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ISSUES ARCHIVE
Volume 9: Issue 1 (Winter 2017) This special issue of JHNA is a tribute to Walter Liedtke, Curator of European Paintings at the Metropolitan Museum of Art in New York from 1980 until his death in 2015. Special Issue: The Sublime and Seventeenth-Century NetherlandishArt.
SRI LANKAN IVORIES FOR THE DUTCH AND PORTUGUESE This is the most elaborate and finely worked example of the few known Sri Lankan ivory pipe cases. A pipe case in the Rijksmuseum, Amsterdam (), is simply carved and was evidently more cheaply and quickly produced. 4 The design is rendered in shallow relief, while the patterns on the sides change rather abruptly between panels.The pipe case in the Victoria and Albert Museum, London (), is PIETER DE MOLIJN (1597–1661): A DUTCH PAINTER AND THE ARTSEE MORE ONJHNA.ORG
MASSYS AND MONEY: THE TAX COLLECTORS REDISCOVEREDSEE MORE ON JHNA.ORG THE AMSTERDAM CIVIC GUARD PORTRAITS WITHIN AND OUTSIDE THE JHNA 6:1 (ummer 2014) 1 The Amsterdam Civic Guard Portraits within and outside the New Rijksmuseum, Pt. III: Bartholomeus van der Helst D. C. Meijer Jr., trans.Tom van der Molen SRI LANKAN IVORIES FOR THE DUTCH AND PORTUGUESE JHNA 5:2 (Summer 2013) 4 to a deity, regardless of religion. Perhaps the most local aspect of the sculpture is the delicate treatment of the drapery, which falls in precise, even pleats and is bordered by intricate ruffles along the edges. OPTICAL SYMBOLISM AS OPTICAL DESCRIPTION: A CASE STUDY OF JHNA 1:1 (Winter 2009) 1 J an van Eyck’s Virgin and Child with Canon Joris van der Paele (completed 1436; fig. 1) is argu- ably the most elaborate and impressive demonstration of the artistís fascination with optical concepts and effects.1 The painting depicts Van der Paele, a wealthy canon of the Church of Saint Donatian in Bruges, kneeling before the enthroned Virgin and Child, flanked by DUTCH BATAVIA: EXPOSING THE HIERARCHY OF THE DUTCH JHNA 7:1 (Winter 2015) 1 I n the foreground of Andries Beeckman’s The Castle of Batavia (1661, fig. 1), a merchant in European attire strolls through a marketplace with his Eurasian wife on his arm, as a small servant struggles to hold a parasol above their heads. THE CATALYST FOR REMBRANDT’S SATIRE ON ART CRITICISM JHNA 5:2 (Summer 2013) 1 This article proposes that Rembrandt created his Satire on Art Criticism in response to the 1644 publication Momenta Desultoria by Constantijn Huygens, which included several disparaging epigrams about the artist’s portrait of Jacques de Gheyn III. This catalyst explains some of the peculiar inscriptions and illuminates many of the idiosyncratic visual aspects JOURNAL OF HISTORIANS OF NETHERLANDISH ARTCURRENT ISSUEPAST ISSUESSUBMISSIONSABOUT JHNAEDITORIAL BOARDOPEN ACCESS JHNA is the open-access electronic journal of Historians of Netherlandish Art. Dedicated to the study of Netherlandish, German, and Franco-Flemish art and architecture (c.1350-1750), the journal publishes issues of peer-reviewed articles every winter and summer.ISSUES ARCHIVE
Volume 9: Issue 1 (Winter 2017) This special issue of JHNA is a tribute to Walter Liedtke, Curator of European Paintings at the Metropolitan Museum of Art in New York from 1980 until his death in 2015. Special Issue: The Sublime and Seventeenth-Century NetherlandishArt.
