British Museum, London, June 23 – October 

9, 2011. 

The Body Inside and Out: Anatomical Literature and Art 

Theory. National Gallery of Art, Washington, till January 23, 

2011. 

France 1500. The Pictorial Arts at the Dawn of the Renaissance. 

C.G. Boerner, New York, January 19 – February 5, 2011; 

Joel Oppenheimer, Chicago, April 12 – April 23, 2011. With 

catalogue: www.lesenluminures-france1500.com 

Illuminated Manuscripts from Belgium and the Netherlands. 

J. Paul Getty Museum, Los Angeles, August 24, 2010 

– February 6, 2011. With catalogue by Thomas Kren, ISBN 

978-1-60606-014-8, $20. 

Imagining the Past in France, 1250-1500. J. Paul Getty Museum, 

Los Angeles, November 16, 2010 – February 6, 2011. 

Virtues and Vices: Moralizing Prints in the Low Countries, 

1550-1600. Philadelphia Museum of Art, December 1, 

2010 – February 28, 2011. 

The Kasper Collection. Mannerism and Modernism. 

The Morgan Library & Museum, New York, January 21 – May 

1, 2011. Collection of the American fashion designer Herbert 

Kasper. Most of the great Mannerist draughtsmen are represented, 

including northern artists Peter Candid and Hendrick 

Goltzius. 

Rembrandt and His School: Paintings, Drawings, and 

Etchings from the Frick and Lugt Collections. The Frick Collection, 

New York, February 15 – May 22, 2011. 

Golden: Dutch and Flemish Masterworks from the 

Rose-Marie and Eijk van Otterloo Collection. Peabody Essex 

Museum, Salem (Massachusetts), February 26 – June 19, 2011. 

Gabriel Metsu 1629-1664. National Gallery of Art, 

Washington, April 17 – July 24, 2011. The exhibition opened in 

Dublin (see below). 

Illuminating Fashion. Dress in the Art of Medieval 

France and the Netherlands. The Morgan Library and Museum, 

New York, May 20 – September 4, 2011. 

Rembrandt and the Face of Jesus. Philadelphia Museum 

of Art, August 1 – November 1, 2011; Detroit Institute of Arts, 

November 20, 2011 – February 12, 2012. Curated by Lloyd 

DeWitt; with catalogue. Previously at the Louvre. 

Rembrandt Paintings in America. North Carolina Museum 

of Art, Raleigh, November 1, 2011 – February 1, 2012; 

Minneapolis Institute of Arts, June 24 – September 2012. 

Face to Face: The African Presence in Renaissance 

Europe. The Walters Art Museum, Baltimore, October 1, 2012 

– January 1, 2013. 

Europe 

Austria 

Hans von Aachen (1552-1615). Hofmaler in Europa. 

Kunsthistorisches Museum, Vienna, October 19, 2010 – January 

9, 2011. Previously at the Suermondt-Ludwig-Museum, 

Aachen, and the Prague Castle Gallery. Curated by Thomas 

Fusenig; with catalogue, to be reviewed. For the conference 

held in Prague, see under Scholarly Activities: Past Conferences. 

Die ganze Pracht. Malerei der Residenzgalerie Salzburg. 

Residenzgalerie Salzburg, March 27, 2010 – February 

6, 2011. Includes Rembrandt, Paul Potter, Jan van Goyen, 

Aelbert Cuyp, Jakob van Ruisdael, Salomon van Ruysdael, 

Jan Davidsz. Heem, Peter Paul Rubens and others. 

Goldenes Zeitalter: Holländische Gruppenporträts aus 

dem Historischen Museum, Amsterdam. Kunsthistorisches 

Museum, Vienna, September 9 – November 21, 2010; Alte 

Pinakothek, Munich, December 3, 2010 – February 27, 2011. 

Glanz des Hauses Habsburg. Die Medaillen der 

römisch-deutschen Kaiser und der Kaiser von Österreich 

1500 bis 1918. Kunsthistorisches Museum, Vienna, January 

2 – April 1, 2011. 

Kaiser Maximilian I. (1459-1519) und die Kunst seiner 

Zeit. Albertina, Vienna, September 16, 2011 – January 29, 

2012. 

Cornelis Cornelisz. van Haarlem: zwei hochkarätige 

Leihgaben aus dem Rijksmuseum Amsterdam zu Gast 


3

im Kunsthistorischen Museum. Kunsthistorisches Museum, 

Vienna, June 15, 2009 – March 31, 2012. The Massacre of the Innocents 

(1590) and Bathsheba at Her Bath (1594). 

Belgium 

The Anjou Bible. A Royal Manuscript Revealed. Museum 

M, Leuven, September 17 – December 5, 2010. 

Jan I Moretus en de strijd om de Plantijnse drukkerij. 

Museum Plantin-Moretus, Antwerp, October 16, 2010 – January 

16, 2011. 

Van Eyck tot Dürer: De Vlaamse Primitieven en hun 

oosterburen, 1430-1530. Groeningemuseum, Bruges, October 

29, 2010 – January 30, 2011. Curated by Till-Holger Borchert; 

with catalogue. 

Lucas Cranach and His Time. Palais des Beaux-Arts de 

Belgique, Brussels, October 1, 2010 – January 31, 2011. 

Presentation. A Case Study: A Modello for Rubens’s 

Assumption of the Virgin? Keizerskapel, Antwerp, March 21 

– April 25, 2011. Painting from a private collection presented as 

modello for the Assumption of the Virgin in the Kunsthistorisches 

Museum, Vienna. 

Pierre-Joseph Verhaghen: een Brabander in de wereld/ 

Coda van de eeuw van Rubens. Museum M, Leuven, April 

1 – August 1, 2011. Pierre-Joseph Verhaghen (1728-1811) was 

the last artist of the so-called Flemish school who continued 

Rubens’s tradition into the 19th century. 

Roelandt Savery: visionair hofschilder in Praag. Broelmuseum, 

Kortrijk, April 21 – September 11, 2011. Previously in 

Prague (see below). 

Van [A]lbast tot [Z]ink. Bruggemuseum-Gruuthuse, Bruges, 

December 20, 2007 – December 31, 2011. Tapestries, silver, 

lace, ceramics from the museum’s collection. 

Jordaens en de antieken. Koninklijke Musea voor Schone 

Kunsten van België, Brussels, March 23 – July 8, 2012. 

Czech Republic 

Roelandt Savery: A Painter in the Service of Emperor 

Rudolf II. National Gallery, Prague, December 8, 2010 – March 

20, 2011; Broelmuseum, Kortrijk, April 21 – September 11, 2011. 

Masterpieces of the Kolowrat Picture Gallery in Rychnov 

and Kneznon. National Gallery, Prague, November 25, 2009 – 

November 30, 2014. 

England and Scotland 

Dutch Landscapes. The Queen’s Gallery Holyroodhouse, 

Edinburgh, April 30, 2010 – January 9, 2011. 

The Young Vermeer. National Gallery of Scotland, Edinburgh, 

December 10, 2010 – March 13, 2011. Previously seen at 

the Gemäldegalerie Alte Meister, Dresden, and The Mauritshuis, 

The Hague. 

Presiding Genius: March: Johannes Vermeer. Dulwich 

Picture Gallery, London, March 1 – March 31, 2011. Every 

month during the Gallery’s bicentenary celebrations a spectacular 

masterpiece will hang on the end wall of the Gallery’s 


enfi lade. In March it will be Vermeer’s Music Lesson from the 

Royal Collection. 

Man, Myth, and Sensual Pleasures: Jan Gossart’s Renaissance. 

National Gallery, London, February 16 – May 22, 2011. 

The exhibition opened at the Metropolitan Museum of Art, 

New York (see above). Curated by Maryan Ainsworth; with 

catalogue by Maryan Ainsworth. 

Presiding Genius: June: Rembrandt. Dulwich Picture 

Gallery, London, June 1 – June 30, 2011. Rembrandt’s son Titus 

dressed as a monk. 

A Matter of Faith: Relics, Art and Sanctity in the Middle 

Ages. The British Museum, London, June 23 – October 9, 2011. 

The exhibition opened in Cleveland (see above). 

France 

From Dürer to Mantegna: The Leber Collection of Prints. 

Musée des Beaux-Arts d’Orléans, October 14, 2010 – January 

16, 2011. 

Sensualité et Volupté: le corps féminin dans la peinture 

fl amande du XVI et XVII siècle. Musée Départemental de 

Flandre, Cassel, October 23, 2010 – January 23, 2011. 

Rubens, Poussin et les peintres du XVIIe siècle. Musée 

Jacquemart-André, Paris, September 24, 2010 – January 24, 

2011. With catalogue published by Mercatorfonds. 

La baroque en Flandres: Rubens, Van Dyck, Jordaens. 

Musée des Beaux-Arts, Rouen, February – May 2011; Musée 

de la Chartreuse, Douai, February 24 – May 28, 2012. The 

exhibition opened at the École Normale Supérieur des Beaux- 

Arts, Paris. With catalogue by Emmanuelle Brugerolles (Paris: 

ENSBA Editions, ISBN 978-2-84056-322-8, euros 22). 

Rembrandt and the Face of Jesus. Musée du Louvre, Paris, 

April – July 2011; Philadelphia Museum of Art, August 1 – 

November 1, 2011; Detroit Institute of Arts, November 20, 2011 

– February 12, 2012. Curated by Lloyd DeWitt; with catalogue. 

Germany 

Der frühe Vermeer. Gemäldegalerie Alte Meister, Dresden, 

September 3 – November 28, 2010. With publication ed. by Uta 

Neidhardt, Deutscher Kunstverlag, ISBN 978-3-422-07038-7, 

euro 30. 

Die monumentale Saaldekoration von Melchior 

d’Hondecoeter in der Alten Pinakothek: nach 70 Jahren wieder 

vereint. Alte Pinakothek, Munich, July 13 – December 31, 

2010. 

Credo. Meisterwerke der Glaubenskunst. Forum der 

Draifl essen Collection, Mettingen (Westphalia), October 16, 

2010 – January 9, 2011. With catalogue edited by Alexandra 

Dern and Ursula Härting (German ISBN 978-3-942359-00-9, 

Dutch 978-3-942359-02-3, English 978-3-942359-01-6). Includes 

works by Rubens and his workshop, Van Dyck, Jan Brueghel 

the Elder. Open Wednesdays and Thursdays, by appointment: 

+49 (0)5452 9168 x3500 (Mondays-Thursdays 10:00-12:00). 

Noble Gäste. Meisterwerke aus der Kunsthalle Bremen. 

Alte Pinakothek, Munich, until February 1, 2011. Van Dyck’s 

Portrait of Wolfgang Wilhelm von Pfalz-Neuburg. With publication 

Noble Gäste. Meisterwerke der Kunsthalle Bremen in 22 deutschen

Museen. Ed. Wulf Herzogenrath and Ingmar Lähnemann, Bremen, 

Hachmann Edition 2009. ISBN 978-3-939429-58-6. 

Renaissance am Rhein. Landesmuseum, Bonn, September 

16, 2010 – February 6, 2011.With catalogue published by Hatje 

Cantz, euro 40. 

Tronies: Marlene Dumas und die Alten Meister. Haus der 

Kunst, Munich, October 29, 2010 – February 6, 2011. Dialogue 

between the South African artist and Netherlandish masters. 

Goldenes Zeitalter: holländische Gruppenporträts aus 

dem Historischen Museum Amsterdam. Alte Pinakothek, 

Munich, December 3, 2010 – February 27, 2011. With catalogue 

by Sabine Haag, Marcus Dekiert, Karl Schütz, Hirmer, ISBN 

978-3-7774-3381-3, $45. Previously in Vienna (see above). 

Freiburg baroque. Johann Christian Wentzinger und 

seine Zeit (1710-1797). Augustinermuseum, Freiburg, November 

27, 2010 – March 6, 2011. With catalogue, Deutscher Kunstverlag, 

ISBN 978-3-422-07039-4, euro 30. 

Joos van Cleve – Leonardo of the North. Suermondt-Ludwig-Museum, 

Aachen, March 17 – June 12, 2011. In partnership 

with the Catharijneconvent, Utrecht, and the Muzeum Naradowe, 

Warsaw. With catalogue. 

Die Chronologie der Bilder. Städel- Werke vom 14. bis 

21. Jahrhundert. Städel Museum, Frankfurt, October 28, 2010 

– June 26, 2011. During the temporary closing of the galleries, 

some works are shown in the Ausstellungsbau in a new context, 

not by region but strictly chronological. 

Unpacked for Research: The Early Netherlandish and 

German Paintings from Aachen. Suermondt-Ludwig-Museum, 

Aachen, July 2 – October 2, 2011. 

Cornelis Pietersz. Bega (1631/32-1664). Suermondt-Ludwig-Museum, 

Aachen, March 8 – June 3, 2012. 

A Diamond in Grey. Cornelis Bega: Paintings, Drawings, 

Prints. Suermondt-Ludwig-Museum, Aachen, March 15 – June 

17, 2012. 

Epochal: Meisterwerke des Herzog Anton Ulrich-Museums 

von der Antike bis zur Gegenwart. Herzog Anton Ulrich- 

Museum, Braunschweig, July 12, 2009 – December 31, 2012. 

Ireland 

Gabriel Metsu 1629-1664. National Gallery of Ireland, 

Dublin, September 4 – December 5, 2010; Rijksmuseum, Amsterdam, 

December 16, 2010 – March 20, 2011; National Gallery 

of Art, Washington, April 17 – July 24, 2011. The book Gabriël 

Metsu, edited by Adriaan Waiboer, is published in conjunction 

with the exhibition, Yale UP, ISBN (Dutch) 9789071450303; 

(English) 9780300167245. 

Italy 

Arcimboldo, 1526-1593: Nature and Fantasy. Palazzo 

Reale, Milan, February 27 – May 8, 2011. The exhibition opened 

at the National Gallery of Art, Washington DC. 

Liechtenstein 

Der Fürst als Sammler. Neuerwerbungen unter Hans-Adam 

II. von und zu Liechtenstein. Kunstmuseum Liechtenstein, 

Vaduz, September 24, 2010 – January 16, 2011. Previously at the 

Liechtenstein Museum in Vienna. 

The Netherlands 

Rembrandt and Jan Six: An Amsterdam Friendship. 

Rijksmuseum, Amsterdam, September 7 – November 29, 2010. 

Utrechters dromen van Rome: collectie – opstelling oude 

kunst, 1450-1700. Centraal Museum, Utrecht, July 5, 2008 – 

December 31, 2010. 

Het kabinet van een kenner: prenten uit de Collectie Frits 

Lugt. Museum het Rembrandthuis, Amsterdam, October 15, 

2010 – January 9, 2011. With catalogue edited by Hans Buijs, Un 

cabinet particulier. Les estampes de la Collection Frits Lugt. 

Het leven getekend: de Gouden Eeuw van Gesina ter 

Borch. Stedelijk Museum Zwolle, October 17, 2010 – January 9, 

2011. 

De hele familie Craeyvanger: een unieke serie portretten. 

Mauritshuis, The Hague, February 10, 2010 – January 16, 

2011. Portraits by Paulus Lesire, Gerard ter Borch and Caspar 

Netscher. 

Made in Holland: Oude meesters uit een Amerikaanse 

privéverzameling. Mauritshuis, The Hague, November 4, 2010 

– January 30, 2011. Works from the collection of Eijk and Rose- 

Marie van Otterloo, including Rembrandt’s Portrait of Aeltje 

Uylenburgh, Aged 62, of 1632, and works by Frans Hals, Jacob 

van Ruisdael, Jan Brueghel the Elder and Jan Steen. 

Hendrik, Graaf van den Bergh (1573-1638): van Spanje 

naar Oranje. Kastell Huis Bergh, ‘s-Heerenberg, April 17, 2010 

– March 1, 2011. 

Gabriel Metsu 1629-1664. Rijksmuseum, Amsterdam, 

December 16, 2010 – March 20, 2011; National Gallery of Art, 

Washington, April 17 – July 24, 2011. The exhibition opened in 

Dublin (see above). 

Nicolaas Verkolje (1673-1746): schilderijen en tekeningen. 

Rijksmuseum Twenthe, Enschede, March 1 – June 30, 2011. 

Lucas van Leyden and the Renaissance. Museum De Lakenhal, 

Leiden, March 19 – June 26, 2011. With catalogue. 

The Collection Enriched. Museum Boijmans van Beuningen, 

Rotterdam, April 16, 2010 – end 2012. For two years the 

collection will be enriched with masterpieces on loan from collections 

in the Netherlands and abroad. 

Het portrait historié in de Nederlandse schilderkunst. 

Dordrechts Museum, Dordrecht, January 1 – December 31, 

2012. 

Norway 

Rubens, Van Dyck, Jordaens. Barock aus Antwerpen. 

Nasjonalmuseet, Oslo, February – end April 2011. Paintings 

from the Koninklijk Museum voor Schone Kunsten, Antwerpen. 

Previously at the Bucerius Kunstforum, Hamburg. With 

catalogue, Hirmer, euro 24.80. 

Russia 

The Flemings through the Eyes of David Teniers the 

Younger (1610-1690). State Hermitage Museum, St. Petersburg, 

October 15, 2010 – January 16, 2011. 


5

Spain 

Rubens. Museo Nacional del Prado, Madrid, November 

3, 2010 – January 23, 2011. While the galleries that have housed 

Rubens’s works are closed, the museum is devoting a temporary 

exhibition to its Rubens paintings. 

The Golden Age of Dutch and Flemish Painting from 

the Städel Museum. Guggenheim Museum, Bilbao, October 8, 

2010 – February 13, 2011. 

Switzerland 

Von Holbein bis Murer. Entwürfe für Glasgemälde. 

Kunstmusseum Basel, November 2, 2010 – February 13, 2011. 

Thurneysser Superstar. Ein einzigartiger Glasmalerei- 

Zyklus von 1579. Kunstmuseum Basel, November 13, 2010 

– February 13, 2011. Christoph Murer’s designs for his glass 

paintings for Leonhard Thurneysser zum Thurn (1531-1596), 

the Basel goldsmith, mining entrepreneur, physician, alchemist, 

astrologer and soldier. The subject of the cycle is Thurneysser’s 

adventurous life. 

_______________________________________________________ 

Japan 

The World of Bruegel in Black and White: From the Collection 

of the Royal Library of Belgium. Museum Eki Kyoto, 

Kyoto, October 22 – November 23, 2010. 

New Zealand 

100 Masterpieces from the Städel Museum. Museum of 

New Zealand Te Papa Tongarewa, Wellington, November 5, 

2010 – February 27, 2011. A second tour, “The Golden Age of 

Dutch and Flemish Painting from the Städel Museum” went to 

Bilbao (see above). 

Museum and Related News 

Antwerp 

• The Preaching of John the Baptist and Herod’s Banquet, two 

panels from the Mirafl ores Altarpiece by Juan de Flandes have 

been restored and thoroughly researched. The two panels, 

both in the Museum Mayer van den Bergh, were joined by two 

more panels from the altarpiece, The Birth and Naming of John 

the Baptist from Cleveland, and The Beheading of John the Baptist 

from the Musée d’Art et Histoire, Geneva, in a small exhibition 

at the museum, September 11 – November 7, 2010. The large 

central panel with The Baptism of Christ (private collection) did 

not come to the exhibition. With publication (Ludion), ISBN 

978-90-5544-970-5, euro 25. 

• The Rubenianum Fund was offi cially launched at a blacktie 

dinner at the Rubenshuis February 10, 2010. Some 80 guests 

attended, including Prince Nikolaus of Liechtenstein. The 

guests were fi rst given a tour of the Rubenshuis by Ben van 


Beneden, curator of the Rubenshuis, and a lecture by Arnout 

Balis about the history and the goals of the Corpus Rubenianum 

Ludwig Burchard. The event took place only weeks after the fi rst 

two volumes of Rubens’s Copies and Adaptations after Italian 

Artists by Jeremy Wood came out, dealing with Raphael and 

his school. This fall two further volumes are published, dealing 

with Rubens and Venetian art. At the same time, the Rubenianum 

started a new publication, The Rubenianum Quarterly. 

It will report on the progress of the publication of the Corpus 

Rubenianum as well as on other initiatives of the Rubenianum 

Fund. It is available online at www.rubenianum.be 

• The Rubenianum acquired the Van Dyck documentation 

of Horst Vey who died February 7, 2010. Dr. Vey’s personal 

documentation was donated by his widow. 

• The Rubenshuis acquired fi ve new paintings on longterm 

loan from private collections in Belgium, Germany and 

Switzerland. These are: Two Dogs and the Head of a Cow by Frans 

Snyders (with a provenance going back to the Marquess of Leganés), 

The Madonna and Child in a Garland of Flowers, Fruit and 

Vegetables and The Bagpipe Player, both by Jacob Jordaens, and 

Saint Sebastian Attended by Two Angels which may be the second 

version of Rubens’s painting in the Palazzo Corsini in Rome. 

The fourth and most impressive painting is Rubens’s Portrait of 

Isabella, Infanta of Spain, in the Habit of a Poor Clare. 

Assling, East Tyrol: The Saint Korbinian Altarpiece by 

Friedrich Pacher, c. 1480, has recently been reassembled and returned 

to the village for which it was commissioned. The wings 

were lost in the nineteenth century and have been purchased 

after a nazi-era restitution case. After restoration the altarpiece 

was on display at the Belvedere in Vienna (until July 18). The 

central shrine holds a sculpture of Saint Korbinian by Hans 

Klocker. In 1999 the wings were identifi ed by Ulrich Söding 

while they were at the Stedelijk Museum in Zutphen on loan 

from the Dutch state art collection. (From The Art Newspaper, 

May 2010.) 

Dordrecht: Dordrechts Museum acquired pendant paintings 

by Aelbert Cuyp: A Fish Seller and A Maid with a Pot of 

Dumplings. 

Ghent: On November 1, 2010, ended the conservation 

and technical documentation of Van Eyck’s Ghent Altarpiece. 

The last restoration of the polyptych took place in 1950-51. The 

conservation treatment was directed by Anne van Grevenstein 

(University of Amsterdam), in collaboration with KIK/IRPA 

and the Koninklijke Musea voor Schone Kunsten van België, 

Brussels. The technical documentation was coordinated by 

Ron Spronk (Radboud University Nijmegen, formerly Queen’s 

University, Kingston, Ontario). The results are made available 

on the internet through a dedicated website hosted by Lukas – 

Art in Flanders. 

‘s-Hertogenbosch: The Scientifi c Committee of the Bosch 

Research and Conservation Project had its fi rst meeting in September 

in ‘s-Hertogenbosch. A specialized team will carry out 

technical art-historical research at all museums where paintings 

by Bosch are found. 

Kendal, Cumbria: Abbot Hall Art Gallery is planning to 

display The Great Picture, which is too large to fi t through its 

doors. The 1646 triptych has been in store for decades. Attributed 

to Jan van Belcamp (Antwerp 1610-London 1653), the 

painting depicts the family life of Lady Anne Clifford. The plan 

is to bring the central part of the triptych through a window. 

However, since Abbot Hall is a listed building, permission has

to be granted to temporarily remove the sash windows. The 

two side panels have been on display inside Abbot Hall. It is 

hoped that The Great Picture will be reunited inside Abbot Hall 

in the second half of 2011. (From The Art Newspaper, October 

2010.) 

London 

• The Vatican lent four Raphael tapestries to the Victoria 

& Albert Museum for the Pope’s visit to the United Kingdom 

in September. These included The Miraculous Draft of Fishes, 

The Sacrifi ce at Lystra, The Healing of the Lame Man and Christ’s 

Charge to Peter, woven in the workshop of Pieter van Aelst in 

Brussels in 1520. They were presented along the V&A’s cartoons 

by Raphael. The cartoons and tapestries have never been 

reassembled since their weaving nearly 500 years ago, and even 

Raphael never saw them together. From The Art Newspaper, 

June 2010.) 

• The National Heritage Fund rejected a grant request 

towards Van Dyck’s last self-portrait offered jointly to the Tate 

and the National Portrait Gallery. The painting, owned by the 

Earl of Jersey, was bought at Sotheby’s, London, in December 

2009 by Alfred Bader in partnership with the London-based 

dealer Philip Mould. 

• At the 250th anniversary of Colnaghi, Bernheimer-Colnaghi 

brought a superb collection of Old Master Paintings to the XX- 

Vth Biennale des Antiquaires in Paris, September 15-22, 2010. 

Among the works is a magnifi cent still life by François Habert 

(active in France c. 1650) which is strongly infl uenced by Dutch 

and Flemish still lifes, The Oyster Eater by Henri Stresor (1613?- 

1679) who is said to be of German origin and who painted in 

the style of the Le Nain brothers, and The Ill-Matched Lovers by 

Lucas Cranach the Elder and studio. 

Madrid: The Museo del Prado has attributed The Wine of 

Saint Martin’s Day (tempera on linen, 148 x 270.5 cm) to Pieter 

Bruegel the Elder. The work in a Spanish private collection was 

fi rst recognized as possibly by Pieter Bruegel the Elder by Manfred 

Sellink, whereupon the owner contacted the Prado for an 

examination and restoration. The museum now has an advantageous 

option to purchase the painting. A fragment with part 

of the fi gure of Saint Martin and the group of people at the left 

of him is preserved in the Kunsthistorisches Museum, Vienna, 

variously attributed to Pieter Bruegel the Elder, Pieter Brueghel 

the Younger or Pieter Balten. The Wine of St. Martin would be 

the fourth surviving watercolor painting on linen by Bruegel, 

besides The Parable of the Blind and The Misanthrope, both in 

Naples, and The Adoration of the Magi in Brussels. 

Munich: Dürer’s Virgin of Sorrows, the centre piece of his 

altarpiece with the Seven Sorrows of the Virgin (1496) has been 

restored after a 21-year treatment following an acid attack in 

Munich. The panel was united with the rest of the altarpiece for 

an exhibition in Dresden. The Virgin of Sorrows was separated 

from the altarpiece, eventually ending up at the Bendiktbeuren 

Abbey. In 1804, with the secularization of the monasteries, the 

panel went to Munich. Following the exhibition in Dresden 

(until November 7), the central panel was returned to the Alte 

Pinakothek. (From The Art Newspaper, July/August 2010.) 

New York 

• Over the past years, the Metropolitan Museum of Art 

acquired a considerable number of Dutch and Flemish Old 

Master prints and drawings. For a list of the works go to www. 

codart.nl/news/509. 

• The American Friends of the Mauritshuis sponsored a 

lecture by Ernst van de Wetering at the Italian Academy, Columbia 

University (October 18, 2010), titled: Rembrandt: Studio 

Practice and Art Theory. 

Rotterdam: In the most recent volume of the Corpus of 

Rembrandt Paintings, Ernst van de Wetering demonstrates 

that Tobias and His Wife in the Museum Boijmans Van Beuningen, 

previously thought to be by a Rembrandt pupil, is now 

considered to be by the master himself. Rembrandt painted the 

scene over an older still life by another artist. The painting was 

supposed to have been restored in preparation for its loan to an 

exhibition in Japan. Following the announcement, the museum 

has decided to postpone the restoration for a month in order to 

exhibit the work (from October 8, 2010) which is normally kept 

in storage. 

Schwerin: Two paintings lost since Worl War II were returned 

to the Staatliches Museum, Schwerin, one of them being 

a 17th-century Dutch work: Hendrick van Vliet, Interior of the 

Oude Kerk in Delft (1659). The other is a 20th-century painting. 

The Hague 

• The Mauritshuis is lending Vermeer’s Girl with a Pearl Earring 

to the Kobe City Museum in 2012. It is among 50 pictures 

from the collection that are being toured to raise money for the 

expansion of the Mauritshuis, among them Rembrandt’s selfportrait 

and other seventeenth-century Dutch works. Unknown 

to the Mauritshuis at the time of the agreement in 2009 was 

the fact that the Kunsthistorisches Museum’s Art of Painting 

had been found to have suffered on its return from a 2009 trip 

to Japan. This information only emerged in the catalogue of 

an exhibition on The Art of Painting organized at the museum 

earlier this year. However, after a visit last year to Kobe by the 

Mauritshuis staff, Emilie Gordenker, the museum’s director, 

found herself to be entirely satisfi ed with the environmental 

standards of the Kobe museum. (From The Art Newspaper, September 

2010.) 

• The Royal Library has acquired a copy of Frederick de 

Wit’s Stedenboek (c. 1670-1695). The atlas has been fully digitized: 

www.kb.nl/stedenboek 

Toronto: The Pontifi cal Institute of Mediaeval Studies is 

delighted to announce a new series: Text–Image–Context: Studies 

in Medieval Manuscript Illumination. Generous funding for the 

fi rst volume in this series has been provided by several donors 

in honour of the late Janet Backhouse. 

Edited by Jeffrey F. Hamburger, Kuno Francke Professor of 

German Art & Culture at Harvard University, this new series 

aims to provide a setting for innovative investigations of unfamiliar 

material as well as fresh studies of familiar landmarks. 

