Arthur J . DiFuria
Savannah College of Art and Design, Art History, Department Member
- Art History, Early Modern Europe, History of Collecting, Drawing In Early Modern Central Europe, Prints and Drawings, Drawings and Prints, and 83 morePrint Culture, Antiquarianism, Cultural Memory, Painting, Drawing, Early Modern Intellectual History, Self Portraiture, Early Modern Collecting, Philosophy of Mind, Emblem studies, Maarten van Heemskerck, Ruins, Ecocriticism, environmental aesthetics, nature and urban ruins, Urban Ruins, Modern Ruins, Reformation Studies, 17th Century Netherlandish Art, Artisan Workshop practice in the Early Modern period, Dutch Golden Age, Dutch Revolt, History of the Spanish-Habsburg Netherlands, Renaissance Studies, Raphael, 16th and 17th century Dutch and Flemish Art, 16th Century Netherlandish Art, Renaissance Humanism, Italian Cultural Studies, 17th Century Dutch Republic, Grotteschi, Hieronymus Cock, Giovanni Battista Piranesi 1720-1778, Maerten Van Heemskerck, Jan Gossart, Early Modern print culture, 15th Century Netherlandish Art, Northern Renaissance Art, Exempla, Karel van Mander, Renaissance Art, Erasmus, Renaissance antiquarianism, Early Netherlandish Painting, Jan Van Eyck, Patronage and collecting, Jan Gossaert, Mythology, Italian Renaissance prints, Northern Renaissance, Northern Italian Renaissance drawings, Renaissance and Baroque Architectural Drawings, Drawings, Albrecht Dürer, Lucas van Leyden, Breughel, Rembrandt, Historiography (in Art History), Ekphrasis, Global Renaissance, Early Modern Globalization, Memory Studies, Climate Change, Cultural Studies, History, Philosophy, Gender Studies, Human Rights, Media Studies, Political Philosophy, Gender, Social Psychology, Indie Music, Punk Culture, Punk Rock, Post-punk, Punk Studies, Hardcore, Hardcore punk, Grunge, Noise, Authentication, Authorship Attribution, Technical Studies of Artifacts, and Philosophy of Artificial Intelligenceedit
- Dissertation Topic: Heemskerck's Rome: Antiquity, Memory, and the Berlin Sketchbooks (University of Delaware, 2008). ... moreDissertation Topic: Heemskerck's Rome: Antiquity, Memory, and the Berlin Sketchbooks (University of Delaware, 2008).
Professor of Art History, Savannah College of Art and Design, 2010 - Present.
Chair of Liberal Arts, Moore College of Art and Design, Fall 2008 - Spring 2010.
Assistant Professor of Art History and Curatorial Studies, Moore College of Art and Design, 2008 - 2010.
Visiting Scholar of Art History, Moore College of Art and Design, 2002 - 2008.
Adjunct Instructor of Art History, Moore College of Art and Design, 1998 - 2002.
Adjunct Instructor, Art History, University of Delaware, 1999 - 2004.
Adjunct Instructor, Art History, Tyler School of Art, 1996 - 98.edit
Research Interests: Critical Pedagogy, Historiography, History of The Netherlands, 16th Century Netherlandish Art, Italian Renaissance Art, and 11 morePrinting History, 17th Century Netherlandish Art, Italian Renaissance Architectural History, Old Master drawings, Book Reviews, Conferences Papers, Renaissance Italy, Art Theory and Criticism, Maarten van Heemskerck, Old Master Prints, and Old Master Painting
In epideictic oratory, ekphrasis is typically identified as an advanced rhetorical exercise that verbally reproduces the experience of viewing a person, place, or thing; more specifically, it often purports to replicate the experience... more
In epideictic oratory, ekphrasis is typically identified as an
advanced rhetorical exercise that verbally reproduces the
experience of viewing a person, place, or thing; more specifically, it
often purports to replicate the experience of viewing a work of art.
Not only what was seen, but also how it was beheld, and the
emotions attendant upon first viewing it, are implicitly construed
as recoverable, indeed reproducible.
This volume examines how and why many early modern pictures
operate in an ekphrastic mode: such pictures claim to reconstitute
works of art that solely survived in the textual form of an ekphrasis;
or they invite the beholder to respond to a picture in the way s/he
responds to a stirring verbal image; or they call attention to their
status as an image, in the way that ekphrasis, as a rhetorical figure,
makes one conscious of the process of image-making; or finally,
they foreground the artist’s or the viewer’s agency, in the way that
the rhetor or auditor is adduced as agent of the image being
verbally produced.
advanced rhetorical exercise that verbally reproduces the
experience of viewing a person, place, or thing; more specifically, it
often purports to replicate the experience of viewing a work of art.