SRI LANKAN IVORIES FOR THE DUTCH AND PORTUGUESE This is the most elaborate and finely worked example of the few known Sri Lankan ivory pipe cases. A pipe case in the Rijksmuseum, Amsterdam (), is simply carved and was evidently more cheaply and quickly produced. 4 The design is rendered in shallow relief, while the patterns on the sides change rather abruptly between panels.The pipe case in the Victoria and Albert Museum, London (), is PIETER DE MOLIJN (1597–1661): A DUTCH PAINTER AND THE ARTSEE MORE ONJHNA.ORG
MASSYS AND MONEY: THE TAX COLLECTORS REDISCOVEREDSEE MORE ON JHNA.ORG THE AMSTERDAM CIVIC GUARD PORTRAITS WITHIN AND OUTSIDE THE JHNA 6:1 (ummer 2014) 1 The Amsterdam Civic Guard Portraits within and outside the New Rijksmuseum, Pt. III: Bartholomeus van der Helst D. C. Meijer Jr., trans.Tom van der Molen SRI LANKAN IVORIES FOR THE DUTCH AND PORTUGUESE JHNA 5:2 (Summer 2013) 4 to a deity, regardless of religion. Perhaps the most local aspect of the sculpture is the delicate treatment of the drapery, which falls in precise, even pleats and is bordered by intricate ruffles along the edges. OPTICAL SYMBOLISM AS OPTICAL DESCRIPTION: A CASE STUDY OF JHNA 1:1 (Winter 2009) 1 J an van Eyck’s Virgin and Child with Canon Joris van der Paele (completed 1436; fig. 1) is argu- ably the most elaborate and impressive demonstration of the artistís fascination with optical concepts and effects.1 The painting depicts Van der Paele, a wealthy canon of the Church of Saint Donatian in Bruges, kneeling before the enthroned Virgin and Child, flanked by DUTCH BATAVIA: EXPOSING THE HIERARCHY OF THE DUTCH JHNA 7:1 (Winter 2015) 1 I n the foreground of Andries Beeckman’s The Castle of Batavia (1661, fig. 1), a merchant in European attire strolls through a marketplace with his Eurasian wife on his arm, as a small servant struggles to hold a parasol above their heads. THE CATALYST FOR REMBRANDT’S SATIRE ON ART CRITICISM JHNA 5:2 (Summer 2013) 1 This article proposes that Rembrandt created his Satire on Art Criticism in response to the 1644 publication Momenta Desultoria by Constantijn Huygens, which included several disparaging epigrams about the artist’s portrait of Jacques de Gheyn III. This catalyst explains some of the peculiar inscriptions and illuminates many of the idiosyncratic visual aspects JOURNAL OF HISTORIANS OF NETHERLANDISH ART JHNA is the open-access electronic journal of Historians of Netherlandish Art. Dedicated to the study of Netherlandish, German, and Franco-Flemish art and architecture (c.1350-1750), the journal publishes issues of peer-reviewed articles every winter and summer. RUBENS’S INVENTION AND EVOLUTION: MATERIAL EVIDENCE IN THE An early work by Peter Paul Rubens, The Fall of Phaeton, in the collection of the National Gallery of Art in Washington, DC, documents the experimentation that was essential to Rubens’s creative process.This article accompanies the reader through direct study of the painting itself, combining a range of technical evidence with formal analysis to pinpoint three distinct stages of the PIETER DE MOLIJN (1597–1661): A DUTCH PAINTER AND THE ART Pieter de Molijn as a Pioneer of the “Tonal” Landscape. Arnold Houbraken (1660–1719) wrote at the beginning of the eighteenth century that “Pieter de Molijn was an accomplished painter of landscapes, clear in the way he rendered distances and glowing in his foregrounds.” 1 Soon after Houbraken wrote these words, de Molijn was forgotten as a painter. MASSYS AND MONEY: THE TAX COLLECTORS REDISCOVERED The fifteenth century offers precedents for what can be called “professional portraits,” the most famous of which is the 1449 Petrus Christus Goldsmith (). 