In addition to monographs and thematic studies, projects 

that focus on manuscripts in relation to other media, such as 

epigraphy, inscriptions, and printing, will also be considered, 

as will studies that place the history of manuscript illumination 

in broader cultural contexts. Proposals should describe in detail 

the required program of illustration. For further information, 

please contact Professor Jeffrey F. Hamburger jhamburg@fas. 

harvard.edu. 


7

Vienna: Prince Hans-Adam II of Liechtenstein recently 

acquired, among other works, the Tax Collectors by Quentin 

Massys. Previously thought to be by a follower of Marinus van 

Reymerswaele, Johann Kräftner, the Liechtenstein Museum’s 

director, has confi rmed that it is a much more important work 

by Quentin Massys of c. 1500. The painting can be seen in the 

exhibition Der Fürst als Sammler in the Kunstmuseum Liechtenstein, 

Vaduz. The prince also bought Cornelis van Haarlem’s 

Saint Sebastian (c. 1591), previously owned by the Earl of 

Wemyss and March. 

Washington: The National Gallery of Art has acquired The 

Four Seasons in One Head (c. 1590) by Giuseppe Arcimboldo, on 

the occasion of the exhibition Arcimboldo, 1526-1593: Nature 

and Fantasy (September 19, 2010 – January 9, 2011). 

Scholarly Activities 

Future Conferences 


College Art Association Annual Conference 

New York, February 9-12, 2011. 

Sessions of interest to or chaired by HNA members: 

Exhibiting the Renaissance, 1850 - 1950. Chairs: Cristelle 

Baskins (Tufts University), Alan Chong (Asian Civilisations 

Museum, Singapore). 

Netherlandish Art (ca. 1350 – 1750): Refl ecting on a Century 

of Scholarship. Chairs: Gregory Clark (University of the 

South), Amy Golahny (Lycoming College). HNA-sponsored 

session. 

Luxury and Consumption in Early Modern Northern European 

Art. Chair: Wayne Franits (Syracuse University). 

Beyond Art. Chair: Ivan Gaskell (Harvard Art Museums). 

Beyond the “Other”: New Paradigms for a Global Art 

History. Chairs: Julie Hochstrasser (University of Iowa), Dawn 

Odell (Lewis and Clark College). 

The Meisterfrage in Medieval and Northern Renaissance 

Art, Revisited. Chair: Jacqueline Jung (Yale). 

Dissemination: Prints, Publishing, and the Early Modern 

Arts in Europe. Chair: Sheila McTighe (Courtauld Institute of 

Art). 

Challenging the Myths of Art History: A Symposium 

in Honor of Linda Seidel 

Fordham University’s Lincoln Center Campus (113 West 

60th Street), New York, February 13, 2011 (weekend of the College 

Art Association meeting) 

This one-day symposium celebrates the career of Linda 

Seidel, an infl uential scholar of medieval art history and inspiring 

teacher. Professor Seidelʼs research often aimed at debunking 

art historical myths, as is evident in her books on Jan van 

Eyck’s Arnolfi ni Double Portrait, rider imagery at Aquitaine, 

and artistic identity at Autun. Her interest in pivotal fi gures 


and moments in the history and historiography of medieval art 

continues to be pioneering and to inspire many generations of 

art historians in many fi elds. 

The program features lectures by four distinguished scholars 

of medieval and early modern art, Madeline Caviness, Anne 

Derbes, Andrée Hayum, and Christine Verzar. In addition, a 

series of brief presentations by former students celebrates Professor 

Seidel’s legacy as a teacher and scholar. 

For a complete program and to register go to: 

http://www.fordham.edu/mvst/conference11/arthistory/index.html 

Renaissance Society of America Annual Conference 

Montréal, March 24-26, 2011. 

Sessions of special interest to HNA: 

Artists at Work in Northern Europe. Chair: David Evett 

(Cleveland State University, emeritus) 

Buriel and Commemoration in Art and Society. Chair: 

Sarah Brooks (James Madison University). 

Versions of Realism in Seventeenth-Century Art. Chair: 

Aneta Georgievska Shine (University of Maryland). 

Words about Images in Early Modern Europe. Chair: 

Stephanie Dickey (Queen’s University, Kingston). 

Genre Imagery in Early Modern Northern Europe. Chair: 

Arthur J. DiFuria (Moore College of Art and Design). 

Painting Blood in Early Modern Art. Chair: Natasha Seaman 

(Rhode Island College). 

Early Modern Merchants as Collectors. Chair: Christina 

Anderson (Oxford University). 

Materializing the Family: People and Things in the Early 

Modern Domestic Interior. Chair: Erin J. Campbell (University 

of Victoria). 

Picking up the Threads: New Considerations on Tapestry. 

Chair: Karen J. Lloyd (independent scholar). 

Visual Narratives and Illuminated Manuscripts. Chair: 

Nhora Serrano (California State University, Long Beach). 

The Netherlands and Global Visual Culture, 1400-1700. 

Chairs: Angela Vanhaelen (McGill) and Thomas DaCosta 

Kaufmann (Princeton University). HNA-sponsored session. 

Europe 

Vision and Material. Interaction between Art and 

Science in Jan van Eyck’s Time 

Royal Flemish Academy of Belgium for Science and the 

Arts, Brussels, November 24-26, 2010. Organized by VLAC 

(Vlaams Academisch Centrum) and the Royal Flemish Academy 

of Belgium for Science and the Arts, in collaboration with 

KIK/IRPA and The Impact of Oil, a Dutch Joint Project of the 

universities of Amsterdam and Utrecht and the Rijksmuseum. 

Marc De Mey (Director, VLAC), Introduction to the Theme 

of the Conference: VLAC and Current Issues in Eyckian Optics. 

Maximiliaan Martens (University of Ghent), Members

of the Belgian Royal Academies and the Study of the Ghent 

Altarpiece. 

Klaus Bergdolt (University of Cologne), Ghiberti’s Third 

Comments. 

Kamal Kolo (VUB), Alhazen Optics from Arab Sources. 

Cyriel Stroo (KIK), Broederlam’s World Surface Appearance: 

Traditional and Innovative Aspects. 

Dominique Deneffe (KIK), Painting Techniques and Human 

Representation in Pre-Eyckian Art. 

Bart Fransen (KIK), The Making of Portraits before Jan van 

Eyck: The Case of Wencelas of Luxembourg. 

Ingrid Geelen (KIK), Applied Reliefs in the Ghent 

Altarpiece. 

Inigo Bocken (University of Nijmegen) and Barbara Baert 

(KU Leuven), The Viewers in the Ghent Altarpiece. 

Harald Schwaetzer (Alanus Hochsch), Rogier’s St. Luke 

Painting the Virgin and Cusanus’ Epistemology. 

Wolfgang Schneider (University of Hildesheim), Refl ektion 

als Gegenstand des Sehens im Genter Altar. 

Rocco Sinisgalli (University of Rome), The Ancient Origin 

of 15th-Century Perspective. 

Till Borchert (Groeninge Museum, Bruges), Jan van Eyck’s 

Portraits and the Ghent Altarpiece. 

Boris Uspensky (L’Orientale Napoli), The Composition of 

the Ghent Altarpiece (Divine and Human Perspective). 

Jo Kirby (National Gallery, London), Aspects of Oil Painting 

in Northern Europe and Jan van Eyck. 

Arie Wallert (University of Amsterdam) and Esther van 

Duijn (Impact Oil), Pre- and Post-Eyckian Gold. 

Mark Clarke (University of Amsterdam) and Abbie Vandivers 

(Impact Oil), Shot Fabric, Recipes and Practice. 

Jan Piet Filedt Kok (University of Amsterdam), St. Luke 

and Workshop Practice. 

Jeroen Stumpel (University of Utrecht), Alberti Meets Van 

Eyck. 

Michael Kubovy (University of Virginia), The Uses of 

Perspective and the Adoration of the Mystic Lamb. 

Alan Gilchrist (Rutgers University), Perception of Refl ected 

Light: A Story of Black and White. 

Jan Koenderink (University of Delft), Observation, 

Concept and Expression in Jan van Eyck’s Rendering of Space, 

Light and Matrial. 

Ingrid Daubechies (Princeton University), Mathematical 

Methods for the Study of the Ghent Altarpiece. 

Elisabeth Bruyns and Hélène Verougstraete (UCL), The 

Frames of the Ghent Altarpiece. 

Anne van Grevenstein (University of Amsterdam) and 

Ron Spronk (Queen’s University, Kingston, Ontario), The Current 

State of the Ghent Altarpiece. 

Hugo van der Velden (Harvard University), The Genesis 

of the Ghent Altarpiece. 

www.kvab.be/vlac.aspx 

Tudor and Jacobean Painting: Production, Infl uences 

and Patronage 

National Portrait Gallery and Courtauld Institute of Art, 

London, December 2-4, 2010. 

Sessions on materials, appearances, effects and the artists’ 

workshop, authorship, native and foreign artists, patronage for 

portraiture and the use of documentary and technical evidence. 

www.npg.org.uk/matb 

Authentizität/ Wiederholung: Künstlerische und 

kulturelle Manifestationen eines Paradoxes 

Freie Universität, Berlin, December 2-4, 2010. 

www.geisteswissenschaften.fu-berlin.de/v/interart 

Networking Dürer. Art and Communication in the Era 

of Media Revolution 

Museen der Stadt Nürnberg - Albrecht-Dürer-Haus/Grafische 

Sammlung, 

December 4, 2010. 

A Call for Papers went out in April. 

Aus aller Herren Länder. Die Künstler der Teutschen 

Academie von Joachim von Sandrart 

Frankfurt, December 9-11, 2010. In cooperation with the 

Kunsthistorisches Institut in Florenz–Max-Planck-Institut 

and the Kunstgeschichtliches Institut der Goethe-Universität 

Frankfurt. 

Andreas Thielemann (Hertziana, Rome), Phidias und die 

antike Skulptur. 

Anna Anguissola (University Munich), Apelle e la pittura 

antica. 

Friederike Wappenschmidt (Swisttal-Buschhoven), 

Sandrarts ‘indianischer’ Maler Higiemond. Eine authentische 

Künstlerpersönlichkeit oder ein Synonym für die fremdartige 

Malerei Asiens? 

Martin Disselkamp (TU Berlin), Der ‘teutsche Apelles’, 

oder die ‘Kunst-Biene’: Die Sandrart-Biographie aus der 

Teutschen Academie im Kontext frühneuzeitlicher Biographik. 

Heiko Damm (KHI Florenz–Max-Planck-Institut), 

Legenden und Mißverständnisse in den ersten deutschen 

Michelangelo-Biographien. 

Giovanna Perini (Università degli Studi di Urbino ‘Carlo 

Bo’), La triade carraccesca in Sandrart, un’interpretazione 

originale. 

Sebastian Schütze (University of Vienna), Caravaggio und 

seine Nachfolger: Konkurrierende Deutungsperspektiven. 

Marzia Faietti (Uffi zi, Florence), ‘una certa facilità e disinvoltura 

parmigianesca’: Guido Reni e l’acquaforte. 

Elisabeth Oy-Marra (University of Mainz), Leitbilder, 

Lehrer, Konkurrenten. Lanfranco im Spiegel der Viten Sandrarts, 

Belloris und Passeris mit einem besonderen Blick auf 

Domenichino. 

Herny Keazor (University of Saarbrücken), ‘Rom/ (...) ein 

mit Kunst erfülltes Theatrum’: Joachim von Sandrarts Blick auf 

Nicolas Poussin. 


9

Andrea Bacchi (Università degli Studi di Trento), Bernini e 

gli scultori del suo tempo. 

Karin Hellwig (Zentralinstitut für Kunstgeschichte, 

Munich), Murillo-Biographien – Topoi und Inventionen von 

Sandrart bis Justi. 

Horst Bredekamp (Humboldt Universitä, Berlin), Leben 

und Lob des Galileo Galilei. 

Heike Sahm (University of Siegen), Die Transformation 

des Dürer-Bildes durch Sandrart im Übergang von der stadtbürgerlichen 

Öffentlichkeit zur barocken Wissensgesellschaft. 

Stephanie Buck (Courtauld Institute, London), Joachim 

von Sandrarts Holbein-Bild. 

Rüdiger Klessmann (Augsburg), Zur Darstellung Adam 

Elsheimers in Sandrarts Academie. 

Ulrich Heinen (Bergische Universität, Wuppertal), ‘der in 

meiner Profession mir ( ... ) zu großer Wißenschaft Anlaß geben 

konnte’: Sandrart folgt Rubens. 

Jaco Rutgers (Amsterdam), Cornelis Bloemaert and the 

Engraved ‘Galleria’. 

Simon Turner (Berlin), Sandrart’s Life of Wallerant Vaillant 

and the Early History of Mezzotint Printmaking. 

Eric Jan Sluijter (University of Amsterdam), Joachim von 

Sandrart’s Comments on Rembrandt and Other ‘Rivals’ in 

Amsterdam During the Second Half of the 1630s and First Half 

of the 1640s. 

Hans-Martin Kaulbach (Staatsgalerie Stuttgart), Sandrarts 

Vita des Johann Heinrich Schönfeld. 

Thomas Kirchner (University of Frankfurt), Der 

Repräsentant der Pariser Kunstakademie Charles Le Brun. 

Questions of Ornaments (15th-18th Century). 2. 

Painting and Graphic Arts 

Université catholique de Louvain, Louvain-la-Neuve, 

February 4 - 5, 2011. 

Contact caroline.heering@uclouvain.be 

Das Bild als Ereignis. Zur Lesbarkeit spätmittelalterlicher 

Kunst 

Ruprecht-Karls-Universität, Institut für Europäische 

Kunstgeschichte, Heidelberg, February 11 – 13, 2011. 

Das_bild_als_ereignis@yahoo.com 

CODART VEERTIEN 

Enschede, March 20-22, 2011. www.codart.nl/news/534 

Systems of Perception. Innovatory Concepts and 

New Approaches to Netherlandish Art and Culture 

International ANKK (Arbeitskreis Niederländische Kunst 

und Kulturgeschichte) Conference, Städel Museum & Goethe 

Universität, Frankfurt, September 30- October 2, 2011. 


Past Conferences 

Listed are only those conference papers that came to my attention 

too late to be included in the section “Future Conferences” in the 

printed version of the Newsletter (in most cases, however, they were 

listed on the website). They are mentioned here to inform readers of 

new developments in the fi eld and of the scholarly activities of the 

membership. 

Quinten Metsys, His Workshop and Circle 

The Flemish Academic Centre for Science and the Arts – 

VLAC, Koninklijke Vlaamse Academie van België voor Wetenschappen 

en Kunsten, Brussels, May 31, 2010. 

Annick Born and Maximiliaan Martens, Quinten Metsys: 

Painting Technique and Material Evidence. 

Maria Clelia Galassi, Quinten Metsys’ Workshop: The 

Contribution of His Son Jan. 

Maryan Ainsworth and Karen Thomas, Paintings by Metsys 

and His Circle in the Metropolitan Museum of Art, New 

York. 

Cécile Scailliérez, Mary Magdalene by Quinten Metsys in 

the Musée du Louvre, Paris. 

Rachel Billinge, Paintings by Metsys and His Circle in the 

National Gallery, London. 

Stephan Kemperdick, Paintings by Metsys and His Circle 

in the Staatliche Museen Preussischer Kulturbesitz, Gemäldegalerie, 

Berlin. 

Véronique Bücken and Frey Maes, Paintings by Metsys 

and His Circle in the KMSKB-MRBAB (galleries - storage) with 

a Contribution by Ann Dubois on a Painting from the Renders 

Collection. 

Current Research in Early 16th-Century Northern 

European Painting 

The Flemish Academic Centre for Science and the Arts – 

VLA, Koninklijke Vlaamse Academie van België voor Wetenschappen 

en Kunsten, Brussels, June 2, 2010. 

Maximiliaan Martens (University of Ghent-VLAC) 

and Maria Clelia Galassi (Univ. degli Studi Genova-VLAC), 

Quinten Massys: Tentative Conclusions of a Seminar. 

Larry Silver (University of Pennsylvania), Massys and 

Money. 

Jochen Ketels (University of Ghent), 3D Rendering of 

Light on Quinten Massys’s St. John’s Triptych. 

Griet Steyaert (KMSKB-MRBAB), St. Christopher by 

Quinten Metsys of the Koninklijk Museum voor Schone Kunsten 

Antwerp. 

Matthijs Ilsink (Radbout Universiteit Nijmegen), The 

Jheronimus Bosch Research and Conservation Project. 

Marjolijn Bol (U Utrecht), Impact of Oil Project. Unveiling 

the Veil. 

Micha Leefl ang (Catharijneconvent Utrecht), Joos van 

Cleve, Leonardo of the North. 

Alexandre Galand (KMSKB-MRBAB), Le Triptyque de Job et 

de Lazare: une commande de Marguerite d’Autriche? 

Lars Hendrikman (Bonnefantenmuseum Maastricht), An

Art Historical Case of Split Personality – Bernard van Orley 

and Barend van Brussel. 

Jan Piet Filedt Kok (em. University of Amsterdam, Rijksmuseum), 

Lucas van Leyden and His Time – Renaissance in 

Leiden. 

Koenraad Jonckheere (U Ghent), Michiel Coxcie. 

Stephan Kemperdick (SMPK, Gemäldegalerie, Berlin), 

A Little Known but Important Copy. Michiel Coxcie and The 

Descent from the Cross. 

Lieve De Kesel (U Ghent), The Master of the Prayer Books 

of around 1500: A Search for the Artist(s), the Oeuvre, Their 

Colleagues and Their Patrons. 

Molly Faries (em. University of Indiana, Bloomington and 

RU Groningen), Design Change and Format in Jan van Scorel’s 

Workshop. 

Annick Born (U Ghent), Pieter Coecke van Aelst: Looking 

at Raphaelesque Designs. A Study of the Lisbon Triptych of the 

Deposition. 

Jessica Buskirk (UC Berkeley - TU Dresden - VLAC), Barthel 

Beham’s “Rechner” and the Algorithm as Performance. 

Ingrid Ciulisova (Slovak Academy of Science -VLAC), 

Some Remarks on Jacob de Backer and Gillis Coignet. 

Daantje Meuwissen (Stedelijk Museum Alkmaar), Jacob 

Cornelisz van Oostsanen. 

Linda Jansen (Maastricht), Issues of Identity: Pieter Coecke 

van Aelst, Jan Martens van Dornicke and the Master of 1518. 

Jürgen Müller (TU Dresden-VLAC), A Pilgrim Couple by 

Jan van Amstel. 

ANKK (Arbeitskreis für Niederländische Kunst- und 

Kulturgeschichte) 

Dresden, June 18-20, 2010. 

Gary Schwartz (Maarssen), What Can the Past 50 Years 

Tell Us about the Coming 50 Years in the Study of Dutch and 

Flemish Art? 

Ulrike Heinrichs (Berlin), Farbe als Medium der Affektdarstellung 

und Affektlenkung in der Malerei Rogier van der 

Weydens. 

Eveliina Juntunen (Bamberg), Kunst, die den Rahmen 

sprengt: Jacques du Broeqs “Auferstehung Christi”. 

Katja Kleinert (Berlin), Von Einfallsreichtum und Effi - 

zienz. Zu Entstehung und Umwandlung eines Gemäldes von 

Jan Steen. 

Eva von Engelberg (Weimar), “Holländische Architektur”. 

J.P. Oud als Vermittler der niederländischen Moderne. 

Antoon van Dijck: Meesterwerk of Kopie? 

Museum M, Leuven, June 21, 2010. In conjunction with the 

showing of the two versions of Saint Jerome with an Angel from 

the Nationalmuseum, Stockholm, and the Museum Boijmans 

van Beuningen, Rotterdam. 

Friso Lammertse, Antoon van Dijcks twee versies van de 

Heilige Hiernonymus met een engel vergeleken. 

Nivo van Hout, Van Dyck en Jordaens als inventors voor 

Rubens. 

Irene Schaudies, Jordaens en Van Dyck: timmeren aan de 

weg in een competitieve omgeving. 

Fabrique usages du jardin du XIVe au XVIIe siècle 

Centre d’études supérieures de la Renaissance, Lille, June 

28-July 2, 2010. 

Papers related to HNA: 

Piet Lombaerde (University of Antwerp, Higher Institute 

of Architectural Sciences), Les aménagements hydrauliques du 

parc du Coudenberg à Bruxelles. 

Ria Fabri (University of Antwerp), Un dessin inconnu du 

jardin de l’Offi cina Plantiniana à Anvers (début XVIIe siècle) 

comme modèle pour une restauration actuelle. 

Luc Bergmans (Université Paris IV Sorbonne), Le jardin et 

l’idée du jardin dans Hofwijck par Constantijn Huygens. 

Iris Lauterbach (Zentralinstitut für Kunstgeschichte, Munich), 

Le jardin de la résidence de Munich (Hofgarten) aux XVIe 

et XVIIe siècles. 

Depicting the City: Urban Views as Historical 

Sources 

Session in “City and Society in European History”, 10th International Conference on Urban History, Ghent, September 

1-4, 2010. 

Katrien Lichtert (University of Ghent), The Image of the 

City: Representations of Urban Landscapes in the Oeuvre of 

Pieter Bruegel the Elder. 

Cecilia Paredes (Université libre, Brussels), Cities in 

Princely Decorum: Typologies, Meanings and Sources of Urban 

Views in Sixteenth-Century Tapestries. 

Petra Maclot (Katholieke Universiteit Leuven), A Portrait 

Unmasked. The Iconology of the Birds’-Eye View by Virgilius 

Bononiensis (1565) as a Source for Typological Research of 

Private Buildings in 15th- and 16th-Century Antwerp. 

Annick Born (University of Ghent), Through the Eyes of 

a Sixteenth-Century Reporter: The View of Constantinople by 

Pieter Coecke van Aelst. 

Maria Galassi (Università di Genova), Typography and 

Mythological Transfi guration in Two 16th-Century Genoese 

Cityscapes: A Jan Massys Painting and an Anton van den Wyngaerde 

Etching. 

Sarah Van Ooteghem (University of Utrecht), The Use of 

16th-Century Netherlandish Artists’ Roman vedute as Historical 

Source. 

Marianne Råberg, New Discovery. Stockholm in the Early 

17th Century. 

Junko Ninagawa (Kansai University, Osaka), Asian Cities 

Depicted by European Painters: The Case of a Japanese Folding 

Screen Painting with 28 Cityscapes and 8 World Sovereigns. 

Rubens and the Human Body 

University of York, September 17-18, 2010 

Andrew Cunningham (History of Philosophy and Science 

Department, University of Cambridge), Anatomist and Artist in 

the Time of Rubens. 


11

Suzanne Walker (Art History Faculty, Tulane University, 

New Orleans), Rubens’s Victims: Images of the Assaulted Male 

Body. 

Joost Vander Auwera (Musées Royaux des Beaux-Arts 

de Belgique, Brussels), Size Matters! On the Importance and 

Signifi cance of Life-Size Figures in Rubens’s Paintings. 

Andreas Thielemann (Bibliotheca Hertziana, Rome), Stone 

to Flesh: Transformation and Transmaterialisation in Rubens’s 

Appropriation of the Antique. 

Jeremy Wood (History of Art Department, University of 

Nottingham), Cupid’s Body: Rubens, Parmigianino and the 

Antique. 

Nico Van Hout (Koninklijk Museum voor Schone Kunsten, 

Antwerpen), Contour Lines of the Human Body in Rubens’s 

Work. 

Jørgen Wadum and Anne Haack Christensen (National 

Gallery of Denmark, Copenhagen), Solid Flesh in Rubens, 

Jordaens and Contemporary Netherlandish Artists Working in 

Denmark. 

Kate Lushek (Department of Art and Architecture, University 

of San Francisco), Drawing Character(s): Physiognomy and 

Its Flexibility in Rubens’s Early Graphic Work. 

Arnout Balis (Faculty of Arts, Languages and Literature, 

Vrije Universiteit, Brussels), Rubens’s Esoteric Physiognomics. 

Elizabeth McGrath (Warburg Institute, University of London), 

Black Bodies and Bacchanalian Revels. 

Karolien de Clippel (Department of History and Art 

History, University of Utrecht), On Vibrant Veils and Daring 

Draperies. 

Margit Thøfner (School of World Art Studies and Museology, 

University of East Anglia, UK), Milky Bosoms: On Rubens, 

Breasts and Maternity. 

Lucy Davis (Kunsthistorisches Institut Florence/Max 

Planck Institut), Rubens’s Bacchic Paintings and Male Fertility. 

Christine Göttler (Institut für Kunstgeschichte, University 

of Bern), Rubens’s Bacchic Bodies: The Dreaming Silenus in the 

Vienna Academy of Fine Arts. 

Irene Schaudies (Musées Royaux des Beaux-Arts de Belgique, 

Brussels), “Boistrous druncken headed imaginary gods”: 

The Bacchic Bodies of Rubens & Jordaens. 

Jacques Bos (Department of Philosophy, Universiteit 

van Amsterdam), Rubens and Seventeenth-Century Medical 

Psychology. 

Hans von Aachen and New Research in the Transfer 

of Artistic Ideas into Central Europe 

Institute of Art History, Academy of Sciences of the Czech 

Republic, Prague, September 22-25, 2010. In conjunction with 

the exhibition in Aachen, Prague and Vienna. 

Lubomír Konecny (Academy of Sciences of the Czech Republic), 

Hans von Aachen 1604-2010: Four Centuries of ‘fortuna 

critica’ between Art and Politics. 

Dirk Jacob Jansen (Maastricht), Taste and Thought: Jacopo 

Strada and the Development of a Cosmopolitan Art. 

Joaneath Spicer (Walters Art Museum, Baltimore), Draw- 


ing ‘from life’ at the Court of Rudolf II: Mapping the Life Cycle 

of a Term. 

Isabella Di Lenardo (Università degli Studi di Verona), 

Hans von Aachen and Italy: A Reappraisal. 

Eliska Fuciková (Prague), Hans Speackaert, Hans von 

Aachen and the Artists aound Them. 

Eva Jana Siroká (Princeton), A Fresh Glance at Speackaert’s 

Drawings. 

Edgar Lein (University of Graz), Hans von Aachen und die 

italienische Skulptur des Manierismus. 

Lars Olof Larsson (University of Kiel), Ernst und Humor 

in den mythologischen Darstellungen der rudolfi nischen 

Künstler. 

Michael Niekel (University of Bamberg), Die Tugend im 

Focus: Überlegungen zu Hans von Aachens Allegorie in der 

Stuttgarter Staatsgalerie. 

Abigail Dorothy Newman (Princeton University), Reconsidering 

the Recto and Evaluating the Verso of Hans von 

Aachen’s Moses Parting the Red Sea in Princeton. 

Stepan Vácha (Academy of Sciences of the Czech Republic), 

Der Hauptaltar für den Veitsdom aus dem Jahre 1598: eine 

kaiserliche Kunststiftung im Sakralbereich. 

Alena Volrábová (National Gallery, Prague), Child in the 

Cradle, Child Saviour. 

Eliska Zlatohlávková (Charles University Prague), The 

Iconography of Emperor Rudolf II. 

Sarvenaz Ayooghi (RWTH Aachen), Späher im Dienst des 

Kaisers: Aquisitionsstrategien und Netzwerk der rudolfi nischen 

Kunstagenten in Italien um 1600. 

Markéta Jezková (Charles University Prague), Rudolf II 

and the Collection of the De Granvelle Family. 

Ivana Horacek (University of British Columbia), The Art 

of the Gift: The ‘Objects’ of Geopolitics at the Court of Emperor 

Rudolf II. 

Joan Boychuk (University of British Columbia), Between 

Naturalia and Artifi cialia: The Works of Joris Hoefnagel and the 

Rudolfi ne Milieu. 

Blaise Ducos (Louvre), Mantua and Prague as Rivals: 

Hans von Aachen and Frans Pourbus the Younger. 

Evelyn Reitz (FU Berlin), Die Gestik in der Bildsprache 

Hans von Aachens als Ausdruck einer europäischen Hofkunst. 

Andrew John Martin (Munich), Kaiser, Kaufmann, Kammermaler: 

Rudolf II., Hans Jakob König, Hans von Aachen und 

die Prager Kunstsammlungen. 

Stephanie Dickey (Queen’s University, Kingston, Ontario), 

Strategies of Self-Portraiture from Hans von Aachen to 

Rembrandt. 

Dorothy Limouze (St. Lawrence University, Canton, NY), 

The Muses and the Liberal Arts: Two Allegories Observed 

through a Technological Lens. 

Thea Vignau-Wilberg (Munich), Triumphs for Rudolf: 

Jacob Hoefnagel, New Aspects. 

