Gebruiker:Uileand

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Wetenschappelijke publicaties / Scientific Publications & Vakpublicaties (populair) / Professional Publications (popula

SUMMARY: Portraits of rulers and burghers as biblical figures: the biblical portrait historié in the Northern and Southern Netherlands of the sixteenth and seventeenth centuries

Since the Middle Ages rulers and burghers had their portraits made in the guise of well-known biblical figures. In these portraits historiés individuals could, for example, be depicted as the Old Testament king David, or the shepherds adoring Christ. The Modern Devotion stimulated an intimate relationship with biblical figures, and portraits historiés in Passion scenes reflect such spiritual notions. Through biblical portraiture, believers could place themselves in the skin of heroes of faith, such as the Apostles at the Last Supper, and be part of the cloud of witnesses. In the Reformation era, the portrait historié proved a suitable means for propagating adherence to a certain denomination. The individuals portrayed used the well-known visual language of the bible to take a stance in theological debates and to make this complex matter intelligible. In the Northern Netherlands of the seventeenth century, the biblical portrait historié flourished as a subset of both history and portrait painting.

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SUMMARY: Mrs Bentinck or Incompatibility of Identity: the portraits of Charlotte Sophie Bentinck, née Aldenburg

Very small is the number of verified portraits of Charlotte Sophie Bentinck (1715-1800). A children’s portrait at Middachten Castle, a mezzotint after Philip van Dijk, and Van Dijk’s portrait painting of her at Schloss Varel are known. The inventories of Schloss Varel, compiled by Charlotte’s mother, mention from 1743 onwards three portraits of Charlotte. Other portraits published as depicting Charlotte represent other individuals. One alleged portrait of Charlotte at Middachten turns out to be that of Francisca Sibylla of Baden-Baden (1675-1733) and another one represents Charlotte’s grandmother Charlotte Amélie de la Trémoïlle (1652-1732). The latter lady has also been recognized, together with Anton I of Aldenburg (1633-1680), in Woman holding a man’s portrait (Varel, Heimatmuseum). The depicted are, however, Louise Elisabeth of Courland (1646-1690) and Frederick II, Landgrave of Hesse-Homburg (1633-1708), Charlottes grandparents on her mother’s side. Three other portraits in Varel were also recognized as Charlotte. The first appears to be that of the beauté Nell Gwyn (1650-1687) by Peter Lely (workshop). A second portrait by Michael Dahl represents Charlotte’s mother-in-law Jane Martha Temple (1672-1751). A third portrait depicts the future Empress Amalie Wilhelmine (1673-1742), which was probably added to an existing series of portraits of the imperial family in later times.

  • (& Suzan Verberne, Guido Gerritsen & Lou Boves),‘RemBench: A Digital Workbench for Rembrandt Research’, in: Jan Odijk & Arjan van Hessen (eds.), CLARIN in the Low Countries, London, Ubiquity Press, London 2017, EPUB 978-1-911529-26-2; Hardback 978-1-911529-24-8; Mobi 978-1-911529-27-9; PDF 978-1-911529-25-5, Chapter 28, pp. 337-350.

SUMMARY

In this paper, we present RemBench, a search engine for research into the life and works of Rembrandt van Rijn. RemBench combines the data from four different databases be- hind one interface using federated search technology. Metadata filtering is enabled through faceted search. RemBench enables art historians and other professionals interested in Rembrandt’s time to find all the information on Rembrandt that is available in online repositories through one application. The functionality and user interface of RemBench were developed in close collaboration with domain experts, and evaluated in a user study with nine students of history and art history. We found that the users were positive about the usability of RemBench, especially about its user interface and interaction design. We think that RemBench sets an example for search engines in the digital humanities. Our most important recommendation is the use of federated search (with different types of results in different verticals) and faceted search in the art history domain. In addition, we recommend evaluation through a user observation study, which is already possible with a small number of participants.

  • ‘De receptie en reproductie van Rembrandts geëtste portret van Jan Six’, in: Menno Jonker & Mariëlla Beukers (eds.), Rembrandt en Jan Six: de ets, de vriendschap, exhib. cat. Amsterdam (Museum Het Rembrandthuis), Six Art Promotion bv, Amsterdam 2017, ISBN 978-90-71056-00-0, pp. 37-46.

