New Jersey artist Robert Smithson reveled in sites untouched by civilization: ‘I like landscapes that suggest prehistory’, he told an interviewer in 1973, just before his tragic death. ‘I was always interested in origins and primordial beginnings’. Augur of ecological collapse, Smithson maintained a strange connection to Northern Europe. Broken Circle / Spiral Hill (1971) – now meekly dissolving in a sand pit outside of Emmen – survives as the artist’s most famous ‘land reclamation’ project and the sole earthwork he completed outside of the United States. The Drenthe piece stands as a harbinger of what the artist may have achieved with his – not unproblematic – fusion of culture and land management: ‘With my work in the quarry I somehow re-organized a disrupted situation’. Smithson wrote of Broken Circle , ‘Holland [ sic ] is (…) completely cultivated and so much an earthwork itself’. Broken Circle , for its sake, extended Smithson’s dismantling of the bordered, overtly retinal artwork. And this, vaguely Duchampian, notion extended to the work’s material ontology.

Christopher P. Heuer

Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online

That area of terror

In Anna-Rosja Haveman’s essay, the largely forgotten work of the Groningen artist Han Jansen is examined. Her analysis unpacks the artistic oeuvre, within a broader perspective of the nature-culture debates in art and society. The public discussion that emerged around the Waddenprojects brings to bear contrasting ideas about nature in society. By embedding the project in the historical context of emerging environmental activism, the tensions inherent in art that aims to ‘raise awareness of nature’ become clear. As illustrated, the position of Han Jansen remains paradoxical: while he certainly intended to contribute to the awareness of nature and reconfigured hierarchies between humans and nature during the making process, the project created an image of a human, the artist, as polluter without further reflection on the ethics of his own actions.

Anna-Rosja Haveman

Co-created by the Wadden Sea

Editors Netherlands Yearbook for History of

Preliminary Material

Landscape painting can directly address concepts of the world’s origin and its organization. Dutch dune landscapes, however, were and continue to be extremely unstable environments, consisting of damp hollows and wind-borne sand, and resisting any attempt to be shaped or organized. Theresa Brauer’s essay asks its readers to closely examine two of Jan van Goyen’s landscapes that exhibit exceptional fluidity both in painting technique – Van Goyen utilizes a wet-on-wet application of oil pigments – and in the subject they depict: the transitional coastal landscape of Holland. The works are discussed in dialogue with Samuel van Hoogstraten’s description of a painting technique he calls zwadderen , and with Joost van den Vondel’s poetic yet dismissive reflection on incidental forms in landscape painting. The essay contextualizes Jan van Goyen’s landscapes within the framework of nature-theoretical discourse prevalent in the seventeenth century, which contemplates a particular world in a state of motion.

Theresa Brauer

Zwadderen in oil paint

Yannis Hadjinicolaou’s contribution focuses on Netherlandish landscape painting in the sixteenth and seventeenth centuries, a time when visual constructions of territory were often accomplished through the lens of falconry as a political tool. Depicting the falcon flying high above the territory transforms the natural landscape into a political one through substituting and extending the ruler’s sovereignty over it. A vertical perspective of power is allowed through the human-fabricated ‘bird’s-eye view’. This territorial aerial ‘view’ offers a political and privileged perspective over a vast, flat, and shapeable landscape through evoking the very etymology of land-schap in Dutch, here embodied by a ‘raptor’s eye’. Notably, an artist has to act like a falcon, sharply monitoring an area, if he or she wants to produce fine landscapes according to art theoretical works of the time. Studying the epistemic imagery of falconry can teach us much about the merging of art and nature together with their respective political implications through visual representations.

Yannis Hadjinicolaou

A raptor’s-eye view in the early modern Netherlands

This essay examines two late landscape paintings by Peter Paul Rubens that are characterized by an intense engagement with the wetland in which his property Het Steen was located. On the one hand, the large Rainbow landscape from the Wallace Collection in London offers the chance to inquire about the relevance for Rubens’s landscapes of the Stoic imperative of a ‘life in accord with Nature’. On the other hand, the approximately contemporary Flat landscape with clouds from the Barber Institute of Fine Arts in Birmingham, which powerfully evokes the fragility of landscape painting’s bond with an understanding of Nature as an abstract quantity, makes it possible to illuminate the ecological sensibility with which Rubens approaches terrestrial interconnections even beyond prevailing orders of Nature and their implicit hierarchies. In sum, this paper proposes to sound out fresh perspectives that early modern art history can contribute to recent ecocritical discourses.

