RKD STUDIES

Volume 2, page 80-89

... ut he still wanted to return to Italy every year. But that did not happen, for his wife and good friends, which included people of the first rank, repeatedly forbad him and foiled his intention, so that it did not come to pass later on.At that time he made many important art works and would have made even more if he had not had so many commendable people in his train who steadily distracted him from his work for his eloquence and intellect in both spiritual and worldly matters....

... ght conception that he had of distinct treatments had him undertake everything, even painting with thumb and fingers, following in this Cornelis Ketel, whom Karel van Mander I mentions on page 195 of his book. To this end he took as subject one Hans Horions II, supervisor of the cathedral tower and servant of the chapter, who was a lover of art who occasionally also handled the brush. This portrait was a good likeness and looked as lively from a little distance...

... David Amourij.But the only and most elaborate art work that is known in Holland (the remainder has been bought up and shipped to foreign courts) is with the heirs of Mister Wiltschut in Amsterdam, which is painted in such detail that it does not have to yield to the art of Gerard Dou or Frans van Mieris I. Nevertheless people often heard him say that it saddened and hurt him that he could not execute with both his hands...

... so of Denmark, and finally of Queen Christina of Sweden, who loved him above all others, gave him various presents and made him her First Chamberlain. Women (the saying goes) love Men, and they know why.At that time he decided to make a journey to Holland while her Majesty was planning a pleasure journey to France and the pass some time in Paris. To this end he took leave from her with the pretence of wanting to visit his friends,...

... ns that paint and change are lost by this?Far from doing him any harm this procedure, as the saying goes, brought him sparkling advantage. His friends witness that through this profitable opportunity he had received nine golden chains and medallions as gifts from kings and rulers, amongst these one from his queen. Indeed, this great woman did much to secure renown. See here reader (vulgar art is on occasion as tasteful as the most precious) a slight example. In the city of Sankt Goar, in the Earldom of Hessen,...

... 653, being in Rome, he was paid great homage by the Bentvueghels [= Birds of a Feather] (I would prefer to call them snatchers because he himself was the Bentvueghel that they fleeced), which appears from the tail end of the verse which they chanted at his baptismal meal. Add to this that his Bent name was signed by sixty hands, you can figure out what this delicious meal must have cost him. See here a copy of the verse:Your friendly countenance and polite speechClearly point out that thou art the personWho often portrayed the Queen of Sweden,With your famous brush, so valued by the crown....

... es that they should also offer some to their master, who liked it so much during his lifetime. He gets up at once and pushes the wine goblet to his mouth. Having come to himself a little (to all appearances) from the scent of the wine, he opens his lips and slurps up a little. Seeing this the servant is not distracted but says to his mate, look our master also loves wine after his death, and holds the glass to his mouth once more, from which he...

... n he was married and saw the birth of seven sons and three daughters.After the death of David Beck the Londoner ALEXANDER COOPER (after he had stayed in Amsterdam for a while) came to the court of Sweden and then into the service of Queen Christina. He was in his time taken for the best portrait painter in water colours, having learned the art with one Peter Oliver, an Englishman who had painted many large histories in water colours for King James VI and I and Charles I of England, which, placed in a gallery, kept their status for a long time.Around that time Joachim von Sandrart I also mentions an...

... in which he became so outstanding that he may be compared to the best of his times, so that he also had the honour of painting the portrait of Emperor Ferdinand II in Vienna [3].He also had a daughter [= Clara Tilman] who practiced art. I have seen landscapes, figures and especially flowers by her which were painted in detail after life in water colours.His portrait, engraved by Christiaan Hagen in 1668 [4], when he was 67 years old, has come out in print, below which it says,...

... ZORG to take with him, just as it is said to his renown that he once accepted a sack with 1,000 guilders which no one later claimed. He announced to everyone and after a long time discharged himself of it by giving it to the providers of the poor of the Reformed church on the understanding that if the owner were to turn up, they would be responsible and have to give account of themselves.This good old man having died, the market shipper business fell to our HENDRICK MARTENSZ. SORGH, which did not keep him from painting...