Not only what was seen, but also how it was beheld, and the
emotions attendant upon first viewing it, are implicitly construed
as recoverable, indeed reproducible.
This volume examines how and why many early modern pictures
operate in an ekphrastic mode: such pictures claim to reconstitute
works of art that solely survived in the textual form of an ekphrasis;
or they invite the beholder to respond to a picture in the way s/he
responds to a stirring verbal image; or they call attention to their
status as an image, in the way that ekphrasis, as a rhetorical figure,
makes one conscious of the process of image-making; or finally,
they foreground the artist’s or the viewer’s agency, in the way that
the rhetor or auditor is adduced as agent of the image being
verbally produced.
Research Interests: French Literature, Renaissance History, Renaissance Humanism, History of The Netherlands, Ekphrasis, and 10 more16th Century Netherlandish Art, Early Modern Intellectual History, Italian Renaissance Art, 17th Century Netherlandish Art, Italian Renaissance Architecture, Early Modern print culture, Rembrandt, Ekphrasis, Hermeneutics, Aesthetic Experience, Ekphrastic Poetry, and Global Renaissance
The essays in Space, Image, and Reform in Early Modern Art build on Marcia Hall’s seminal contributions in several categories crucial for Renaissance studies, especially the spatiality of the church interior, the altarpiece’s facture and... more
The essays in Space, Image, and Reform in Early Modern Art build on Marcia Hall’s seminal contributions in several categories crucial for Renaissance studies, especially the spatiality of the church interior, the altarpiece’s facture and affectivity, the notion of artistic style, and the controversy over images in the era of Counter Reform. Accruing the advantage of critical engagement with a single paradigm, this volume better assesses its applicability and range. The book works cumulatively to provide blocks of theoretical and empirical research on issues spanning the function and role of images in their contexts over two centuries. Relating Hall’s investigations of Renaissance art to new fields, Space, Image, and Reform expands the ideas at the center of her work further back in time, further afield, and deeper into familiar topics, thus achieving a cohesion not usually seen in edited volumes honoring a single scholar.
Research Interests: Renaissance Humanism, Architecture in Italian Renaissance and Baroque Art, 16th Century Netherlandish Art, Italian Renaissance Art, Michelangelo Buonarroti, and 7 moreCaravaggio, Styles in Art and Architecture, Counter-Reformation art, Mannerism, Counter-Reformation, Raphael, and Michelangelo Last Judgment
This book presents the first sustained study of the stunning drawings of Roman ruins by Haarlem artist Maarten van Heemskerck (1498–1574; in Rome, 1532–ca. 1537). In three parts, Arthur J. DiFuria describes Van Heemskerck’s pre-Roman... more
This book presents the first sustained study of the stunning drawings of Roman ruins by Haarlem artist Maarten van Heemskerck (1498–1574; in Rome, 1532–ca. 1537). In three parts, Arthur J. DiFuria describes Van Heemskerck’s pre-Roman training, his time in Rome, and his use his ruinscapes for the art he made during his forty-year post-Roman phase.
Building on the methods of his predecessors, Van Heemskerck mastered a dazzling array of methods to portray Rome in compelling fashion. Upon his return home, his Roman drawings sustained him for the duration of his prolific career. Maarten van Heemskerck’s Rome concludes with the first ever catalog to bring together all of Van Heemskerck’s ruin drawings in state-of-the-art digital photography.
Building on the methods of his predecessors, Van Heemskerck mastered a dazzling array of methods to portray Rome in compelling fashion. Upon his return home, his Roman drawings sustained him for the duration of his prolific career. Maarten van Heemskerck’s Rome concludes with the first ever catalog to bring together all of Van Heemskerck’s ruin drawings in state-of-the-art digital photography.
Research Interests: Print Culture, Drawing, Topography of Ancient Rome (Archaeology), 16th Century Netherlandish Art, Northern Renaissance, and 14 moreSelf Portraiture, History of the Spanish-Habsburg Netherlands, Biblical Exegesis, Old Master drawings, History of Collecting, Patronage and collecting, Ancient Rome, Maarten van Heemskerck, Jan Van Scorel, Jan Gossart, Jan Gossaert, Old Master Prints, Old Master Painting, and Dirck Coornhert
Exploring the rich variety of pictorial rhetoric in early modern northern European genre images, this volume deepens our understanding of genre’s place in early modern visual culture. From 1500 to 1700, artists in northern Europe... more
Exploring the rich variety of pictorial rhetoric in early modern northern European genre images, this volume deepens our understanding of genre’s place in early modern visual culture. From 1500 to 1700, artists in northern Europe pioneered the category of pictures now known as genre, portrayals of people in ostensibly quotidian situations. Critical approaches to genre images have moved past the antiquated notion that they portray uncomplicated “slices of life,” describing them instead as heavily encoded pictorial essays, laden with symbols that only the most erudite contemporary viewers and modern iconographers could fully comprehend. These essays challenge that limiting binary, revealing a more expansive array of accessible meanings in genre’s deft grafting of everyday scenarios with a rich complex of experiential, cultural, political, and religious references. Authors deploy a variety of approaches to detail genre’s multivalent relations to older, more established pictorial and literary categories, the interplay between the meaning of the everyday and its translation into images, and the multifaceted concerns genre addressed for its rapidly expanding, unprecedentedly diverse audience.
