In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias

In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias

Language: English

Pages: 640

ISBN: 9053569332

Format: PDF / Kindle (mobi) / ePub

Gathered in honor of John Michael Montias (1928–2005), the foremost scholar on Johannes Vermeer and a pioneer in the study of the socioeconomic dimensions of art, the essays in In His Milieu are an essential contribution to the study of the social functions of making, collecting, displaying, and donating art. The nearly forty essays here by—all internationally recognized experts in the fields of art history and the economics of art—are especially revealing about the Renaissance and Baroque eras and present new material on such artists as Rembrandt, Van Eyck, Rubens, and da Vinci.

I Macchiaioli (Art dossier Giunti)

The Monuments Men: Allied Heroes, Nazi Thieves and the Greatest Treasure Hunt in History

The Architect: Chapters in the History of the Profession

Future of Art in a Digital Age: From Hellenistic to Hebraic Consciousness

Bernini (Art dossier Giunti)














Schram, 1979), nos. 26, 27, as c. 1665. Cornelia Moiso-Diekamp, Das Pendant in der holländischen Malerei des 17. Jahrhunderts (Frankfurt: Lang, 1987), pp. 403-09, repeats Kuretsky’s identification of pendants. Kuretsky 1979, nos. 14, 15, as c. 1660-63. Kuretsky 1979, nos. 44, 45, as 1668, but not described as pendants. Formerly in the Labia collection, The Toast was auctioned at Sotheby’s, London, 6 December 1989, lot 3. Kuretsky 1979, nos. 54, 55. The Grape Seller is dated 1669. Kuretsky 1979,

Engelen: 742 guilders. 37 DTB inv. 29 Doop remonstrants: 18 March 1667. The mother was Jannetge Hermans, whom Willem Viruly married shortly after the death of Aeltgen Rijckewaert. Biographies of the several painters named Willem Viruly are given by Jan Briels, Vlaamse schilders en de dageraad van Hollands Gouden Eeuw, 1585-1630, met biogragieën (Antwerp: Mercator, 1997), pp. 401-02; see also H.H. van Dam in Nederland’s Patriciaat 21 (193334): 415-19 (without sources). These accounts are

Arnold Houbraken in De Groote Schouburgh (1718–21), while Rembrandt managed a busy studio full of pupils eager to learn his painting techniques, he refused to share with them his innovative printmaking methods. In the 1680s, these methods were described by Filippo Baldinucci as “bizzarrissima” and by André Félibien as “toute singulière.”3 Such comments contribute to the perception that thoughts on the market for rembrandt’s portrait etchings | 149 montiasdeel1 04-12-2006 13:55 Pagina 150

The British Museum. family.29 The implications of this practice deserve further consideration. As with the commercial transactions mentioned above, once a plate had left the artist’s hands, the new owner was presumably free to turn to someone else for reprinting. Furthermore, the owner of the plate, not the artist, would control the number and distribution of impressions. Yet, remembering Rembrandt’s dealings with Samuel d’Orta, it is likely that he did not miss out entirely on the opportunity

with other purchases, Rembrandt bought one Life of the Virgin for fl. 1.18, seven sets as one lot at fl.1.6 each, and one for fl. 2.7. For prints in Rembrandt’s inventory, see Strauss 1979, no. 1656/12; Bob van den Boogert ed., Rembrandt’s Treasures (Zwolle, 1999). It has long been recognized that Dürer’s Life of the Virgin had a direct impact on Rembrandt’s painting of The Visitation (1640; Detroit Institute of Arts) and other works. 3 Arnold Houbraken, De groote schouburgh der Nederlantsche

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