13 The ultimate source for Christus’s Goldsmith–perhaps even for Massys’s Hagley Hall picture as well, considering the archaic costumes–seems to have been a lost Jan van Eyck: a “patron who makes accounts with a factor” of DUTCH BATAVIA: EXPOSING THE HIERARCHY OF THE DUTCH JHNA 7:1 (Winter 2015) 1 I n the foreground of Andries Beeckman’s The Castle of Batavia (1661, fig. 1), a merchant in European attire strolls through a marketplace with his Eurasian wife on his arm, as a small servant struggles to hold a parasol above their heads. THE AMSTERDAM GUILD OF SAINT LUKE IN THE 17TH CENTURY JHNA 4:2 (Summer 2012) 2 F. D. O.Obreen, who collected a great deal of facts about the various Guilds of Saint Luke in his Archief, had to make do with the printed guild ordinances of 1789.Now these give a very com-plete and well-ordered overview of the ordinances that could be found for that year, divided up in THE PETRIFYING GAZE OF MEDUSA: AMBIVALENCE, EKPLEXIS, AND JHNA 8:2 (Summer 2016) 1 The Dutch art theorists Junius and van Hoogstraten describe the sublime, much more explicitly and insistently than in Longinus’s text, as the power of images to petrify the viewer and to stay fixed in their memory. THE DRAWINGS OF GERARD DE LAIRESSE: STATE OF AFFAIRS Whereas Safety and Freedom of Trade thus followed, rather than preceded, the ceiling they relate to, another drawing does the opposite.The Fall of Phaeton in the Louvre (), executed with brown wash over a red chalk tracing and already suspected by Roy to be a ceiling study (D.32), was indeed done in preparation for a long-overlooked, now-lost, three-segmented ceiling, of which, untilrecently
THE TURIN-MILAN HOURS: REVISED DATING AND ATTRIBUTION The Turin-Milan Hours is the name given to leaves in two volumes. One, containing prayers to be said during masses and during the liturgical year, entered the Trivulzio Library in Milan from the Agliè collection and is now in the Museo Civico d’Arte Antica of Turin(inv. no. 47).
HOMO LUDENS: PIETER BRUEGEL’S CHILDREN’S GAMES AND THE JHNA 4:2 (Summer 2012) 1 Picturing more than two hundred children playing over eighty different games, Children’s Games 1560) is one of Pieter Bruegel the JOURNAL OF HISTORIANS OF NETHERLANDISH ARTCURRENT ISSUEPAST ISSUESSUBMISSIONSABOUT JHNAEDITORIAL BOARDOPEN ACCESS JHNA is the open-access electronic journal of Historians of Netherlandish Art. Dedicated to the study of Netherlandish, German, and Franco-Flemish art and architecture (c.1350-1750), the journal publishes issues of peer-reviewed articles every winter and summer.ISSUES ARCHIVE
Volume 9: Issue 1 (Winter 2017) This special issue of JHNA is a tribute to Walter Liedtke, Curator of European Paintings at the Metropolitan Museum of Art in New York from 1980 until his death in 2015. Special Issue: The Sublime and Seventeenth-Century NetherlandishArt.
THE AMSTERDAM CIVIC GUARD PORTRAITS WITHIN AND OUTSIDE THE JHNA 6:1 (ummer 2014) 1 The Amsterdam Civic Guard Portraits within and outside the New Rijksmuseum, Pt. III: Bartholomeus van der Helst D. C. Meijer Jr., trans.Tom van der Molen RUBENS’S INVENTION AND EVOLUTION: MATERIAL EVIDENCE IN THE An early work by Peter Paul Rubens, The Fall of Phaeton, in the collection of the National Gallery of Art in Washington, DC, documents the experimentation that was essential to Rubens’s creative process.This article accompanies the reader through direct study of the painting itself, combining a range of technical evidence with formal analysis to pinpoint three distinct stages of the MASSYS AND MONEY: THE TAX COLLECTORS REDISCOVEREDSEE MORE ON JHNA.ORG PIETER DE MOLIJN (1597–1661): A DUTCH PAINTER AND THE ARTSEE MORE ONJHNA.ORG