Angelica Dülberg (Landesamt für Denkmalpfl ege 

Sachsen, Dresden), Der sächsische Stipendiat Hans Christoph 

Schürer in der Werkstatt des Hans von Aachen: Entdeckung

seiner Gemälde im Schloss Hof bei Oschatz und in der dortigen 

ehemaligen Schlosskirche. 

Sixteenth-Century Society Conference 

Montréal, October 14-17, 2010. 

Papers of interest to or by HNA members 

Adam W. Darlage (Oakton Community College), Pigeons 

and Bats, Scissors and Shoes: Symbols in the Woodcut from 

Christoph Andreas Fischer’s “The Hutterite Anabaptist Pigeon 

Coop” (1607). 

Rabia Gregory (University of Missouri), Printed Piety in 

the Low Countries. 

Claire Wenngren (Queen’s University), The Order of Pollution: 

A Social History of Peasants under Elite Régime in the 

Netherlands. 

Susan Maxwell (University of Wisconsin, Oshkosh), Classical 

Role Models for the Aspiring Ruler: A New Hero Cycle for 

Crown Prince Maximilian I of Bavaria. 

Erin L. Webster (University of Toronto, Scarborough), Marcus 

Gheeraerts the Elder’s Interpretations of Queen Elizabeth I. 

Christina Anderson (Oxford University), Where Art, Business 

and Religion Meet: The Protestant Network and Pursuits 

of Daniel Nijs (1572-1647), a Flemish Merchant in Venice. 

Stephanie Dickey (Queen’s University), The History of the 

History of Prints: Rembrandt as a Case Study. 

Angela Vanhaelen (McGill University), Boredom’s Threshold: 

Dutch Realism. 

Christopher Heuer (Princeton University), Mannerism, 

Allegory, Enmity, ca. 1930. 

The three papers above were in the session “Changing Histories 

of Netherlandish Art and Culture,” sponsored by HNA. 

_______________________________________________________ 

Hope Walker (Courtauld Institute of Art), Exploring 

the London Stranger-Painters: Hans Eworth and His 

Contemporaries. 

Alan Ross (University of Göttingen), Social Differentiation 

and Fashion in the Seventeenth-Century German Republic of 

Letters. 

James Clifton (Museum of Fine Arts, Houston), 

“L’entendement s’illumine ... par ceste vision:” Antoon Wierix’s 

Engravings of a Carmelite Nun. 

Christine Göttler (University of Bern), Meditation as 

Animation. Willem Key’s Painting of the Pietà at the Court of 

Maximilian of Bavaria in Munich. 

Elissa Auerbach (Georgia College and State University), 

Wife, Mother and Virgin: Mary as Everywoman in Early Modern 

Dutch Art. 

Jennifer Spinks (University of Melbourne), Print across 

Confessional and Linguistic Borders: Reporting German Wonders 

and Disasters in Sixteenth-Century France. 

Katherine McIver (University of Alabama, Birmingham), 

Moving House: Margarita of Austria Builds a New Palazzo in 

Aquila. 

Marianne Eekhout (Leiden University) War, Material Culture, 

and Local Memory in the Spanish Netherlands, 1576-1629. 

Dominique Pauvert (Bordeaux III), Les animaux psychopompes 

dans la peinture de Bosch et Bruegel. 

James Frijitani (Azusa Pacifi c University), The Beast(s) of 

the Apocalypse: Albrecht Dürer and the Biblical Culture of the 

Laity. 

Barbara Haeger (Ohio State University), Revelation and 

Insight in Two Paintings by Rubens. 

Walter Melion (Emory), Pictorial Artifi ce as a Meditative 

Hinge in Jan David’s Paradise of the Bridegroom and Bride ... and 

Marian Garland of 1607. 

Michel Weemans (École des Beaux-Arts, Bourges; École 

des Hautes Études, Paris), Saint Jerome Scopus: Herri met de 

Bles’s Penitent Saint Jerome. 

Elizabeth Tobey (National Sporting Library), The Infl uence 

of Stradanus’s Equili Series on Early Modern Artists’ 

Depictions of Horses. 

Ingrid Carwright (Western Kentucky University), High 

and Low Horses: Early Modern Equine Culture and Commerce 

at the Valkenburg Horse Fair. 

Eva Allen (Independent), Prints and Drawings as Compositional 

Aids for Paintings in the Art of Jan Miense Molenaer. 

Alison Kettering (Carleton College), Rembrandt and the 

Male Nude. 

Amy Frederick (Case Western Reserve), Why so sad? Melancholia 

and Saskia in Rembrandt’s Graphic Oeuvre. 

Tatiana String (University of North Carolina, Chapel Hill), 

Tudorist Representations of Henry VIII. 

Jennifer Welsh (Davidson College), Saints in Pieces and 

Relics in Print: German Heiltumsbücher and Pre-Reformation 

Piety. 

Jessica Veith (New York University), Seventeenth-Century 

Profi le Portraits in the Netherlands: Some Observations. 

Ricardo de Mambro Santos (Willamette University), 

Lands of Light: The Paradigm of ‘Pictorial Quality’ (schilderachtich) 

in Karel van Mander’s Art and Theory. 

Jennifer Newlands (Johnson County Community College 

and University of Missouri), The Marie de’Medici Cycle by 

Rubens: A New Perspective. 

Diana Withee (San Diego), The Reichsjägermeister’s Tapestry: 

Weaving as Conspiracy. 

Lynette Bosch (SUNY Geneseo), Mannerism and 

Neuroaesthetics. 

Allison Evans (Duke), Structure and Success: The Antwerp 

Tapestry Market in the 1500s. 

Denise Hartmann (University of Toronto), Austrian Late 

Gothic Micro-Architecture: The Pulpit at St. Stephen’s in Vienna 

(ca. 1505). 

Ivana Rosenblatt (Ohio State University), Envisioning the 

Roles of the Christian Artist and Christian Viewer: An Analysis 

of Maerten de Vos’s St. Luke Painting the Virgin. 

Guita Lamsechi (University of Toronto), Hybrid Nature 

and the Mnemonics of Civic Identity. 


13

Gestaltete Gefühle. Strategie, Transformation und 

Rezeption von Emotionen im Mittelalter 

Kunstgeschichtliches Institut, Johann Wolfgang Goethe- 

Universität, Frankfurt, October 21-23, 2010. 

Heike Schlie, Affektdarstellung und Affektübertragung 

durch das spätmittelalterliche Bild. 

Berenike Berentzen, Die Himmelfahrt Mariae von Niclaus 

Hagenower: Überlegungen zu Aufstiegskonzeptionen der 

Emotion und Erkenntnis in Schrift und Bild. 

Klaus van Eickels, Mittelalterliche Repräsentation von 

Freundschaft in Bild und Text. 

Hubertus Lutterbach, Himmlische Ruhe in höllischem 

Trubel? Der Heilige Antonius in den Versuchungen als ikonographisches 

Schlüsselmotiv des 15. Jahrhunderts. 

Martin Büchsel, Das Schächerfragment des Meisters von 

Flémalle – Reue und Erkenntnis. Ein Beispeil emotionaler 

Selbstkontrolle. 

Johanna Scheel, ‘Ad exercitandrum devotionis affectum?’ 

Fragen an das altniederländische Stifterbild. 

Christine Kratzke, Das Lächeln der Madonna. 

Kunst des Mittelalters 

Mittelalterkreis, Germanisches Nationalmuseum, Nürnberg, 

October 22-24, 2010. 

Selection: 

Beata Hertlein and Julia Feldtkeller, Das Welgterichtsportal 

der Sebalduskirche in Nürnberg. 

Katharina Georgi, Kunstwerke für die Andacht. 

Gebetbuch-Illustration der Pleydenwurff-Wolgemut-Werkstatt. 

Thomas Schindler, Lieb und Leid zu teilen: ‘Gesatzte’ 

Funeralkultur im spätmittelalterlichen Handwerk. 

Berit Wagner, ‘So well wier ess fersuchen’. Der deutsche 

Kunsthandel des Spätmittelalters unter besonderer Berücksichtigung 

von Nürnberg. 

Xenia Stolzenburg, Die spätmittelalterliche Ausstattung 

der Dominikanerkirche in Frankfurt/Main. 

Kunstgeschiedenis in beeld: het belang van 

reproducties voor de kunstwetenschap, 18de eeuw 

tot heden 

Koninklijke Bibliotheek, The Hague, October 28, 2010. 

Organized by the RKD and the Vrije Universiteit on the occasion 

of the publication of Ingrid R. Vermeulen, The Rise of the 

Illustrated History of Art in the Eighteenth Century. Amsterdam 

University Press. 

Ingrid Vermeulen (VU), Het achtiende-eeuwse prentenkabinet 

als kunsthistorisch laboratorium. 

Paul van den Akker (VU), Gestileerde illustraties en het 

wezen van de kunst. 

Mirjam Hoijtink (UvA), Beeldvorming: de biografi e 

van de vroegste Leidse collectie klassieke pleisterbeelden 

(1818-1827). 

Suzanne Laemers (RKD), ‘Ein wertvolles Hilfsmittel’: de 

fotoverzameling van Max J. Friedländer (1867-1958). 


Michiel Franken (RKD), Schilderijen doorgelicht: de 

bijdrage van het röntgen- en infrarrodonderzoek aan de 

kunstgeschiedenis. 

Frits Scholten (RM/VU), De anatomie van het beeld: 

neutronen-radiografi sch onderzoek naar bronssculptuur. 

Huigen Leefl ang (RPK), Zijn originelen nog nodig? Onderzoekservaringen 

in digitale prentenkabinetten. 

Rudi Ekkart (RKD), De kunsthistoricus en zijn plaatjes: 

gisteren, vanddag en morgen. 

The Anjou Bible. A Royal Manuscript Revealed 

Museum M, Leuven, November 1-2, 2010. 

Arthistorical lectures: 

Lieve Watteeuw (Illuminare KU Leuven), The Anjou Bible 

Revealed. Research and Discoveries. 

Pierre Delsaerdt (University of Antwerp), Arras College 

Library Leuven. The Academic Habitat of the Anjou Bible for 

Three Centuries. 

John Lowden (Courtauld Institute of Art), The Anjou Bible 

in the Context of Illustrated Bibles. 

Cathleen Fleck (Washington University), Patronage, Art, 

and the Anjou Bible in Angevin Naples (1266-1350). 

Alessandra Perriccioli (Università degli Studi di Napoli 

Federico II), Cristophoro Orimina: An Illuminator at the Angevin 

Court of Naples. 

Victor M. Schmidt (University of Utrecht), The Stuttgart 

Panels of the Apocalypse: Iconography and Function. 

Nicolas Bock (University of Lausanne), A Kingdom of 

tone. Angevin Sculpture in Naples. 

Machinae Spirituales. Barokke retabels in de Zuidelijke 

Nederlanden. Situering binnen de europese context 

en bijdrage tot de geschiedenis van de religieuse 

beleving in de 17de eeuw/ Les retables baroques 

dans les Pays-Bas méridionaux. Mise en contexte 

européen et contribution à une histoire formelle du 

sentiment religieux au XVIIe siècle 

Koninklijke Musea voor Kunst en Geschiedenis, Brussels, 

November 18-19, 2010. 

Pierre Loze (Association du Patrimoine artistique, Brussels), 

L’infl uence de Rubens sur l’évolution des retables. 

Natasja Peeters (Koninklijk Legermuseum, Brussels/ 

Vrije Universiteit Brussel), L’unité dans la diversité. Les pièces 

d’autel peintes des corporations à la cathédrale d’Anvers vers 

1600. 

Valérie Herremans (Koninklijk Museum voor Schone 

Kunsten, Antwerp), Typology of the Southern Netherlandish 

Altarpiece c. 1617-1685. 

Natália Marinho Ferreira-Alves (Université de Porto), 

Les retables baroques du Portugal. Infl uences, iconographie et 

style. 

Maïte Barrio (Conservatrice-restauratrice, San Sebastian), 

Du baroque classique au baroque rococo: évolution des retables 

à partir des exemples de l’église San Esteban de Oiartzun.

Valérie Herremans (Koninklijk Museum voor Schone 

Kunsten, Antwerp), Iconography of the Southern Netherlandish 

Altarpiece c. 1585-1685. 

Myriam Serck-Dewaide, Erika Babeloo, Jana Sanyova 

(Institut royal du Patrimoine artistique, Brussels), Matériaux et 

couleurs, altérations et conservation. Le rôle de la polychromie 

dans les retables baroques. 

Pierre-Antoine Fabre (École des Hautes Études en Sciences 

Sociales, Paris), Résistance du polyptyque: le retable et 

l’esprit du Concile (XVIe-XVIIe siècles). 

Ralph Dekoninck (Université catholique de Louvain), 

Dispositio et elocutio. Homologies structurelles et iconologiques 

entre retables et frontispices dans les anciens Pays-Bas au XVIIe 

siècle. 

Frédéric Cousinie (Université de Rouen), Gloire et glorifi - 

cation des saints: de Rome à Paris. 

Michel Lefftz (Facultés universitaires Notre-Dame de la 

Paix, Namur), Les Cieux descendus sur Terre. Transformations 

dans la scénographie des retables d’autels de style baroque et 

rococo dans les anciens Pays-Bas méridionaux et la principauté 

de Liège. 

Brigitte D’Hainaut-Zveny (Université libre de Bruxelles), 

Les retables baroques: moyens formels d’une ‘délocalisation’ 

du sacré. 

Joost Vander Auwera (Koninklijke Musea voor Schone 

Kunsten van België, Brussels), Format and the Devotional Experience 

of Nearness and Distance in Baroque Altarpieces. 

Anne Le Pas de Secheval (Université de Paris 10), Anne 

d’Autriche, l’abbé Olier et le frère Fiacre: de la vision mystique 

à la commande artistique, entre pratiques dévotes et enjeux 

politiques. 

Maarten Delbeke (Universiteit van Leiden/ Universiteit 

van Gent), The Altar and the Idol: Aedicules for Miraculous 

Statues in the 17th Century. 

Conference Review 

Art, Music, and Spectacle in the Age of 

Rubens 

The one-day M. Victor Leventritt Symposium at the 

Harvard Art Museums, Art, Music, and Spectacle in the Age of 

Rubens on April 17, 2010, celebrated the 375th anniversary 


15

of the Joyous Entry of the newly appointed governor to the 

Southern Netherlands, Prince Cardinal-Infante Ferdinand, the 

younger brother of King Philip IV of Spain, into Antwerp in 

1635. Antien Knaap, Theodore Rousseau Postdoctoral Fellow 

in the Department of Paintings, Sculpture, and Decorative 

Arts, also organized a small exhibition, Rubens and the Baroque 

Festival, that was installed in an alcove on the fourth fl oor of the 

Sackler building arranged around Rubens’s oil sketch of 1635, 

The Voyage of the Cardinal-Infante Ferdinand of Spain from Barcelona 

to Genoa in April 1633, with Neptune Calming the Tempest. 

Shown among other exhibits was a copy of the Pompa Introitus 

Ferdinandi, published in Antwerp in 1642, with a text by Jan 

Caspar Gevaerts and etchings by Theodoor van Thulden. The 

volume was open to the Stage of Welcome, where the Fogg modello 

served as preliminary sketch to Rubens’s (and assistants) 

very large canvas originally in the left wing, now preserved in 

Dresden. 

During several lectures, Van Thulden’s etching was shown 

enriched thanks to Photoshop with color inserts of the sections 

of the original Pompa that are still extant to allude to its former 

state. [The reconstruction, illustrated above, was composed by 

Antien Knaap.] The symposium opened the evening before 

with a fanfare of trumpets and other musical instruments of 

the time played on such occasions, though we no longer know 

exactly what was played during the Joyous Entry. The program, 

selected by Louis Peter Grijp (Utrecht University), continued 

with political songs pro or contra the Cardinal-Infante and 

ended in a fi nale where everyone was invited to sing De Geusen 

of 1638 (The Beggars). 

The morning session, chaired by Jeffrey Muller (Brown 

University), heard Jonathan Israel (Institute for Advanced 

Study, Princeton) lecture about Antwerp and the fi ght for domination 

of the world trade system (1572-1650), where he stressed 

the efforts after 1625 to circumvent the blocking of the Scheldt 

by the Dutch through building a canal, the ‘Fossa Eugeniana, 

later Mariana’ engineered by Jan van den Wouwere (Woverius), 

that would connect the Rhine with the Maas and permit trade 

through Antwerp, a project that failed. Peter Miller (Bard Graduate 

Center) spoke on Peiresc and the Flemings; Bart Ramakers 

(Groningen) on the vernacular tradition in Rubens’s Pompa, 

explained that the Latin used in Rubens’s images was directed 

toward the court and the educated elite while the tableaux 

vivants by the rederijkers were meant for the enjoyment of the 

average Antwerp citizen; and Anne Woollett (The J. Paul Getty 

Museum) discussed Rubens’s preliminary works for the Stage of 

Welcome, among them the oil sketch of The Meeting of Ferdinand, 

King of Hungary, and the Cardinal-Infante Ferdinand of Spain at 

Nördlingen in the J. Paul Getty Museum that corresponded to 

the Fogg Rubens sketch. It was Rubens’s preliminary sketch 

to his (and assistants) large canvas in Vienna for the Stage of 

Welcome’s right wing. 

Chair of the fi rst afternoon session was Richard Tarrant 

(Harvard). Michael Putnam (Brown University) compared 

Virgil’s stanze with closely related texts in Gaspar Gevartius’s 

explanations accompanying the Pompa Introitus Ferdinandi 

publication of 1642. Carmen Arnold-Biucchi, Demarete Curator 

of Ancient Coins at Harvard, alluded to eighty-fi ve coins illustrated 

in the Pompa Introitus, spread over thirty-seven pages, 

and commented on the classical imagery on coins displayed in 

the exhibition, emphasizing their antiquarian and numismatic 

sources. Ivan Gaskell, Margret S.Winthrop Curator, Harvard 

Art Museum, chaired the fi nal afternoon session. Frank Feh- 


renbach (Harvard) spoke on ‘Mirror Images: Rulers and Living 

Statues in Triumphal Entries’, while Caroline van Eck (Leiden 

University) discussed the grotesque elements in the Pompa 

Introitus and pointed among others to Sebastiano Serlio’s (1475- 

1554) designs of gates in his Extraordinario libro di architettura as 

a possible source for Rubens’s arches. 

Anne-Marie Logan 

Easton, Connecticut 

Opportunities 

Call for Papers: Conferences 

GOLD! 

Boston University, March 5, 2011. 

The 27th annual Boston University Graduate Student 

Symposium on the History of Art and Architecture invites 

submissions that explore all things gold. This Symposium will 

consider the use, over-use and re-use of gold both from a material 

and a symbolic viewpoint. 

Possible topics include, but are not limited to the following: 

gold in religious art and architecture; mythology; funerary 

art; metalwork such as jewelry, fi ligree, and repoussé; 

numismatics; archaeology; gold as it pertains to trade and the 

economy; images of the Gold Rush and other exploration fueled 

by gold; thievery and obsession with gold as well as Fool’s 

Gold and gold diggers; treasure hunts and shipwrecks; representations 

and examples of the Golden Standard, Golden Mean, 

and Golden Ratio; Golden Ages such as the Dutch Golden Age 

or the Gilded Age of America; trophies and awards; gold’s 

decorative applications such as mosaics, gold leaf, enamel, and 

manuscript illumination; alchemy; gold in High and Low culture; 

the industrial and technological applications of gold; and 

the real and imagined value of gold especially as it contributes 

to the preservation or destruction of art. 

We welcome submissions from graduate students at all 

stages of their studies, working in any discipline. Please email 

your CV and a one-page abstract to Lana Sloutsky, Symposium 

Coordinator, at lsloutsk@bu.edu by December 1, 2010. We will 

notify selected speakers by January 1, 2011. 

The Printed Image within a Culture of Print: Prints, 

publishing and the early modern arts in Europe, 

1450-1700 

Research Forum, Courtauld Institute of Art, University of 

London, April 9, 2011. 

From the fi fteenth through the seventeenth century, the 

advent of print utterly changed the production of images. A 

repertoire of images of all kinds, from the crudest woodcut 

to the most virtuosic engraving, from broadsides of wonders 

and prodigies to pictures reproducing famous paintings and 

sculptures, was put into the hands of both image-makers and 

consumers of images. New possibilities for allusion and intertextuality 

came into being thanks to this bridge between the 

image and its publics. And the publication of printed images,

a commercial venture, widened the spectrum of those who 

bought images, producing new kinds of viewers and readers. 

This one-day conference focuses on the relations between 

print culture and the visual arts as a whole, looking not only 

at the artist’s print as produced by the peintre-graveur, but at 

the relations between the entire spectrum of print and what we 

think of now as ‘fi ne art’. 

Since the 1990s when the studies of Roger Chartier inspired 

work across many historical disciplines, much has been 

claimed for the impact of printed media on social, intellectual 

and cultural life in early modernity. The study of popular 

culture, the history of mentalités, book history and reception 

studies across a diverse range of periods and cultures have all 

profi ted from opening up the area known loosely as print culture. 

Art historical studies, however, have not often referred to 

this body of research. Bringing together some of the disciplines 

that study print culture to focus on the image and the printed 

text opens up new questions of concern to historians and literary 

historians as well as to students of the art print. 

We invite papers across the disciplines of print studies. Issues 

that we suggest are relevant include: 

– printed images used within legal or educational contexts, 

in ceremonies and festivities (‘thesis’ prints, for example) 

– the effect of printed images on the readership of books, 

political pamphlets, broadsides and ballads 

– the printed image incorporated within other media, such 

as paintings or architecture 

– the publication of artists’ biographies and printed portraits 

of artists, changing relations between artists and their 

publics 

– the publication of collections: the gathering of paintings, 

sculpture, and printed images accruing new signifi cance 

through their dissemination in print 

– publication and the discourse of the arts in early modernity: 

the effect of print on artists’ biographies, manuals on the 

crafts of image making, or critical refl ections about the nature 

of artistic beauty 

– printed text and printed image: the dialogue and argument 

between word and image within printed publications 

The conference grows out of a panel organized for the College 

Art Association annual conference, to be held in New York 

City in February 2011. Many more people proposed talks than 

could be accommodated there, and we hope that this second 

call for papers will allow participation by those who cannot 

attend the gathering in New York. 

Proposals may be sent by email by Jan. 10, 2011, to sheila. 

mctighe@courtauld.ac.uk or by mail to Dr. Sheila McTighe, 

Emily Gray and Anita Sganzerla, Courtauld Institute of Art, 

University of London, Somerset House, the Strand, London 

WC2R 0RN UK 

Call for Articles: Journals 

Journal of Historians of Netherlandish Art (JHNA) 

The Journal of Historians of Netherlandish Art (www. 

jhna.org) announces the submission deadline for its sixth issue, 

summer 2011. 

Please consult the journal’s Submission Guidelines at 

www.jhna.org/index.php/submissions 

JHNA is an open-access, peer-reviewed journal published 

twice per year. Articles focus on art produced in the Netherlands 

(north and south) during the early modern period (c. 

1400-c.1750), and in other countries and later periods as they 

relate to this earlier art. This includes studies of painting, 

sculpture, graphic arts, tapestry, architecture, and decoration, 

from the perspectives of art history, art conservation, museum 

studies, historiography, technical studies, and collecting history. 

Book and exhibition reviews, however, will continue to be 

published in the HNA Newsletter. 

The deadline for submission of articles for Issue 3: 1 is 

March 1 , 2011. 

Alison M. Kettering, Editor-in-Chief 

Molly Faries, Associate Editor 

Jeffrey Chipps Smith, Associate Editor 

Dutch Crossing: Journal of Low Countries Studies 

We invite scholars from all disciplines to submit original 

articles via the journal’s submissions tracking system. All submissions 

are blindly peer-reviewed and modifi cations may be 

required. Contributions should be in English, be accompanied 

by a 300 word abstract and provide translations of quotations 

in Dutch. The journal’s styleguide, full editorial policy and a 

cumulative index of all articles from 1977–2009 are available on 

the journal’s website. 

We are also planning to launch special theme issues of 

Dutch Crossing from 2010 onwards, when the journal’s publication 

frequency will be raised to three issues per year. Apart 

from history, art history, literature and language we are interested 

in such topics as philosophy, visual arts, socio-linguistics, 

and popular culture. Proposals for themed issues may be sent 

to the editors: editors@dutchcrossing.org. Past thematic issues 

have been produced on such topics as Anglo-Dutch relations in 

the 17th Century; Williamite Scotland and the Dutch Republic; 

contemporary Dutch women writers; Frisian culture; Landscape 

Painting; and Literary Translation and Medieval Drama. 

Information on Subscription 

Since 2009, Dutch Crossing is published by Maney Publishing 

(London, Leeds, Cambridge, Mass.) and is available both 

online (via IngentaConnect) and in print (ISSN 0309-6564). It is 

indexed and abstracted by a growing number of international 

indexing and abstracting services, including the Periodicals Index 

Online and the British Humanities Index (ProQuest), Current 

Abstracts and TOC Premier (both Ebsco) and the Modern 

Language Association (MLA). Some free content is available on 

IngentaConnect. 

Individuals may subscribe to the journal at preferential 

rates by becoming a member of the Association for Low 

Countries Studies (ALCS) whose journal Dutch Crossing has 

become in 1997. Current membership fees, including subscription 

to Dutch Crossing are £31 (UK), $55 (US) or €40 (EU). 

Membership requests can be sent to A.C.Evans@sheffi eld.ac.uk. 


17

A recommendation letter to libraries is available on Maney’s 

website. 

Fellowships 

HNA Fellowship for Scholarly Research, Publication 

or Travel: 2011-12 

Scholars of any nationality who have been HNA members 

in good standing for at least two years are eligible to apply. The 

topic of the research project must be within the fi eld of Northern 

European art ca. 1400-1800. Up to $1,000 may be requested 

for purposes such as travel to collections or research facilities, 

purchase of photographs or reproduction rights, or subvention 

of a publication. Winners will be notifi ed in February with 

funds to be distributed by April 1. The application should 

consist of: (1) a short description of project (1-2 pp); (2) budget; 

(3) list of further funds applied/received for the same project; 

and (4) current c.v. A selection from a recent publication may 

be included but is not required. Pre-dissertation applicants 

mustinclude a letter of recommendation from their advisor. 


Applications should be sent, preferably via e-mail, by 

December 1, 2010, to Amy Golahny, Vice-President, Historians 

of Netherlandish Art. E-mail: golahny@lycoming.edu. Address: 

608 West Hillside Ave, State College PA 16803. 

The Otto Naumann/American Friends of the Mauritshuis 

Fellowship 

This fellowship offers grants in the fi eld of art history to 

support an academic project devoted to the study of Dutch and 

Flemish art from the sixteenth through the eighteenth centuries. 

Topics relevant to the history and collection of the Mauritshuis 

and travel to The Netherlands are preferred. Preference goes 

to subjects devoted to paintings and drawings, then sculpture, 

prints and applied arts. Applicants must hold a B.A. in art history 

and be working toward a PhD at an American or Canadian 

University. Grants range from $5,000 to $15,000, depending on 

the fi nancial requirements and merits of the project. 

Applicants are invited to submit a letter with a detailed 

description of the project and two letters of recommendation 

before April 1, 2011 to americanfriends@mauritshuis.nl.


General editor: Kristin Lohse Belkin 

Area editors: Fourteenth and Fifteenth Centuries: Jacob Wisse; 

Sixteenth Century: Larry Silver; Seventeenth-Century Flemish: Fiona 

Healy; Seventeenth-Century Dutch: Frima Fox Hofrichter; German 

Art: Larry Silver 

Fifteenth Century 

Antje-Fee Köllermann, Conrad Laib: Ein spätgotischer 

Maler aus Schwaben in Salzburg (Neue Forschungen 

zur Deutschen Kunst, 8). Berlin: Dietrich 

Reimer Verlag, 2007. 204 pp, illus. ISBN: 

978-3-87157-217-3. 

Antje-Fee Köllermann’s book on Conrad Laib is a magisterial 

study of his signed paintings and various other works that 

have been attributed to the artist over the centuries. While this 

study relies heavily on formal analysis and stylistic comparison 

in dating Laib’s paintings, establishing their chronology, and 

determining his artistic origins and development, Köllermann 

also provides an overview of the iconography, patronage, original 

location (if known) and function of each work discussed. 

The author’s discussion of style sets itself apart from earlier 

scholarship in the level of detail. By focusing on minute details 

of costume, facial expression, motifs and the organization of 

pictorial space, the author relies heavily on visual evidence to 

support her conclusions. 

Similar to the study of other German artists of the time, 

for which there is scant documentary evidence, the author 

grapples with the question of Laib’s artistic origins. While it 

is certain that he was in Salzburg in 1447, the creation date of 

Laib’s wall paintings in the Franciscan church, it is unlikely 

that he began his career there, but rather in his native southern 

Germany. From Enslingen, Laib’s name appears in tax records 

in the nearby city of Nördlingen. Designated as tax free and 

with reference made to his profession moler or painter, Laib was 

already an established master before setting up a workshop in 

Salzburg. The author posits that Laib was active in Nuremberg, 

and she supports the attribution of the Epitaph of Katharina 

Löffelholz in St. Sebald to him. Swabian and Franconian infl uences 

remained strong in his paintings prior to arriving in 

Salzburg. 