SUMMARY

Eén van de beroemdste verhalen uit de zeventiende eeuw betreft de vriendschap tussen Jan Six en Rembrandt van Rijn. Deze band kwam tot uitdrukking in een intiem portret van Jan lezend bij het raam, dat al snel het hoogtepunt in Rembrandts grafische oeuvre bleek. De tentoonstelling schetst het beeld van een vriendschap in de hoogtijdagen van de zeventiende eeuw en het meesterschap dat op ultieme wijze tot uitdrukking kwam in de ets. Bovendien wordt ingegaan op de fascinatie rondom de ets, de opdrachtgever en de kunstenaar in de eeuwen erna.

  • (& Volker Manuth & Jos Koldeweij), ‘Introduction’, in: Volker Manuth, Rudie van Leeuwen & Jos Koldeweij (eds.), Example or Alter Ego? Aspects of the Portrait Historié in Western Art from Antiquity to the Present, Brepols Publishers, Turnhout 2016 (Nijmegen Art Historical Studies XXII), ISBN 978-2-503-56816-4, pp.

SUMMARY

The present collection of essays on the subject of the portrait historié is a much-needed study of the artistic, literary and intellectual implications of this subgenre of portraiture. A portrait historié can be described as a portrait in the guise of a mythological, religious, historical or legendary figure. These figures can often be identified by analysing the sitters’ attributes and/or the narrative context of the portraits. The portrait historié is a most remarkable amalgamation of genres, combining iconographical traditions from portraiture and history painting. The contributions to this volume shed new light on the diversity of form and content within this subset of portraiture. The essays explore a wide range of problems related to portraits historiés from classical antiquity to modern times, from Phidias to Hugo van der Goes and from Michelangelo to Malevich and Beuys.

  • ‘Moses and the Israelites by Maerten de Vos: the Portrait Historié of the Panhuys Family from 1574’, in: Volker Manuth, Rudie van Leeuwen & Jos Koldeweij (eds.), Example or Alter Ego? Aspects of the Portrait Historié in Western Art from Antiquity to the Present, Brepols Publishers, Turnhout 2016 (Nijmegen Art Historical Studies XXII), ISBN 978-2-503-56816-4, pp. 173-190.

SUMMARY

The painting Moses and the Israelites from 1574, which was commissioned by Peeter Panhuys (1529-85) from the Antwerp painter Maerten de Vos (1532-1603), serves as a case study for answering the question how the choice of a subject relates to the faith of the persons portrayed in a biblical portrait historié. Hence the starting point for this contribution is a partly new identification of the sitters and a new assessment of their religious persuasions. Although the persons portrayed have been connected to the ‘spiritualistic’ movement of the Family of Love in earlier studies, no attempt was made to interpret the painting in the light of this connection. The Family attracted both Protestants and Catholics. The iconography of this portrait historié however, points in the direction of Lutheran interpretation and seems to confirm the (otherwise established) Lutheran sympathies of Peeter Panhuys. Moreover, the specific formulation of the Ten Commandments indicates the consultation of a Lutheran (Bible) translation. This observation seems remarkable since the painting was considered distinctly Calvinist by others.

SUMMARY

The Imagined and Real Jerusalem in Art and Architecture specialists in various fields of art history, from Early Christian times to the present, articulate a variety of cultural, religious and political implications of the visualization of Jerusalem. This collection of essays calls attention to two axes emerging from the study of Jerusalem in art: on the one hand, the volatile contemporary situation, and on the other hand, the abiding chain of meanings that history imparts to the city. From a contemporary perspective and within a broad historical context, the book discusses in depth a series of Western artworks, artefacts, and buildings providing new insights into memory processes and mechanisms of representation of Jerusalem.