Volume 2, page 50-59

... was from Antwerp and the highest supervisor of fortification architecture. His precise contemporary and fellow artistPIETER MEERT, born in Brussels, was an artful portrait painter. Samples of the praiseworthy art of his brush are now still to be seen in various guild and trade rooms in Brussels.They testify that there are no worldly treasures, or jewels.To be found as beautiful as the work of his brushes.To speak with Cornelis de Bie....

... orated some of his pieces with figures and animals, to which end he sought out the mentioned Weeninx in his home, located between Maarssen and Breukelen, outside Utrecht, where he lived in unmarried state for many years on end. The profit his art practice brought him along with what he had from his parents was only just enough to manage in bourgeois fashion, so he was also one of those who saw Fortune from behind.I do not know in what year he died, but I do know that he died outside Utrecht in St. Job’s hospital and was buried in that city....

... ainting. Indeed, his way of handling and sound arrangements were able to charm the Spanish court, for which he painted many flower pieces, by which his name and art have become famous. But what further consolidated his fame was that he had three daughters, Maria Theresia van Thielen, Anna van Thielen and Francisca Catharina van Thielen, who were paintresses, made a name for themselves and demonstrated that their innate nature, as much as or more than the instruction from their father, contributed to the formation of their art practice. They were still alive in 1660, and painted daily with zest and diligence, so tha...

... inted by the hand of a Koninck [= king]On small scale, while the Koninck’s stringsAnd holy harp song, and mannerI steadily follow, at the top of life’s years,One less than seventy. What is it?Even less than paint, a fog, a mist.So also Jan Vos on the same portrait:Now Koninck paints Vondel, the king of poets.He is also a king in the capturing of his portrait....

... is own artistic vocabulary and expressions, and shows how he achieved the power of his works through clarity instead of nasty black, in which respect he takes a side swipe at his master Rembrandt, who, although his figures in the foreground of his scenes stood in full daylight, did not hesitate (against nature) to have the sky in the background enveloped in dark night. The reader will discover the jab in the following poem on the sleeping Venus....

... Jupiter descends,Wild about the beauty of a perfect creature,Not in his own guise, but as golden rain.Did the bold brush of Zeuxis seduce the very birds,Here the chief of the gods is deceived by paint.Thus painting once reached its greatest heights.He died in Amsterdam, when it was recorded in October 1669. His portrait, based on his own painting, is seen in Plate B 3.At this time there lived in Alkmaar the painter ZACHARIAS PAULUSZ....

... to their feet so masterfully and artfully that it deserved to hang in a public place to be seen by lovers of art [5-6]. That is why, after the old shooting range collapsed on Monday the 12th of October, it was brought to the new range and placed between the two pieces by both his grandfathers, on his father’s and mother’s side. He was councilman and harbour master of the city and died on the 12th of May of 1661. In his memory, his widowed housewife, Anna van Hoogenhouck, had Pieter Ryckx, master sculptor, erect a...

... lay. In 1651 he became captain of a civic band, but as this brought him much distraction and kept him from his practice, he resigned so as to invest all of his time in the service of the goddess of art.Here also appears ADRIAEN VERDOEL I. Born on the other side of the Meuse, he had the great Rembrandt as his teacher of art, although others say Leonaerd Bramer and Jacob de Wet I, with whom he advanced so far in art that we...

... for their sacrificial slaughter and further everything that was used for that manner of religion as witnessed by ancient writers and shown on page 104 in a depiction in print (following Roman medals and other commemorative works), with an appendix concerning them on page 143, so that a practitioner of art wishing to depict such objects, having the true appearances of things readily at hand, would be able to avoid the mistakes often made concerning them....