Consideration is also given to Laib’s artistic development. 

In comparison to his earlier works, which were infl uenced by 

southern German art, Laib’s paintings that were executed in 

Salzburg are decidedly more Netherlandish in character. (He 

was also fully aware of developments in art in northern Italy 

Review of Books 

and freely adapted Italian motifs.) What motivated this shift 

in style? Köllermann posits that Laib’s new stylistic tendencies 

were likely a result of his contact with Hans Multscher 

(particularly his Wurzach Altarpiece) and the stained glass in the 

Besserer chapel in Ulm’s Münster. Whether or not he visited the 

Netherlands is diffi cult to assess. According to Köllermann’s 

chronology, he could have visited the Netherlands in the late 

1430s. 

As suggested above, one of the author’s goals was to 

create a chronology of Conrad Laib’s documented and attributed 

works. Köllermann achieves by fi rst establishing the 

basic features of Laib’s style through a thorough analysis of his 

documented works: the Crucifi xion from Salzburg (1449) and 

the Crucifi xion in Graz – a later work (1457). Through careful 

comparison of artistic infl uences and iconographical motifs, 

she places the artist in Nuremberg early in his career. Based 

on the aforementioned artistic dependence on the recent art in 

Ulm, he would have visited the city before going to Salzburg. 

Among his earliest works in Salzburg are representations of 

St. Primus and St. Hermes (dated 1446) and the 1447 Franciscan 

wall paintings cited earlier. Based on the patronage of the Graz 

Crucifi xion, the author suggests that Laib spent some time in 

Graz toward the end of his career. 

In the creation of a chronology and in her analysis of Laib’s 

attributed works, Köllermann acknowledges the existence of 

a workshop and raises questions about the participation of his 

assistants. She also asks whether Laib immediately became 

the master of his own workshop upon his arrival in Salzburg 

or else worked for some time as a journeyman. Concerning 

workshop practices, of particular interest is her analysis of 

Laib’s repetition of the basic contours of fi gures and their scale 

(from his Salzburg Crucifi xion) in his later Crucifi xion in Graz. 

She attributes this practice not only as stemming from the need 

for effi ciency but also as a fundamental element for creating the 

clarity that is so characteristic of his method for creating pictorial 

space. 

Focusing on a point of contention in the Laib scholarship, 

Köllermann revisits the various interpretations of the artist’s 

inscriptions on both the Salzburg and Graz Crucifi xions. Concerning 

the adoption and adaptation of Jan van Eyck’s famous 

motto, als ich chun, directed toward the crucifi ed Christ by way 

of its placement (on the saddle cloth of the rider’s horse under 

the cross; a fi gure with whom the artist identifi ed himself), an 

educated viewer would have understood it as an expression 

of artistic pride and as his desire to compete with the famous 

Netherlandish artist. Similar to the conclusions drawn from her 

stylistic analysis, this study of the artist’s inscriptions reveals an 

artist who was multi-faceted, clever, self-aware, and conscious 

of the latest artistic styles. 

Amy Morris 

Southeastern Louisiana University 


19

Janez Höfl er, Der Meister E.S. Ein Kapitel europäischer 

Kunst des 15. Jahrhunderts. Regensburg: 

Schnell & Steiner, 2007. 2 vols. Text: 291 pp, 291 b&w 

illus.; Plates: 318 illus. ISBN 978-3-7954-2027-7. 

Despite several important monographic exhibitions, notably 

Alan Shestack’s fi ve-hundredth anniversary exhibition of 

the artist’s death (Philadelphia, 1967) and Holm Bevers’s oneman 

show (Munich, 1986), the anonymous pioneer engraver 

Master E.S. has not received a true life-and-works monograph 

of his entire oeuvre since the initial gathering of his output a 

century ago by Max Geisberg and Max Lehrs (thirty entries by 

Lehrs in the bibliography, led by his landmark nine-volume 

critical catalogue of early German engravings, occupy more 

than two full pages). Of course, as his Notname indicates, we 

know this very distinctive and prolifi c (318 prints according to 

this catalogue) graphic artist only by his initials, which chiefl y 

appear in works judged to be late in his career, only eighteen 

in number and many of them dated to 1466-67. All of the rest 

of his attributions remain just that, some of them surviving in 

unique impressions; however, they are solid for the most part, 

and his foundational place in the early history of prints (e.g. 

in Landau and Parshall’s Renaissance Print, 1470-1550; 1994) 

remains secure. 

Höfl er brings rigor and order to the accumulation of attributions 

and surmises about biography. A consistency emerges, 

if not a fi rm relative chronology, which still must depend heavily 

on technical mastery. Höfl er discerns at least two decades of 

activity with several distinct phases (Chapter III, Appendix I), 

and he considers the fi rst prints to orginate perhaps as early as 

circa 1440. While sometimes his earnest efforts at relative chronology 

involve micro-comparisons of motifs and can be argued, 

he does confi dently and convincingly localize Master ES to the 

Upper Rhine, i.e. between Basel and Strasbourg. 

Even the crucial letters E and S, which do not always appear 

together in the master’s work, might stand for something 

other than the name of the artist, in spite of our habits of reading 

them as initials of a name from the MS of Martin Schongauer. 

For example, his well-known trio of engravings for a 

fi ve-hundredth anniversary celebration at the Swiss monastery 

of Einsiedeln in 1466 might just as easily explain his use of an 

E. That site also proves important because it is the fi rst known 

instance of a graphic artist making prints on commission, a potentially 

lucrative undertaking that links engravings to pilgrim 

souvenirs, a major late medieval commercial industry. 

The example of Schongauer suggests to Höfl er that our 

usual hypothesis, often taken as confi rmed, that early engravers 

were trained as goldsmiths, might need rethinking. Unfortunately, 

unlike Schongauer, he still cannot make connections to 

any specifi c painted associated with Master E.S. He does note 

(p. 137, fi gs. 39-40) a painted Passion cycle from Haldern (now 

in Münster), ascribed to the Master of Schöppingen from Westphalia, 

which manifestly derives from ES print models, though 

since it is undated (currently considered ca. 1460), it does not 

help much with chronology or more precise localization. Höfl er 

also discerns in the prints some Netherlandish painting infl uence, 

certainly evident later in Schongauer along the Rhine 

artery, even though most earlier German scholars resisted this 

link, because they had a nationalist bias against losing their 

man to a different national origin. 

Höfl er also denies that the artist ever copied from prior 

models, or at least no more than other artists of his time, 


though this tone smacks a bit of the special pleading for originality 

that seems inherent to any monographic study of a single 

artist, especially one as infl uential as Master E.S. He devotes 

a fi nal chapter to Rezeption, but there copies and infl uence are 

more often confi ned to painters than to printmakers, especially 

that thieving magpie, Israhel van Meckenem, who actually 

reused some E.S. plates in addition to making copies after his 

works (a list of lost engravings appears as Appendix II). 

Discussion of the oeuvre occupies the center of the book, 

chiefl y in Chapter IV (Das Werk), subdivided according to 

themes after an initial discussion of artistic origins. Chapter V 

discusses further how the master had a particular inclination 

towards the modeling of fi gures, often with echoes of the contemporary 

sculptural vocabulary of Upper Rhenish carvers, derived 

ultimately from Netherlandish painting. This compelling 

analysis, with the kind of media crossover that Jeffrey Chipps 

Smith discusses around German sculpture of the following century, 

is one of the highlights of Höfl er’s study, though he is at 

pains to deny any infl uence from the greatest of the contemporary 

sculptors in the same region, Nicolaus Gerhaert of Leyden 

(pp. 121-31), even while convincingly connecting (pp. 129-32) 

the early carved works of Michael Pacher to Master ES. 

That naturalism of rounded fi gures and drapery remains 

the strongest legacy of Master E.S. to printmaking, and his 

ambitious, if sometimes stylized or fl awed efforts to convey 

convincing interior or landscape spaces. But his links to art of 

the Netherlands is another important and lasting quality of the 

master’s output. With a full – and fully illustrated, with comparisons 

– catalogue of the entire oeuvre, Janez Höfl er reasserts 

those foundational contributions to the history of engraving 

by this prized and accomplished, if anonymous Master, still 

known as E.S. 

Larry Silver 

University of Pennsylvania 

Sixteenth Century 

Pamela H. Smith, The Body of the Artisan: Art and 

Experience in the Scientifi c Revolution. Chicago: 

University of Chicago Press, 2004. 408 pp, 28 color 

pls. ISBN 978-0-226-76399-6 (cloth), 978-0-226-676423-8 

(paper). 

In his Nova Reperta (c. 1590-1693), a visual repertory of 

the modern age’s inventions, Jan van der Straet used the same 

pictorial strategies to present innovations in alchemy, medicine 

and painterly techniques: artisans and their apprentices engage 

in collaborative work in enclosed laboratory spaces, handling, 

mixing, boiling and transforming natural substances into 

chemical solutions, medicinal drugs, and colorful pigments. In 

the Body of the Artisan, Pamela Smith powerfully argues that the 

Northern Renaissance and the early modern scientifi c revolution 

both stemmed from the manual labor of such artisans, 

weaving into one narrative the achievements of such painters 

as Jan van Eyck, Robert Campin, and Albrecht Dürer, the craftsmen 

Bernard Palissy and Wenzel Jamnitzer, alchemists Cornelis

Drebbel and Johann Rudolf Glauber, and physicians Paracelsus 

and Franciscus dele Boë Sylvius. 

Artists, physicians, and artisans shared the goal of imitating, 

emulating, and manipulating nature. Accordingly, 

Smith’s narrative starts with the birth of painterly naturalism 

in fi fteenth-century Netherlands, recounting how Flemish 

artists proclaimed their ability to observe and carefully mirror 

nature and nature’s processes in their altarpieces, portraits, 

and books of hours. Landscapes, plants, animals and people 

were portrayed with increasing attention to detail, and naturalism 

also became a trend in the production of devotional and 

magical imagery. Smith recounts that a lifelike image of Christ 

on the cross did not simply represent Jesus more truthfully; for 

practitioners of magic it could also help summon angels and 

spirits more forcefully than a less exquisitely executed picture. 

Northern Renaissance artists were increasingly aware of their 

newly-gained authority over visual observation, and refl ected 

on their own achievements in their works of art. Mirrors within 

paintings, studies of St. Luke portraying the Virgin, and the 

genre of the self-portrait reveal how painters thought about 

their own profession. 

The Body of the Artisan claims that artists and artisans imitated 

natura naturans, nurturing and productive nature in action. 

When creating lifelike images of nature, artisans followed 

nature’s own creative processes. The sixteenth-century ceramicist 

Bernard Palissy’s lifecasts of frogs, snakes and lizards were 

produced in a kiln by baking a mixture of clay and glazes in a 

mold – a mode of production analogous to how nature generated 

these animals through putrefaction in decaying soil. Art 

and nature created life and competed with each other in the 

same process of heating up a mixture of soil, salts and ashes. 

In creating such lifecasts, the artisan’s bodily engagement with 

matter was exhausting and laborious, but resulted in a better 

understanding of nature’s own workings and secrets. Smith 

calls the knowledge accumulated in this way artisanal epistemology 

– a form of tacit knowledge (to use Michael Polányi’s term) 

of nature’s creative power acquired through bodily exertions, 

which cannot easily be reduced to theoretical statements. For 

Smith, this knowledge lay behind and established connections 

between the artistic success of the Northern Renaissance and 

the new philosophy of the scientifi c revolution, which relied 

on both observing and transforming nature. Moreover, in an 

explicitly Weberian twist, this worldly engagement with nature 

was also a novel method for artisans to commune with God 

and to seek redemption. 

In addition to establishing the importance of artisanal 

knowledge, The Body of the Artisan is also a social history of the 

arts and the sciences. Smith forcefully argues that fi fteenth- and 

sixteenth-century artisans carved out a new social identity and 

distinguished themselves from university-trained philosophers 

or the humanist culture of scholarship. The most vocal advocate 

of this new identity might well have been Paracelsus, who 

in the course of his itinerant career left no traditionally-minded 

scholar unscathed as he infl uenced a host of early modern 

surgeons and alchemists. According to Smith, even Dürer, an 

artist generally singled out for his humanist leanings, could be 

reinterpreted as an integral member of the artisanal culture of 

his native Nuremberg. 

By the seventeenth century, the social status of the artisanal 

engagement with nature underwent a transformation. 

University-trained physicians, curious gentlemen, and philosophers 

joined artisans in proclaiming the primacy of new 

philosophy, ocular observation, and an experimental approach 

to natural knowledge, and they competed as interpreters of 

nature. Painters and natural philosophers both agreed that 

knowledge could only be acquired through the senses, which 

were still prone to error and deception. While espousing artisanal 

knowledge, these new philosophers thus reasserted their 

superiority over artisans: nature revealed its secrets only to a 

modest, dispassionate and rational soul, embodied in neo-stoic, 

gentlemanly philosophers. Only such minds could control 

and overcome the potential failure of the senses. The artisans, 

whose senses were deemed to have been deceived by their 

bodily passions and commercial interests, were again excluded 

from dealing with natural knowledge. 

Smith’s argument is sweeping, bold, and convincing, 

encompassing three hundred years in just as many pages. Her 

cast of characters includes the most famous Northern painters 

and sculptors of the period, as well as lesser-known alchemists, 

medical practitioners, and even some extraordinary shoemakers, 

such as Hans Sachs and Jakob Böhme. These artisans were 

the product of the collective workshops of early modern crafts 

guilds, but they also transcended those origins by proclaiming 

their individual authorship and authority over nature. For 

Smith, these practitioners drove the scientifi c revolution, so 

she is less interested in extending her argument to reconsider 

the role of traditional heroes, such as Copernicus, Galileo, or 

Kepler. 

Since the publication of The Body of the Artisan, Smith has 

supplemented the book’s general argument with numerous 

case studies of alchemy and goldsmithing; additionally, historians 

of science Harold Cook and Lissa Roberts, for example, 

have discussed extensively how the growth of commerce fostered 

growing acceptance of experimental, material knowledge 

in the seventeenth century, and how artisanal epistemologies 

could interact with more theoretical study of nature. In sum, 

The Body of the Artisan is on its way of becoming a classic of 

early modern studies, powerfully showing how the history of 

science and art history should be studied together as part of a 

new disciplinary fi eld. 

Daniel Margocsy 

Dept of History 

Hunter College, CUNY 

Liesbeth M. Helmus, Schilderen in opdracht: Noord- 

Nederlandse contracten voor altaarstukken 1485- 

1570. Utrecht: Centraal Museum, 2010, 463 pp, 98 b&w 

illus. ISBN 978-90-5983-021-9. 

In recent years there has been a great upsurge of interest 

in the marketing of Netherlandish art. A critical resource 

for these studies is documentary information, especially that 

provided by contracts relating to the commissioning and selling 

of art works. Although these contracts often have a formulaic 

character, their specifi cations about issues such as scale, cost, 

delivery, quality, and iconography can offer valuable insights 

into the processes of production and sale, as well as the nature 

of the relationship between buyer and artist. Helmus’s book is 

conceived as an examination of one body of contracts, those for 

North Netherlandish painted altarpieces from the late fi fteenth 

century through the late sixteenth century. These documents 


21

have never been considered as a group before, and there is 

much useful information that emerges from their study here. 

The book is divided into two parts. Part 1 is a more general 

consideration of contracts from both the North and South Netherlands, 

and for both painted and sculpted altarpieces. I understand 

that in Part 1, the author wanted to set the more specifi c 

study of North Netherlandish contracts for painted altarpieces 

(which she examines in Part 2) into a broader context. But since 

Part 1 forms a very substantial chunk of the book (and is nearly 

as long as Part 2), it could be seen as detracting from the book’s 

focus on North Netherlandish painted works – or perhaps as 

a sign that the book might have been better presented with a 

somewhat different focus. 

Part 1 begins with a justifi cation for treating altarpieces as 

a distinct category. Here the author’s discussion of the usage of 

the term “altarpiece” in the documents, which is supported by 

the documentation cited in Appendix 1, is a welcome addition 

to the discourse on the altarpiece as a genre. Also helpful is 

the author’s quantitative study of the number of altars in the 

North Netherlands in the sixteenth century. Helmus’s estimate 

of a total 8,500-9,500 altars is a mind-boggling fi gure, even if 

not all altars were equipped with altarpieces and some of them 

were furnished with older altarpieces. This fi gure indicates that 

altarpieces were an even more substantive part of northern art 

production than many of us might have previously thought. 

The fi rst part of the book also explains the basic structure 

of the contract as a legal document and sets up useful distinctions 

between employment contracts (arbeidscontracten, in 

which longer-term relations between patron and artist were 

established), sales contracts (koopcontracten, which generally 

related to sales on the market) and commission contracts 

(aanemingscontracten, that is, commissions for a single work of 

art to be made). The author goes on to consider the commission 

contract in some detail, reviewing the main specifi cations and 

issues treated in these contracts. The information provided here 

is generally well known to scholars who have worked with 

such contracts, but it is valuable to have the material reviewed 

systematically, as it is here. However, it would have been more 

helpful to those less familiar with these documents for Helmus 

to have provided translations of the Middle Dutch quotes in 

this section. Moreover, most scholars, regardless of their experience 

in reading contracts, would have benefi tted from a more 

sustained explication of some of the trickier terminology used 

in the documents – particularly terms relating to discussions 

about quality. 

The book’s discussion of pricing is one of the strongest 

sections of Part 1. Here Helmus calculates average prices for altarpieces 

in the fi fteenth and sixteenth centuries, and furnishes 

comparative prices for sculpted and painted works (indicating 

that sculpted works, especially those of stone, were the costlier 

and painted ones the cheaper of the two). The most fascinating 

result from this study of pricing, however, is Helmus’s wellargued 

claim that only in the sixteenth century did the price of 

altarpieces refl ect the status and fame of the artist. Previously 

size and the cost of the materials were practically the sole determinants 

of price, independent of the specifi c artist executing 

the work. Such economic evidence confi rms the generally-held 

notion that there was a distinct shift – and increase – in the 

status of the northern artist in the sixteenth century. 

In Part 2 of the book Helmus turns to the contracts for 

North Netherlandish painted altarpieces. Although Helmus 


located 66 contracts for North Netherlandish altarpieces, only 

19 relate specifi cally to painted altarpieces; and since some of 

these relate to the same project, the second part of this book 

focuses on about 12 altarpieces. These include four altarpieces 

by famous artists, Jan van Scorel and Maerten van Heemskerck, 

with the rest by more obscure painters, namely the brothers Simonsz 

van Waterlant, Athonis Jansz van der Goude, Jan Deys, 

Ernst Maler, and Crispijn van den Broeck. The author treats 

the documents and altarpieces one by one, generally without 

drawing relations between them. So it was not clear to me what 

value accrued to – and what results emerged from – the book’s 

specifi c focus on contracts for North Netherlandish painted 

altarpieces. The fact that Part 1 was not limited in this way and 

that the appendix includes redactions of all 66 documents suggests 

to me that the way the author circumscribes the content of 

Part 2 is somewhat artifi cial and overly confi ning. 

This is not to say that there were not items of interest in the 

discussion of the individual altarpieces treated in Part 2. For 

example, in many cases Helmus provided charts that record all 

the payments and note the total sum paid to the artist; these are 

particularly useful for the larger and more complex commissions, 

such as Heemskerck’s huge altarpiece for the Church 

of Saint Lawrence in Alkmaar. This section of the book also 

contains a fascinating treatment of Jan Deys’s altarpiece for the 

Church of Saint Barbara in Culemborg, a commission which 

illustrates, rather poignantly, the pragmatic impact of iconoclasm. 

Deys received the commission for this altarpiece in 1557, 

but the work was destroyed soon thereafter in the iconoclastic 

riots of 1566; in 1570 a new contract was drawn up for a second 

altarpiece, with the same iconographic program (and likely following 

the same design) as the one that had been destroyed. In 

a further sad note, this second altarpiece only lasted fi ve years 

before the Church of Saint Barbara was Reformed and all the altarpieces 

removed. Nevertheless, for the most part, the content 

in Part 2 of this book appears to be of interest primarily to those 

working on the specifi c altarpieces treated in the section, rather 

than to those concerned more generally with North Netherlandish 

painting or altarpieces. 

The book ends with a lengthy 14-part appendix, which 

forms a fabulous resource for further scholarship on this topic. 

Included in the appendix is a section on terminology, which 

catalogues the use of various terms in documents, including 

the term “altarpiece” (as noted above), as well as terms used to 

reference the medium of painting, terms used for the caisse (or 

case) of sculpted altarpieces, and lists of North Netherlandish 

churches. Appendix 5 contains a pretty lengthy comparative 

chart of prices for various documented altarpieces – and even 

lists the currency equivalencies – so it is of tremendous help 

for those interested in nitty-gritty economics of art. The bulk 

of the appendix is given to summaries of the 66 contracts for 

North Netherlandish altarpieces. This is a very handy section, 

because it not only summarizes the contents of the documents, 

but also gives references to sources that publish the documents 

in their entirety. It would have been even better, however, if the 

documents were fully transcribed in the book, so that the full 

66 contracts for North Netherlandish altarpieces could all be 

provided in one place. Still the last appendix does include full 

transcriptions of the documentation for all the painted altarpieces 

treated in Part 2. 

Overall the book is quite well produced. Although illustrations 

are not a critical feature for a more document-centered 

study like this, the book does contain a good number of decent

lack and white illustrations. It is particularly nice to see 

included here reproductions of some of the original contracts 

– including one with a schematic diagram of the planned 

altarpiece. 

Lynn F. Jacobs 

University of Arkansas 

Walter S. Melion, The Meditative Art: Studies in 

the Northern Devotional Print 1550-1625 (Early 

Modern Catholicism and the Visual Arts Series, 1). 

Philadelphia: Saint Joseph’s University Press, 2009. I + 

431 pp, 157 illus. ISBN 978-0-916101-60-2. 

This ponderous quarto is in some respects both a summation 

and an extension of Walter Melion’s work of the past two 

decades, in which he has identifi ed and analyzed instances of 

what he calls “meditative image-making” in Netherlandish 

prints of the late sixteenth and early seventeenth centuries. The 

eight individual case studies (plus a substantive introduction 

and epilogue) comprised by the book have not been previously 

published, but Melion returns to some of his favored objects of 

analysis, such as the plates of the Evangelicae historiae imagines 

(1593), mostly by the Wierix brothers after Bernardino Passeri, 

appended to Jerónimo Nadal’s Adnotationes et meditations in 

Evangelia (here the appearances of the risen Christ), and Hendrick 

Goltzius’s engraved series of the Life of the Virgin (1593- 

1594), as well as introducing other prints, print series, and 

book illustrations, including the plates by Boëtius à Bolswert in 

Antonius Sucquet’s Via vitae aeternae (1620); and several further 

works by Hieronymus Wierix, including two series: Iesu Christi 

Dei Domini Salvatoris nostri infantia (perhaps 1600-1610), and 

Septem Psalmi Davidici (1608; one plate is engraved by Antoon 

Wierix). Goltzius’s drawing of the Adoration of the Magi (1605) 

and Otto van Veen’s Carrying of the Cross altarpiece (c. 1610) 

expand the discussion into other media, but they are viewed in 

the context of the print tradition whence they emerged. 

Melion’s long-standing concern has been with artworks 

that can be shown to thematize their own production and function. 

In this volume he has selected works “that call attention 

to their status as images, using the theme of pictorial artifi ce to 

heighten the soul’s awareness of its own image-making powers” 

(p. 3) – powers exemplifi ed by Christ in His own fi guration 

as imago Dei, sanctioned by the Incarnation. The prints both 

represent and prompt the soul’s devotional activity. 

Melion adduces instances in which artists and writers commented 

on meditative images, such as Christopher Plantin’s 

prefaces to Benito Arias Montano’s Humanae salutis monumenta 

(1571), wherein the publisher explains the utility of the images 

and their relations to the texts in this novel scriptural emblem 

book. But he also draws attention to texts in which the language 

of pictorial practice is applied to meditative practice – 

thus Luis Granada in his Libro de la oración (English trans. 1582) 

says that “we must then fi gure and represente everie one of 

these matters [concerning the Passion] in our imagination” – 

and in which meditation is likened to viewing a painting, as in 

Franciscus Costerus’s preface to his De vita et laudibus Deiparae 

Mariae Virginis (1588). Furthermore, Melion extracts from texts 

and images less explicit connections between picturing and 

devotion, both in production (for example, in his Protean feat of 

imitation in the Life of the Virgin, “Goltzius tropes the imitative 

process, using it to convey the soul’s conversion of itself into 

an image of the beloved, whose likeness it craves” [p. 372]) and 

in viewing (we are reminded repeatedly of the role of sight in 

meditation; thus, for example, our viewing of the Christi Iesu 

vitae admirabiliumque actionum speculum, which is embedded 

in Montano’s Divinarum nuptiarum conventa et acta of 1573/74, 

doubles that of Sponsa who contemplates in a mirror images of 

the life of Christ, her spouse, in the Acta). We are also reminded 

of the ways in which protagonists within compositions fi x 

the viewer’s relationship to the narrative; thus Saint Joseph 

“functions for Goltzius as a prototype of the ideal votary who 

meditates with his eyes, mind, and heart” and is “a type of the 

pious viewer” (pp. 199-200). 

Evoking an emblematic apparatus, the analysis typically 

proceeds through a juxtaposition of the selected images with 

textual works of devotion, some of which were already juxtaposed 

by their makers and others of which are Melion’s reasoned 

choices. Most of the texts are Jesuit; the most prominent 

exception is, perhaps, the Vita Christi of the fourteenth-century 

Carthusian Ludolph of Saxony, which was of considerable import 

in the sixteenth century. The images are never simply illustrations 

of the texts, even when that seems to be their ostensible 

function, as in the works appended to Nadal’s Adnotationes. 

Rather, one might say that they illustrate and elucidate the texts 

to the same extent that the texts illustrate and elucidate the images. 

Melion’s work is not a matter of deciphering iconography, 

which is in most instances not particularly obscure, but rather 

of discovering and explicating the rich parallels and shared 

tropes (shared sometimes by explicit design and sometimes 

through a common genealogy of practice) in the meditative 

programs of complementary images and texts. He offers exceptionally 

close and subtle readings of both images and texts, 

attending carefully, as far as the images are concerned, to the 

formal elements that are deployed to serve the works’ function 

of mobilizing the viewer’s eyes, mind, and heart. 

The Meditative Art is an important contribution not only 

to our understanding of the function of images in (Jesuit) 

spirituality and to our understanding of the print culture of 

the Netherlands (especially Antwerp) in the late sixteenth and 

early seventeenth century (whose extraordinary signifi cance to 

a more “mainstream” art history is still underappreciated), but 

also as a model for the close reading of images in conjunction 

with mutually illuminating texts. This volume inaugurates a 

series, entitled Early Modern Catholicism and the Visual Arts, by 

Saint Joseph’s University Press, which has in recent years published 

several signifi cant works in the history of art (not least of 

which are three volumes of translations from Nadal’s Adnotationes 

with the relevant illustrations and substantive introductory 

essays by Walter Melion), each carefully produced and well 

illustrated. We hope that subsequent volumes in the series can 

match the high quality and import of Melion’s Meditative Art. 

James Clifton 

Sarah Campbell Blaffer Foundation 


23

Christof Metzger, et al., Daniel Hopfer. Ein Augsburger 

Meister der Renaissance. [Cat. exh. Pinakothek 

der Moderne, Munich, November 5, 2009 – January 

31, 2010.] Munich: Staatliche Graphische Sammlung/ 

Deutscher Kunstverlag, 2009. 568 pp, col. plates, b&w 

illus. ISBN 978-3-4220-6931-2. 

The exhibition at the Graphische Sammlung, Munich, 

dedicated to Augsburg printmaker Daniel Hopfer (c.1470- 

1536) reveals the fi eld’s fresh appreciation for artists formerly 

perceived as ‘derivative,’ as well as for neglected centers of 

production like sixteenth-century Augsburg. Modern preferences 

for originality have relegated Hopfer to the role of chief 

‘plagiarizer’ for his etched copies of German and Italian prints, 

even though he has been credited as the ‘inventor’ of the 

printed etching. His often ragged etched line has been criticized 

for lacking the elegance of a Dürer engraving, and his aptitude 

for ornament has left him unfairly marginalized in the literature. 

Yet after monographic exhibitions on Master E.S. (1986), 

Martin Schongauer (1991), and Israhel van Meckenem (2003) 

at the Graphische Sammlung, Hopfer at last takes his deserved 

place as a Renaissance master among the most important early 

German printmakers. 