Research Interests: Renaissance Studies, Peasant Studies, Northern Europe, Audience and Reception Studies, 16th Century Netherlandish Art, and 19 moreNorthern Renaissance, Genre Painting, Prints (Art History), Symbolism (Art History), 17th Century Netherlandish Art, Prints and Drawings, Northern Renaissance Art, Rembrandt, Jan Van Eyck, Dutch Golden Age, Gerrit Van Honthorst, Late medieval and renaissance art in northern europe, Dutch Genre Painting, Breughel, Jacob Jordaens, Adriaen Van De Venne, Rembrandt van Rijn, Lucas van Leyden, and Gerrit Dou
A drawing that has recently come to light in a private collection depicts the head of the horse on the bronze equestrian portrait of Marcus Aurelius. It's mastery of contour and proportions, and its subtle modeling and display of... more
A drawing that has recently come to light in a private collection depicts the head of the horse on the bronze equestrian portrait of Marcus Aurelius. It's mastery of contour and proportions, and its subtle modeling and display of contrasts between lights and darks can be compared with numerous works by the Haarlem artist Hendrick Goltzius (1558-1617), including his prints as well as drawings in both black and red chalk.
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Interrogating gender and the development of the print trade in the early modern Ne-therlands inevitably leads us to the murky historiographic territory surrounding the women who were so crucial to the medium's growth in the mid-sixteenth... more
Interrogating gender and the development of the print trade in the early modern Ne-therlands inevitably leads us to the murky historiographic territory surrounding the women who were so crucial to the medium's growth in the mid-sixteenth century. In particular, Mayken Verhulst (1518-1599) and Volcxken Diericx (active 1570-1600) appear as frequently used names concealing fragmented personae within the inter-woven social and discursive patriarchal constructs of art history. This is despite their location at the epicenter of Netherlandish print production. Mapping the fragmented literary and visual evidence surrounding these two important women onto the back-drop of patriarchal Netherlandish art history's canon of praise suggests a new model for understanding their multivalent forms of creativity.
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This is the introduction to the 2016 anthology Genre Imagery in Early Modern Northern Europe: New Perspectives (Ashgate / Routledge, 2016).
Research Interests: Genre studies, Genre-based pedagogy, Genre Theory, Genre Painting, Still Life, and 15 moreEarly Modern Art and Visual Culture, Gerard David, Robert Campin, Early Modern art history, Gerrit Van Honthorst, Dutch Genre Painting, Jacob Jordaens, Master of Flémalle, Adriaen Van De Venne, Rembrandt van Rijn, Lucas van Leyden, Pieter Aertsen, Quentin Metsys, Jan Sanders van Hemessen, and Joachim Beuckelaer
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Portraying the noblest of Christian virtues as an antiquity on the verge of animation, Maarten van Heemskerck conceived Caritas for an audience eager to extol sacred art’s centrality for worship. Van Heemskerck’s choice to depict the... more
Portraying the noblest of Christian virtues as an antiquity on the verge of animation, Maarten van Heemskerck conceived Caritas for an audience eager to extol sacred art’s centrality for worship. Van Heemskerck’s choice to depict the embodiment of this particular virtue in this particular manner establishes the image debate, the status of good works, and the instructive capacity of art as the painting’s discursive axes. Unlike contemporary images of Caritas, Van Heemskerck’s painting broadcasts its transcendence of the materials of art, and thereby embodies and enlivens its ostensible subject, implicitly challenging the Reform notion of sola fide and the Reform contention that sacred art is only wood, paint, and stone that distracts from true spirituality. Drawing from his first-hand knowledge of a range of sculptural sources, Van Heemskerck used his skill at mimicking surface textures to portray Caritas as if hewn from marble, even as he left visible traces of paint and mobilized the personification and its allied figures, making them move in a lively manner. Portraying stone figures as if they were animated suggests art’s most problematic aspect for Reformers: the idol worshipper’s belief that the portrayed inhabits the object. But this same device highlights the painting’s status as a manipulation of material that refers to its prototype. With Caritas, Van Heemskerck thus deployed the personification of this virtue to enact and confirm art’s edifying capacity.