Maurice Saß

Without Nature

The construction of Flevoland is the largest land reclamation project in the Netherlands to date. Its completion around 1970 coincided with the emergence of a new postmodern art form, Land art. In Flevoland, the abundance of empty space and the desire to promote and give meaning to the new land gave rise to a remarkable collection of site-specific Land art pieces, created by internationally renowned artists on behalf of local governments. This essay unravels the stories these Land art pieces tell about the polders in which they are located. The artworks refer to the history of the man-made landscape and draw our attention to its qualities. But they also express the ambivalent feelings that polder landscapes evoke. In addition to an optimistic pioneering spirit and admiration for the skills of the Dutch hydraulic engineers, the works are also about human conceit and the sheer power of nature. They remind us that we are on precarious ground.

Anja Novak

Precarious ground

This article explores how Jan Saenredam and Claes Jansz Visscher, two of the Northern Netherlands’ leading printmakers in the early seventeenth century, employ varying graphic strategies to evoke the local coast’s unpredictable and rapidly changing environment. It focuses on two ambitious and relatively large-scale prints with widespread distribution: Saenredam’s 1602 engraving Beached whale near Beverwijk and Visscher’s etching of about 1615 View of Egmond aan Zee . Lively with activity and dense with figures, allegory, text, and civic insignia, the two images integrate cartographic convention, natural history illustration, and landscape imagery. Kase argues that the artists evoke the often imperceptible forces that animate and change the outermost edges of landscape, exhibiting environmental awareness through their concern for the shared facture of the landscape and the resultant prints. Their images, therefore, could act as a proxy through which seventeenth-century Netherlanders engaged with the instability of their coastal environs.

Rachel Kase

Shifting shores

This article introduces the conceptual framework of the volume Wetland. Shaping environments in Netherlandish art and presents a brief state of research. Using three examples – the loss of woodlands and its impact on painting, Dutch hydrological technology in the service of the colonization of Brazil, and the surge of a new Land art in the Netherlands in the face of climate change – the authors highlight the contemporaneity of early modern representations of Netherlandish landscapes against the background of ecological crisis.

Joost Keizer

Ann-Sophie Lehmann

Stephanie Porras

Wet land’s past futures

Although the well-documented cartographic involvement of painters has received some partial academic interest, this essay makes a contextual and comparative analysis of the phenomenon of the painter-cartographer in the Low Countries between 1480 and 1550. Contrary to a previous generation of painters, these artists’ involvement in cartographic mapping projects exceeded a mere chorographic visual input. As their familiarity with geometrical principles and trigonometry increased, so did their involvement shift from a purely aesthetic role towards an active input on the technical and scientific design process. By combining art historical archival research with architectural history and the history of mapmaking, this paper explores new perspectives on what united art and science during the early sixteenth century. It is argued that painters’ cartographical endeavors were never considered a side-business next to their more regular painting commissions, but rather that their cartographic involvement aided artists such as Lanceloot Blondeel, Pieter Pourbus, and Jan van Scorel to elevate their social position by their display of geometrical knowledge and their expertise as ingenious geometers.

Oliver Kik

Mapping the wet land

Abstract Ralph Dekoninck focuses on this painting’s dramatic display of suffering and death of the first martyr of Christianity as a case study in the paradox of the performative strategy of ‘sacred horror’ in the context of Tridentine reform. In this large altarpiece, Dekoninck identifies the coincidence of abjection and glory as a reflexive topos through which martyr, painter, and beholder are bound in a complex visual erotics. The troubling beauty of violence, which simultaneously repels and draws the viewer nearer to the image, invites an inner emulation of the holy, bodily sacrifice which does not deform the figure, in Rubens’s image, but instead perfects his physical appearance as a visible embodiment of supreme spiritual attainment. Dekoninck reads this attainment in terms of neo-Stoic philosophy current in Rubens’s circle, which provides a means to understand how the ‘horrific display’ of martyrdom serves to confirm both the sanctity of the portrayed and the efficacy of the image.