Hopfer was clearly successful, as his tax records reveal. 

He moved to increasingly exclusive neighborhoods, received a 

coat of arms from Emperor Charles V, and was buried honorably 

in Augsburg Cathedral. His work appears in distinguished 

sixteenth-century inventories (e.g., of humanist Conrad 

Peutinger, Habsburg Archduke Ferdinand, and Ferdinand 

Columbus), and his sturdy iron plates permitted posthumous 

re-printings (notably by David Funck in 1684 and Carl Wilhelm 

Silberberg in 1802). The Munich catalogue restores Hopfer to 

his historical prominence and offers a new catalogue raisonné 

to supplant the Hollstein volume of 1986. This richly illustrated 

catalogue now fully displays Hopfer’s technical mastery of the 

etching medium, while it also offers a more complete picture 

of Hopfer’s work in other materials, such as gouache, woodcut 

book illustration, and etched armor design. This catalogue 

successfully brackets the imponderable questions that have 

dominated Hopfer scholarship – about the origins of etching 

and the likelihood of a trip to Italy – to shift discussion to more 

productive issues: Hopfer’s use of the etching technique, his 

dissemination of styles and motifs (Renaissance and otherwise), 

and the esteem accorded to artistic imitation. 

Christof Metzger’s impressive catalogue begins with four 

essays, each about a different aspect of Hopfer’s career: his 

drawings, his relationship to the armor industry, and his role as 

head of a workshop with a legacy evident in the business-savvy 

careers of his copyist sons Lambert and Hieronymus. In his 

opening essay, Metzger himself presents what we really know 

about Hopfer’s career. The author discovered in Bologna an 

unpublished Hopfer etching plausibly identifi ed as the Battle of 

Thérouanne (Aug. 7, 1479) – remarkably signed with full name 

in the plate and dated largely on stylistic grounds to c.1493, 

making this perhaps the earliest known etching on paper. This 

new work, suitably showing the young Archduke Maximilian’s 

fi rst decisive military victory over the French, confi rms our 

presumptions about Hopfer: he was making printed etchings 

by 1500, well before Dürer and his own securely dated etchings 

during the second decade of the 1500s. 

Dating and chronology, however, continue to be unresolved 

issues with Hopfer’s printed oeuvre. Though often 


marked with a recognizable DH monogram and the pinecone 

emblem of Augsburg, only six prints bear dates, at least one 

of which (Tabernacle of the Adler Family [H.28]) may refer to the 

dedication date of the object portrayed, rather than the date of 

the etching itself. While the Bologna print is an exciting fi nd 

and does seem to pre-date 1500, it nonetheless renews questions 

about the wisdom of assigning dates solely on stylistic 

grounds for an artist who seems particularly adept at deploying 

different styles, depending on the model imitated or the 

subject and audience addressed. If anything, the catalogue 

visibly demonstrates the astounding range of Hopfer’s manner, 

which encompasses gothic vine tendrils, Italianate grotesques, 

line etching, dark ground dot patterns (the so-called ‘Hopfer 

style’), and which includes copies after Andrea Mantegna, Marcantonio 

Raimondi, and Lucas Cranach, among others. 

Essays by Achim Riether and Freyda Spira show Hopfer’s 

link to other media: preparatory drawings and etched armor, 

respectively. On one hand, Hopfer is portrayed as representative 

of craftsmen at the time. His workshop practices (sons 

Lambert and Hieronymus are the subject of a fourth essay by 

Tobias Güthner) also involved collaborations with a number of 

sculptors, goldsmiths, book publishers, and armorers. Even his 

deep knowledge of all’ antica and Italianate motifs (from prints, 

medals, armor, paintings) are properly set within the context of 

Augsburg, a city with trading ties to Italy and with a number of 

other artists working in a Renaissance style similar to Hopfer. 

On the other hand, the reader is left with a clear picture of 

Hopfer’s artistic distinctiveness. The extent of his network with 

metalworkers and armorers, the city’s prominent humanists, 

and the imperial court surpasses that of standard craftsmen. 

His vast knowledge of visual sources may stem from conventional 

training, but his awareness of the print medium as 

suitable for translating designs into new form, and his development 

of a market for them, seems utterly modern. In that business 

sense, he is the true successor of Israhel van Meckenem, 

matched only by his contemporaries Hans Burgkmair and 

Albrecht Dürer. Whereas etching has been characterized as a 

‘false start’ for fi gures like Burgkmair and Dürer, this catalogue 

makes clear that for Hopfer etching remained a central activity 

to which he was singularly committed, even when he was 

working with other media or collaborating with other artists. 

Contributors to the catalogue convey Hopfer’s technical 

mastery, from his line-work etchings to the dot-patterned silhouetted 

backgrounds that required at least two bitings in acid. 

Still worth considering is how and why Hopfer’s labor-intensive 

engagement with etching – as ‘inventor,’ copier, designer, 

and purveyor of artistic taste – was so successful, even though 

ultimately it would not defi ne the medium’s worth among 

artists (especially painters) or among collectors, who instead 

would come to value etching as an expressive outlet of artistic 

virtuosity not unlike drawing (Michael Cole, ed., The Early 

Modern Painter-Etcher, 2006). 

The nature of copying so central to Hopfer’s artistic 

practice is most effectively illustrated in the weighty catalogue 

section, where one can see images of a range of sources for 

Hopfer’s prints, drawings, and armor designs in individual 

catalogue entries. However, the format of the catalogue – with 

written entries and comparative material in a separate section 

from Hopfer’s images (which are out of order and follow Hollstein’s 

system instead) – hinders easy use and requires frequent 

back-and-forth page-turning. Despite these drawbacks of 

format, the catalogue information improves considerably upon

Hollstein by updating the literature, transcribing full inscriptions, 

providing accurate plate dimensions, and identifying all 

of the printing campaigns of Hopfer’s plates. This information 

is directed to print specialists, who also will appreciate the 

extensive addenda on watermarks, concordances with Bartsch 

and Hollstein volumes, and archival sources relating to the 

artist. 

This impressive catalogue will remain a crucial reference 

on Hopfer for years to come, but also may be a springboard 

for further publications on central issues of the period that 

Hopfer’s career so beautifully represents: prints as a medium 

and technology for translating Renaissance style and motifs; 

cross-fertilization among prints, sculpture, painting, and armor; 

fl uid boundaries between copying, artistic imitation, and early 

modern views of authorship and mastery; and the suitability of 

etching to meet the expectations of a changing society. More attention 

is needed on the artist’s presumed audience(s) and the 

market for his work, and on situating him in a social, Reformation, 

and political context. However, this catalogue will remain 

valuable in presenting Hopfer as a fi gure perched between the 

medieval and modern periods, as both craftsman and artist, 

and as creative copyist and resourceful innovator. No longer 

will Daniel Hopfer be discounted as merely ‘derivative.’ 

Ashley D. West 

Temple University 

Cranach und die Kunst der Renaissance unter den 

Hohenzollern. Kirche, Hof und Stadtkultur. [Cat. 

exh. Schloss Charlottenburg und Evangelische Kirchengemeinde 

St. Petri- St. Marien, Berlin, October 31, 

2009 – January 24, 2010.] Berlin: Stiftung Preussische 

Schlösser und Gärten Berlin-Brandenburg, Staatliche 

Museen zu Berlin, Stiftung Preussischer Kulturbesitz 

und Deutscher Kunstverlag, 2009. 368 pp, b&w and 

color illus. ISBN: 978-3-422-06910-7. 

This impressive book breaks much new ground in the art 

and architectural history of Renaissance Berlin-Brandenburg. 

The Hohenzollern electors’ territorial expansion, religious 

choices, and dynastic fashioning set the scene for palace 

construction, church rebuilding, embellishment of interiors, 

and transformation of images. Their shift from Catholicism 

to Lutheranism to Calvinism is evidenced in epitaphs, altarpieces, 

portraits, drawings and documents. The exhibition was 

designed around Berlin’s roughly eighty Cranach paintings, a 

third of which had been in the Hohenzollern collections since 

the sixteenth or seventeenth centuries. The fi rst part of the 

book consists of thirteen outstanding essays discussing various 

themes connected with the exhibition, which was held at two 

venues – one in Charlottenburg Palace, the other in St. Marienkirche. 

The second part consists of a profusely illustrated and 

richly annotated catalog. 

The introductory essay by Elke Anna Werner provides a 

superb thematic introduction to the exhibition. The cultural 

blossoming of Berlin began with the Hohenzollern’s move to 

the Mark Brandenburg, where they campaigned to secure land 

and electoral titles. Elector Johann Cicero (1455-1499) was the 

fi rst to be buried in Brandenburg. After his death in 1499, his 

sons Joachim I (1499-1535) and Albrecht (1490-1545) stimulated 

far-reaching Renaissance changes. Joachim I brought 

well-known scholars to Berlin. Albrecht, who became Cardinal 

of Brandenburg, ordered religious works from the Cranach 

workshop, including the 1523/25 Passion series for his church 

in Halle. While Joachim I remained Catholic, his son Joachim 

II followed Luther in 1539 after his father’s death. His major 

rebuilding program for the palace on the Spree included the 

nearby Dominican Church, which was outfi tted magnifi cently 

with reliquaries and epitaphs. He also commissioned a 1537/38 

Cranach Passion series, more Lutheran in spirit than the earlier 

one at Halle. 

Maria Dieter discusses the epitaphs funded by Berlin’s 

patricians for the Nicolaikirche. Beliefs regarding the Lord’s 

Supper are explained: Luther’s avowal of the literal presence 

of Christ in the Eucharist, emphasized in Brandenburg, is set 

against Calvin’s insistence on only a symbolic, spiritual presence. 

The continuing importance of ecclesiastical adornment is 

seen in the rich church interior, preserved in a 1616 epitaph for 

Johann Kötteritz and Caritas Distelmaier. 

Andreas Cante lays archival groundwork for the study of 

various Renaissance artists in the employ of the Hohenzollerns: 

Jacopo De’ Barbari worked for Johann Cicero; Hans Hasenfl 

eisch is recorded as painter to Joachim I; the Leipzig painter 

Hans Krell delivered no less than forty-nine works; Michel 

Ribestein’s monumental painted epitaphs reveal Classical 

and Italian infl uences with complex Lutheran iconography. 

From the late 1550’s, Italian painter Giovanni Battista Perini 

and architect Francesco Chiaramella were called in. The most 

signifi cant Renaissance sculptor in Berlin was Hans Schenck (or 

Scheusslich). 

Four essays focus on Cranach: Dieter Koepplin discusses 

Christ’s Descent into Limbo in the context of why Cranach’s 

workshop, which produced numerous Lutheran paintings, 

continued to create Catholic altarpieces for Joachim II, who had 

converted to the new faith. Martin Warnke sees a partly dead, 

but still sprouting tree-trunk painted by the aging Cranach in 

his 1546 Fountain of Youth (the year of Luther’s death) as a symbol 

of hope and renewal. In Werner Schade’s essay, Venus With 

a Jeweled Belt, long given to Cranach the Younger, is reattributed 

to a seventeenth-century follower, Heinrich Bollandt. And new 

results from technical studies of paintings by Cranach and his 

workshop are reviewed in a paper by conservators Mechthild 

Most and colleagues. 

Two essays address architecture: Martin Müller uses 

seventeenth-century engravings of Brandenburg and images of 

castles and palaces in Cranach landscape backgrounds to reimagine 

buildings destroyed through renovations, expansions 

and wartime losses. Guido Hinterkeuser considers genealogical/dynastic 

relationships among ruling families in following 

the fl ow of architectural ideas between Saxony, Franconia and 

Berlin. 

In an essay on Hohenzollern mortuary monuments from 

the Vischer workshop, Sven Hauschke notes similarities between 

the tomb sculpture of Frederick the Wise at Wittenberg, 

based on a drawing by Cranach, and the tomb sculpture of 

John Cicero in Berlin, conjecturing that Cranach also participated 

in the design of the latter. Horst Bredekamp and Eva 

Dolezel relate the Berlin Museums and Kunstkammer collections 

to an intellectual Utopia called Sophopolis, proposed by Swedish 

governor Bengt Skytte to Elector Friedrich Wilhelm in 1667. 

Discussing the evolution of the Brandenburg court, Walter 

Neugebauer observes that palace construction grew from 


25

dynastic necessity. Even hunting lodges were used as council 

chambers. And Manfred Rudersdorf and Anton Schilling discuss 

the gradual conversion to Calvinism by Johann Sigismund 

in 1613, and the split – and fi nally accommodation – between 

the Electorate and patricians. 

The catalog portion of the book has two sections, one 

for the Charlottenburg exhibition and one for the St. Marien 

exhibition – altogether eleven parts — each with an introductory 

chronology. The fi rst part covers the ascendancy of the 

Hohenzollerns from 1515-1571, and includes major Cranach 

portraits of electors; a part on the Franconian lineage includes 

an impressive painted genealogical tree; among palace embellishments 

is the sole self-portrait by Cranach the Elder; church 

decorations include the Passion series; numerous artifacts 

exemplify the consolidation of the Reformation in Brandenburg 

from Johann Georg in 1571 through the 1620 death of 

Johann Sigismund, and the Hohenzollerns within the European 

power struggles of 1608-1620. The second section covers the 

collections of St. Marien church: spectacular works by Michel 

Ribestein and Hans Schenck; a 1563 manuscript testifying to 

Joachim II’s faith; letters from Philipp Melanchthon; and documents 

concerning Johann Sigismund’s conversion to Calvinism 

in 1613, with treatises on the use of images in this “Second 

Reformation.” 

Gerd Bartoschek provides a valuable “Appendix” registry 

of Berlin Renaissance artists compiled from a 1786 document by 

Friedrich Nicolais. Finally, a Hohenzollern genealogical overview 

completes this handsome and scholarly catalog, which 

provides a wealth of fundamental resources for future research. 

Erika Michael 

Seattle, Washington 

Christopher P. Heuer, The City Rehearsed: Object, 

Architecture, and Print in the Worlds of Hans Vredeman 

de Vries (The Classical Tradition in Architecture). 

London: Routledge, 2008. 298 pp, 118 b&w illus., 

4 color pls. ISBN 978-0-415-43306-8. 

The Dutchman Hans Vredeman de Vries (1526-1609) is 

generally acknowledged as the ‘father of architectural painting’ 

or the progenitor of the art of perspective, a designer who 

utilized the tradition of Vitruvius and Serlio as raw material 

for architectural and ornamental inventions. The theme of this 

fascinating and experimental artistic biography is to capture 

more fully Vredeman’s own opinion on the nature and worth of 

his art. Heuer does not limit his inquiries to the life and works 

of the artist, but questions Vredeman’s project through the wisdom 

of the great cultural philosophers of the twentieth century: 

Benjamin, Adorno, Riegl, Panofsky, and others who thought 

deeply about art in the age of reproducible images and imageaverse 

societies. But primacy is given to revealing statements 

by the artist, culled from such disparate sources as verses written 

for a Chamber of Rhetoric, self-referential statements in the 

front-matter of his print albums, autobiographical overtones in 

Karel van Mander’s biography, and, fi nally, the archival notice 

of his failed bit for a professorship at the University of Leiden – 

an event in 1604 that opens the book. 

Long dismissed as a deviser of ornament, a growing consensus 

(tempered somewhat by Heuer, p. 213) sees the designer-painter, 

whose career also included engineering and urban 


planning, as a uomo universale, well versed in both the liberal 

and mechanical arts. The art of perspective was Vredeman’s 

expertise. But his genius lay in invention, the talent to turn 

architectural elements into a stream of visual novelties, and to 

use perspective for the creation of bunsettling images, which 

Heuer concludes ‘do not model architectural projects: they are 

the projects’ (p. 212). 

Vredeman left posterity 27 illustrated volumes, containing 

483 prints after his designs, as well as a not-yet-fullycatalogued 

oeuvre of easel paintings with architectural scenes. 

None of his large-scale works, including large trompe l’oeil 

paintings, has survived. His prints of the fi ve architectural 

orders and his exercises in curling strapwork, angular interlaces, 

and slanted obelisks diffused the Vredeman de Vries style 

to cities and buildings from Tallinn to Peru. Heuer successfully 

replaces the name Vredeman as a mere label for an ornamental 

style with the personality of an artist coping with the contradictions 

of his era, as his application to the professorship in Leiden 

reveals. Likely the university was looking for someone to advance 

the theory and practice of perspective, not for someone 

who used perspective as a form of recombinant art (a favorite 

term in this book). Out of touch with new scientifi c developments, 

Vredeman’s distinctive synthesis between the pictorial 

and the mechanical was becoming out-of-date. 

He was much better understood by Karel van Mander, 

whose biography in the Schilder-boeck was probably based on 

a letter written by the subject himself. Early in his career this 

artist interiorized his Vitruvius by copying Pieter Coecke van 

Aelst’s publication of an illustrated Serlio, just as Pieter Bruegel 

is said to have swallowed up the panoramic views of the Alps 

to fashion his Large Landscapes (1555-56). Thus the landscape 

artist (Bruegel) and the Vitruvianist (Vredeman) discovered 

safe (value-free) subjects, landscape and perspective, at a 

crucial moment in the artistic history of the Low Countries. 

Vredeman’s publishers were seeking a decorative vocabulary 

of Vitruvian forms to project the virtue of civil society without 

advertising the contested doctrines of faith or state. 

Heuer divides his book into two parts. Part One, ‘Performances 

of Order,’ considers what pictures of empty architecture 

were supposed to mean. Performance creates a semiotic 

link with Scenographia (1560), a book of stage designs that 

exemplifi es Vredeman’s vision of ‘unbuilt architecture in the 

world of things.’ Order refers to the fi ve classical orders that 

structure Vitruvian forms. Part Two, ‘Perspective and Exile,’ 

focuses on the artist’s career, as he zigzagged in and out of the 

Low Countries and the Holy Roman Empire. It probes a relationship 

between strategies of self-effacement (in an age where 

dissimulation was a matter of survival) and the properties of 

perspective, which propel a carefully constructed view towards 

an annihilating vanishing point. This nexus between propelling 

sight and nullifi cation may justify the hypothesis, not pursued 

by the author, that these architectural exercises are rhetorically 

related to spiritual exercises. 

Many topics and themes are touched upon in the chapters 

within the two parts. Chapter One, ‘Unbuilt architecture in the 

world of things,’ moves from a ‘rhetorics of choice,’ manifest in 

a picture of Christ in the Home of Mary and Martha, to the role of 

perspective and the aperçu that its science is useful in representing 

standing buildings and imagined architectural scenery 

but is not part of architectural practice. Chapter Two, ‘Antwerp 

the City Rehearsed,’ presents textual proof of Vredeman’s oratory 

as a member of the Peony Chamber in Mechelen and later

of the Violieren in Antwerp. Heuer uses the sham architecture 

in rederijker cultural practice as a prism for Vredeman’s empty 

stages and unbuilt cities. Heuer even relates the thoroughfares 

of the Scenographia to the equally deserted country roads in 

the Small Landscapes prints (1555), images emptied of doctrine 

that put sight itself on stage. 

The next chapter, ‘Guidebook to Chaos’ (invoking Gombrich’s 

The Sense of Order), turns to Vredeman’s grotesques and 

treats them as limitless fruits born from Vitruvian roots. Particularly 

fl amboyant among Vredeman’s motifs, his strapwork 

lacked ancient antecedents and appeared supremely modern. 

Heuer concludes Part One with a reiteration of the term 

parergon, central to Gombrich’s discussion of pictorial genres, 

particularly landscape, to denote a classical term of categories 

remote from the core, including presumably Vredeman’s reduction 

of architecture to its basic elements. 

‘Vanishing Self’ (Chapter Four) initiates the biographical 

theme of Part Two. Using the concept of ‘Confessional Travel,’ 

Heuer speculates on Vredeman’s nicodemism and whether 

he was a member of the Family of Love, the secretive sect that 

fostered confessional concealment among the humanists of 

Antwerp. Many scholars have faltered on the importance of 

the Family of Love in the lives of Antwerpians, and I concur 

with Perez Zagorin who suggests a looser circle rather than a 

movement of radical dissidence (Neo-Stoicism as a unifying 

discourse in late Renaissance culture is absent in Heuer’s text). 

Many Netherlanders in the later sixteenth century were nonaligned 

practitioners of Christian perfection who adhered to 

the principle of conformity in matters of state, but to spiritual 

autonomy without confessionalism. 

Heuer fi nishes Chapter Four with the suggestion that Van 

Mander’s biography of Vredeman was a near-autobiography, 

based on an exchange of letters. The text contains a veritable 

catalogue of trompe l’oeil paintings, called ‘perspects,’ a word 

not otherwise known in Van Mander’s lexicon and presumably 

coined by the painter himself. Heuer concludes by positing 

one-point perspective as a fi gure for autobiographical selfeffacement: 

the reticence of the artist whose art conceals art. 

‘Hidden Terrors,’ Chapter Five, focuses on Vredeman’s 

fi nal work, The Book of Perspective of 1604. Popular because of 

the illustrations, but useless as instruction, these perspectives 

suggest to Heuer a ‘pictorial anxiety,’ especially in plate 29 

(the cover image), which aligns a one-point perspective with a 

recumbent human fi gure in brutal foreshortening. Vredeman’s 

fi ctional worlds of the book’s title ‘revel in troubling alternatives 

to the notion of art as history’ (p. 213). 

The City Rehearsed is intellectually ambitious and embedded 

in contemporary discourse on the ambiguous power of 

images. There are some shortcomings, including the absence 

of a list of illustrations. Its allusive titles make it diffi cult to assess 

the contents of its six chapters and curb navigation of the 

text. The text is littered with a host of misspellings and faulty 

transcriptions of the sources.. This book courageously blends 

biography, historiography, modern theory, a close reading of 

images and their sources to create an exciting new model for 

the life and works of artists of the past. 

Leopoldine Prosperetti 

Baltimore, Maryland 

Katja Schmitz-von Ledebur, Die Planeten und ihre 

Kinder. Eine Brüsseler Tapisserienserie des 16. Jahrhunderts 

aus der Sammlung Herzog Albrechts V. in 

München (Studies in Western Tapestry, 3). Turnhout: 

Brepols, 2009. 166 pp., col. plates, b&w illus. ISBN 

978-2-503-52354-5. 

Almost as soon as he succeeded his father, William IV 

(1493-1550), Duke Albrecht V of Bavaria (1528-79), cousin and 

in-law of the Habsburgs, transformed the Munich court into 

a center of patronage and collecting. He founded the court 

library and the Kunstkammer, following them with the Antiquarium, 

a collection of Roman (and supposedly Roman) sculpture 

placed in its own, purpose-built structure. Not surprisingly, one 

of Albrecht’s advisers, Samuel Quiccheberg (1529-67), authored 

the fi rst theory of collecting. 

Thanks in part to current scholarly interest in theory and 

in collecting, Munich’s ducal court has recently been the focus 

of several fundamental publications that make source material 

more widely available than ever before. Going online to 

the Bayerische Staatsbibliothek to click through ducal manuscripts, 

such as the Kleinodienbuch of Duchess Anna (Cod. icon. 

429), brings home the extreme luxury of Albrecht’s court and 

demonstrates how art history is enriched by our greater awareness 

of objects that Renaissance patrons most valued, but that 

modern scholarship has tended to neglect. 

Among such later ignored, but once prized, objects are 

tapestries, and Albrecht shared the interest of other Renaissance 

princes in these luxurious weavings of wool, silk, and precious 

metal thread. Katja Schmitz-von Ledebur makes this clear by 

publishing (pp. 16-18) a 1571 inventory that opens with series 

of large tapestries, mostly narratives but also including “twelve 

pieces with the Bavarian arms, among them ten very large” (p. 

16: zwelf stuckh mit Bayrischen wappen, darunter sind zehen 

gar groß). There are other armorial works; “seventeen dorsals 

with verdure” (p. 17: sibentzehen spalier mit laubwerch); and 

tapestries described as being used for covering tables, benches, 

beds, coaches, and sleighs, but nevertheless decorated, for example 

with “a bowl of fruit in the middle” (p. 17: hat in der mit 

ain schissl mit früchten) or “all kinds of animals” (p. 17: von 

allerlay thiern). The inventory records pieces from the Netherlands, 

Hungary, Turkey, and an old one, dated 1493, that had 

been made in Munich. 

Among the over 160 tapestries are “seven pieces [with] 

planetary stories, each six Brabant ells high” (p. 17: siben 

stuckh von der planeten histori, jedes sechs Prabanntisch elln 

hoch), the series that forms the topic of this study based on 

Schmitz-von Ledebur’s dissertation (Bonn, 2000). Listed in 

inventories of the Ducal Residence in 1638 and 1707, but not in 

1769, Albrecht’s planetary tapestries went from Schloss Nymphenburg 

into the Bayerisches Nationalmuseum in 1858. The 

“planetary stories” show each deity riding across the sky above 

a scene depicting activities associated with him or her. This 

composition conforms to the standard type, but, as Schmitzvon 

Ledebur demonstrates, in this case it ultimately derives 

from the 1531 woodcut series attributed to the Nuremberg artist, 

Georg Pencz (1500-50). The author also shows the importance 

of these prints to numerous tapestry series, which with 

passing time somewhat disguised their debt to Pencz through 

increasingly Italianate fi gures and composition. 

Schmitz-von Ledebur’s chief aim is to date the Munich 


27

tapestries to the 1550s and to argue for their close connection to 

Michiel Coxcie (1499-1592). Civic marks prove that the tapestries 

were made in Brussels, and their weavers’ marks place 

them in the same shop as other pieces, but Schmitz-von Ledebur 

is dealing with a complex problem. Since the works make 

their fi rst documentary appearance in that 1571 list, she has no 

written records to use in her argumentation and must rely on a 

rigorous formal analysis, asking several questions: what visual 

sources did the designer use? how did he group his fi gures and 

place them in each composition? are there comparable pieces 

of known date? to what period does the design of the borders 

correspond? The borders are particularly important to her argument, 

but her concern with dating the works pervades much of 

Schmitz-von Ledebur’s book. 

Before she builds her convincing argument, Schmitz-von 

Ledebur provides a series of overviews that add to the reader’s 

understanding of the tapestries. This is a carefully structured 

book, with one section seamlessly leading to the next, and it includes 

technical data on each piece, as well as a listing of archival 

material that will ease the task of future researchers. Putting 

Albrecht forward as their patron, the author examines astrology 

and astrological imagery at the duke’s court (perhaps too 

briefl y) before she proceeds to a discussion of the Planetenkinder 

theme in art history. The most exhaustive chapters she devotes 

to individual tapestries. Each opens with an iconographic 

survey of the planetary god in question. Schmitz-von Ledebur 

then carefully reads each tapestry’s composition, pursuing 

even the smallest details and linking individual fi gures and 

actions to specifi c visual sources. Her iconographic discussion 

includes an analysis of the cartouches lying in each tapestry’s 

borders, and she shows that the subject extends beyond the 

main composition. 

Schmitz-von Ledebur thus demonstrates methodical looking, 

and reading these sections of the book can be hard going. 

Despite the black-and-white illustrations accompanying the 

text, one continually wishes to see the tapestries themselves, 

even as the author’s careful descriptions also cause the reader 

to wonder how the tapestries’ original audience looked at 

them. Did the designer of these very large works, each of them 

over four meters in height, mean for viewers to approach them, 

to look at them up close, to delight in the wealth of detail in the 

multiple levels of the composition? Schmitz von Ledebur does 

not deal with this question, leaving it to others, but her book 

will be the one to which those scholars will fi rst turn. 

Miriam Hall Kirch 

University of North Alabama 


Seventeenth-Century Flemish 

Kurfürst Johann Wilhelms Bilder. Vol. I: Sammler 

und Mäzen. Edited by Reinhold Baumstark with 

contributions by Reinhold Baumstark, Marcus Dekiert, 

Hubert Glaser, Oliver Kase and Christian Quaeitzsch. 

Munich: Hirmer Verlag, 2009. 422 pp, 360 color illus., 7 

b&w. ISBN 978-3-7774-6075-8. 

Kurfürst Johann Wilhelms Bilder: Vol. II: Galerie und 

Kabinette. Edited by Reinhold Baumstark, catalogues 

by Christian Quaeitzsch (Düsseldorfer Galerie) and Oliver 

Kase (Gemäldekabinette). Munich: Hirmer Verlag, 

2009. 254 pp, 680 b&w illus. ISBN 978-3-7774-2051-6. 

La Galerie Électorale de Dusseldorff. Die Gemäldegalerie 

des Kurfürsten Johann Wilhelm von der Pfalz 

in Düsseldorf. Reprint of the Basel edition of 1778, 

published by the Bayerische Staatsgemäldesammlungen, 

Munich, with an introduction by Reinhold Baumstark. 

Munich: Hirmer Verlag, 2009. 118 pp, 55 b&w 

illus. ISBN 978-3-7774-7015-3. 