Research Interests: Reformation Studies, Iconoclasm, Paragone, Sculpture, 16th Century Netherlandish Art, and 10 moreNorthern Renaissance, Materiality of Art, Memory and materiality, Prints and Drawings, Early Netherlandish Painting, Northern Renaissance Art, Personifications, Maarten van Heemskerck, Seventeenth-Century Netherlandish Painting, and Personification of Charity
With Heliodorus Driven from the Temple, painter printmaker Maerten van Heemskerck (1498–1574) and humanist engraver Dirck Volkertszoon Coornhert (1522–1590) prompted discourse on a range of pressing topics encroaching on the judicious... more
With Heliodorus Driven from the Temple, painter printmaker Maerten
van Heemskerck (1498–1574) and humanist engraver Dirck Volkertszoon Coornhert (1522–1590) prompted discourse on a range of pressing topics encroaching on the judicious practice of exegesis. Heemskerck’s design for his print of the Temple purification episode from 2 Maccabees retains the composition of Raphael’s Vatican painting of the same episode but revises myriad details. The print’s departures from its Vatican prototype provided discursive loci for a diverse, interconnected audience and highlighted crucial relationships between European religious politics and visual and literary interpretations of scripture. To this audience, the circulation in 1549 of a print portraying a scene from Maccabees would have been a pointed enough gesture, since Maccabees was apocryphal according to Luther, canonical according to the Vatican. But a print revising a famous Vatican painting must have seemed particularly provocative to knowledgeable viewers: Heemskerck and Coornhert brought an image previously belonging to a privileged Vatican audience to a far wider audience of potential viewers and visual exegetes. The print thus goes beyond imitatio and emulatio to embody a multivalent translatio – the interrogation and revision of received authority.
van Heemskerck (1498–1574) and humanist engraver Dirck Volkertszoon Coornhert (1522–1590) prompted discourse on a range of pressing topics encroaching on the judicious practice of exegesis. Heemskerck’s design for his print of the Temple purification episode from 2 Maccabees retains the composition of Raphael’s Vatican painting of the same episode but revises myriad details. The print’s departures from its Vatican prototype provided discursive loci for a diverse, interconnected audience and highlighted crucial relationships between European religious politics and visual and literary interpretations of scripture. To this audience, the circulation in 1549 of a print portraying a scene from Maccabees would have been a pointed enough gesture, since Maccabees was apocryphal according to Luther, canonical according to the Vatican. But a print revising a famous Vatican painting must have seemed particularly provocative to knowledgeable viewers: Heemskerck and Coornhert brought an image previously belonging to a privileged Vatican audience to a far wider audience of potential viewers and visual exegetes. The print thus goes beyond imitatio and emulatio to embody a multivalent translatio – the interrogation and revision of received authority.
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In several of the 100‐plus drawings that Haarlem artist Maerten van Heemskerck made while he was in Rome in the 1530s, he depicts the sculpture collections he visited in the Vatican, on the Capitoline and in the cortili and gardens of... more
In several of the 100‐plus drawings that Haarlem artist Maerten van Heemskerck made while he was in Rome in the 1530s, he depicts the sculpture collections he visited in the Vatican, on the Capitoline and in the cortili and gardens of numerous Roman palaces. This is some of the earliest Northern ‘collection imagery’, and the collection environment commands as much of his pictorial attention as the sculptures themselves. The central argument of the essay is that van Heemskerck’s novel images related to period conceptions of the uses and functions of memory, and suggests that his drawings had an important afterlife in the Flemish pictures of collections genre of the early seventeenth century.