Ralph Dekoninck

The stones and the crown

Abstract This essay probes the political and ideological status of such images in the officially Calvinist state after 1579. Focusing on the relationship between representations of the body of dead priests and the collective body of Catholic believers, Marquaille’s essay addresses one visual expression of the paradoxical situation whereby Catholics were reduced to minority status, not in numbers but through restrictions on public worship, including the public display of images. These prohibitions on the display of images notably extended to funerary rites, which were strictly regulated. This repressive context, according to Marquaille, gave rise to the posthumous clerical portrait as a new class of image with specific resonance for the emergent Dutch Catholic community. While Protestants shunned the representation of mortal remains, Dutch Catholics in particular came to embrace such depictions as an affirmative and distinctive feature of their newly proprietary visual culture.

Léonie Marquaille

Embodying the Catholic faith

Abstract This essay examines the complex ways in which early Netherlandish artists used illusionistic devices including trompe l’œil as a means of forcing viewers to confront their own mortality. Her analysis unpacks deep associations between the representation of memento mori motifs and the viewer’s response, focusing on how such paintings paradoxically appeal to the notoriously fallible sense of sight in order to provoke deeper reflection on, and preparation for, the inevitable end of life. The relationship of trompe l’œil to the memento mori rests, in this discussion, on how such devices call attention to the ways in which painting itself invites responses that are both sensual and cognitive. The deception of the eye leads to a higher cognitive state of questioning earthly perception as well as the unfathomable nature of death. The frequent use of folding panels served to ‘enfold’ the viewer actively in the visual and conative dynamics of the painted representation.

Sandra Hindriks

Vanitas and trompe-l’œil

Abstract Isabel Casteels examines the response of contemporary viewers – both intended and actual – to Frans Hogenberg’s execution prints dating from the first decades of the Dutch Revolt. Hogenberg characterised these executions, like those of the counts of Egmond and Horn in Brussels in 1566, as religious ceremonies, thus implicitly criticising them. The prints highlight the public, ritual, and indeed purely theatrical elements of these events, which, from the perspective of the Catholic Church and the secular authorities, may have legitimised them, but for Protestants and supporters of the Revolt generally did exactly the opposite – that is, de-legitimised them, exposed them for what they really were: cruel bloodshed. Eyewitness accounts confirm this, as did the prosecution of printers who issued copies of the prints. The depiction of the audience in many of the prints made their viewers aware of their role in these judicial rituals.

Isabel Casteels

Death on display

Front matter

Abstract This essay deals with Jan Sanders van Hemessen’s Last Judgment of 1537-1539. This triptych was commissioned by Adriaan Rockox and his wife for their family chapel in Saint James’s church in Antwerp. As mentioned above, altarpieces – mostly triptychs – are prominent examples of art made for the purpose of remembrance in the Catholic tradition. They served to stimulate contemplation of death and afterlife, as well as prayer for the salvation of the dead. Van Hemessen, no doubt in concordance with the wishes of his patrons, enhances this purpose by taking the Last Judgment for the subject of the central panel. According to Stinebring, his representation is one of ‘hopeful anticipation’, particularly of the entire corporeal or fleshly. The central scene differs from traditional renderings in several respects. Out of the ordinary and literally eye-catching, due to their size and sensual anatomy, are a number of nudes, both male and female, damned and blessed, that dominate the foreground.

Anna-Claire Stinebring

Encountering Adam and Eve at the Apocalypse

Abstract It is therefore nothing short of frustrating that the passing on 4 October 1669 of Rembrandt van Rijn, long considered the greatest among seventeenth-century Dutch painters, has left scarcely any traces. In her essay Stephanie Dickey reconstructs the circumstances of the artist’s death. Her piece amounts to a cultural history of death and burial in Protestant Amsterdam. Rembrandt was buried like any other citizen. No elaborate funeral ceremony took place; no eulogies were composed; no funeral monument was erected. He ended up in a rented grave with two other men. The now lost stone slab probably only included his name. The exact location in the Westerkerk went unrecorded. As Dickey almost ruefully concludes, ‘(…) Rembrandt’s modest burial suited his standing as one established artist among many in the busy city’.