These three publications accompanied an exhibition in the 

Alte Pinakothek, Munich (February 5 – May 17, 2009) to commemorate 

the 350th birthday of Johann Wilhelm von der Pfalz 

(1658-1716) from the house of Wittelsbach, Duke Palatine of 

Neuburg, Jülich and Berg (1679), Elector Palatine (1690), Duke 

of Upper Palatine and Cham (1707-14), and one of the foremost 

collectors in Europe. Johann Wilhelm held court in Düsseldorf 

where he built one of the fi rst galleries to exhibit his large 

collection of Flemish, Dutch, and Italian paintings, a so-called 

‘Kunsthaus’, completed in 1714. This exhibition documenting 

Johann Wilhelm’s art collection in Munich followed the slightly 

earlier one held in Düsseldorf in late 2008-early 2009 – Himmlisch, 

Herrlich, Höfi sch – which concentrated on the paintings 

formerly in the Elector’s collection that were still in Düsseldorf, 

among them Rubens’s large Assumption of the Virgin and Venus 

and Adonis. 

The exhibition in the Alte Pinakothek with the well-written 

and lavishly illustrated catalogues follows the Elector’s collecting 

activities from the mid-1680s to the installation of around 

350 works in the specially built art gallery or Kunsthaus in 1714. 

It continues with those of Johann Wilhelm’s younger brother 

and successor, Karl III Philipp (1661-1742) after the move of 

about 250 small paintings to Mannheim in 1730-31, and of the 

latter’s nephew and successor Karl Theodor (1724-99). After 

Karl Theodor became Elector of Bavaria in 1777 he settled in 

Munich. Upon his death, the collections of the Palatine and the 

Bavarian Electors were merged between 1799 and 1806 into the 

Royal Bavarian collections and integrated in 1836 into the holdings 

of the Alte Pinakothek. 

The 46 paintings by Rubens and his studio formed the core 

of the collection and rivaled only the holdings of the Spanish 

Royal court. 29 of these works are still accepted as originals. 

It supposedly was Rubens’s Battle of the Amazons that inspired 

Johann Wilhelm to begin collecting art. Equally impressive are

the more than 20 paintings by Van Dyck (14 are still accepted 

today). Rembrandt’s Passion cycle and Raphael’s Holy Family 

from the Canigiani collection (a gift from Johann Wilhelm’s 

father-in-law, Cosimo III de Medici), are other highlights. 

Among contemporary artists, Johann Wilhelm greatly admired 

the work of Adriaen van der Werff (1659-1722) from Rotterdam, 

his court painter for nearly twenty years, who is represented by 

close to 40 paintings. For decorations in his private apartments 

and the newly built castle Bensberg the Elector commissioned 

Antonio Bellucci (1654–1726) and Giovanni Antonio Pellegrini 

(1675-1741) from Venice (today in the Bayerische Staatsgemäldesammlungen, 

Munich). Instrumental in the paintings’ 

acquisition was the Dutch artist Jan Frans van Douven (1656- 

1727), since 1682 Johann Wilhelm’s court painter, who installed 

the collection in the Kunsthaus, unfortunately pulled down in 

the nineteenth century. 

The Elector also involved his close relatives in securing 

works as well as his second wife, Maria Luisa, who was 

instrumental in the negotiations leading to the acquisition of 

Rubens’s Last Judgement, the enormous altar in the Neuburg 

Jesuit church that his grandfather, Wolfgang Wilhelm had commissioned 

from Rubens in 1616. Johann Wilhelm was among 

the fi rst to collect altarpieces; in the process he was required to 

have a copy painted of the altar he was purchasing to replace 

the original in the church. For a detailed account on the formation 

of Johann Wilhelm’s collection see Susan Tipton, “’La 

Passion mia per la pittura’,” Münchner Jahrbuch der bildenden 

Kunst, 3rd series, vol. LVII, 2006, pp. 71- 331, who publishes 

the documents regarding the acquisition and exchanges of the 

many works of art. 

In 1719, three years after Johann Wilhelm’s death, appeared 

the fi rst printed catalogue of the Elector’s art collection 

by Johann Georg Karsch (died 1753), the gallery’s director, dedicated 

to Elector Karl III Philipp. Besides the paintings, Karsch’s 

inventory also mentioned precious tables and small bronze 

and ivory sculptures (see Kornelia Möhlig, Die Gemäldegalerie 

des Kurfürsten Johann Wilhelm von der Pfalz-Neuburg (1658-1716) 

in Düsseldorf, [Ph.D. diss. Bonn], Cologne, 1993). The second, 

a visual inventory of the art Johann Wilhelm collected, was a 

folio of engravings that reproduced all the paintings hanging 

in the Düsseldorf Kunsthaus and in the large staircase leading 

up to it from the castle: Estampes du catalogue raisonné et fi guré 

des tableaux de la galerie électorale de Dusseldorff (Basel, 1778) with 

engravings by the Basel publisher and engraver Christian von 

Mechel (1737-1817) and a catalogue in French by Nicolas de 

Pigage (1723-1796). The publication, originally in a text and 

plate volume, was dedicated to Elector Karl Theodor von der 

Pfalz (1724-99). 

The folio opens with an allegorical frontispiece honoring 

Karl Theodor, followed by the plan, façade and cross section 

of the Kunsthaus (plates A-D) and twenty-six plates of engravings, 

each reproducing mostly between 8 and 20 paintings in 

their original, rather spacious hanging, often arranged around 

a large center piece with smaller works placed more or less 

symmetrically along either side. The fi rst two rooms included 

primarily Flemish paintings anchored by De Crayer’s high 

altar from the Augustinian church in Brussels, among Johann 

Wilhelm’s last acquisitions, surrounded by the more than 

twenty works by Van Dyck, among them Susanna and the Elders, 

a Lamentation, two Saint Sebastians, and several fi ne portraits. 

Additional works exhibited at the beginning were by Snyders, 

Fyt, Van Egmont, Van Thulden, and Jordaens. The Dutch school 

was represented by Jan Weenix, Bloemaert, and Honthorst with 

an occasional Italian painting (Titian, Giordano, Palma); the latter 

school was predominant in Room 3. Here we fi nd paintings 

by Raphael, the Carracci, Tintoretto, Veronese, several by Luca 

Giordano and a lone work by Poussin. Among the eight Rembrandts 

in Room 4 were the Passion paintings, the Adoration of 

the Shepherds, and two portraits (now called Bol), together with 

no less than 23 works by Adriaen van der Werff, among them 

the fi fteen for the Mysteries of the Rosary. In midst of these we 

fi nd Titian’s Portrait of a Young Man, Jordaens’s Satyr Visiting the 

Peasant, Guido Reni’s Assumption of the Virgin, and Velazquez’s 

Young Nobleman, one of the few Spanish works in the Kunsthaus. 

In Room 5 at the end, all 46 Rubens paintings were shown, 

reproduced on fi ve plates. The remaining four plates reproduce 

70 small-scale paintings installed on panels that covered the 

windows. 

Von Mechel recorded the 358 paintings exhibited in the 

Kunsthaus in small engravings on 26 large plates in accordance 

with their hanging, the Galerie Électorale de Dusseldorf. 

Each work is reproduced in fi ne detail in the order they were 

installed in the fi ve rooms, identifi ed with the artist’s name 

and a number that corresponded to the 1719 Karsch inventory. 

The present folio facsimile edition reproduces the hanging of 

1763 after the collection was newly installed by the then gallery 

director and painter Lambert Krahe (1712-90). The fi rst Düsseldorf 

installation, according to Karsch, showed Rubens’s 

enormous Last Judgement – his largest painting and one of fi ve 

monumental works by the artist – in the centre hall with the 

Kunsthaus built around it. In the 1778 publication the hanging 

was rearranged so that the visitor was greeted in the fi rst room 

by Van Douven’s large equestrian portrait of Johann Wilhelm 

above the door and then proceeded slowly to Room 5, the highpoint 

at the end where all the Rubens paintings were installed. 

The De Pigage-Von Mechel volume also includes engravings 

after seven allegorical paintings in grisaille by Johann Georg 

Karsh that decorated the gallery’s staircase. 

The 2009 facsimile publication ends with a list of the 358 

works arranged by inventory number with references to plates, 

artists, title, medium and size, and the present location (pp. 

98-113). An alphabetical list of the artists with a brief mention if 

attributions differed from those found in De Pigage’s 1778 catalogue 

–primarily among the Italian works and some by Rubens 

– concludes the volume. 

Christian Quaeitzsch catalogues these works fully in 

Kurfürst Johann WiIhelms Bilder. Vol. II: Galerie und Kabinette, 

recording 337 paintings seen there until 1719 (pp. 21-133). All 

are illustrated in black and white and listed alphabetically 

by artist, title, medium and size, current inventory numbers, 

and references beginning with the fi rst catalogue by Gerhard 

Joseph Karsch of 1719 up to the recent Munich catalogues of 

2005 (Neuburg), 2006-09. Paintings that were auctioned or lost 

were illustrated whenever possible from Von Mechel’s engravings. 

After the Elector’s death in 1716, some 160 paintings were 

added between 1719 and 1778 (pp. 135-55, nos. 338-398) and incorporated 

into the Düsseldorf gallery for a total of 398 works; 

all are again illustrated in black and white where possible or 

shown in Von Mechel’s 1778 engravings. During the preparation 

of the exhibition it could be established that only 76 paintings 

were missing; 17 are still known but no longer in the Alte 

Pinakothek, while nine were auctioned in 1851 and some were 

lost during the war or deaccessioned. 

Another group of 253 small-scale paintings was installed 


29

in two private rooms in the Düsseldorf castle and transferred 

in 1730 to the newly built castle in Mannheim where they again 

were installed in similar rooms (Kabinette). Thanks to four 

pen drawings dated 1731, now generally attributed to Johann 

Philipp von der Schlichten (1681-1745), Karl Philipp’s court 

painter, that Everhard Korthals Altes discovered in the Doucet 

collection at the library of the Art History Institute (INHA), 

Paris (The Burlington Magazine, CXLV, March 2003, pp. 206-18), 

it was possible to reconstruct that part of the collection as well. 

The pen and ink drawings show us their original frame-toframe 

hanging that likely refl ected the earlier one in the Düsseldorf 

castle. Landscapes (66) and genre scenes (41) predominate 

besides religious subjects which were installed as a group on 

one wall (57). 

Oliver Kase catalogues this collection of small-scale 

paintings in Kurfürst Johann WiIhelms Bilder. Vol. II: Galerie und 

Kabinette (pp. 157-251). The reconstruction shows that of the 

253 works reproduced in the drawings in 1731, only 143 could 

be identifi ed in the Bayerische Staatsgemäldesammlungen, 

fi fteen in the Bayerisches Nationalmuseum, while 79 works are 

lost. Kase’s catalogue illustrates all the works and lists them 

alphabetically by artist with the relevant information to various 

collection catalogues and, if known, present-day locations. Here 

Von der Schlichten’s small pen sketches are used for illustration 

of missing works. A good many of these paintings are now 

exhibited in the Staatsgalerie Neuburg an der Donau which 

opened in 2005, published in Flämische Barockmalerei, a catalogue 

by Konrad Renger and Nina Schleif (reviewed earlier in 

the HNA Newsletter). Both the De Pigage-Von Mechel publication 

of 1778 and the four pen-and-ink drawings of 1731 provide 

an excellent visual record of the installation of art collections in 

the eighteenth century. 

While Kurfürst Johann WiIhelms Bilder. Vol. II: Galerie und 

Kabinette documents the paintings in Johann Wilhelm’s collection 

proper, Vol. I: Sammler und Mäzen publishes fi ve essays on 

the Elector’s art collecting and its appreciation: Hubert Glaser 

situates Johann Wilhelm and his collection in his time; Reinhold 

Baumstark discusses the Elector not only as an avid art collector 

but also as a patron of many Dutch and Italian artists, as 

for example Adriaen van der Werff who contributed more than 

forty works, among them fi fteen for the Mysteries of the Rosary. 

The Elector also commissioned the Venetian artists Antonio Bellucci 

and Giovanni Antonio Pellegrini with extensive decorations 

in the private apartments of the Düsseldorf castle and the 

newly built hunting castle Bensberg (1705-10), including some 

twelve large hunting pieces and three ceiling decorations by 

Jan Weenix (ca. 1642-1719). All these paintings are today in the 

Bayerische Staatsgemäldesammlungen. Christian Quaeitzsch 

discusses how Johann Wilhelm – who was educated by Jesuits 

– and his art collection were received among the European 

courts and how it affected his standing. Furthermore he describes 

the extensive allegorical decorations by Pellegrini and 

Bellucci in the Düsseldorf castle and castle Bensberg. Marcus 

Dekiert recounts the move under Elector Karl III Philip von der 

Pfalz (died 1642) of some 250 small-scale paintings from the 

two Kabinette and Johann Wilhelm’s private rooms to the newly 

built castle in Mannheim, fi nished in 1730, while the collection 

in the Kunsthaus remained behind in Düsseldorf. Discussed as 

well are the four drawings by Von der Schlichten, mentioned 

above, which reproduce the paintings in their new installation 

in Mannheim. The pen sketches again include artists’ names 

(in red ink) and numbers which correspond more or less to the 

1730 inventory drawn up during the move. 


Among the ‘cabinet’ paintings were no fewer than twentysix 

works called Jan Brueghel the Elder and ten painted in 

collaboration with other artists, seven by Adriaen Brouwer, several 

by Hans Rottenhammer, Adam Elsheimer (3), Gerard Dou 

(5), the elder Van Mieris (8), Van der Neer (15) and other Dutch 

fi jnschilders. Rachel Ruysch (1664-1750), appointed in 1708 as 

Cabinetsmalerin, is represented by several fi ne still lifes. Korthals 

Altes furthermore discovered an early printed catalogue, Detail 

des Peintures du Cabinet Electoral de Dusseldorff in Wolfenbüttel 

with another similar one located in the Bayerisches Hauptstaatsarchiv, 

Munich, that seem to refl ect this early Mannheim collection; 

this indicated that the paintings were opened to special 

visitors for viewing. (Also printed in vol. 2 of Jan van Gool’s De 

nieuwe Schouburg…, 1751). 

Oliver Kase, fi nally, selected texts referring to paintings 

in the Düsseldorf Gallery, foremost the “Galeriebriefe” by 

Wilhelm Heinse, published in 1776-77 in the Teutscher Merkur, 

reprinting some excerpts. His essay ends with color plates 

of a selection of paintings by the court painters that lead to 

the catalogue proper of the 150 exhibits shown in Munich, 

drawn above all from the Mannheim ‘cabinets’ (pp. 339-89). 

A selection of 58 works by Düsseldorf court painters, among 

them Buys, Van Douven, Van der Werff, and Rachel Ruysch 

concludes the volume. References to the early collection catalogues 

up to 1838 and a general bibliography follow without 

an index; however a concordance of all the paintings listed in 

the catalogues from 1719 until today, their present attributions 

and locations, is published on the museum website as www. 

pinakothek.de/alte-pinakothek/information/publikationen/ 

JW Listen.pdf. 


Easton, Connecticut 

Seventeenth-Century Dutch 

Peter van den Brink, Jaap van der Veen et al., Jacob 

Backer (1608/9-1651). [Cat. exh. Museum Het Rembrandthuis, 

Amsterdam, November 29, 2008 – February 

22, 2009; Suermondt-Ludwig-Museum, Aachen, March 

12 – June 5, 2009.] Zwolle: Waanders Uitgevers, 2008. 

270 pp, 339 illus. ISBN 978-90-400-8565-9. 

To secure a place in the history of art, it was not always 

useful to have been considered Rembrandt’s pupil. Few seventeenth-century 

painters were as unfortunate posthumously as 

Jacob Backer. Due to Thoré-Bürger’s sloppy reading of a Dutch 

source, Backer was long held to be one of Rembrandt’s adepts 

who, moreover, failed to emerge from the master’s shadow. Although 

the error was set right in the 1980s, it took art historians 

three decades to adjust. 

This book is a revisionist biography, thorough oeuvre catalogue, 

and passionate homage. It begins by noting that Backer’s 

contemporaries saw him as one of the century’s greatest artists. 

The speed of his technique may have been one reason. In a 

mere two decades, he built a sizeable oeuvre of portraits, character 

heads, and history pieces. The new catalogue identifi es

135 authentic works; a separate DVD lists a great many others 

known from prints and archives. 

Jaap van der Veen’s biographical essay makes the most 

of the meager documents on a painter who never married or 

encountered legal quandaries. It speculates that Backer’s fi rst 

Amsterdam teacher was Jacob Pynas, who may have shared 

his Mennonite beliefs. The artist then approached Lambert 

Jacobsz. in Leeuwarden to acquire the principles of Rubensian 

history painting. Upon returning to Amsterdam, various of 

his innovations were successful, including portraits all’antica, 

arcadian scenes inspired by Guarini’s drama, and uncustomary 

Biblical scenes. Scaling the social ladder, Backer’s fi nest hour 

was a commission for the Stadtholder’s palace: a maidenly personifi 

cation of the Dutch Republic, Italianate in symbolism but 

clad in red, white, and blue. We glimpse some of the master’s 

self-esteem when another princely patron demanded a price estimate 

in advance. Backer, alluding to his hurt pride as budding 

courtier, answered that “he could not do this and was not wont 

to do so, but he would demonstrate to be acting honestly.” 

Despite such pretensions he ultimately failed to reach the top 

end of the market. 

Peter van den Brink’s essay, exploring all aspects of 

Backer’s art, identifi es many hitherto unknown works and 

brings the master’s qualities as a portraitist to the fore. In history 

painting, it recognizes Rubens rather than Rembrandt as 

his example. Prints in particular provided models for dialogue 

scenes involving half fi gures. Backer reused the same hands, 

faces, and poses in different settings; this observation provides 

a raison d’être for works that have usually been interpreted as 

character heads. 

A series of drawings reveals how Backer sat next to 

Govaert Flinck and Jacob van Loo making “academy fi gures”, 

studies from the nude. He probably thought out historical narratives 

in advance and drew his models in appropriate poses. 

This method seems to underlie the painting Venus, Adonis, and 

Amor (Fulda) and the monumental Diana and her Nymphs (St. 

Petersburg). The latter work, now recognized as a Backer, is the 

master’s tribute to no one less than Titian, improving wittily 

on the image tradition. The painting shows Diana’s naked back 

close at hand. We, the viewers, are put in Actaeon’s position: 

the goddess is about to turn her head. In a second, she will 

discover our presence and set her dogs on us. 

Backer, a “good colorist”, “understood well how to make 

a good nude”, to quote his Antwerp colleague Jean Meyssens. 

Lively brushwork, especially in representing fl esh, was probably 

his main asset. Van den Brink’s detailed analysis relishes 

the artist’s joie de peindre. It is unlikely that Backer used assistants 

since he had such a swift brush. (Yet, one is sometimes 

reminded of Michelangelo’s retort, when Vasari boasted about 

fi nishing his work so quickly: “So it appears!”) A contemporary 

reported that one could arrive in Backer’s studio and have 

one’s portrait done, including the hands, collar, and fur, on the 

same day. A catalogue entry by Michiel Franken suggests that 

this report was more than an anecdote, analyzing how precise 

wet-in-wet brushstrokes exploit the ochre ground for the 

middle tones. One of Backer’s fi nest works, however, does not 

display such bravura but depicts a woman in elaborate dress as 

a pensive Muse Euterpe. Due to its “unparalleled evocation of 

swishing satin,” the portrait is among the most beautiful of the 

Dutch Golden Age, as Bob van den Boogert concludes. 

The book adequately reconstructs why Backer’s contempo- 

raries held him in such esteem. It is therefore an important contribution 

to our knowledge of one of the most exciting decades 

for history painting in Amsterdam, the 1640s. 

Backer’s works must have made an impact on his pupils 

in particular, including Jan van Noordt, and colleagues such as 

Flinck and Ferdinand Bol. This realization opens up avenues 

for further research, which is highly desireable if only for further 

nuancing such a contested notion as ‘Dutch classicism.’ 

Thijs Weststeijn 

University of Amsterdam 

Friedrich Scheele and Annette Kanzenbach (eds.), 

Ludolf Backhuysen. Emden 1630 – Amsterdam 

1708. [Cat. exh. Ostfriesisches Landesmuseum Emden, 

Emden, November 30, 2008 – March 1, 2009.] 

(Veröffentlichungen des Ostfriesischen Landesmuseum 

Emden 27). Munich/ Berlin: Deutscher Kunstverlag, 

2008. 180 pp, 83 colour illus., 5 b&w illus. ISBN 

978-3-422-06875-9. 

The singular achievement of Ludolf Backhuysen as the 

Dutch Golden Age’s master of the monumental tempest fi rst 

received its full due with a monographic exhibition in Emden 

and Amsterdam, his native and adoptive cities, in 1985. 

Backhuysen’s scholarly recognition was subsequently crowned 

with the publication of a handsome monograph by Gerlinde de 

Beer in 2002, based on the author’s dissertation at the Christian- 

Albrechts-Universität in Kiel in 1993. The Ostfriesisches 

Landesmuseum recently marked the 300th anniversary of the 

artist’s death with another monographic exhibition. Although 

separated by 25 years, this project explicitly seeks to avoid duplicating 

that effort. Instead it takes a strikingly specifi c tack, in 

addressing the social and professional context of Backhuysen’s 

career as an artist. This angle provided an opportunity to present 

rare and less-accessible objects that bring the artist to life as 

a person. It follows the lead of the objects from the museum’s 

own collection, which make up about half of the exhibition, the 

rest lent from three major institutions in Amsterdam. 

Modest in size, this exhibition presents 45 works under 

34 catalogue numbers. Sixteen paintings and two “pen paintings” 

join fourteen drawings, one page of calligraphy, and a 

dozen prints, 11 of them from the celebrated series D’Y Stroom 

en Zeegezichten. Of the paintings, just two serve to represent the 

large-scale stormy seascapes on which rest Backhuyzen’s fame. 

Several others present facets of the artist’s biography, the most 

intriguing example that of a view of the Mosselsteiger on the 

Y, which possibly includes a combined Backhuyzen and De 

Hooghe family portrait; it is here presented together with the 

pen-and-wash study for it. Social history and political context 

color many of the other selections as well, including The Y Seen 

from the Mosselsteiger or the Bothuisjes, as well as a large tableau 

showing Admiral Michiel de Ruyter assuming command of 

the combined fl eet. The paintings display a wide variety, even 

including an early pair of Biblical histories. By contrast, the 

drawings, highlighted by the exquisite Caulking the Hull of a 

Warship from the Amsterdams Historisch Museum, underline 

Backhuysen’s achievement through specialization. 

The emphasis on context is carried over into the essays, 

which cover nearly half of the catalogue’s pages, and examine 


31

in considerable detail several facets of the role and position 

of Backhuysen’s works and career. Very helpful is Peter 

Sigmond’s wide overview of the rise of Dutch marine painting, 

focusing on the military/historical scene and relevant ideological 

divisions in the Dutch navy, with an addendum on Backhuysen’s 

contribution. Annette Kanzenbach’s essay focuses on 

Backhuysen’s monumental Self-Portrait for the Kunstkamer in 

the City Hall in Amsterdam. Building on Eymert-Jan Goossens 

and Bert van de Roemer’s re-introduction of this signifi cant 

but little-discussed exhibition space to the scholarly literature 

in 2004, Kanzenbach exhaustively articulates the Self-Portrait’s 

various academic assertions that applied to the newly-opened, 

semi-public gallery. This point does not dispel the impression 

that Backhuysen was also exerting the social status he had 

achieved with a non-academically oriented specialty, as well 

as with calligraphy, also presented prominently. There remains 

room for other contexts in shaping its interpretation, such as 

other self-portraits. 

Comparably extensive is the discussion by Karl Arndt of 

the artist’s biography by Arnold Houbraken. Arndt astutely 

notes some of the specifi c conditions of Houbraken’s project, including 

the short time he could allot to it, and his campaign of 

written solicitations of information and related dependence on 

informants. Houbraken’s account of the artist’s preparations for 

his own funeral is weakly interpreted as praise for his piety, but 

the wider reading of the Great Theatre and Houbraken’s life and 

thought offered by Hendrik Horn reveals Houbraken to be a rationalist, 

interested in critical thinkers such as Lodewijck Meijer 

and Balthasar Bekker; he was more likely drawn to this story 

because of Backhuysen’s cool concern for earthly matters such 

as good wine for his pallbearers. The author astutely zeroes in 

on Houbraken’s exposition of a theoretical concern for fi xed 

mental and physical images of transient phenomena, such as 

Backhuysen’s depictions of the turbulent sea: Houbraken raises 

this point more famously with respect to Rembrandt’s elusive 

mastery of emotions. The anecdote about the artist heading out 

into a storm to observe the waves is well known, and of course 

problematic, but at the same time not to be dismissed. It does 

address the question of Backhuysen’s conspicuous achievement 

in the convincing representation of this transient natural phenomenon. 

As Arndt notes, Houbraken contrasts it with Gerrit 

Dou’s depiction of immobile objects (he returns to this criticism 

of Dou elsewhere in his book, it should be noted). 

This exhibition engages the viewer with a variety of 

objects, and delivers on its promise to plumb the context of 

Backhuysen’s career, thus appealing to the historically-inclined 

scholar as well as the layperson. The biographical element takes 

centre stage, and ties together divergent topics, from his self 

portraits to Houbraken’s account of his life and work. 

David de Witt 

Agnes Etherington Art Centre 

Queen’s University 


Henk van Nierop, Ellen Gravowsky, Anouk Janssen 

(eds.), Romeyn de Hooghe: De verbeelding van de 

late Gouden Eeuw. With introductory essay by Henk 

van Nierop and contributions by Anna de Haas, Henk 

van Nierop, Inger Leemans, Joke Spaans, Michiel van 

Groesen, Donald Haks, Meredith Hale, Adri K. Offenberg, 

Huigen Leefl ang, Garrelt Verhoeven, Piet 

Verkruijsse, Elmer Kolfi n, Paul Knolle, Marc Hameleers, 

Truusje Goedings, Margriet Eikema Hommes, 

Piet Bakker and Dirk Jan Biemond. [Cat. exh. Bijzondere 

Collecties van de Universiteit van Amsterdam, 

December 10, 2008 – March 8, 2009.] Zwolle: Waanders 

Publishers, 2008. 310 pp, 150 color, 50 b&w illus. ISBN 

978-90-400-8557-4. 

Joseph B. Dallett, Romeyn de Hooghe. Virtuoso 

Etcher. Edited by Andrew C. Weislogel, with a contribution 

by Tatyana Petukhova LaVine. [Cat. exh. 

Herbert F. Johnson Museum of Art, Cornell University, 

Ithaca (NY)], August 8, 2009 – October 11, 2009.] Ithaca 

(NY): Herbert F. Johnson Museum of Art, Cornell 

University, 2009. 96 pp, 65 illus. (mostly in color). ISBN 

978-1-934260-11-1. 

The Dutch etcher Romeyn de Hooghe (1645-1708) enjoyed 

a glorious career in the latter half of the seventeenth and the 

early years of the eighteenth centuries. Undoubtedly, he was 

the most successful printmaker of his age in Holland with 

an oeuvre of over 4,300 etchings comprising of mostly book 

illustrations and circa 800 loose prints. He is mostly known 

for his depictions of historical events but, in two exhibitions 

that celebrated the 300th anniversary of his death in 1708, he 

is shown to have been a much more versatile etcher and even 

an all-round artist. The exhibition at the Special Collections 

department of the University of Amsterdam comprised largely 

of prints and books from their own holdings and the Herbert F. 

Johnson Museum of Art at Cornell University displayed a selection 

of Romeyn de Hooghe etchings from the famous Joseph 

B. Dallett collection. The two accompanying publications are 

in a way complementary. The Amsterdam book is a collection 

of essays on diverting aspects of De Hooghe’s life and art by 

various specialists. The Cornell publication, compiled by the 

collector and scholar Joseph B. Dallett himself, is traditionally 

organized with a short introduction followed by 57 full color 

photographs with their own catalogue notes offering in depth 

studies of individual prints. 

Although the title of the Amsterdam exhibition, Romeyn 

de Hooghe. De verbeelding van de late Gouden Eeuw, presents the 

artist as a chronicler of the later Dutch Golden Age (the word 

verbeelding being a pun, meaning both ‘depiction’ and ‘imagination’), 

the publication pays homage to him in most other 

aspects of his life, thought and art as well. Besides, as an appendix, 

an updated short title list is given of printed books that 

contain illustrations by De Hooghe. The fi rst set of essays is 

mostly dedicated to the artist’s life and ideas. More than once, 

it is stressed that his glorious career stands in contrast with his 

personality as described in contemporary sources, mainly satirical 

texts and pamphlets. He was portrayed as a blasphemer, 

a pornographer and a thief. But how could a man as terrible as

Romeyn de Hooghe have received so many important commissions? 