THE AMSTERDAM GUILD OF SAINT LUKE IN THE 17TH CENTURY JHNA 4:2 (Summer 2012) 2 F. D. O.Obreen, who collected a great deal of facts about the various Guilds of Saint Luke in his Archief, had to make do with the printed guild ordinances of 1789.Now these give a very com-plete and well-ordered overview of the ordinances that could be found for that year, divided up in TEMPORALITY AND THE SEVENTEENTH-CENTURY DUTCH PORTRAIT Temporality and the Seventeenth-Century Dutch Portrait. A group of seventeenth-century Dutch portraits depict their subjects awkwardly hunched or bent over, many in the process of rising from a chair. These appear to contradict the upright posture and graceful movement promoted by early modern conduct books. THE CATALYST FOR REMBRANDT’S SATIRE ON ART CRITICISM JHNA 5:2 (Summer 2013) 1 This article proposes that Rembrandt created his Satire on Art Criticism in response to the 1644 publication Momenta Desultoria by Constantijn Huygens, which included several disparaging epigrams about the artist’s portrait of Jacques de Gheyn III. This catalyst explains some of the peculiar inscriptions and illuminates many of the idiosyncratic visual aspects SRI LANKAN IVORIES FOR THE DUTCH AND PORTUGUESE JHNA 5:2 (Summer 2013) 4 to a deity, regardless of religion. Perhaps the most local aspect of the sculpture is the delicate treatment of the drapery, which falls in precise, even pleats and is bordered by intricate ruffles along the edges. JOURNAL OF HISTORIANS OF NETHERLANDISH ARTCURRENT ISSUEPAST ISSUESSUBMISSIONSABOUT JHNAEDITORIAL BOARDOPEN ACCESS JHNA is the open-access electronic journal of Historians of Netherlandish Art. Dedicated to the study of Netherlandish, German, and Franco-Flemish art and architecture (c.1350-1750), the journal publishes issues of peer-reviewed articles every winter and summer.ISSUES ARCHIVE
Volume 9: Issue 1 (Winter 2017) This special issue of JHNA is a tribute to Walter Liedtke, Curator of European Paintings at the Metropolitan Museum of Art in New York from 1980 until his death in 2015. Special Issue: The Sublime and Seventeenth-Century NetherlandishArt.
THE AMSTERDAM CIVIC GUARD PORTRAITS WITHIN AND OUTSIDE THE JHNA 6:1 (ummer 2014) 1 The Amsterdam Civic Guard Portraits within and outside the New Rijksmuseum, Pt. III: Bartholomeus van der Helst D. C. Meijer Jr., trans.Tom van der Molen RUBENS’S INVENTION AND EVOLUTION: MATERIAL EVIDENCE IN THE An early work by Peter Paul Rubens, The Fall of Phaeton, in the collection of the National Gallery of Art in Washington, DC, documents the experimentation that was essential to Rubens’s creative process.This article accompanies the reader through direct study of the painting itself, combining a range of technical evidence with formal analysis to pinpoint three distinct stages of the MASSYS AND MONEY: THE TAX COLLECTORS REDISCOVEREDSEE MORE ON JHNA.ORG PIETER DE MOLIJN (1597–1661): A DUTCH PAINTER AND THE ARTSEE MORE ONJHNA.ORG
THE AMSTERDAM GUILD OF SAINT LUKE IN THE 17TH CENTURY JHNA 4:2 (Summer 2012) 2 F. D. O.Obreen, who collected a great deal of facts about the various Guilds of Saint Luke in his Archief, had to make do with the printed guild ordinances of 1789.Now these give a very com-plete and well-ordered overview of the ordinances that could be found for that year, divided up in TEMPORALITY AND THE SEVENTEENTH-CENTURY DUTCH PORTRAIT Temporality and the Seventeenth-Century Dutch Portrait. A group of seventeenth-century Dutch portraits depict their subjects awkwardly hunched or bent over, many in the process of rising from a chair. These appear to contradict the upright posture and graceful movement promoted by early modern conduct books. THE CATALYST FOR REMBRANDT’S SATIRE ON ART CRITICISM JHNA 5:2 (Summer 2013) 1 This article proposes that Rembrandt created his Satire on Art Criticism in response to the 1644 publication Momenta Desultoria by Constantijn Huygens, which included several disparaging epigrams about the artist’s portrait of Jacques de Gheyn III. This catalyst explains some of the peculiar inscriptions and illuminates many of the idiosyncratic visual aspects SRI LANKAN IVORIES FOR THE DUTCH AND PORTUGUESE JHNA 5:2 (Summer 2013) 4 to a deity, regardless of religion. Perhaps the most local aspect of the sculpture is the delicate treatment of the drapery, which falls in precise, even pleats and is bordered