Stephanie S. Dickey

Ars longa vita brevis

Abstract The choir of Saint Bavo’s Cathedral in Ghent boasts one of the most prestigious ensembles of Baroque funerary sculpture in the Low Countries: four magnificent episcopal tombs that reflect the post-Tridentine élan in the Southern Netherlands and underline the reinforced position of bishops during the Counter-Reformation. Dominated by a unifying black and white colour scheme, these monuments form an ‘episcopal dynastic mausoleum’ following the model of groups of royal tombs. Besides commemorating the bishops and highlighting their prestige, the tombs also served to adorn the cathedral and thus glorify God and his Church. Philippe argues that the monuments had didactic purposes too, rooted in the theory of the teaching of post-Tridentine images and linked to the Ars moriendi tradition. By presenting the bishops as exemplars of Catholic piety, this sculptural ensemble encouraged viewers to seek a good death.

Elise Philippe

Mirrors of the good death

Abstract The tomb of the Burgundian duke Philip the Bold in Dijon, designed by the Haarlem-born sculptor Claus Sluter, holds a key position in the development of Western funerary art, especially on account of the lively and moving depiction of the cortège of weepers around the tomb. In this monument it is they who provide an example to their beholders – namely, how to mourn the deceased ruler. Not only do these expressive statuettes encourage the viewer to pray for Philip’s soul, but they also evoke the actual funeral liturgy of the duke. While the clerical mourners move in a single direction and form a procession, the lay figures seem to move more freely, directing themselves towards the tomb’s onlookers and stimulating them to pray for Philip’s afterlife. This conflation of transitional and everlasting rituals expresses a duality in late Gothic attitudes towards death.

Andrew Murray

Mourning and non-ordered religious behaviour in the tombs of Philip the Bold, John the Fearless and Margaret of Bavaria

Bart Ramakers

Edward H. Wouk

Art and death in the Netherlands

Abstract Anna Lisa Schwartz analyses the rites and expressions surrounding the death and funeral of Prince Willem IV on 22 October 1751. Schwartz’s essay clearly illustrates that the Protestant Reformation did not see an end to lavish funeral ceremonies, funerary decorations, or mourning chapels. Willem died a stadtholder of all seven provinces of the Dutch Republic, a position he had achieved only four years before as the first scion of both branches of the Nassau dynasty (the Frisian and the Orange). Schwartz examines a plethora of visual and literary expressions: the decorations of the mourning hall; the catafalque; and funerary poems, medals, and books, the latter containing both descriptions and etchings of all funeral ceremonies. Tellingly, visual references were made to obsequies of Willem’s predecessors belonging to the Orange branch: its founder, William the Silent; his sons Maurits and Frederik Hendrik; and Willem’s predecessor, the king-stadtholder Willem III .

Anna Lisa Schwartz

Mourning the Prince of Orange

Abstract This essay offers a revaluation of the materiality of early modern Netherlandish tombs, a field that has only recently attracted serious scholarly attention. Her contribution focuses on the role played by materiality as a crucial yet often overlooked aspect of these monuments. Tomb sculpture generally relied on a combination of material properties: the potential of realistic representation, durability, intrinsic value, and material splendour. Most suitable for a convincing representation of a dead body in this period was translucent alabaster with its warm flesh tone, while Italian white marble and bronze referenced antiquity and classical notions of durability. The use of specific sets of local and imported materials resulted in a unique ‘material image’ of Netherlandish tomb sculpture, which effectively contributed to the preservation of the deceased’s memoria, social status, and dynastic and personal magnificence.