Or rather, should the satirical texts mentioned above be 

used as documentary sources in the way it is done by some of 

the authors? The artist’s deeds were especially criticized in Het 

Boulonnois hondtie of 1681, probably by Govert Bidloo. He is accused 

of being a kleptomaniac, a fi ddler, a forger and a fornicator. 

The author and the artist were well acquainted since at least 

as early as 1675 and they appear to have continued their collaboration 

for many years after the publication of the text. Was 

there really a fi ght between the two friends as serious as to justify 

such grave accusations? Or were the accusations in Bidloo’s 

text deliberately so outrageously exaggerated as to ridicule 

charges of much lighter offences? Did the author simply try to 

help his friend? Also Romeyn’s output as printmaker is used 

to reach conclusions on the artist’s thoughts and preferences. 

From the large number of pro-House-of-Orange prints, one 

could possibly count him as member of the Orangist-league. 

But is it safe to assume he was sympathetic to the Jewish cause 

from just a few etchings with specifi c Jewish subjects? It is 

sometimes too easily forgotten that De Hooghe was an artist by 

profession who had to earn his daily living by his work. 

The artist’s versatility as an etcher is stressed in essays on 

portrait prints, news prints, political prints, satirical prints and 

maps and other topographical prints. Of course, the distinction 

between these genres is arbitrary and, perhaps, anachronistic 

but the various authors remind us of this fact regularly. In fact, 

some of Romeyn de Hooghe’s most famous prints are clever 

combinations of the aforementioned genres. Lesser known aspects 

of Romeyn de Hooghe’s life and art are discussed in a further 

set of essays dedicated to his plans for a school of design, 

his paintings and his designs for decorative arts, respectively. 

Several legal documents regarding the founding of the school 

of design give detailed insights on De Hooghe’s didactic ideas. 

Not only printmaking was going to be taught. Drawing, painting, 

sculpture and pattern making (for decorative arts) were 

considered just as important. Moreover, an education in the arts 

was supposed to be provided for both the children of the city’s 

nobility as well as for orphans and other needy. The division of 

work in De Hooghe’s studio becomes clear from the detailed 

documentation on the painted decorations in the town hall of 

Enkhuizen, one of his large-scale painting projects. Romeyn 

proves to have been the designer and overseer rather than the 

painter. The actual execution was left largely to workshop assistants 

and/or hired hands. 

The Cornell publication provides many elaborate and well 

documented catalogue texts and the choice of etchings shows 

most aspects of De Hooghe’s career. In most cases, prints were 

chosen that are not discussed or only briefl y mentioned in the 

Amsterdam catalogue. The focus of the notes is on iconography. 

Notwithstanding the clear explanations of the prints’ subject 

matter, sometimes an elaboration on the circumstances of the 

publication of an individual work is badly missed as well as a 

discussion of De Hooghe’s imagery in the light of iconographic 

traditions. On the other hand, in a few cases, new information 

is brought forward. For instance, two new devotional manuals 

can now be added to the aforementioned short title list, an 

edition of Thomas a Kempis’ De Imitatione Christi printed in 

Cologne in 1669 and one printed in the same town in 1670 (cat. 

nos. 6 and 7). 

Both exhibition catalogues offer a thorough inside into 

Romeyn de Hooghe’s life and art. None of them pretends to be 

a defi nitive study on the artist. The Amsterdam publication was 

written for the larger public but, at the same time, provides a 

status quaestiones in De Hooghe studies and a starting point for 

further research while the Cornell publication provides much 

additional information. The well-documented and eloquently 

composed texts bring so many new aspects to light that, inevitably, 

at the same time they also raise new questions. 

Jaco Rutgers 

Amsterdam 

New Titles 

Areford, David S., The Viewer and the Printed Image in Late 

Medieval Europe (Visual Culture in Early Modernity). Burlington, 

VT: Ashgate, 2010. ISBN 978-0-754-66762-9, $125. To be 

reviewed. 

Barockmalerei an Maas und Mosel. Louis Counet und die 

Lütticher Malerschule. Trier: Stadtmuseum Simeonstift, 2009. 

ISBN 978-3-930866-30-4. – Exhibition Stadtmuseum Simeonstift, 

Trier, 2009. 

Block Friedman, John, Brueghel’s Heavy Dancers: 

Transgressive Clothing, Class, and Culture in the Late Middle Ages. 

Syracuse: Syracuse University Press, 2010. ISBN 978-0-8156- 

3215-3. 

Bod, Rens, Jaap Maat, Thijs Weststeijn (eds.), The Making 

of the Humanities. Vol. 1: Early Modern Europe. Amsterdam: 

Amsterdam University Press, 2010. ISBN 978-90-8964-269-1, 

euro 44.50 

Bondgenoten of tegenpolen. Samenwerking tussen kunstverzamelaars 

en musea in Nederland. Ed. by Ineke van Hamersveld 

and Truus Gubbels. The Hague: Vereniging Rembrandt, 2010. 

ISBN 978-90-6650-099-0, euro 34. 

Bruijnen, Y., Jan Rombouts. The Discovery of an Early 

Sixteenth-Century Master (Ars Nova). Turnhout: Brepols, 2010. 

ISBN 978-2-503-52569-3, euro 120. 

Buchanan, Iain, Habsburg Tapestries (Studies in Western 

Tapestry, 4). Turnhout: Brepols, 2010. ISBN 978-2-503-51670-7, 

euro 100. 

Burmeister Kaaring, David, Det kunstfaerdige billede: 

Haarlem-Manieristerne 1580-1600. Copenhagen: Statens Museum 

for Kunst, 2009. ISBN 978-8-7920-2339-1. – Exhibition catalogue. 

Chapman, H. Perry, Joanna Woodall (eds.), Envisioning the 

Artist in the Early Modern Netherlands (Netherlands Kunsthistorisch 

Jaarboek/ Netherlands Yearbook for History of Art, 59) Zwolle: 

Waanders, 2010. ISBN 978-90-400-7683-1. 

Cherry, Peter, John Loughman, Lesley Stevenson, In the 

Presence of Things: Four Centuries of European Still-Life Painting. 

I: 17th-18th Centuries. Lisbon: Fundacao Calouste Gulbenkian, 

2010. ISBN 978-97-2884-4870-6. – Exhibition Museu Calouste 

Gulbenkian, Lisbon, February 12 – May 2, 2010. Previously 

listed without catalogue information. 

Cranach und die Kunst der Renaissance unter den Hohenzollern. 

Kirche, Hof und Stadtkultur. Berlin: Deutscher Kunstverlag, 

2009. ISBN: 978-3-422-06910-7. – Exhibition Schloss 

Charlottenburg and Evangelische Kirchengemeinde St. Petri-St. 

Marien, Berlin, October 31, 2009 – January 24, 2010. Reviewed 

in this issue. 


33

Cruz, Laura, The Paradox of Prosperity: The Leiden Booksellers’ 

Guild and the Distribution of Books in Early Modern Europe. New 

Castle: Oak Knoll Press, 2009. ISBN 978-1-5845-6235-1. 

Cuttler, Charles D., Hieronymus Bosch: Late Works. London: 

Pindar Press, 2009. ISBN 978-1-9045-9744-0, $240. 

DaCosta Kaufmann, Thomas, Arcimboldo: Visual Jokes, 

Natural History, and Still-Life Painting. Chicago: University of 

Chicago Press, 2010. ISBN 978-0-226-42686-0, $65. 

Derolez, Albert, Corpus Catalogorum Belgii VII: The Surviving 

Manuscripts and Incunables from Medieval Belgian Libraries. 

Brussels: Koninklijke Vlaamse Academie van België, 2009. Euro 

57. 

Díaz Padrón, Matias, Rubens’ Vertumnus and Pomona and 

the Lower Summer Apartments at the Alcázar in Madrid. Madrid: 

El Viso, S.A. Ediciones, 2009. ISBN 978-84-95241-68-9, euro 58. 

Duverger, E., Antwerpse Kunstinventarissen, vol. 14: Index 

Onderwerpen (Fontes Historiae Artis Neerlandicae I). Brussels: 

Koninklijke Vlaamse Academie van België, 2009. Euro 36. 

Eberhard Cotton, Giselle (ed.), La Collection Toms. Lausanne: 

Fondation Toms Pauli; Sulgen: Niggli Verlag, 2010. ISBN 

978-3-72120-731-6 (English). – Exhibition Musée des Tissus et 

des Arts Décoratifs, Lyons, May 21 – June 20, 2010. 

Fischel, Angela, Natur im Bild. Zeichnung und Naturerkenntnis 

bei Conrad Gessner und Ulisse Aldrovandi. Berlin: Gebr. Mann 

Verlag, 2009. ISBN 978-3-7861-2610-2. 

Frederiksen, Rune, and Eckart Marchand (eds.), Plaster 

Casts. Making, Collecting and Displaying from Calssical Antiquity 

to the Present. Berlin: De Gruyter, 2010. 

Fritzsche, Claudia, Der Betrachter im Stillleben: Raumerfahrung 

und Erzählstruktur in der niederländischen Stilllebenmalerei 

des 17. Jahrhunderts. Weimar: VDG, 2010. ISBN 978-3-8973-9647- 

0, $60. 

Goossens, Eymert-Jan, Het Amsterdamse Paleis. Schat van 

breitel en penseel. Zwolle: Waanders, 2010. 

Groenveld, S., Het Twaalfjarig Bestand (1609-1621): de jongelingsjaren 

van de Republiek der Verenigde Nederlanden. The Hague: 

Haags Historisch Museum, 2009. ISBN 978-90-7255-005-7. 

Haag, Sabine, Elke Oberthaler and Sabine Pénot, Vermeer: 

Die Malkunst. Vienna: Residenzverlag, 2010. ISBN 978-3- 

70173-187-9. – Exhibition Kunsthistorisches Museum, Vienna, 

January 25 – April 25, 2010. Previously listed without catalogue 

information. 

Hardwick, P., The Playful Middle Ages. Essays in Memory of 

Elaine C. Block (Medieval Texts and Cultures of Northern Europe, 

23). Turnhout: Brepols, 2010. ISBN 978-2-503-52880-9, euro 80. 

Harmanni, Richard, Juriaan Andriessen (1742-1819): A 

Beautiful View. Zwolle: Waanders, 2009. ISBN 978-90-400-7653- 

4. – Exhibition, Museum Van Loon, Amsterdam, October 2, 

2009 – January 4, 2010. Previously listed without catalogue 

information. 

Hartig, Paul (ed.), Prinzessin Luise von Mecklenburg-Strelitz: 

Die Reise an den Niederrhein und in die Niederlande 1791: Tagebuch 

einer späten Königin von Preussen. Munich: Deutscher Kunstverlg, 

2010. ISBN 978-3-4220-6974-9, $27. 

Hartkamp-Jonxis, Ebeltje, Weaving Myths: Ovid’s Metamorphoses 

and the Diana Tapestries in the Rijksmuseum. Amsterdam: 

Rijksmuseum, 2009. ISBN 978-90-8689-050-7, – Exhibition Bon- 


nefantenmuseum, Maastricht, March 13 – September 13, 2009. 

Previously listed without catalogue information. 

Hayward, M., and P. Ward (eds.), The Inventory of King 

Henry VIII: Textiles and Dress. London: Harvey Miller/ Turnhout: 

Brepols, 2010. ISBN 978-1-905375-42-4, euro 140. 

Hengelhaupt, Uta, Splendor und Zier. Studien zum Altarbau 

und zur kirchlichen Innenausstattung am Beispiel des Hochstiftes 

Würzburg unter den Fürstbischöfen Johann Gottfried von Guttenberg 

(1684-1698) und Johann Philipp von Greiffenklau (1699-1719). 

Regensburg: Schnell und Steiner, 2008. ISBN 978-3-7954-2075-8. 

Hoch-Gimber, Miriam, Die Mainzer Malerfamilie Hoch. 

Leben und Werk im Wandel der Zeit – ausgehend vom Barock bis hin 

zur Romantik. Pieterlen: Peter Lang, 2010. ISBN 978-3-631-60102- 

0, CHF 44. 

Huys Janssen, Paul, Gekoesteerde schoonheid: Kunst uit 

Brabantse privébezit. Zwolle: Waanders, 2010. ISBN 978-90-400- 

7699-2, $49.50. – Exhibition Noordbrabants Museum, ’s-Hertogenbosch, 

May 22 – August 29, 2010. Previously listed without 

catalogue information. 

The Inventories of Charles V and the Imperial Family. Under 

the direction of Fernando Checa Cremades. 3 vols. Madrid: 

Fernando Villaverde Ediciones S.L., 2010. ISBN 978-84-937083- 

1-3, euro 800. 

Johann Heinrich Schönfeld. Welt der Götter, Heiligen und 

Heldenmythen. Cologne: DuMont 2009. ISBN 978-8321-9243-3. – 

Exhibition Zeppelinmuseum Friedrichshafen and Staatsgalerie 

Stuttgart. 

Jöhnk, Carsten, and Annette Kanzenbach (eds.), Schein 

oder Wirklichkeit? Realismus in der niederländischen Malerei des 17. 

Jahrhunderts. Bremen: Hachmann, 2010. ISBN 978-3-9394-2981- 

4, $35. – Exhibition Ostfriesisches Landesmuseum, Emden, May 

21 – September 5, 2010. Previously listed without full catalogue 

information. 

Kania, Katrin, Kleidung im Mittelalter. Materialien, Konstruktion, 

Nähtechnik. Ein Handbuch. Cologne: Böhlau, 2010. ISBN 

978-3-412-20482-2. 

Kloek, Wouter, Pieter Aertsen en de wereld op zijn kop. 

Amsterdam: Nieuw Amsterdam, 2010. ISBN 978-90-8689-061-3, 

euro 15. 

Kockerols, Hadrien, Les gisants du Brabant wallon. Namur: 

Les éditions namuroises, 2010. ISBN 978-2-93-378-83-1: www. 

pun.be 

Koldeweij, Eloy, et al., Stuc. Kunst en techniek. Zwolle: 

Waanders, 2010. 

Kroesen, J.E.A., and V.M. Schmidt (eds.), The Altar and Its 

Environment, 1150-1400 (Studies in the Visual Culture of the Middle 

Ages, 4). Turnhout: Brepols, 2010. ISBN 978-2-503-53044-4, euro 

95. 

Kroesen, J.E.A., Staging the Liturgy: The Medieval Altarpiece 

in the Iberian Peninsula. Leuven: Uigeverij Peeters, 2009. ISBN 

978-90-429-2116-0. 

Krüger, Manfred, Albrecht Dürer. Mystik, Selbsterkenntnis, 

Christussuche. Stuttgart: Verlag Freies Geistesleben, 2009. ISBN 

978-3-7725-2375-5. 

Kunst als Herrschaftsinstrument. Böhmen und das Heilige 

Römische Reich unter den Luxemburgern im europäischen Kontext. 

Ed. Jiri Fajt, Andrea Langer. Munich/Berlin: Deutscher Kunstverlag, 

2009. ISBN 978-3-422-06837-7.

Leson, Richard, and Thomas Kren, Old Testament Imagery 

in Medieval Christian Manuscripts. Los Angeles: The J. Paul Getty 

Museum, 2010. – Exhibition June 1 – August 8, 2010. 

Maaz, Bernhard, Cranach in der Gemäldegalerie Alte Meister 

Dresden. Berlin/Munich: Deutscher Kunstverlag, 2010. ISBN 

978-3-422-07009-7, euro 15. 

Maes, G., and J. Blanc (eds.), Les Échanges artistiques entres 

les anciens Pays-Bas et la France (Museums at the Crossroads, 21). 

Turnhout: Brepols, 2010. ISBN 978-2-503-53095-6, euro 75. 

Marx, Barbara, and Peter Plaßmeyer (eds.), Sehen und 

Staunen. Die Dresdner Kunstkammer von 1640. Berlin/Munich: 

Deutscher Kunstverlag, 2010. ISBN 978-3-422-07012-7, euro 78. 

Martens, Didier, Peinture fl amande et goût ibérique XV-XVI 

siècles. Brussels: Le Livre Timperman, 2010. ISBN 978-90-77723- 

96-8, euro 48. 

Meijer, Bert, Repertory of Dutch and Flemish Paintings in Italian 

Public Collections. Vol. III: Piedmont and Valle d’Aosta. 2 vols. 

Florence: Centro Di, 2010. ISBN 978-88-7038-443-7, $300. 

Millenium 23, 2009/1-2: De kartuize van Scheut en Rogier 

van der Weyden. Turnhout: Brepols, 2010. ISBN 978-2-503-51670- 

7, euro 100. 

Morgan, Nigel, and Stella Panayotova (eds.), Illuminated 

Manuscripts in Cambridge: A Catalogue of Western Book Illumination 

in the Fitzwilliam Museum and the Cambridge Colleges. Part 1: 

the Frankish Kingdoms, Northern Netherlands, Germany, Bohemia, 

Hungary Austria, the Meuse Region and Southern Netherlands. 2 

vols. London/Turnhout: Harvey Miller/Brepols, 2009. ISBN 

978-1-905-37547-9, £150. To be reviewed. 

Muller, W., La nature, rythme et danse des saisons (Profane 

Arts of the Middle Ages, 4). Turnhout: Brepols, 2010. ISBN 978-2- 

503-53094-9, euro 60. 

Neville, Kristoffer, Nicodemus Tessin the Elder: Architecture 

in Sweden in the Age of Greatness (Architectura Moderna), Turnhout: 

Brepols 1010. 

Opacic, Zoë, and Achim Timmermann (eds.), Architecture, 

Liturgy and Identity (Studies in Gothic Art). Turnhout: Brepols, 

2010. ISBN 978-2-503-53167-0, euros 100. 

Opacic, Zoë, and Achim Timmermann (eds.), Image, 

Memory and Devotion (Studies in Gothic Art). Turnhout: Brepols, 

2010. ISBN 978-2-503-53168-7, euros 100. 

Ottenheym, K.A., K. De Jonge and M. Chatenet (eds.), 

Pulic Buildings in Early Modern Europe (Architectura Moderna). 

Turnhout: Brepols, 2010. ISBN 978-2-503-53354-4, euro 94. 

Padon, Thomas (ed.), Vermeer, Rembrandt and the Golden 

Age of Dutch Art: Masterpieces from the Rijksmuseum. Vancouver: 

Vancouver Art Gallery; Douglas and McIntyre, 2009. ISBN 978- 

1-5536-5471-1, $40. – Exhibition Vancouver Art Gallery, May 

10 – September 13, 2009. Previously listed without catalogue 

information. 

Pietrogiovanna, Mari, Disegni fi amminghi e olandesi. Milan: 

Electa, 2010. ISBN 978-88-8370-7625-2, $82.50. – Exhibition Galleria 

dell’Accademia, Venice, April 1 – June 20, 2010. 

Pilosi, L., and Timothy Husband (eds.), The Art of Collaboration: 

Stained-Glass Conservation in the 21st Century (Corpus 

Vitrearum USA). London: Harvey Miller/ Turnhout: Brepols, 

2010. ISBN 978-1-9053 

Plomp, Michiel, et al., From New York with Love: The Draw- 

ings Collection of Matthijs de Clercq. Haarlem: Teylers Museum, 

2010. Published in conjunction with an exhibition at the Teylers 

Museum, June 10 – September 19, 2010. 

Pokorska-Primus, Malgorzata, Katalog Gabinetu Rycin Pau 

w Bibliotece Naukowej Pau i Pan w Krakowie. Szkola Niderlandzka 

XVI, XVII, XVIII w. Czesc V, 1: Philips Galle. Cracow: Polska 

Akademia Umiejetnosci 2010. ISBN 978-83-7676-028-5, euro 50. 

Polish text with English summary. 

Prague and Bohemia. Medieval Art, Architecture and Cultural 

Exchange in Central Europe. Ed. by Zoë Opacic. Leeds: Maney 

Publishing, 2009. ISBN 978-1-906540-58-6. 

Prud’Homme van Reine, Ronald, Opkomst en ondergang 

van Nederlands gouden vloot: Door de ogen van de zeeschilders Willem 

van de Velde de Oude en de Jonge. Amsterdam: Uitgeverij De 

Arbeiderspers, 2009. ISBN 978-90-295-6696-4, $33. 

Renouard de Bussierre, Sophie (ed.), Rembrandt dal 

Petit Palais di Parigi. Milan: Silvana, 2009. ISBN 978-88-3661- 

321-2, $33. – Exhibition Fondazione Magnani Rocca, Parma, 

March 15 – June 28, 2008. Previously listed without catalogue 

information. 

Restellini, Marc, and Helene Desmazieres (eds.), L’Âge 

d’Or hollandais de Rembrandt à Vermeer avec les trésors du Rijksmuseum. 

Paris: Pinacothèque de Paris, 2009. ISBN 978-2- 

3586-7004-3, $87.50. – Exhibition Pinacothèque de Paris, Paris, 

October 7, 2009 – February 7, 2010. Previously listed without 

catalogue information. 

Richter, Katja, Der Triumph des Kreuzes. Kunst und Konfession 

im letzten Viertel des 16. Jahrhunderts. Berlin/Munich: 

Deutscher Kunstverlag, 2009. ISBN 978-3-422-06730-1. 

Riegel, Nicole, Die Bautätigkeit des Kardinals Matthäus Lang 

von Wellenburg (1468-1540) (Tholos, Kunsthistorische Studien, 5). 

Munich: Rhema Verlag, 2009. ISBN 978-3-930454-75-4. 

Ritterwelten im Spätmittelalter. Höfi sch-ritterliche Kultur der 

reichen Herzöge von Bayern-Landshut. Landshut: Spitalkirche Heiliggeist, 

2009. ISBN 978-3-924943-62-1. – Exhibition Spitalkirche 

Heiliggeist, 2009. 

Roberts, Daniela, “Imago Mundi“. Eine ikonographische und 

mentalitätsgeschichtliche Studie, ausgehend von Hans Holbein d.J. 

The Ambassadors. Hildesheim: Georg Olms Verlag, 2009. ISBN 

978-3-487-13493-2. 

Sachs, Hans, and Jost Amman, A 16th-Century Book of 

Trades: Das Ständebuch, introduced and translated by Theodore 

Rabb. The Society for the Promotion of Science and Scholarship, 

Inc., distributed by the University of Washington Press, 

2010. ISBN 978-0-930-66428-2, $50. 

Sachs, Hans, and Jost Amman, Das Ständebuch. Vol. 1: Text; 

vol. 2: Materialien. Ed. By Per Baerentzen, Hans Blosen, Harald 

Pors. Aarhus: Aarhus Universitetsforlag, 2009. ISBN 978-87- 

7934-411-2, $144. 

Schavemaker, Eddy, Eglon van der Neer (1635/36-1703). His 

Life and Work (Aetas Aurea, XXII). Doornspijk: Davaco Publishers, 

2010. ISBN 978-90-70288-18-4, euro 250. 

Schleif, Corine, and Volker Schier, Katarina’s Windows. 

Donation and Devotion, Art and Music, as Heard and Seen through 

the Writings of a Birgittine Nun. University Park: The Pennsylvania 

State University Press, 2009. ISBN 978-0-271-03369-3. To be 

reviewed. 

Seelig, Gero, Die holländische Genremalerei in Schwerin: 


35

Bestandskatalog Staatliches Museum Schwerin. Petersberg: Imhof, 

2010. ISBN 978-3-8656-8614-5, $52.50. – Exhibition “Scheinbar 

vertraut: niederländische Genrebilder in Schwerin,“ Staatliches 

Museum Schwerin, July 2 – October 3, 2010. Previously listed 

without catalogue information. 

Shalev-Eyni, S., Jews among Christians. Hebrew Book Illumination 

from Lake Constance (Studies in Medieval and Early 

Renaissance Art History, 41). London: Harvey Miller/ Turnhout: 

Brepols, 2010. ISBN 978-1-905375-09-7, euro 100. 

Shawe-Taylor, Desmond, with contributions by Jennifer 

Scott, Dutch Landscapes [in the Royal Collection]. London: Royal 

Collection Publications, distributed by the Univerity of Chicago 

Press, 2010. ISBN 978-1-905686-25-4, $33. 

Sheriff, Mary D. (ed.), Cultural Contact and the Making of 

European Art since the Age of Explorarion (Bettie Allison Rand 

Lectures in Art History). Chapel Hill: The University of North 

Carolina Press, 2010. ISBN 978-0-8078-3366-7, $35. 

Contents: Mary D. Sheriff, Introduction; Claire Farago, 

On the Peripatetic Life of Objects in the Era of Globalization; 

Julie Hochstrasser, Remapping Dutch Art in Global Perspective; 

Christopher M.S. Johns, Travel and Cultural Exchange in 

Enlightenment Rome; Mary D. Sheriff, The Dislocations of Jean- 

Etienne Liotard, Called the Turkish Painter; Elisabeth A. Fraser, 

Images of Uncertainty. Delacroix and the Art of Nineteenth- 

Century Expansionism. 

Sitt, Martina, The Golden Age Reloaded: Die Faszination 

niederländischer Malerei des 17. Jahrhunderts: Sammlungen der Villa 

Vauban und des Rijksmuseums Amsterdam. Cologne: Wienand, 

2010. ISBN 978-3-8683-2024-4, $72.50. – Exhibition Villa Vauban 

– Musée d’Art de la Ville de Luxembourg, May 1 – October 31, 

2010. Previously listed without catalogue information. 

Steland, Anne Charlotte, Herman van Swanevelt (um 1603- 

1655). Gemälde und Zeichnungen. 2 vols. Petersberg: Imhof, 2010. 

ISBN 978-3-8656-8388-5, $160. 

Studien zur mittelalterlichen und frühneuzeitlichen Kunstgeschichte 

und Geschichte. Ed. By Hans-Joachim Krause and 

Andreas Ranft (Abhandlungen der Sächsischen Akademie der 

Wissenschaften zu Leipzig. Philosophisch-historische Klasse, vol. 81, 

no. 3). Leipzig: Sächsische Akademie der Wissenschaften, 2009. 

ISBN 978-3-7776-1666-7. 

Suckale, Robert (ed.), Schöne Madonnen am Rhein. Leipzig: 

E.A. Seemann Verlag, 2009. ISBN 978-3-86502-235-6. – Exhibition 

LVR-Landesmuseum Bonn. 

Sullivan, Margaret, Bruegel and the Creative Process, 1559- 

1563. Aldershot: Ashgate, 2010. ISBN 978-0-7546-6979-1, $115. 

Tanner, Marie, Jerusalem on the Hill: Rome and the Visions of 

St. Peter’s in the Renaissance. Turnhout: Brepols; London: Harvey 

Miller, 2010. 

Tillmann, Max, Ein Frankreichbündnis der Kunst. Kurfürst 

Max Emanuel von Bayern als Auftraggeber und Sammler (Passagen 

25). Berlin/Munich: Deutscher Kunstverlag, 2009. ISBN 

978-3-422-06869-8. 

Trepesch, Christof (ed.), Maler von Welt. Johann Heinrich 

Schönfeld im Bestand der Kunstsammlungen und Museen Augsburg. 


Berlin/Munich: Deutscher Kunstverlag, 2010. ISBN 078-3-422- 

07017-2, euro 25. 

Van de Velde, Carl (ed.), Classical Mythology in the Netherlands 

in the Age of the Renaissance and the Baroque – La mythologie 

classique aux temps de la Renaissance et du Baroque dans les Pays- 

Bas. Proceedings of the International Conference, Antwwrp 19-21 

May 2005. Leuven: Peeters, 2009. ISBN 978-90-429-2052-1, $95. 

Van der Elst, André, and Michel de Bom, Le vol de l’Agneau 

mystique. L’histoire d’une incroyable énigme. Brussels: Editions 

Jourdan, 2009. ISBN 978-2-87466-086-3, euro 22. 

Van der Stighelen, Katlijne, Vrouwenstreken. Onvergetelijke 

schilderessen uit de Lage Landen. Tielt (Belgium): Lannoo, 2010. 

ISBN 978-90-209-8870-3, euro 30. 

Van der Stighelen, Katlijne, and B. Watteeuw (eds.), 

Pokerfaced. Flemish and Dutch Baroque Faces Revealed. Turnhout: 

Brepols, 2009. ISBN 978-2-503-52564-8, $135. 

Van Hout, Nico, and Arnout Balis, Rubens doorgelicht. 

Meekijken over de schouder van een virtuoos. Antwerp: Ludion, 

2010. ISBN 978-90-5544-965-1, euro 25. 

Vermeulen, Ingrid R., The Rise of the Illustrated History of 

Art in the Eighteenth Century. Amsterdam: Amsterdam University 

Press, 2010. ISBN 978-90-8964-031-4. 