by intricate ruffles along the edges. RUBENS’S INVENTION AND EVOLUTION: MATERIAL EVIDENCE IN THE An early work by Peter Paul Rubens, The Fall of Phaeton, in the collection of the National Gallery of Art in Washington, DC, documents the experimentation that was essential to Rubens’s creative process.This article accompanies the reader through direct study of the painting itself, combining a range of technical evidence with formal analysis to pinpoint three distinct stages of the PIETER DE MOLIJN (1597–1661): A DUTCH PAINTER AND THE ART Pieter de Molijn as a Pioneer of the “Tonal” Landscape. Arnold Houbraken (1660–1719) wrote at the beginning of the eighteenth century that “Pieter de Molijn was an accomplished painter of landscapes, clear in the way he rendered distances and glowing in his foregrounds.” 1 Soon after Houbraken wrote these words, de Molijn was forgotten as a painter. SRI LANKAN IVORIES FOR THE DUTCH AND PORTUGUESE This is the most elaborate and finely worked example of the few known Sri Lankan ivory pipe cases. A pipe case in the Rijksmuseum, Amsterdam (), is simply carved and was evidently more cheaply and quickly produced. 4 The design is rendered in shallow relief, while the patterns on the sides change rather abruptly between panels.The pipe case in the Victoria and Albert Museum, London (), is A MIRROR FOR THE PRINCE? ANNE OF DENMARK IN HUNTING JHNA 12:2 (Summer 2020) 1 This essay reassesses a portrait of Anna of Denmark, Queen Consort to James VI and I, discussing its possible influence upon and use by her son, Charles, Prince of Wales, as an exemplary pattern of majesty. PEASANT AND NESTROBBER: BRUEGEL AS WITNESS OF HIS TIMES Fig. 1 Pieter Bruegel the Elder, Peasant and Nestrobber, 1568, oil on panel, 59.3 x 68.3 cm, Kunsthistorisches Museum, Vienna, inv. 1020 (artwork in the public domain) . Small in size and relatively uncomplicated Pieter Bruegel the Elder’s Peasant and Nestrobber of 1568 remains one of his most enigmatic paintings ().There is little agreement about its genesis, its BOSCHIAN BRUEGEL, BRUGELIAN BOSCH: HIERONYMUS COCK'S The Last Judgment revives the triptych format of Bosch’s paintings in Vienna and Bruges. Beyond that the composition is a jumble of Boschian motifs that do not derive from a single painted source. 17 Possible models may include paintings by Bosch followers Jan Mandijn (ca. 1500–ca. 1559) and Pieter Huys (ca. 1520–ca. 1584), but a more likely source is an engraving of the Last Judgment by SRI LANKAN IVORIES FOR THE DUTCH AND PORTUGUESE JHNA 5:2 (Summer 2013) 4 to a deity, regardless of religion. Perhaps the most local aspect of the sculpture is the delicate treatment of the drapery, which falls in precise, even pleats and is bordered by intricate ruffles along the edges. OPTICAL SYMBOLISM AS OPTICAL DESCRIPTION: A CASE STUDY OF JHNA 1:1 (Winter 2009) 1 J an van Eyck’s Virgin and Child with Canon Joris van der Paele (completed 1436; fig. 1) is argu- ably the most elaborate and impressive demonstration of the artistís fascination with optical concepts and effects.1 The painting depicts Van der Paele, a wealthy canon of the Church of Saint Donatian in Bruges, kneeling before the enthroned Virgin and Child, flanked by A VIEW BEYOND DELFT: JOHANNES VERMEER’S WOMAN WITH A LUTE JHNA 7:2 (Summer 2015) 1 A View beyond Delft: Johannes Vermeer’s Woman with a Lute and Its Relationship to Frans van Mieris Adriaan E. Waiboer AWaiboer@ngi.ie Recommended Citation: Adriaan E. Waiboer, “A View beyond Delft: Johannes Vermeer’s Woman with a Lute and Its Relationship to Frans van Mieris,” JHNA 9:1 (Winter 2017) DOI: 10.5092/jhna.2017.9.1.16 DIRTY BOOKS: QUANTIFYING PATTERNS OF USE IN MEDIEVAL Fig. 2 Folio of a prayer book (fol. 14r), showing discoloration from handling. Prayer book in Latin, Eastern Netherlands (near Arnhem), ca. 1475-85, tempera and gold on vellum, 107 x 70 (67 x 39) mm, 17 lines,littera hybrida.