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Double Review: Hyman, Rubens in Repeat (Getty Publications, 2022); Porras, The First Viral Images (PSU, 2023), in HNAR, https://hnanews.org/hnar/reviews/the-first-viral-images-maerten-de-vos
Research Interests: Colonialism, 16th Century Netherlandish Art, 17th Century Netherlandish Art, Early Modern print culture, New Spain, and 5 morePeter Paul Rubens, 16th and 17th century Dutch and Flemish Art, Global Art History, Maarten De Vos, and Latin American art, with a focus on the early modern period and viceregal Mexico. Eighteenth-Century Studies; Race and Sciente; the Enlightenment in the Atlantic world
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Research Interests: 16th Century Netherlandish Art, Renaissance antiquarianism, Early Netherlandish Painting, History of Liège - Middle Ages and Renaissance, Franciscus Junius, and 5 moreGiorgio Vasari, Biography and the concept of the Renaissance, Lambert Lombard, Dutch Italianate painters, Early Modern Netherlandish Art, and Hadrianus Junius
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To read the review on HNA's website, go here: https://hnanews.org/hnar/reviews/niederlandische-maler-in-italien-kunstlerreisen-und-kunstrezeption-im-16-jahrhundert/
Research Interests: 16th Century Netherlandish Art, Patronage (History), Renaissance Rome, Early Netherlandish Painting, Early Modern Art and Visual Culture, and 4 more16th and 17th century Dutch and Flemish Art, Artistic Exchange between Netherlands and Italy, Artistic relations between Italy and the Netherlands, and Artistic Travel
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Research Interests: 16th Century Netherlandish Art, Prints (Art History), Renaissance antiquarianism, History of Collecting and Antiquarianism, Northern European engraving 1450-1650, and 7 morePieter Bruegel the Elder, Etching, Maarten van Heemskerck, Antwerp Printers, Hieronymus Cock, 17th and 18th century Antwerp, and 16th Century Antwerp
Research Interests: Renaissance Studies, Renaissance Art, 16th Century Netherlandish Art, Early Netherlandish Painting, Early Modern print culture, and 10 moreRenaissance Florence, Renaissance Print Culture, The Medici family, History of Art, Italian Renaissance painting, Florence, Medici Patronage, Renaissance Printmaking, Artistic Exchange between Netherlands and Italy, Giovanni Stradano, Joannes Stradanus, and Johannes Stradanus
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Research Interests: Art History, Renaissance Art, Portraiture, 16th Century Netherlandish Art, Northern Renaissance, and 9 moreAntiquarianism, Leon Battista Alberti, Early Netherlandish Painting, Antiquarianism in the sixteenth century, History of Antiquarianism, Fifteenth and Sixteenth century culture, Sixteenth Century History, Artistic Exchange between Netherlands and Italy, and Willem Key
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Research Interests: Italian Renaissance Art, 16th Century Italian Art, Italian Renaissance Architectural History, Italian Renaissance Architecture, Italian Renaissance prints, and 11 moreJulius II, Mannerism, Renaissance Florence, Raphael, Perugino, Pope Leo X, Italian frescoes of the High Renaissance and Mannerism, Raphael of Urbino, Letter to Leo X, High Renaissance Art, and Italian Renaissance painting
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A short essay on Philadelphia's Khyber Pass Pub, appearing in an anthology accounting for vanished or otherwise repurposed spaces where punk and indie-rock shows used to occur in the 80s, 90s, and early 00s.
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Ca. 1000 word review of English noise-pop / shoegaze pioneers, My Bloody Valentine on their 2018 tour. For a direct link, click below in "files."
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Ca. 1000 word review of New York's retro-No Wave band, Parquet Courts' second night at Hollywood Forever, February 22, 2018. For full review, click link in "files," below.
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Sharon Gregory's Review of Heemskerck's Rome, available here: http://www.caareviews.org/reviews/3734#.YMEerDZKjOS
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Research Interests: Print Culture, Drawing, Topography of Ancient Rome (Archaeology), 16th Century Netherlandish Art, Northern Renaissance, and 13 moreSelf Portraiture, History of the Spanish-Habsburg Netherlands, Biblical Exegesis, Old Master drawings, History of Collecting, Patronage and collecting, Ancient Rome, Maarten van Heemskerck, Jan Van Scorel, Jan Gossart, Old Master Prints, Old Master Painting, and Dirck Coornhert
Frans Post (1612-1680), Jaguar, ca. 1638-43. Watercolor and gouache, pen and black ink over graphite. Translated inscription: A tiger, as large as a common calf, they are very ferocious and strong, of this species there are some that are... more
Frans Post (1612-1680), Jaguar, ca. 1638-43. Watercolor and gouache, pen and black ink over graphite. Translated inscription: A tiger, as large as a common calf, they are very ferocious and strong, of this species there are some that are black. Noord-Hollands Archief, Haarlem, inv. no. 53004667
Research Interests: Gender Studies, Genre studies, History of The Netherlands, 16th Century Netherlandish Art, 17th Century Dutch Republic, and 10 more17th Century Netherlandish Art, Early Netherlandish Painting, Dutch History, Rembrandt, Dutch art, Seventeenth-Century Netherlandish Painting, Gerrit Van Honthorst, Jacob Jordaens, Lucas van Leyden, and Jan van Hemessen
Printed artworks were often ephemeral, but in the early modern period, exchanges between print and other media were common, setting off chain reactions of images and objects that endured. Paintings, sculpture, decorative arts, musical or... more
Printed artworks were often ephemeral, but in the early modern period, exchanges between print and other media were common, setting off chain reactions of images and objects that endured. Paintings, sculpture, decorative arts, musical or scientific instruments, and armor exerted their own influence on prints, while prints provided artists with paper veneers, templates, and sources of adaptable images. This interdisciplinary collection unites scholars from different fields of art history who elucidate the agency of prints on more traditionally valued media, and vice-versa. Contributors explore how, after translations across traditional geographic, temporal, and material boundaries, original 'meanings' may be lost, reconfigured, or subverted in surprising ways, whether a Netherlandish motif graces a cabinet in Italy or the print itself, colored or copied, is integrated into the calligraphic scheme of a Persian royal album. These intertwined relationships yield unexpected yet surprisingly prevalent modes of perception. Andrea Mantegna's 1470/1500 Battle of the Sea Gods, an engraving that emulates the properties of sculpted relief, was in fact reborn as relief sculpture, and fabrics based on print designs were reapplied to prints, returning color and tactility to the very objects from which the derived. Together, the essays in this volume witness a methodological shift in the study of print, from examining the printed image as an index of an absent invention in another medium - a painting, sculpture, or drawing - to considering its role as a generative, active agent driving modes of invention and perception far beyond the locus of its production.