Werner, Thomas, and Eddy Stols (eds.), Een wereld op 

papier. Zuid-Nederlandse boeken, prenten en karten in het Spaanse en 

Portugese wereldrijk (16de-18de eeuw). Leuven/ The Hague: Acco, 

2009. ISBN 978-90-334-7418-7, $92.50 

Westermann, Mariët, Sound, Silence and Modernity in Dutch 

Pictures of Manners: The Watson Gordon Lecture 2007. Edinburgh: 

National Galleries of Scotland, 2010. ISBN 978-1-9062-7025-4, 

$12.50 

Westheider, Ortrud, and Michael Philipp (eds.), Rubens, 

van Dyck, Jordaens. Barock aus Antwerpen. Munich: Hirmer, 2010. 

ISBN 978-3-7774-2811-6, euro 34. – Exhibition Bucerius Kunst 

Forum, Hamburg, June 11 – September 19, 2010. Previously 

listed without catalogue information. 

Wetering, Ernst van de, A Corpus of Rembrandt Paintings. 

Vol. V: Small-Scale History Paintings 1642-1669. Dordrecht: 

Springer, 2010. ISBN 978-1-4020-4607-0, euro 1,200. 

Wijsman, Hanno, Luxury Bound. Illustrated Manuscript Production 

and Noble and Princely Book Ownership in the Burgundian 

Netherlands (1400-1550) (Burgundica). Turnhout: Brepols, 2010. 

Isbn 978-2-503-52558-7, euro 90. 

Wolfthal, Diane, In and Out of the Marital Bed. Seeing Sex in 

Renaissance Europe. New Haven/London: Yale University Press, 

2010. ISBN 978-0-300-14154-2, $55. To be reviewed. 

Wood, Jeremy, Copies and Adaptations from Renaissance and 

Later Artists: Italian Masters. Titian and North-Italian Artists (Corpus 

Rubenianum Ludwig Burchard). 2 vols. London/Turnhout: 

Harvey Miller/Brepols, 2010. ISBN 978-1-905375-40-0, euro 180. 

Zinke, Detlef, Meisterwerke vom Mittelalter bis zum Barock im 

Augustinermuseum in Freiburg i.Br. Berlin/Munich: Deutscher 

Kunstverlag, 2010. ISBN 978-3-422-06948-0, euro 20.

Dissertations 


Auerbach, Elissa Anderson, Re-Forming Mary in Seventeenth-Century 

Dutch Prints. Kansas, L. Stone-Ferrier 

Barrett, Kerry, The Artful Hand: Pieter Soutman’s Life and 

Oeuvre. IFA/NYU, M. Westermann 

Kim, Sohee, Jacques le Moyne de Morgues (c. 1533-1588) 

and the Origins of the Early Netherlandish Flower Still Lifes. 

Maryland, College Park, A. Wheelock 

Magreta, Todd, The Development of Orange-Nassau 

Princely Artistic Activity, 1618-1632. CUNY Graduate Center, F. 

Fox Hofrichter 

Nogrady, Elizabeth, Abraham Bloemaert (1566-1651), 

the ’Netherlandish Academy,’ and Artistic Collaboration in 

Seventeenth-Century Utrecht. IFA/NYU, M. Westermann 

Park, Soo Yeon, Use of Devotional Images in the Seventeenth-Century 

Northern Netherlands: A Case Study of Prints 

by Abraham Bloemaert (1566-1651). Wisconsin, J. Hutchison 

Piotrowska, Anna, The Early Career of Carl Vanloo: 

Training and Practice in the Capitals of Europe. IFA/NYU, M. 

Westermann 

Pokphanh, Roberta, The Proceeds of Prosperity: Images of 

Domestic Money Management and Exchange in Dutch Genre 

Painting in the Middle of the Seventeenth Century. Kansas, L. 

Stone-Ferrier 

Rodriguez-Farrar, Hanna, Images of Charles I of England. 

Brown, J. Muller 

Stoenescu, Livia, The Visual Narratives of El Greco, Annibale 

Carracci, and Rubens: Altarpieces of the Assumption of 

the Virgin Mary in the Early Modern Age. Queen’s, Kingston, 

S. Dickey 

Sutton, Elizabeth A., Economics, Ethnography, and Empire: 

The Illustrated Travel Series of Cornelis Claesz, 1598-1603. 

Iowa, J. Hochstrasser 

Austria 

Kreinz, Harald, Darstellungen des Todes in der mittelalterlichen 

Kunst in Tirol. Innsbruck, Prof. Steppan 

Rust, Sandra Maria, Der steirische Barockarchitekt Johann 

Georg Stengg (1689-1753). Vienna, Prof. Lorenz 

Schuller-Juckes, Michaela, Ulrich Schreier und seine 

Werkstatt. Buchmalerei und Einbandkunst in Salzburg, Wien 

und Bratislava im späten Mittelalter. Vienna, Prof. Schwarz 

Stockhammer, Andrea, Landschaftsmalerei als Spiegel gesellschaftlichen 

Naturverständnisses. Interdisziplinäre Studien 

zur Bildproduktion der Holländer im 17. Jahrhundert. Vienna, 

Prof. Rosenauer 

Wagner, Jasmine, Der ’Goldene Ofen’ von Stift Altenburg. 

Ein Beitrag zur kunsthistorischen, archäologischen und handwerksgeschichtlichen 

Forschung anhand eines spätmittlealterlichen 

Fundkomplexes. Graz, Prof. Stadlober 

Wolf, Christina, Die kleinformatige Rund- und Wappen- 

scheibe in Österreich. Sonderformen spätmittelalterlicher und 

frühzeitlicher Glasmalerei. Glasmalerei, Auftraggeber und Ausstattungsprogramme 

(Schwerpunkt 16. Jahrhundert). Vienna, 

Prof. Rosenauer 

Belgium 

Balace, Sophie, Historiographie de l’art mosan. Liège, Prof. 

Lemeunier 

De Meûter, Ingrid, De wandtapijtproductie in Oudenaarde 

rond 1700 in relatie met de andere centra in de Zuidelijke 

Nederlanden. Ghent, Prof. Van Damme 

Falque, Ingrid, Portraits de dévots, pratiques religieuses 

et expérience spirituelle dans la peinture des anciens Pays-Bas 

(1400-1550). Liège, Prof. Allart 

Fransen, Bart, Van goeden cusbaeren steenen. Steensculptuur 

in Brussel ten tijde van Rogier van der Weyden. Leuven, 

Prof. Van der Stock 

Lyna, Dries, The Cultural Construction of Value. Art Auctions 

in Antwerp and Brussels (1700-1794). Katholieke Universiteit 

Leuven, Prof. Van der Stighelen 

Roobaert, Edmond, Goud- en zilversmeden te Brussel in 

de 16de eeuw. Een archivalisch en prosopografi sch onderzoek. 

Lexicon van de gouden zilversmeden te Brussel in de 16de 

eeuw. Ghent, Profs. Bergmans and Vanderauwera 

Snaet, Joris, Reformatie versus Contrareformatie. De religieuze 

architectuur in de Noordelijke en Zuidelijke Nederlanden 

gedurende de 16de en 17de eeuw. Leuven, Prof. De Jonge 

Soudan, Wouter, Normativiteit en historisch bewustzijn in 

de achttiende eeuw. Wickelmanns kunstpedagogie en de 

epistemologie van het schone. Leuven, Prof. Vlieghe 

Williamson, Jack, Re-reading Van Eyck. The Visual- 

Mystical Theology of the Ghent Altarpiece Exterior. Ghent, 

Prof. Martens 

Brazil 

Françozo, Mariana, De Olinda a Olanda: Johan Maurits 

van Nassau e a circulaçao de objetos e saberes no Atlântico 

holandés (século XVII). [From Olinda to Olanda: Johan Maurits 

of Nassau and the Circulation of Objects and Knowledge in the 

Dutch Atlantic]. Unicamp, Prof. John M. Monteiro. 

England 

Davies, Surekha, Representations of Amerindians on 

European Maps and the Construction of Ethnographic 

Knowledge, 1506-1624. Warburg Institute, London, Profs. 

Kraye and McGrath 

Naydenova-Slade, Mihaylena, Images of the Holy Kinship 

c. 1170-1525. Courtauld Institute of Art, London, Prof. Crossley 

Porras, Stephanie, The Peasant as Pagan in the Work of 


37

Pieter Bruegel the Elder. Courtauld Institute of Art, London, 

Profs. Koerner and Woodall 

Germany 

Aßmann-Weinlich, Kerstin, Adelskultur im Kirchenraum. 

Herrschaftsstände in Schleswig-Holstein aus nachreformatorischer 

Zeit. Kiel, Prof. Albrecht 

Bake, Kristina, ’Spiegel einer christlichen vnd friedsamen 

Haußhaltung’. Die Ehe in der populären Druckgraphik des 16. 

und 17. Jahrhunderts. Halle-Wittenberg, Prof. Wiemers 

Barb Bender-Santamarta, Katrin, Totengedenken und 

Konfession. Studien zu südwestlichen Epitaphien des 16. und 

17. Jahrhunderts am Beispiel der Amanduskirche in Urach. 

Marburg, Prof. Krause 

Bartle, Dominik, Der Schatzbehalter. Optionen der Bildrezeption. 

Heidelberg, Prof. Saurma 

Bawden, Tina, Zwischen Diesseits und Jenseits. Die 

Schwelle als Bildmotiv und Bildort im Mittelalter. Giessen, 

Prof. Tammen 

Berger, Ulrike, Spiel und Regel. Bilder von Festen des 

späten Mittelalters. TU Berlin, Prof. Suckale 

Brüderle, Nicole, Kindbettgeschenke. Untersuchungen zu 

Ursprung, Form und Funktion von kunstgewerblichen Objekten 

als Gaben an die Mutter nach der Geburt. Göttingen, Prof. 

Warncke 

Datz (née Spitzner), Gepa, Die Partenheimer Scheiben. 

Sudien zur mittelrheinischen Glasmalerei des 15. Jahrhunderts. 

Mainz, Prof. Winterfeld 

Fachbach, Jens, Johann Georg Judas ’Chur. Trierischer 

Baw-Meister’ (um 1655-1726). Zur Architektur eines geistlichen 

Kurfürstentums an Rhein und Mosel im späten 17. und frühen 

18. Jahrhundert. Trier, Prof. Tacke 

Feulner, Karoline, Auseinandersetzung mit der Tradition. 

Die Rezeption des Werkes von Albrecht Dürer nach 1945, 

am Beispiel von Joseph Beuys, Samuel Bak, Sigmar Polke und 

Anselm Kiefer. Mainz, Prof. Oy-Marra 

Frese, Tobias, Bild und Wahrheit. Das eucharistische Christusbild 

von der Spätantike bis ins Mittelalter. Frankfurt/M. 

Galen, Maria, Johann Boeckhorst. Gemälde und Zeichnungen. 

Münster, Prof. Meyer zu Capellen 

Gammel, Marianne, Studien zu Mair von Landshut. TU 

Berlin, Prof. Suckale 

Gehren, Miriam von, Die kunst- und kulturhistorische 

Stellung der Herzogin Anna Amalia Bibliothek in Weimar im 

Kontext des aufgeklärten Absolutismus im 18. Jahrhundert. TU 

Berlin, Prof. Suckale 

Haberstock, Eva, Der Augsburger Stadtwerkmeister Elias 

Holl (1573-1646). Werkverzeichnis. Augsburg, Prof. Diemer 

Höger, Iris, Text und Bild im ersten Ulmer Druck des 

Buchs der Beispiele der Alten Weisen Antons von Pforr. 

Hamburg 

Joksch, Ute, Wandmalereien in Dorfkirchen der Diözese 

Brandenburg vom 13.- 16. Jahrhundert an ausgewählten 

Beispielen. TU Berlin, Prof. Suckale 


Kowalski, Christine, Augsburger Prunkkabinette mit Uhr 

von Heinrich Eichler d.Ä. (1637-1719) und seiner Werkstatt. 

Bonn, Prof. Corsepius 

Lang, Astrid, Die frühneuzeitliche Architekturzeichnung 

als Medium intra- und interkultureller Kommunikation. 

Entwurfs- und Repräsentationskonventionen nördlich der 

Alpen und ihre Bedeutung für den Kulturtransfer um 1500 am 

Beispiel der Architekturzeichnungen von Hermann Vischer d.J. 

Cologne, Prof. Nußbaum 

Lindau, Nina, Bartholomäus van Bassen bis Emanuel de 

Witte. Das Grabmal Wilhelms von Oranien und seine bildliche 

Inszenierung. Aachen, Prof. Markschies 

Mavroska, Vasiliki, Adam and Eve in Western and Byzantine 

Art of the Middle Ages. Frankfurt/M. 

Nemec, Richard, Architektur als identitätstragendes 

Herrschaftsinstrument. Fallstudien zu den Residenzanlagen 

Karls IV. in Böhmen, der Oberpfalz, dem Vogtland, dem Zittauer 

Land und der Mark Brandenburg. Freiburg, Prof. Schlink 

Philipp, Marion, Die Ehrenpforte als ’architecture parlante’. 

Ein Propagandainstrument der Mächtigen. Heidelberg, 

Prof. Saurma 

Rieger, Rudolf, Adam von Bartsch (1757-1821). Das 

druckgraphische Oeuvre unter besonderer Berücksichtigung 

der Reproduktionsgraphik nach Handzeichnungen. Mit einem 

Catalogue raisonné der Druckgraphik und der Handzeichnungen 

sowie einem Verzeichnis der Schriften, Manuskripte, 

Autographen und archivalischen Quellen. Bonn, Prof. Klein 

Schneider, Christine, ’Ut in nomine Iesu omne genu fl etat’. 

Studien zur Ausstattung der Kirche und des Kollegs der Jesuiten 

in Dillingen a.d. Donau im 18. Jahrhundert. Freiburg, Prof. 

Wischermann 

Speckhardt, Melissa, ’Pinxit et monochromata ex albo’. 

Weiß gefaßte Skulpturen und Ausstattungsstücke des 17. bis 

19. Jahrhunderts in Deutschland. Quellenforschung, Technologie 

der Fassungen, künstlerische Phänomene und denkmalpfl 

egerische Probleme. Bamberg, Prof. Hubel 

Tietz, Anja Anastasia, Der frühneuzeitliche Gottesacker. 

Entstehung und Entwicklung unter besonderer Berücksichtigung 

des Architekturtypus Camposanto in Mitteldeutschland. 

Halle-Wittenberg, Prof. Wiemers 

Wiesinger, Anja Silke, ’So würde es eins der schönsten 

Palläste in Europa geworden sein’. Schloß Gottorf als barocke 

Fürstenresidenz. Kiel, Prof. Albrecht 

Zikos, Dimitrios, Giambolognas Kleinbronzen und ihre 

Rezeption in der fl orentinischen Bronzeplastik des 17. Jahrhunderts. 

Freiburg, Prof. Schlink 

The Netherlands 

Berg, Bianca van den, De Sint-Janskerk in Gouda: Een 

oude stadskerk volgens een nieuw ruimtelijk plan. Utrecht, 

Profs. Ottenheym and Bosman. Summary: http://bit. 

ly/27hW6J 

Helmus, Liesbeth, Schilderen in opdracht. Noord-Nederlandse 

contracten voor altaarstukken 1485-1570. University of 

Amsterdam

Henneke, Meta, Ritueel in beeld. De boerenbruiloften en 

hun publiek in de tijd van Bruegel en zijn navolgers. Vrije Universiteit 

Amsterdam, Profs. Veldman and Oosten 

Huisman, Tijs, The Finger of God: Anatomical Practice in 

17th-Century Leiden. Leiden, Prof. Beukers. Full text http: bit. 

ly/2evora 

Medema, Geert, ’In zo goede order als in eenige stad in 

Holland’. Het stedelijk bouwbedrijf in Holland in de achtiende 

eeuw. Utrecht, Profs. Ottenheym and Schmidt. Full text: http:// 

bit.ly/9ux3O 

Mertens, Wim, Meubeltapisserieën in de Nederlanden en 

Frankrijk vanaf de late middeleeuwen tot 1900. Aspecten van 

productië, iconografi e, distributie en gebruik. Leiden, Prof. 

Fock. Full text: http://bit.ly/VabS4 

Simons, Madelon, Een theatrum van representatie. 

Aartshertog Ferdinand II van Oostenrijk, stadhouder in Praag 

1547-1567. Amsterdam, Profs. Sluijter and Eversmann 

Stoesser-Johnston, Alison, Lucas and Cornelis de Wael: 

Flemish Artists and Dealers in Antwerp, Genoa and Rome in 

the 17th Century. Utrecht, Prof. Meijer. Summary http://bit. 

ly/15zBMi 

Switzerland 

Blümle, Claudia, Wahrheit und juristische Formen in der 

frühneuzeitlichen Malerei. Dieric Bouts’ Gerechtigkeitsbilder 

für das Rathaus von Löwen. Basel, Prof. Boehm 

Kehrli, Manuel, Johann Rudolf Huber (1668-1748). Ein 

Basler Maler des Spätbarock. Bern, Prof. Gramaccini 

Wagner, Berit, Bilder ohne Auftraggeber. Der deutsche 

Kunsthandel im 15. und frühen 16. Jahrhundert, mit Überlegungen 

zum Kulturtransfer. Bern, Prof. Gramaccini 


39


Initial Challenge Grant of $5, 000.00 given by James 

Marrow 

Jan Six Society ($1 to $49) 

Marcia Allentuck in memory of Charles Mitchell 

Kathy Berkowitz 

Gregory Clark 

Melanie Gifford 

Jeffrey Hamburger 

L.B.L. Harwood 

Julie Berger Hochstrasser 

Robinson Kurtin Communications, Inc. 

Nancy Minty 

Anne M. Morganstern 

Elizabeth Sutton 

Diane Wolfthal 

Yonna Yapou-Kromholz 

John the Magnanimous Society ($50 to $99) 

Anonymous gift in memory of Dana Goodgal-Salem 

Al Acres 

Eva J. Allen in memory of Dr. Mary Ann Scott 

Donna R. Barnes 

Celeste Brusati 

Alice I. Davies 

Wilson G. Duprey 

Laura D. Gelfand 

Lola B. Gellman 

Ann Sutherland Harris 

Ann Sutherland Harris in honor of Seymour Slive 

Penny Howell Jolly 

Susan C. Katz Karp 

Susan Koslow in memory of Julius Held 

Susan Koslow in honor of Colin Eisler 

Susan Koslow in memory of Julius Held 

Anne W. Lowenthal in memory of James O. Belden 

Annaliese Mayer-Meintschel 

Andrea Pearson 

Leopoldine van Hogendorp Prosperetti 

Leontine Radler 

Mary of Burgundy Society ($100 to $249) 

Anonymous gift in memory of Dana Goodgal-Salem 

Anonymous gift in honor of the late Charles Mitchell 

Anonymous gift in honor of Irina Sokolova 

Christiane Andersson in honor of Julius Held on his 91st 

birthday 

Gerlinde de Beer in honor of George Keyes for his 

services as president of HNA 

Mària van Berge-Gerbaud 


Endowment Fund 

H. Perry Chapman 

Charles D. Cuttler 

Charles D. Cuttler 



Arlene and Arthur Elkind in honor of Egbert Haverkamp 

Begemann 

Fondation Custodia, Collection Frits Lugt 

Ivan Gaskell in memory of Salim Kemal 


Adele and Gordon J. Gilbert in honor of Ivan Gaskell 

Amy Golahny 


Jane Hutchison in memory of Jan Bialostocki 

Jane Hutchison in memory of Wolfgang Stechow 

Ethan M. Kavaler 

Alison McNeil Kettering 

Susan Koslow in honor of Julius Held 

Susan Koslow in memory of Horst Gerson 

Susan Koslow in appreciation of Amy Golahny and her 

work 

Susan Koslow in honor of Kristin Belkin 

Susan Donahue Kuretsky in memory of Beatrijs 

Brenninkmeyer-de Rooij 

Anne-Marie Logan in honor of Kristin Belkin and all her 

hard work on behalf of HNA 

Anne W. Lowenthal 

Constance Lowenthal in honor of Seymour Slive 

Ruth Mellinkoff 

Erika Michael 

Sheila D. Muller 

Shelley Perlove 

Jeffrey Chipps Smith 


Arthur K. Wheelock, Jr. 

Chancellor Rolin Society ($250 to $499) 

Anonymous donor 

Elizabeth Alice Honig 

George Keyes 

David Koetser 

Thomas Kren in honor of Kristin Belkin 

Mr. and Mrs. Bernard G. Palitz 

Joaneath A. Spicer 

Johnny Van Haeften 

Philip the Good Society ($500 to $999) 

A friend 

George S. Abrams 

Anne Hagopian van Buren

Anne Hagopian van Buren in memory of L. M. J. 

Delaissé 

Richard Green Galleries 

George Keyes in memory of Carol Purtle 

Constantijn Huygens Society ($500 to $999) 

J. William Middendorf II 

Admiral Maarten Harpertsz. Tromp Fund ($500 to $999) 

Sotheby’s, New York 

Earl of Arundel Society ($1,000 to $2,499) 

David G. Carter in memory of Roger-A. d’Hulst 

David G. Carter in memory of Paul Coremans 

David G. Carter in memory of Jacques Lavalleye 

Maine Community Foundation, at the recommendation 

of Anne van Buren 

James Marrow in memory of Anne Hagopian van Buren 

Joann and James Nordlie 

The Samuel H. Kress Foundation 

Pottekijker Society ($2,500 to $4,999) 

Jack Kilgore 

HNA Presidents’ Society ($1,000 and above) 

The Estate of Charles Cuttler 

George Keyes in memory of Jan Gerrit van Gelder 

George Keyes in memory of Hans Mielke 

Belinda Patterson in honor of Carl Purtle 

Carol J. Purtle in memory of Norris Kelly Smith 

John Michael Montias Fund 

Marten Jan Bok 

David Carter 

Perry Chapman 

Pamela Decoteau 

Larry Goedde 

Amy Golahny 

Emilie Gordenker 

Julie Hochstrasser 

Alison Kettering 

Eric Jan Sluijter 

Arthur Wheelock, Jr. 

Jean Wilson 


41

Benefactors 


Alfred Bader 

Susan Barnes 

Kathy Berkowitz 

H. Perry Chapman 

Jan De Maere 

Hester Diamond 

Adele and Gordon J. Gilbert 

Lawrence Goedde 

George Gordon 

Jack Kilgore 

Sondra Kurtin Robinson 

Thomas Leysen 

James H. Marrow 

J. William Middendorf II 

Christoph Müller 



Dominique Surh 

Matthew and Susan 

Weatherbie 

Arthur Wheelock 

Patrons 

Maryan Ainsworth 

Annet Ardesch 

Shirley K. Bennett 

Till-Holger Borchert 

Joaquin Bordiu 

Peter van den Brink 

Celeste Brusati 

David Giles Carter 

Michel Ceuterick 

Gregory Clark 

Joop van Coevorden 

Anne Connor 


Stephanie Dickey 

Burton Dunbar 

Wilson G. Duprey 

Arthur H. Elkind 

Michael Enthoven 

Jane B. Friedman 


Supporting Members 


Stefan Grohé 

Barbara Haeger 

Jeffrey Hamburger 

John Oliver Hand 

Valerie Hedquist 

Jane Hutchison 

Ethan Matt Kavaler 

Alison Kettering 

George Keyes 

David Koetser 

Susan Koslow 

Susan Donahue Kuretsky 

Walter Liedtke 

Julia Lloyd Williams 


Henry Luttikhuizen 

William Manhart 

Annaliese Mayer-Meintschel 

Erika Michael 

Sheila Muller 

Justus Müller Hofstede 

Otto Naumann 

Nadine Orenstein 

Herman A. Pabbruwe 

Eva de la Fuente Pedersen 

Yona Pinson 

Leontine V.L. Radler 

William Robinson 

Diane Scillia 

Ron Spronk 


Johnny Van Haeften 

Hans J. Van Miegroet 

Anne Woollett 

Supporting Members 

Al Acres 

Ingrid Alexander-Skipnes 

Bas Anepool 

Nancy Bialler 

Margaret D. Carrol 

Alan Chong 

Paul Crenshaw 

Ricardo De Mambro Santos 

Dan Ewing 

Frank Faes 

Zirka Zaremba Filipczak 

Aneta Georgievska-Shine 

Amy Golahny 

Christine Göttler 

Meredith Hale 

Lars Hendrikman 

Frima Fox Hofrichter 

Frauke Laarmann 

Barbara Lane 

Dorothy Limouze 

Anne Lowenthal 

Rhona MacBeth 

Walter Melion 

Peter Parshall 

Martha Peacock 

Leopoldine Prosperetti 

Gregory Rubinstein 

Catherine Scallen 

Larry Silver 

Nicolette Sluijter-Seiffert 

Jeffrey Chipps Smith 

Claudia Swan 

Melinda Vander Ploeg Fallon 

Elizabeth Wyckoff 

Yao-Fen You 

Institutions and 

Businesses 

Marina Aarts, Amsterdam 

Alexander Gallery, New York 

Brill Publishers (Herman 

Pabbruwe) 

Brown University, 

Rockefeller Library 

Centrum voor de Vlaamse 

Kunst van de 16de en 

17de eeuw, Antwerp 

The Cleveland Museum of 

Art, Ingalls Library 

Erasmus B.V. 

The Frick Art Reference 

Library 

The Getty Research Institute, 

Serials Section 

Institut Royal du Patrimoine 

Artistique/Koninklijk 

Instituut voor het 

Kunstpatrimonium, 

Brussels 

Institute of Fine Arts, Library, 

New York University 

Kunstmuseum Basel, 

Bibliothek 

The Metropolitan Museum 

of Art, Thomas J. Watson 

Library 

Norton Simon Museum 

Princeton University Libraries 

Rijksuniversiteit Utrecht, 

Letterenbibliotheek 

Stedelijke Musea, Brugge 

Universitätsbibliothek 

Heidelberg 

Universiteit Utrecht 

Honorary Members 

Charles Cuttler (died 2008) 

Egbert Haverkamp Begemann 

William Heckscher (died 1999) 

Julius S. Held (died 2002) 

J. Michael Montias (died 2005) 

Eddy de Jongh 

James Snyder (died 1990) 

Seymour Slive 


Susan Urbach 

Benefactors contribute $200 

per year to the Historians of 

Neth er land ish Art; Patrons give 

$100 per year; In sti tu tions and 

Businesses give $100 per year; 

Supporting Members give $75 

per year.

historians of 

netherlandish art 

Historians of Netherlandish Art is an international 

or ga ni za tion founded in 1983 to foster com mu ni ca tion 

and col lab o ra tion among historians of Northern European 

art from medieval to modern times. Its mem ber ship 

comprises scholars, teachers, museum pro fes sion als, art 

dealers, publishers, book dealers, and collectors throughout 

the world. The art and architecture of the Netherlands 

(Dutch and Flemish), and of Germany and France, 

as it relates to the Netherlands, from about 1350 to 1750, 

forms the core of mem bers’ interests. Current membership 

com pris es around 650 individuals, institutions and 

businesses. 

HNA organizes and sponsors a major research conference 

every four years. It also holds an annual meeting 

in con junc tion with College Art Association conferences, 

where mem bers share interests and information 

in debates, symposia, or lectures. HNA offers news of 

exhibitions, acquisitions and other museum news, conferences, 

recent pub li ca tions, and members’ ac tiv i ties, as 

well as extensive book re views on its webpage at www. 

hnanews.org. Twice a year this in for ma tion is also offered 

in hard copy. A Mem ber ship Directory is available 

on HNA’s website. 

HNA grew out of a national symposium on Netherlandish 

art held in the spring of 1982 at Memphis State 

University. Its initial research conference, held at the 

University of Pitts burgh in 1985, drew over two hundred 

participants from seven coun tries. The Pittsburgh meeting 

set the standard for fi ve further international conferences 

held in Cleveland (1989), Boston (1993), Baltimore 

(1998), Antwerp (2002), Baltimore/Washington (2006), 

and Amsterdam (2010). HNA has been an affi liated 

society of the College Art As so ci a tion since 1984, and 

was in cor po rat ed in New York State as a not-for-profi t 

corporation in 1988. 

Membership in Historians of Netherlandish Art is 

open to any individual or organization interested in the 

study of Neth er land ish, German and Franco-Flemish 

art and ar chi tec ture, whether as a vocation or avocation. 

Membership priv i leg es include participation in HNA 

activities annually at College Art As so ci a tion meetings 

and at HNA-sponsored conferences, access to the online 

Newsletter and Review of Books, the Membership Directory, 

and the hard copy version of the HNA Newsletter 

and Review of Books. 

For information contact Kristin Belkin, 23 South 

Adelaide Ave, Highland Park NJ 08904; 732-937 83 94; 

kbelkin@aol.com, or Fiona Healy, Seminarstrasse 7, 

D-55127 Mainz, Germany; FionaHealy@aol.com 

4 HNA Newsletter, Vol. 23, No. 2, November 2006

newsletter - Historians of Netherlandish Art

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