JOURNAL OF HISTORIANS OF NETHERLANDISH ARTCURRENT ISSUEPAST ISSUESSUBMISSIONSABOUT JHNAEDITORIAL BOARDOPEN ACCESS JHNA is the open-access electronic journal of Historians of Netherlandish Art. Dedicated to the study of Netherlandish, German, and Franco-Flemish art and architecture (c.1350-1750), the journal publishes issues of peer-reviewed articles every winter and summer.ISSUES ARCHIVE
Volume 9: Issue 1 (Winter 2017) This special issue of JHNA is a tribute to Walter Liedtke, Curator of European Paintings at the Metropolitan Museum of Art in New York from 1980 until his death in 2015. Special Issue: The Sublime and Seventeenth-Century NetherlandishArt.
THE AMSTERDAM CIVIC GUARD PORTRAITS WITHIN AND OUTSIDE THE JHNA 6:1 (ummer 2014) 1 The Amsterdam Civic Guard Portraits within and outside the New Rijksmuseum, Pt. III: Bartholomeus van der Helst D. C. Meijer Jr., trans.Tom van der Molen RUBENS’S INVENTION AND EVOLUTION: MATERIAL EVIDENCE IN THE An early work by Peter Paul Rubens, The Fall of Phaeton, in the collection of the National Gallery of Art in Washington, DC, documents the experimentation that was essential to Rubens’s creative process.This article accompanies the reader through direct study of the painting itself, combining a range of technical evidence with formal analysis to pinpoint three distinct stages of the MASSYS AND MONEY: THE TAX COLLECTORS REDISCOVEREDSEE MORE ON JHNA.ORG PIETER DE MOLIJN (1597–1661): A DUTCH PAINTER AND THE ARTSEE MORE ONJHNA.ORG
THE AMSTERDAM GUILD OF SAINT LUKE IN THE 17TH CENTURY JHNA 4:2 (Summer 2012) 2 F. D. O.Obreen, who collected a great deal of facts about the various Guilds of Saint Luke in his Archief, had to make do with the printed guild ordinances of 1789.Now these give a very com-plete and well-ordered overview of the ordinances that could be found for that year, divided up in TEMPORALITY AND THE SEVENTEENTH-CENTURY DUTCH PORTRAIT Temporality and the Seventeenth-Century Dutch Portrait. A group of seventeenth-century Dutch portraits depict their subjects awkwardly hunched or bent over, many in the process of rising from a chair. These appear to contradict the upright posture and graceful movement promoted by early modern conduct books. THE CATALYST FOR REMBRANDT’S SATIRE ON ART CRITICISM JHNA 5:2 (Summer 2013) 1 This article proposes that Rembrandt created his Satire on Art Criticism in response to the 1644 publication Momenta Desultoria by Constantijn Huygens, which included several disparaging epigrams about the artist’s portrait of Jacques de Gheyn III. This catalyst explains some of the peculiar inscriptions and illuminates many of the idiosyncratic visual aspects SRI LANKAN IVORIES FOR THE DUTCH AND PORTUGUESE JHNA 5:2 (Summer 2013) 4 to a deity, regardless of religion. Perhaps the most local aspect of the sculpture is the delicate treatment of the drapery, which falls in precise, even pleats and is bordered by intricate ruffles along the edges. JOURNAL OF HISTORIANS OF NETHERLANDISH ARTCURRENT ISSUEPAST ISSUESSUBMISSIONSABOUT JHNAEDITORIAL BOARDOPEN ACCESS JHNA is the open-access electronic journal of Historians of Netherlandish Art. Dedicated to the study of Netherlandish, German, and Franco-Flemish art and architecture (c.1350-1750), the journal publishes issues of peer-reviewed articles every winter and summer.ISSUES ARCHIVE
Volume 9: Issue 1 (Winter 2017) This special issue of JHNA is a tribute to Walter Liedtke, Curator of European Paintings at the Metropolitan Museum of Art in New York from 1980 until his death in 2015. Special Issue: The Sublime and Seventeenth-Century NetherlandishArt.