Co-edited by
Suzanne Karr Schmidt, Art Institute of Chicago
Edward H. Wouk, Art History and Visual Studies, University of Manchester (UK)
Co-edited by
Suzanne Karr Schmidt, Art Institute of Chicago
Edward H. Wouk, Art History and Visual Studies, University of Manchester (UK)
Research Interests: Print Culture, Translation Studies, Renaissance Studies, History of Science, Arms and Armor Studies, and 17 moreHistory of Costume, Mughal History, 16th Century Netherlandish Art, Materiality (Anthropology), Italian Renaissance Art, Printing History, Materiality of Art, History of scientific instruments, 17th Century Netherlandish Art, Spanish Colonial Peru, Mercure de France, Andrea Mantegna, Maarten De Vos, History of the Mughal Book, Dezallier D'Argenville, 16th Century Antwerp, and penschilderijen
Volume Editor: Elizabeth Sutton Publisher: Amsterdam University Press Series: Visual & Material Culture This essay collection features innovative scholarship on women artists and patrons in the Netherlands 1500-1700. Covering painting,... more
Volume Editor: Elizabeth Sutton
Publisher: Amsterdam University Press
Series: Visual & Material Culture
This essay collection features innovative scholarship on women artists and patrons in the Netherlands 1500-1700. Covering painting, printmaking, and patronage, authors highlight the contributions of women art makers in the Netherlands, showing that women were prominent as creators in their own time and deserve to be recognized as such today.
Table of Contents:
List of Illustrations
Acknowledgements
1. Introduction: An Historiographical Perspective on Women Making Netherlandish Art History
Elizabeth Sutton
2. Catharina Van Hemessen’s Self-Portrait: The Woman Who Took Saint Luke’s Palette
Céline Talon
3. By Candlelight: Uncovering Early Modern Women’s Creative Uses of Night
Nicole Elizabeth Cook
4. In Living Memory: Architecture, Gardens, and Identity at Huis ten Bosch
Saskia Beranek
5. Louise Hollandine and the Art of Arachnean Critique
Lindsay Ann Reid
6. Reclaiming Reproductive Printmaking
Amy Reed Frederick
7. Towards an Understanding of Mayken Verhulst and Volcxken Diericx
Arthur J. DiFuria
Index
190 pages, 8 colour, 31 b/w illustrations
Hardback
ISBN 978 94 6372 140 0
e-ISBN 978 90 4854 298 7
€99.00 / £89.00 / $120.00
€98.99 / £88.99 / $119.99
Publisher: Amsterdam University Press
Series: Visual & Material Culture
This essay collection features innovative scholarship on women artists and patrons in the Netherlands 1500-1700. Covering painting, printmaking, and patronage, authors highlight the contributions of women art makers in the Netherlands, showing that women were prominent as creators in their own time and deserve to be recognized as such today.
Table of Contents:
List of Illustrations
Acknowledgements
1. Introduction: An Historiographical Perspective on Women Making Netherlandish Art History
Elizabeth Sutton
2. Catharina Van Hemessen’s Self-Portrait: The Woman Who Took Saint Luke’s Palette
Céline Talon
3. By Candlelight: Uncovering Early Modern Women’s Creative Uses of Night
Nicole Elizabeth Cook
4. In Living Memory: Architecture, Gardens, and Identity at Huis ten Bosch
Saskia Beranek
5. Louise Hollandine and the Art of Arachnean Critique
Lindsay Ann Reid
6. Reclaiming Reproductive Printmaking
Amy Reed Frederick
7. Towards an Understanding of Mayken Verhulst and Volcxken Diericx
Arthur J. DiFuria
Index
190 pages, 8 colour, 31 b/w illustrations
Hardback
ISBN 978 94 6372 140 0
e-ISBN 978 90 4854 298 7
€99.00 / £89.00 / $120.00
€98.99 / £88.99 / $119.99
Research Interests: 16th Century Netherlandish Art, Women Artists, 17th Century Netherlandish Art, 15th Century Netherlandish Art, Northern Renaissance Art, and 7 more17th century Dutch Art, 16th and 17th century Dutch and Flemish Art, Women in the Renaissance, Art and Gender, Dutch art, Women in the Renaissance and Early Modern Europe, and Late medieval and renaissance art in northern europe
" Rembrandt and 'everyday life' " In Dutch art, the category " genre " has become broadly applied to subjects that reflect activities of daily life, and that do not fit neatly into the other categories of history, portraiture, landscape,... more
" Rembrandt and 'everyday life' " In Dutch art, the category " genre " has become broadly applied to subjects that reflect activities of daily life, and that do not fit neatly into the other categories of history, portraiture, landscape, or still life, and was recognized by Gerard de Lairesse. Rembrandt (1606-1669), who made paintings, drawings and etchings in each of these categories, also merged several of them in a single image. As a pattern, some of Rembrandt's works suggest a fluid relation between these five classifications. This essay demonstrates how the artist, whose prime ambition was as a history painter and portraitist, combined observed figures with historical subjects. As Rembrandt viewed people on the street, he envisioned them in roles of ancient rulers and other characters appearing in his paintings, as suggested by Andries Pels. Works discussed include the early painted series of the Senses, the Shipbuilder and his Wife of 1633, and depictions of the old blind Tobias.