  • ‘The portrait historié in religious context and its condemnation’, in: Katlijne Van der Stighelen, Hannelore Magnus, Bert Watteeuw (eds.), Pokerfaced: Flemish and Dutch Baroque Faces Unveiled, Brepols Publishers, Turnhout 2011 (Museum at the Crossroads, 19), ISBN 978-2-503-52564-8, pp. 109-124. cf. Accepted Author Edition

SUMMARY

The first part of this article examines different types of portraits in the guise of religious figures that came into existence, and sets forth the reasons why the appearance of these disguised portraits in a sacred context was held in abhorrence in early modern times. Various comments on this phenomenon by the most prominent theologians and polemecists of the sixteenth and seventeenth century (Murner, Savonarola, Erasmus, Molanus, Borromeo, Paleotti, among others) are drawn together in order to analyse the overall nature of the condemnation of portraits in the guise of holy figures. The scope of this paper is confined to the judgement of these particular portraits by ecclesiastic writers in Europe between 1500-1650, and more distinctively, to the restrictions imposed on portraits by local church authorities in the Southern Netherlands. In the second part these regulations will be connected to actual portrait conventions in Antwerp, Ghent and Bruges. Special attention is paid to the the Provincial Council of Mechlin of 1607 and subsequent synods and decrees that tried to put an end to the dipiction of private persons as part of a religious painting that served as an altarpiece.

SUMMARY: “The thread of life being cut”: an anthology of curious deaths of 17th-century artists This article gathers the anecdotical deaths of several 17th-century artists, like those described in De Groote Schouburgh (1718-1721) by Arnold Houbraken.

  • ‘Voorwoord: Portret en Decorum’, in: Desipientia: Zin & Waan 15, nr. 2: Portret en Decorum (nov. 2008), ISSN 1386-1069, pp. 2-3.

SUMMARY: Let the Children come unto Me: French monarchs portrayed on an unknown miniature

This article identifies eleven portraits of the French kings and queens from the reigns of Henry II to Henry IV in a miniature depicting Christ Suffering the Little Children To Come unto Him. It was painted by an unknown French artist in the first decade of the 17th century. Remarkable is the exotic garb of the mothers, which is identified as the typical dress worn by gypsies and was thought at the time to be of Egyptian origin. As a consequence these clothes seemed appropriate for biblical scenes. Depicted as witnesses to the biblical event are Michel de l’Hospital, Gaspard de Coligny and Louis I Condé, who played an important role in the French Wars of Religion. The story of Christ blessing the little children, recounted in the three synoptic Gospels (Mt 19; Mk 10; Lk 18), has often been connected with the theological debate about infant baptism. Nevertheless, the subject is not only depicted by Protestants but by Catholics as well. In this particular case the grapes – if they are to be interpreted as a symbol of the Eucharist – possibly allude to a catholic commission. The inclusion of royal descendants in the Kingdom of God – represented by the ‘immediate adoption of the Lord’ by the children – makes it clear that their worldly and hereditary power was legitimate. The French monarchy was thus presented as an institution by the grace of God.

SUMMARY: The Dutch Hermit: The melancholy pose in Dutch art of the 16th and 17th Century

This article focuses on one of the main representations of melancholy in Dutch art: the posture in which the head is supported by an arm. This typical attitude (thinker’s or penseroso pose), has been explicitly associated with melancholy since the publication of Dürer's print Melencolia I. (1514). Religious meanings can be attached to depictions of scholars and students in this position, because the pose itself goes back on religious examples, such as Christ as Man of Sorrows, hermit saints and Job on the Dunghill. Religious connotations are also strewn throughout the captions of melancholy prints and within the symbolism of paintings depicting melancholic students, such as those by De Heem, "Codde" and Sweerts. These paintings especially allude to the sitter’s own moral accountability.

SUMMARY: Lustre in the dark: The perception of Early Netherlandish painting in renaissance Italy

Variations in the effects of light are the reason why Northern and Italian art of the fifteenth century mimics reality in different ways. Italian artists attempted to define our concept of three-dimensionality by means of geometrical perspective and lume (= spatial lighting). Northern artists especially used lustro (= lighting, lustre). Glossy objects in the foregrounds of Flemish paintings helped to draw the scene closer to the beholder. Lustro was therefore even used in open-air daylight scenes. In Leonardo’s mind the glossy effect of the related Italian concept of splendore in the dark bestowed the scene with a certain gracefulness (grazia). This is what must have attracted 15th-century Italian art lovers to Northern art. Splendore was achieved by tonal transitions in layers of oil paint. Lustro, however, did not allow for any natural depth of field (focus). As a consequence Flemish masterpieces were negatively judged in 16th-century Florentine art theory. The Florentines experienced the meticulous rendering of details as disturbing.