Aleksandra Lipińska

Materia mortis

Abstract In Amy Powell’s essay social death’ offers a prism through which to analyse the said painting and specifically what it conceals – namely, the bodies of Black Africans sold into the transatlantic slave trade from storerooms located immediately beneath the sumptuous chamber depicted here. Wilre, portrayed as director of the WIC at the Dutch fort of Elmina on the ‘gold coast’ of West Africa, profited hugely from this trade even as he obfuscated the source of his wealth in images like this portrait. Powell’s analysis asks us to consider how those basement storerooms, and victims of the slave trade they contained, are ever present in De Wit’s painting, even as they are not figuratively represented. Her reading of two pictures within this picture draws attention to those who have suffered social death. The embedded pictures appear to reflect back to aspects of Wilre’s experience at Elmina as well as the impossibility of fully seeing the bodies marked, dismembered, and ultimately annihilated through the slave trade.

Amy Knight Powell

Life and death according to the ‘episteme’ of the fort

This article brings the 17th-century Dutch painter Otto Marseus van Schrieck and the contemporary German artist Maximilian Prüfer into dialogue. It investigates in particular Marseus’ and Prüfer’s use of butterfly scales as materials and motifs in their works of art. Both artists developed a similar technique of butterfly imprints (lepidochromy), which consists of transferring the scales of real butterflies onto another surface. The imprints thus combine medium with representation and the object being represented. The artists used a variety of animal substances to make their artworks, some still visible, some not, and gathered living animals to depict after life or to work with in other ways. Knowledge of and interest in natural history inform the work of both artists but their reflections on human relationships with other animals and with ‘nature’ differ.

V.E. Mandrij

Painted by nature, printed by artists

Although our systems of thought have long accustomed us to differentiate sharply between the human world of ‘culture’ and the animal world of ‘nature’, both sides of this very influential dichotomy are entangled in complex and indissoluble ways. The civet cat and its very special perfume—civet—provide a perfect example of this ‘merging’. The idea of taming the untamable, expressed in paintings of civet cats and textual sources, has been especially fruitful and became a promising preoccupation especially for artists like Joris Hoefnagel to enrich their work with an intellectual hybridity. The article shows how—in painting, perfume, and writing—nature and culture complemented one another, rather than standing in opposition. Owing to the animal’s odour, its mysterious nature, and debates about its (un)tamability, the image of the civet cat served as a focal point through which early modern Europeans wrestled with and redefined the realms of human and animal, of art and science, and of culture and nature.

Sarah-Maria Schober

Taming the untamable

This article is concerned with representations of insects and insect habitats in late nineteenth- and early twentieth-century Dutch art and print culture. It adopts an eco-critical approach, with an eye toward multispecies studies. The article considers the ecologically conceived image of bees, butterflies, and other insects gathering pollen from a wide range of flowering plant life in Theo van Hoytema’s lithograph announcing the Biological Exhibition: the Life of Plants and Animals held in 1910 at the Royal Zoological Botanical Gardens in The Hague. This closely observed water’s-edge environment is considered in the context of the wider body of works on paper done by Van Huitema especially during the seminal period of the 1890s, and within the growing print culture surrounding the Dutch naturalist and environmental movements in the early years of the twentieth century.

Joan E. Greer

An insect’s-eye view

In 1634 the chief judicial officer of Leiden’s strict Counter-Remonstrant government, Willem de Bont, held an extravagant funeral for his pet dog Tyter. News of the event produced a flurry of satirical songs (by the persecuted Remonstrants) and poems (by Vondel and others), castigating the childless Bont for giving his dog a funeral normally reserved for a child of the elite. These satires illuminate aspects of the human-dog relationship amidst the theological-political turmoil of early seventeenth-century Leiden. The popular assumption that the Remonstrants hanged Tyter leads to a study of contemporary criminal prosecution of animals and humans alike, and a look at contradictions in the treatment of Leiden’s dogs. Visually, the serenity of Jan Miense Molenaer’s pendant paintings of the event belie the satires. Ironically, Bont thought of his dog as a fellow human but treated the Leiden Remonstrants like dogs, while many regarded Bont himself as a beast.

Cynthia von Bogendorf Rupprath

A dog and his man

This article focuses on the intersection of the hunt and art as it is reflected in three early modern depictions of artists as successful hunters: Gabriel Metsu’s Hunter getting dressed after bathing, Ary de Vois’s Self-portrait as a hunter, and Rembrandt’s A dead bittern held high by a hunter. These three self-referential paintings show different ways in which the hunt and dead animals were used to characterise artistic practice, and to what extent they were underpinned by the semantics of other forms of ‘the chase’: the pursuit of love, knowledge, and power.

