Heyder JC. Crucifixion and Majestas Domini from the Casanatense Missal. In: Kemperdick S, Lammertse F, eds. The Road to Van Eyck. Rotterdam: Museum Boijmans van Beuningen; 2012: 152–153
Heyder JC. Madonna and Child, a Donor (Agnès de Cuinghien?) and St Agnes. In: Kemperdick S, Lammertse F, eds. The Road to Van Eyck. Rotterdam: Museum Boijmans van Beuningen; 2012: 242–243
Heyder JC. So-called Book of Hours of John the Fearless. In: Kemperdick S, Lammertse F, eds. The Road to Van Eyck. Rotterdam: Museum Boijmans van Beuningen; 2012: 158–159
Heyder JC. Missale Parisiense. In: Kemperdick S, Lammertse F, eds. The Road to Van Eyck. Rotterdam: Museum Boijmans van Beuningen; 2012: 154–155
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Research Interests: Humanities and Art
Heyder JC. Book Illumination and Jan van Eyck's Early Years. In: Kemperdick S, Lammertse F, eds. The Road to Van Eyck. Rotterdam; 2012: 59–65
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Kemperdick S, Rößler J, Heyder JC, eds. Der Genter Altar. Reproduktionen, Deutungen, Forschungskontroversen. Petersberg: Michael Imhof Verlag; 2017
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Heyder JC. Book of Hours of Etienne Chevalier. In: Kemperdick S, Lammertse F, eds. The Road to Van Eyck. Rotterdam: Museum Boijmans van Beuningen; 2012: 156–157
Heyder JC. Book of Hours of the Use of Rome (The Hague, KB, Ms. 133 D 14). In: Kemperdick S, Lammertse F, eds. The Road to Van Eyck. Rotterdam: Museum Boijmans van Beuningen; 2012: 206–207
Heyder JC. Missel of Cambrai. In: Kemperdick S, Lammertse F, eds. The Road to Van Eyck. Rotterdam: Museum Boijmans van Beuningen; 2012: 119–120
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The Ghent Altarpiece in the Word War I.
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A small panel has now been added to the oeuvre of the early Dutch painter Geertgen tot Sint Jans, active in Haarlem, Holland, in the late 15th century. Consisting of a single oak board depicting the bust of an elderly man of a type that... more
A small panel has now been added to the oeuvre of the early Dutch painter Geertgen tot Sint Jans, active in Haarlem, Holland, in the late 15th century. Consisting of a single oak board depicting the bust of an elderly man of a type that can be identified as Saint Joseph, the piece surfaced in the collection of the Historisches Museum in Frankfurt, Germany. The panel is strongly reminiscent of Geertgen's known work, and dendrochronological evidence supports the theory that it once belonged to his triptych depicting the Adoration of the Magi in Prague (Prague Castle). The identification of this fragment may have repercussions for the ongoing debate concerning the attribution of this triptych.
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The article explores the identity of the painter known as the Master of St. Veronica who was active in Cologne, Germany in the early fifteenth century. The author suggests that he was also referred to as "Meister Wilhelm" or... more
The article explores the identity of the painter known as the Master of St. Veronica who was active in Cologne, Germany in the early fifteenth century. The author suggests that he was also referred to as "Meister Wilhelm" or "magister Wilhelmus" and discusses the possibility that he is the artist of a triptych owned by the monk Symon de Werd, which might be the triptych known as "Madonna of the sweet pea."