SUMMARY: Portraits on a counter-reformation altarpiece: Wouter Pietersz. Crabeth’s Assumption of 1628

This article identifies two disguised portraits in Wouter Pietersz. Crabeth’s Assumption (1628), which is kept in ‘Het Catharinagasthuis’ (The Gouda Municipal Museum). Two of the apostles show the features of respectively father Petrus Purmerent of the Gouda church of Saint John the Baptist and probably apostolic vicar Philip Rovenius. Special attention will furthermore be paid to the figure of Saint Paul – from a counter-reformation perspective.

  • (& Menno Jonker), ‘Voorwoord: Het Meesterwerk’, in: Desipientia: Zin & Waan 13, nr. 2: Het Meesterwerk (nov. 2006), ISSN 1386-1069, p. 3.
  • ‘Het religieuze portrait historié in de Zuidelijke Nederlanden’, in: Desipientia: Zin & Waan 11, nr. 2 (nov. 2004), ISSN 1386-1069, pp. 47-52.

SUMMARY: The religious portrait historié in the Southern Netherlands

This article elucidates the remarkable difference between portraits historiés in devotional paintings and autonomous portraits historiés from a profane context. We might say that in religious art the portrait historié developed from the donor's portrait and the 'portrait in assistance'. Initially we are dealing with kneeling patrons who end up on the central panels passively taking part in the sacred history. In the course of time these passive witnesses gain a more active role. Apart from these there are identification portraits on the side panels. In Gerard David's case these still take the form of patrons with the attributes of saints (c. 1510-1515), but in the case of Adriaen Key we are dealing with real portraits historiés (1575). The Provincial Council of 1607 tried to put a stop to the depiction of portraits in a religious context, but there are nevertheless examples which show that the decree was not always followed. The exact causes still have to be investigated.


Boekrecensies (wetenschappelijk) / Book Reviews (scientific)

  • ‘Ann Jensen Adams, Public Faces and Private Identities in Seventeenth-Century Holland: Portraiture and the Production of Community. Cambridge: Cambridge University Press, 2009. 398 pp, 73 b&w illus. ISBN 978-0-521-44455-2.’, in: Historians of Netherlandish Art: Newsletter and Review of Books (HNA Newsletter) 28, nr. 1 (apr. 2011), ISSN 1067-4284, pp. 32-33.

Tentoonstellingsrecencies (populair) / Exhibition Reviews (popular)

  • (sive Uileand & RS = Clicox), ‘Veel tamtam over iets tams: McCarthy - Brain Box', Dream Box’, in: M9: Tijdschrift voor Wetenschap Kunst & Cultuur 1, nr. 0: Nieuwe Idealen (Wintereditie 2005), ISSN 1574-1958, pp. 40-41.
  • (sive Uileand & RS = Clicox), ‘Uncle Tim’s Cabin: Tim Brown, Master of Mississippi’, in: M9: Tijdschrift voor Wetenschap Kunst & Cultuur 1, nr. 1: b-b-Bodylanguage (Lente-editie 2005), ISSN 1574-1958, pp. 40-41.

Interviews

  • Frank Bezemers Baken: Bij een visionair ontwerp voor de stad Nijmegen, in: Desipientia: Zin & Waan 12, nr. 1: Het Meesterwerk (apr. 2005), ISSN 1386-1069, pp. 28-31.

SUMMARY: Frank Bezemer's Beacon: in a visionary design for the city of Nijmegen

The Nijmegen artist Frank Bezemer designed a symbolic connecting element between the old Nijmegen south of the river Waal and the new Nijmegen, de Waalsprong (Waal-jump), north of the river. Rudie van Leeuwen went to see the artist and discussed his design for a Waalsprongboei (Waal-jump-buoy).

Tijdschriftredactie / Magazine Editorial

  • (eindred./ed.), Desipientia: Zin & Waan, ISSN 1386-1069, 2004-2008.