... s of which the one was doubly multi-staged, the other single.The Greeks two flat crowns (diadems) and a continuous beam with three descending steps, or else fire or lightning.The Athenians the night-owl,* oxe or cow.--------* In addition to the night-owl being the impression of the Athenean coinage, one also sees it on a coin of Domitian, Anthony and Nero, and it is surmised that he had it minted to commemorate his Athenian journey. Seeing that an owl, or an oxe, was the common impression on Athenean money, from...

Volume 2, page 20-29

... r happier or more pleasant tidings in all his life than when they brought him this message.Arrived in Leeuwarden he found Jacob Adriaensz. Backer, a proper and diligent young man, as his room mate and colleague in art, who left with him for Amsterdam (after they had progressed so far as to be able to fly on their own wings), where GOVERT FLINCK, who had several prosperous relatives, for the first time found opportunity to give evidence of his art. But as at that time the style of Rembrandt...

... ped body, and also not deprived of financial means (charms that would suffice to supply four men), as his portion. But as there is nothing permanent on this earth, he was not for long the owner of this happy lot. Because (after she had brought a son into the world for him) she succumbed to the dropsy, from which she had already suffered before her wedding day, and died in the year 1649. This brought him much grief, as he learned the worth of his fortune through having to do without, and to which he had to resign himself like all others. Because...

... Field Marshal of this Republic, who also often came to visit him when he was in Amsterdam or invited him in return. He also had the honour to be in the favour of many prominent gentlemen of Amsterdam, and among these the Lord Mayors Cornelis de Graeff and Andries de Graeff, the latter often coming to visit him at his house. And with the first mentioned he associated so casually that he would often in the evening, tired of painting, go visit him without invitation....

... ing many times over with a connoisseur's judgement, but also knew how to choose the most beautiful and apply it to his purpose. This art, when it was sold after his death, brought in all of about twelve thousand guilders.In his widower's state he still painted two militia companies, of which one may still be seen in the great hall next to the fireplace of the musketeer’s shooting range in Amsterdam [2-3]. But his spirit inclined to greater ventures and urged on by the art of...

... to introduce power to his paintings without resorting to any bright or hard colours.Having gained great fame through these art works, all his thoughts now turned to the making of large works, which is why, in November of the mentioned year 1659, the Misters Burgomasters of the city of Amsterdam commissioned eight works to serve in eight corners of the gallery of the city hall [7], and still four others, a little smaller, to be placed in the arches. To this end he completed the models with great pleasure and diligence. In the eight large ones were to be depicted the wars...

... n torn away from the city,When he, chartered by her noble authorities,Would furbish the divine city hall with histories.As Tacitus expressed it as of old,Who teaches Romans to give way for the right of the Batavieren,Crowns the hero of painting with eternal laurels.Which image in print we followed in Plate B. 1. The same poet has also celebrated several of his art works in verse, such as a depiction of the severe military judgment of Titus Manlius Torquatus in the new city hall of the Amsterdam admiralty [9]....

... 26Severe MANLIUS orders his son put on trial,Who against father’s orders has fought the enemy.It is t...

... olaas Antoni Flinck has repeatedly declared to his friends that when he has tired of activities involving matters of greater import, he is not refreshed by anything other than the perusal of one or another of his portfolios of drawings, after which he can resume his activities as if refreshed.After him appears the handsome landscape painter PIETER PIETERSZ. NEDEK, his immediate contemporary. But I am not able to say anything about him other than that he was a student of Pieter Lastman and a native of Amsterdam, and that he died when about 70 years old (and still single).LATOMBE [= Abraham Latombe] was born in Amsterdam in 1616. He was overcome by wanderlust. He therefore travelled to Rome, where he spent ample time practicing ...

... ars, so that there are few of his works to be seen in these parts) baptized him with the name Pollepel Ladle.I do not know whether he employed such facile painting at the beginning or end of his life. But in Amsterdam there is a small painting by him in which one sees how Pharaoh with chariot and horses drowns in the Red Sea, painted entirely in the manner of Hans Rottenhammer. Its owner is the widow of the lawyer Nicolaas Muys van Holy. He died in Voorburg, but in what year I do not know....