Hunting grounds for painters

This article examines the depiction of polar bears in Dutch painting and graphics from the late 16th to the early 18th centuries. Reports of the first encounters between Dutch humans and polar bears established the idea of these animals as aggressive predators. This idea dominated the image of the bear in illustrated travelogues as well as in allegorical depictions of the Arctic and whaling pictures. The polar bear thus became a symbol for the dangers of the region and appears as an obstacle to the human exploitation of the Arctic. However, depictions of the bloody hunt for polar bears indicate the economically motivated triumph of Europeans in this inhospitable area.

Robert Bauernfeind

‘Verscheurende Beyren’

This article addresses Rubens’s perspective on the human-animal by focusing on the satyr as one of his favourite mythological characters. This profoundly liminal being appears in a variety of roles throughout his oeuvre, including several paintings that remained in his private collection. In some of them, the satyr is primarily a figure for unbridled lustfulness and sensuality. In many others, however, this hybrid creature appears to hold the key to some of the mysteries of nature itself. Another facet of this analysis concerns the long-standing connection between this mythological character and literary satire. Rubens’s satyr-themed images bear a number of salient qualities of this literary genre as one that destabilizes boundaries: between the beautiful and the repulsive, the tragic and the comical, the sublime and the grotesque.

Aneta Georgievska-Shine

‘Man carries all animals within himself’

Created in the 1580s and owned by the Amsterdam merchant Jacob Rauwaert, the three paintings by Cornelis van Haarlem considered in this article add an important dimension to the artist’s focus on the human figure by underscoring how the animal played an equally important part in Cornelis’s practice. Seen together, the paintings exhibit the attention to both human and animal bodies that Karel Van Mander encouraged artists to pursue. Yet, the hierarchy of human over animal indicated by Van Mander’s writings is, I argue, subverted by the particularly violent iconographies of Cornelis’s paintings. Suggesting human fallibility and a potential breakdown in the natural order, the paintings can be seen as reflecting the social conditions permeating life in the Netherlands during the Dutch Revolt. This article concludes by speculating how a dialectic of violence, one that encouraged beholders to recognise a relativity of viewpoints, may have served the paintings’ first owner.

Albert Godetzky

Relative values

The shared embodiment of humans and animals, and the notion of the ‘creaturely’ human influentially discussed by Anat Pick, have recently emerged as vital concerns within Animal Studies. Aligning its critical stance with these perspectives, this article analyses the small painting in the Rijksmuseum, traditionally attributed to Jan de Baen, which depicts the 1672 murder of the Dutch politicians Johan and Cornelis de Witt. Pamphlets, broadsheets and other contemporary responses to the murder frequently compare the bodies of the De Witts – which were eviscerated, hung upside-down, shorn of body parts and allegedly partially eaten – to animal carcasses. Drawing on these contextual sources, the essay explores how the painting works with and against period constructions of the killing in terms of inter-species violence. It uncovers tentative admissions of human creatureliness in the painting’s representation of the murdered body as a temporal, material and fragile entity.

Thomas Balfe

Creating and unmaking the political body

Eric Jorink

Joanna Woodall

Humans and other animals in the Low Countries

During his time in England as the lead court artist, Anthony van Dyck came into contact with the English Virtuosi, their discourses and their practical research into nature. This article examines the connection between English virtuosity and ideal ideas of friendship and the role that the artist played in this. Argueing that Van Dyck was part of a friendly circle of said Virtuosi and reconstructing that circle on a small scale, it discusses the famous double portrait of Van Dyck and Endymion Porter as a portrait of friendship as well as a product of the symbiotic culture of friendship and English virtuosity and the making of knowledge that springs from it.