Lezingen / Lectures

  • The Portrait Historié and Rembrandt’s Circle: Loose ends in the Portrait Historié Research: Problems of identification and iconography in portraits historiés by Rembrandt and his circle, International Colloquium Queen’s University Bader International Study Centre Herstmonceux Castle (Wartling Road Entrance, Hailsham, East Sussex), 18-21 July 2013, New Directions in the Study of Rembrandt and his Circle International Colloquium, 20-07-2013, Session: Artists in Rembrandt's circle III, moderator David DeWitt 14:00-15:30, ca. 10 min.
  • Lezing 1.) De voorgeschiedenis van Schilderschool Terpentijn [Over het ontstaan en de ontwikkeling van (amateur)tekenacademies]; Lezing 2.) Portretkunst [Over de geschiedenis van het portret, tussen gelijkenis en ideaalbeeld], Dingenfabriek aan de Bergweg te Velp, t.g.v. 25-jarig bestaan De Gelderse Schilderschool TerpenTijn te Velp, 26-04-2013, 14:00-16:00 [2 x 25 min.].
  • Het portret in scène gezet: Rubens en zijn familie als figuranten op zijn religieuze historiestukken, Rijksuniversiteit Groningen, Afdeling Kunst- en Architectuurgeschiedenis (Oude Boteringestraat 34, zaal 002), Lezingenprogramma t.g.v. 15e Gerson Lezing door Elizabeth McGrath, Jordaens, Psyche and the Abbot. Myth, decorum and Italian manners in seventeenth-century Antwerp, 12-11-2009, sessie 1, 12:00-12:30, 6 pp.
  • Het bijbels "portrait historié" in de (Noordelijke) Nederlanden in de zestiende en zeventiende eeuw, Onderzoekschool Kunstgeschiedenis (Universiteit Utrecht, Sweelinckzaal, Drift 21), Presentaties Voortgangsrapportages Promovendi, 14-11-2008, 13:00-14:00, 12 pp.
  • Van "portrait historié" tot "fancy portrait" en historiserend theaterportret: de ontwikkeling van een portretgenre tussen ca. 1600-1850, Radboud Universiteit Nijmegen, Afdeling Kunstgeschiedenis (Linaeusgebouw, zaal 3, Heyendaalseweg 137), Studiedag "Andermans veren". Identificatie en rollenspel in het "portrait historié", 21-11-2008, 14:00-14:30, 9 pp.

SAMENVATTING:

Tegenwoordig gebruiken kunsthistorici de term portrait historié voor portretten in de gedaante van historische (mythologische, bijbelse, legendarische) figuren. In de zeventiende en achttiende eeuw werd het begrip niet gebruikt voor een specifiek portretgenre. Niettemin valt op te maken wat men toentertijd in afzonderlijke gevallen onder een portrait historié verstond. In deze lezing komen de verschillende soorten portretten die men onder het begrip schaarde aan bod. Daarnaast wordt aan de hand van destijds gangbare (en min of meer synonieme) termen gekeken naar aanverwante portrettypen, waaronder allegorische portretten, conservatiestukken, portraits en action, turquerieën, fancy portraits en theaterportretten. Kenmerkende voorbeelden hiervan worden in chronologische volgorde van ontstaan behandeld, waarbij vooral wordt ingegaan op aspecten van ornamentiek, allegorisering, narrativiteit, houding, fantasie, gelijkenis, rollenspel en theatrale verkleding. De introductie van steeds nieuwe varianten van het portrait historié (alsook de inbedding van bijbehorende kunsttheoretische begrippen in een esthetisch kader) blijkt nauw samen te hangen met het snel veranderende smaakoordeel, de verschuivende sociaal-politieke achtergronden en het groeiend historisch besef. Het portrait historié, in de Verlichting verworden tot een mikpunt van spot, ontwikkelde zich in de achttiende-eeuw van een allegorische incarnatie van de macht tot een frivole en fantasievolle representatie, om in de negentiende eeuw te worden gerehabiliteerd als historiserend verkleedportret.

  • The «Portrait Historié» in Religious Context and its Condemnation, Onderzoekseenheid Kunstwetenschappen, Universiteit Leuven (Faculteit Letteren, Erasmusgebouw, Justus Lipsiuszaal), Pokerfaced: Flemish and Dutch Baroque Faces Unveiled, 7-12-2006, 15:00-15:30, 8 pp.
  • Het ‘Panhuys-paneel’ van Maerten de Vos (1532-1603): oude bekenden en nieuwe inzichten, Radboud Universiteit Nijmegen, Afdeling Kunstgeschiedenis (Spinozagebouw, zaal SP 00 01, Montessorilaan 3), Studiedag “Het Portrait Historié”, 1-12-2006, 15:00-15:15, 9 pp.
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