... eptional facility are circulated, amongst others that having been attracted from Naples by the king of Spain [= Charles II of Spain] and having seen the king and queen for the first time, he painted both their portraits from memory and a day later (expecting to be knighted) sent them in advance to the King, to the great amazement of the royal household. It was therefore not unreasonable that in Italy they gave him the name of Luca va presta, that is Lucas walks quickly....

Volume 1, page 360-369

... king of Italian jokes, strange kinds of bows and bends of the body, and the making of inventive figures.Now nature had given him such a form that whoever saw him had to laugh at his misshapen figure, for his lower body was three times bigger than his upper body, he had a very short chest on which the head rested sunk between his shoulders and without neck. In addition he had a jolly and farcical disposition, as we will demonstrate with some instances....

... he relates the following (translated into Dutch): Bamboccio was able to collapse his upper body even shorter than normal, so that it seemed when he was dancing that he was only a human lower body on which a head stood, and even so he was so nimble and fast with his long legs that it was no trouble for him to jump over others. It happened one time that he, Nicolas Poussin and Claude Lorrain, and I (says mentioned Sandrart) had come to Tivoli to relax a little, and that he, seeing that there was a rain storm brewing, had le...

... he would do as well with the prices of his work as in Rome. Whereupon he decided to depart from there, so that in 1639 he landed in Amsterdam. He went from there to live with his brother, who was a schoolmaster in Haarlem, where he painted many artworks which were later sold for a high price and more than he would have gotten for them in Rome, so that his work was bought up in Italy and sent to Holland...

... he comedy of a man’s life is turned into a tragedy.It happened that when Bamboccio was in Rome and backed up by four more Dutchmen, he met a certain papist (who had punished and threatened them over the eating of meat during Lent) and threw him in the water. Andries Both was also present and involved. And it has been observed and investigated that all five of them found their end in water.I do not know the precise time of his birth, but the little that I know about him...

... back on stage next to others. Among these wasNICOLAES van HELT STOCKADE, born in Nijmegen in 1613. Few of his best works are to be seen here in these parts, seeing that he spent his best time in Rome and Venice. Thus we must deduce the praise that his art deserves from rumour carried here from France (where he made various large work for the King [= Louis XIII] with Joachim von Sandrart) and Sweden.His figures were firmly drawn, softly plump...

... hat a history only shows what transpired in a moment, and therefore found opportunity to capture the manifold changes and incidents in other scenes.Accordingly Mister Gerard van Loon says on p. 99 of his Inleiding tot de hedendaagsche penningkunde, such medals are to be dismissed on which the depicted matters are of such a nature that they could not have occurred at any one moment in time. For example, one may never depict on one and the same coin, the beginning of a battle, the surrender of the city, and the sack of the enemy’s possessions, while this can’t all happen in any one moment in time....

... a was Moorish. But to the best of my knowledge not one of the early or recent painters has heeded the truth of the history in that respect, but all have used Ovid, who says: truly a sea breeze stirred up her hair, and Perseus saw the lukewarm tears leaking down her cheeks. He will have thought that it was a marble statue, etc. This was possibly because they did not know or else took that freedom, seeing that a tanned skin is not as pleasing to the eye as a white skin....

... ntry and subject:On the Y, in wealth, they look after support in other daysThe keepers of treasure are a blessing for the burghers.One sees his portrait at the top of Plate R, to the left of Bamboccio.It is taken for one of the lucid propositions of natural science that individual nature and inclination as well as the similarity of features and other characteristics are passed on in or from...

... en, who was a renowned architect and art expert. In addition he was inclined to help along youths in whom he saw a good spirit and to share generously of his intellect with them. In that connection we will also praise him in the biography of Matthias Withoos. Willaerts was still alive in 1660 and lived in Utrecht.In that same year, 1613, was also born in Brussels JACQUES D’ARTHOIS. He was famous for his naturally loose and soft handling with respect to skies and able inventively to paint recession and trees with trunks overgrown with moss or...