Larissa Weiler

‘For an assured freende is the medicine of life’

In 1534, on the occasion of the 50th anniversary of religious life, Jan Donteclocke, a Franciscan tertiary from Bruges, threw a banquet for relatives, friends, and fellow brethren. What we know about it comes from a dinner play performed at the event, the Play of a jubilee, written by the Bruges rhetorician Cornelis Everaert. The play’s characters personify aspects of friendship: Benevolence, Affection, and Friendship itself. They presented the jubilarian with four Latin chronograms (on sheets or scrolls of paper or wooden panels) which contained the dates of Donteclocke’s birth, profession, ordination, and jubilee. Chronograms, because of their playful, riddle-like character, were ideal vehicles of humanist wit and ingenuity. The article discusses these chronograms as expressions of friendship and analyses how they may have sparked conversation among the dinner guests, thus attesting to a culture of spirited conviviality existing beyond the circles of learned humanists or well-to-do bourgeois.

That’s what friends are for

Around 1617, Caravaggio’s Rosary Madonna (Kunsthistorisches Museum, Vienna) was gifted to the Dominican church in Antwerp by a quadrumvirate of art-lovers – Rubens, Jan Brueghel I, Hendrick van Balen and the merchant Jan Cooymans – who were joined together by the love that is friendship (amor amicitiæ). By enacting the virtues of friendship within Antwerp’s elite circles, the art-lovers could persuade wealthy burghers to sponsor the Rosary Madonna as a civic investment. This process is examined through Rubens’ relationship with Brueghel, the election of Cooymans as ‘prince of the Violieren’ chamber of rhetoric, the artists’ deanships of the Romanists’ guild and their personal acquaintance with Hendrick Goltzius. In the Dominican church, the Rosary Madonna became part of the early modern political economy like few other artworks. As the author demonstrates, the altarpiece indexed the cultural capital of the quadrumvirate, but also their amor amicitiæ, to which it stood as an enduring testament.

Adam Sammut

With a little help from his friends

Jan van Eyck’s Arnolfini Portrait (1434) has been a battleground of interpretation ever since Erwin Panofsky’s landmark 1934 essay on the painting. This article does not seek to resolve the uncertainties that remain concerning the names of the portrait’s subjects or the function that it served. Instead, it proposes to understand the relationship that the painting establishes between itself and its viewers, and to do so by considering the role of the canine companion at the couple’s feet. The dog in The Arnolfini Portrait is not only fundamental to the fellowship that Van Eyck invites us to feel both with himself and with his work; the dog’s role within the picture also nuances our understanding of Van Eyck’s own self-awareness as an artist and signals an opportunity to reconsider the limitations of traditional art-historical method.

短名	Neth Yearb Hist Art
Journal Impact	0.30
期刊索引	中科院 2 区

ISSN	0169-6726, 2214-5966
h-index	8
国内分区	艺术学(2区)艺术学艺术(3区)

出版信息	出版商: Brill Academic Publishers，出版周期: ，期刊类型: book-series
基本数据	创刊年份: 2019，原创研究文献占比: 100.00%，自引率:， Gold OA占比: 6.82%

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最新文章

That area of terror

Co-created by the Wadden Sea

Preliminary Material

Zwadderen in oil paint

A raptor’s-eye view in the early modern Netherlands

Without Nature

Precarious ground

Shifting shores

Wet land’s past futures

Mapping the wet land

The stones and the crown

Embodying the Catholic faith

Vanitas and trompe-l’œil

Death on display

Front matter

Encountering Adam and Eve at the Apocalypse

Ars longa vita brevis

Mirrors of the good death

Mourning and non-ordered religious behaviour in the tombs of Philip the Bold, John the Fearless and Margaret of Bavaria

Art and death in the Netherlands

Mourning the Prince of Orange

Materia mortis

Life and death according to the ‘episteme’ of the fort

Painted by nature, printed by artists

Taming the untamable

An insect’s-eye view

Front matter

A dog and his man

Hunting grounds for painters

‘Verscheurende Beyren’

‘Man carries all animals within himself’

Relative values

Creating and unmaking the political body

Humans and other animals in the Low Countries

Painted by nature, printed by artists

An insect’s-eye view

Taming the untamable

A dog and his man

Front matter

Hunting grounds for painters

‘Verscheurende Beyren’

‘Man carries all animals within himself’

Relative values

Creating and unmaking the political body

Humans and other animals in the Low Countries

‘For an assured freende is the medicine of life’

That’s what friends are for

With a little help from his friends

Arnolfini’s best friend

Ars amicitiae

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