THE AMSTERDAM CIVIC GUARD PORTRAITS WITHIN AND OUTSIDE THE JHNA 6:1 (ummer 2014) 1 The Amsterdam Civic Guard Portraits within and outside the New Rijksmuseum, Pt. III: Bartholomeus van der Helst D. C. Meijer Jr., trans.Tom van der Molen RUBENS’S INVENTION AND EVOLUTION: MATERIAL EVIDENCE IN THE An early work by Peter Paul Rubens, The Fall of Phaeton, in the collection of the National Gallery of Art in Washington, DC, documents the experimentation that was essential to Rubens’s creative process.This article accompanies the reader through direct study of the painting itself, combining a range of technical evidence with formal analysis to pinpoint three distinct stages of the MASSYS AND MONEY: THE TAX COLLECTORS REDISCOVEREDSEE MORE ON JHNA.ORG PIETER DE MOLIJN (1597–1661): A DUTCH PAINTER AND THE ARTSEE MORE ONJHNA.ORG
THE AMSTERDAM GUILD OF SAINT LUKE IN THE 17TH CENTURY JHNA 4:2 (Summer 2012) 2 F. D. O.Obreen, who collected a great deal of facts about the various Guilds of Saint Luke in his Archief, had to make do with the printed guild ordinances of 1789.Now these give a very com-plete and well-ordered overview of the ordinances that could be found for that year, divided up in TEMPORALITY AND THE SEVENTEENTH-CENTURY DUTCH PORTRAIT Temporality and the Seventeenth-Century Dutch Portrait. A group of seventeenth-century Dutch portraits depict their subjects awkwardly hunched or bent over, many in the process of rising from a chair. These appear to contradict the upright posture and graceful movement promoted by early modern conduct books. THE CATALYST FOR REMBRANDT’S SATIRE ON ART CRITICISM JHNA 5:2 (Summer 2013) 1 This article proposes that Rembrandt created his Satire on Art Criticism in response to the 1644 publication Momenta Desultoria by Constantijn Huygens, which included several disparaging epigrams about the artist’s portrait of Jacques de Gheyn III. This catalyst explains some of the peculiar inscriptions and illuminates many of the idiosyncratic visual aspects SRI LANKAN IVORIES FOR THE DUTCH AND PORTUGUESE JHNA 5:2 (Summer 2013) 4 to a deity, regardless of religion. Perhaps the most local aspect of the sculpture is the delicate treatment of the drapery, which falls in precise, even pleats and is bordered by intricate ruffles along the edges. RUBENS’S INVENTION AND EVOLUTION: MATERIAL EVIDENCE IN THE An early work by Peter Paul Rubens, The Fall of Phaeton, in the collection of the National Gallery of Art in Washington, DC, documents the experimentation that was essential to Rubens’s creative process.This article accompanies the reader through direct study of the painting itself, combining a range of technical evidence with formal analysis to pinpoint three distinct stages of the PIETER DE MOLIJN (1597–1661): A DUTCH PAINTER AND THE ART Pieter de Molijn as a Pioneer of the “Tonal” Landscape. Arnold Houbraken (1660–1719) wrote at the beginning of the eighteenth century that “Pieter de Molijn was an accomplished painter of landscapes, clear in the way he rendered distances and glowing in his foregrounds.” 1 Soon after Houbraken wrote these words, de Molijn was forgotten as a painter. SRI LANKAN IVORIES FOR THE DUTCH AND PORTUGUESE This is the most elaborate and finely worked example of the few known Sri Lankan ivory pipe cases. A pipe case in the Rijksmuseum, Amsterdam (), is simply carved and was evidently more cheaply and quickly produced. 