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Research Interests: Italian Studies, Renaissance, Landscape History, Drawings (Architecture), Italian Renaissance Art, and 13 moreLandscape, Prints and Drawings, Old Master drawings, Umbria, Drawings, Representation of ancient architecture (technical and pictoresques drawings), Giulio et Domenico Campagnola, Raphael, Perugino, Federico Zuccari, Girolamo Muziano, Drawing as a research tool, and Landscape Drawings
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In epideictic oratory, ekphrasis is typically identified as an advanced rhetorical exercise that verbally reproduces the experience of viewing a person, place, or thing; more specifically, it often purports to replicate the experience of... more
In epideictic oratory, ekphrasis is typically identified as an advanced rhetorical exercise that verbally reproduces the experience of viewing a person, place, or thing; more specifically, it often purports to replicate the experience of viewing a work of art. Not only what was seen, but also how it was beheld, and the emotions attendant upon first viewing it, are implicitly construed as recoverable, indeed reproducible. Ekphrasis describes the object of sight in vivid, imaginative, even hyperbolic terms, bodying it forth as something that having once been viewed, is now presently viewable or, better, visualizable, in the form of an image. For this reason, the artisanal processes of drawing, painting, or sculpting were sometimes troped as instances of ekphrastic image-making; and conversely, ekphrasis could stand proxy for the making of images in various media. This is to say that ekphrasis—as a rhetorical device, and as an analogue to a wide range of medially specific processes—operates complexly in the registers of time (making past experience present), affect (recovering and restaging affective experience), and mimesis (fashioning an image of something seen, or an image of a work of art). Ekphrasis was integral to the reception, discourse, and production of early modern art and poetry. Amongst theoreticians and historians of art, Giorgio Vasari, Karel van Mander, and Arnold Houbraken, to name but a few, deployed the ekphrastic mode to richly varied effects. Moreover, one could plausibly argue that many examples of early modern art operate ekphrastically: they claim to reconstitute works of art that solely survived in the textual form of an ekphrasis; or they invite the beholder to respond to a picture in the way he responds to a stirringly ekphrastic image; or they call attention to their status as an image, in the way that ekphrasis, as a rhetorical figure, makes one conscious of the process of image-making; or finally, they foreground the artist's or the viewer's agency, in the way that the rhetor or auditor is adduced as agent of the image being verbally produced. Specific examples abound: the smooth yet virtually haptic surface textures of paintings by Jan van Eyck, the drolleries of Hieronymus Bosch and Pieter Bruegel, the anthropomorphic devices embedded in landscapes by Herri met de Bles, the antiquarian architectural fantasie of Maarten van Heemskerck and Hans Vredeman de Vries confronted the viewer with visual and bodily experiences that call quotidian regimes of perception and cognition into question, and challenge him to impose order by describing that novel experience in the form of an ekphrasis. In this particular sense, ekphrasis could operate as a normalizing instrument. Implicit in such uses of ekphrasis is the paragone of word and image, text and picture. Contrariwise, other kinds of picture or building proved resistant to ekphrastic manipulation, just as certain kinds of verbal image were neither visually nor spatially translatable. This session invites scholars to situate the ekphrastic tradition within its early modern Netherlandish cultural milieu. More generally, we invite art historians to consider recent developments in the study of ekphrasis put forward by classicists, literary historians, and media theorists. An expansive range of approaches to the ekphrastic tradition in the Low Countries is encouraged. In particular, contributors are asked to dwell on the relation between ekphrasis as a rhetorical figure with textual applications and ekphrasis as a visual mode discernible in prints, drawings, and paintings.