4 The design is rendered in shallow relief, while the patterns on the sides change rather abruptly between panels.The pipe case in the Victoria and Albert Museum, London (), is A MIRROR FOR THE PRINCE? ANNE OF DENMARK IN HUNTING JHNA 12:2 (Summer 2020) 1 This essay reassesses a portrait of Anna of Denmark, Queen Consort to James VI and I, discussing its possible influence upon and use by her son, Charles, Prince of Wales, as an exemplary pattern of majesty. PEASANT AND NESTROBBER: BRUEGEL AS WITNESS OF HIS TIMES Fig. 1 Pieter Bruegel the Elder, Peasant and Nestrobber, 1568, oil on panel, 59.3 x 68.3 cm, Kunsthistorisches Museum, Vienna, inv. 1020 (artwork in the public domain) . Small in size and relatively uncomplicated Pieter Bruegel the Elder’s Peasant and Nestrobber of 1568 remains one of his most enigmatic paintings ().There is little agreement about its genesis, its BOSCHIAN BRUEGEL, BRUGELIAN BOSCH: HIERONYMUS COCK'S The Last Judgment revives the triptych format of Bosch’s paintings in Vienna and Bruges. Beyond that the composition is a jumble of Boschian motifs that do not derive from a single painted source. 17 Possible models may include paintings by Bosch followers Jan Mandijn (ca. 1500–ca. 1559) and Pieter Huys (ca. 1520–ca. 1584), but a more likely source is an engraving of the Last Judgment by SRI LANKAN IVORIES FOR THE DUTCH AND PORTUGUESE JHNA 5:2 (Summer 2013) 4 to a deity, regardless of religion. Perhaps the most local aspect of the sculpture is the delicate treatment of the drapery, which falls in precise, even pleats and is bordered by intricate ruffles along the edges. OPTICAL SYMBOLISM AS OPTICAL DESCRIPTION: A CASE STUDY OF JHNA 1:1 (Winter 2009) 1 J an van Eyck’s Virgin and Child with Canon Joris van der Paele (completed 1436; fig. 1) is argu- ably the most elaborate and impressive demonstration of the artistís fascination with optical concepts and effects.1 The painting depicts Van der Paele, a wealthy canon of the Church of Saint Donatian in Bruges, kneeling before the enthroned Virgin and Child, flanked by A VIEW BEYOND DELFT: JOHANNES VERMEER’S WOMAN WITH A LUTE JHNA 7:2 (Summer 2015) 1 A View beyond Delft: Johannes Vermeer’s Woman with a Lute and Its Relationship to Frans van Mieris Adriaan E. Waiboer AWaiboer@ngi.ie Recommended Citation: Adriaan E. Waiboer, “A View beyond Delft: Johannes Vermeer’s Woman with a Lute and Its Relationship to Frans van Mieris,” JHNA 9:1 (Winter 2017) DOI: 10.5092/jhna.2017.9.1.16 DIRTY BOOKS: QUANTIFYING PATTERNS OF USE IN MEDIEVAL Fig. 2 Folio of a prayer book (fol. 14r), showing discoloration from handling. Prayer book in Latin, Eastern Netherlands (near Arnhem), ca. 1475-85, tempera and gold on vellum, 107 x 70 (67 x 39) mm, 17 lines,littera hybrida.
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The _Infancy of Jesus_ and Religious Painting by Gerard de Lairesse Pen and Paint: The Painting Technique in Gerard de Lairesse's _Bacchus and Ariadne_ as Compared to the Principles Expounded in His _Groot Schilderboek_ THE _INFANCY OF JESUS_ AND RELIGIOUS PAINTING BY GERARD DE LAIRESSE by Robert SchillemansMenu
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_JHNA_ is the open-access electronic journal of Historians of Netherlandish Art. Dedicated to the study of Netherlandish, German, and Franco-Flemish art and architecture (c.1350-1750), the journal publishes issues of peer-reviewed articles every winter and summer.More About JHNA
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