Research Interests: Ekphrasis, 16th Century Netherlandish Art, 17th Century Dutch Republic, 17th Century Netherlandish Art, Art writing, and 8 more15th Century Netherlandish Art, Early Netherlandish Painting, Dutch History, Flemish Painting, Early Modern Art and Visual Culture, Netherlands, 16th and 17th century Dutch and Flemish Art, and Writing in Visual Art
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Interrogating gender and the development of the print trade in the early modern Ne-therlands inevitably leads us to the murky historiographic territory surrounding the women who were so crucial to the medium's growth in the... more
Interrogating gender and the development of the print trade in the early modern Ne-therlands inevitably leads us to the murky historiographic territory surrounding the women who were so crucial to the medium's growth in the mid-sixteenth century. In particular, Mayken Verhulst (1518-1599) and Volcxken Diericx (active 1570-1600) appear as frequently used names concealing fragmented personae within the inter-woven social and discursive patriarchal constructs of art history. This is despite their location at the epicenter of Netherlandish print production. Mapping the fragmented literary and visual evidence surrounding these two important women onto the back-drop of patriarchal Netherlandish art history's canon of praise suggests a new model for understanding their multivalent forms of creativity.
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In epideictic oratory, ekphrasis is typically identified as an advanced rhetorical exercise that verbally reproduces the experience of viewing a person, place, or thing; more specifically, it often purports to replicate the experience of... more
In epideictic oratory, ekphrasis is typically identified as an advanced rhetorical exercise that verbally reproduces the experience of viewing a person, place, or thing; more specifically, it often purports to replicate the experience of viewing a work of art. Not only what was seen, but also how it was beheld, and the emotions attendant upon first viewing it, are implicitly construed as recoverable, indeed reproducible. This volume examines how and why many early modern pictures operate in an ekphrastic mode: such pictures claim to reconstitute works of art that solely survived in the textual form of an ekphrasis; or they invite the beholder to respond to a picture in the way s/he responds to a stirring verbal image; or they call attention to their status as an image, in the way that ekphrasis, as a rhetorical figure, makes one conscious of the process of image-making; or finally, they foreground the artist’s or the viewer’s agency, in the way that the rhetor or auditor is adduced as agent of the image being verbally produced.
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This chapter discusses the painting Heliodorus Driven from the Temple by Maerten van Heemskerck. Heemskerck's design for his print of the Temple purification episode from 2 Maccabees retains the composition of Raphael's Vatican... more
This chapter discusses the painting Heliodorus Driven from the Temple by Maerten van Heemskerck. Heemskerck's design for his print of the Temple purification episode from 2 Maccabees retains the composition of Raphael's Vatican painting of the same episode but revises myriad details. The print's departures from its Vatican prototype provided discursive loci for a diverse, interconnected audience and highlighted crucial relationships between European religious politics and visual and literary interpretations of scripture. The print thus goes beyond imitatio and emulatio to embody a multivalent translatio , the interrogation and revision of received authority. Heemskerck's Heliodorus neither 'reproduces' Raphael's painting, nor reinvents the same episode from Maccabees with a new composition. Finally, the print extols the visualization of biblical text via close looking and referentiality, analogs to close reading and typology. Heemskerck's Heliodorus Driven from the Temple interrogates the very nature of judicious exegesis. Keywords: 2 Maccabees; Heliodorus Driven from the Temple; judicious exegesis; Maerten van Heemskerck; Raphael's Vatican painting; translatio
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Research Interests: Art and Introduction
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Table of Contents List of Illustrations Notes on Contributors Preface and Acknowledgements 1 Genre: Audience, Origins, and Definitions Arthur J. DiFuria 2 The Value of Play in Early Genre Painting: Lucas van Leyden's Card Games Jessen... more
Table of Contents List of Illustrations Notes on Contributors Preface and Acknowledgements 1 Genre: Audience, Origins, and Definitions Arthur J. DiFuria 2 The Value of Play in Early Genre Painting: Lucas van Leyden's Card Games Jessen Kelly 3 Moralizing Dialogues on the Northern Market Economy: Women's Directives in Sixteenth-Century Genre Imagery of the Antwerp Marketplace Annette LeZotte 4 Jacques Jordaens's Twelfth Night Politics Irene Schaudies 5 For the Pleasure and Contentment of the Audience: Gerrit van Honthorst's The Merry Fiddler: Promoting Civil Behavior in Early Seventeenth-Century Utrecht Sheila D. Muller 6 Adriaen van de Venne's Cavalier at a Dressing Table: Masculinity and Parody in Seventeenth-Century Holland Martha Hollander 7 Rembrandt and "Everyday Life": The Fusion of Genre and History Amy Golahny 8 The Rustic Still Life in Dutch Genre Painting: Bijwerck dat Verclaert Alison M. Kettering Index