... le, with the famous painter Bartholomeus Breenbergh. In his case some would wish to assure me that he was born in Utrecht and was the master of Cornelis Poelenburch.--------* Amaryllis was not so much used as a proper name than as an appellation between lovers. That is why Ludolf Smids, in his commentary on the love poetry of Ovid, says: This presumably refers to the Amarilletje of the chaste Mantuan; being a lover of chestnuts, as Virgil himself relates in the second Bucolics. Etc....

Volume 1, page 150-159

... palace in the forest outside The Hague.PETER SNAYERS, born in Antwerp in the year 1593, was during his life painter of the Archdukes Albrecht VII and Isabella Clara Eugenia as also of his highness the Cardinal Infant Ferdinand of Spain and still other princes. His art consisted of the painting of landscapes, but especially of land battles with their sad aftermath. And it is amazing that...

... in that distress.How yonder one who finds himself deprived of helpers:Also has to taste the fearful wound of the point of the blade,And from that open wound vomit up his doomed soul.There again are others mutilated in arm and foot,From wrestling with death, and swimming in their blood.The entire business and particular eventsOf war, no pen could describe as hideously.Nor also the distortion of the features when the distressSo oppressed a human being that he prays to death for help,...

... sisted of the painting of gold and silver plate, porphyry, lapis lazuli, and other precious stones, in which they took great satisfaction because of its precise and pure treatment. He returned to Brabant in the year 1623, where he painted many handsome portraits and compositions full of figures, amongst many in the church of Saint Gummarus in Lier, above the altar of St. Eligius [2-3]. This Adriaen was the father of Cornelis de Bie, who wrote Het Gulden Cabinet van de edele vry Schilder-const....

... er and child. He went to Italy either to improve in art or because he knew the saying that says: The fatherland is the stepmother of outstanding spirits; Envy has her place of birth there. He made many important artworks for Philip III and also for the Duke of Aarschot [= Philipp Charles d' Arenberg], who was in Spain at the same time. He was still alive in 1662 and lived in Rome, being 68 years old.His art practice consisted of the depiction...

... mpanied by implacable diligence, then the outcome of the business one undertakes is certain. So it went with JACOB JORDAENS. He took up the art of painting and succeeded, so that he gained the name of a great master in art through his implacable passion and diligence. He was born in Antwerp on the 19th of May 1594. As teacher he had Adam van Noort, whose daughter he later married. He made it his task early on attentively to copy the artworks both of Annibale Carracci, Titian and--------* Erasmus...

... when he was in his most expansive phase, which is why he saddled him up unsolicited with a great work and arranged for him to be summoned to Madrid to make cartoons in water paints for the tapestry weavers in the service of the court because he might possibly alter his handling by this work, or at least be away from home for the time being. Mentioned Sandrart also indicates that he later did not paint as powerfully luxuriously and elaborately because this colourful and hard way of painting clung to him....

... ichard ter Brugghen directs at Sandrart with respect to the biography that he booked for his father Hendrick ter Brugghen, and to apply to the writer the words of Baltasar Gracián, who says: There are people who turn everything into a crime, not through inclination but through their nature. They condemn the one for what they have themselves done and the other for what they wish to do. Which is why the saying goes:Oh shame where a master castigatesWho himself wears the guilt on his forehead....

... ring a cold winter. When one of the members of the household, being cold, blew in the hands, the Satyr, who was not used to seeing this, asked what it signified. He gave as answer: To warm cold hands. A little later, with the table set, and the hot mash having been served in a dish, he at once blew on it, so as not to burn himself. The satyr seeing this was amazed and asked why he did this. The head of the household said: To let it cool down. At once the Satyr got up, and said: that he did not wish to associate with those who blow cold and hot out of the same mouth, and left that second.Taken literally, the fable seems straightforward, but applied to two-faced human beings it serves as a warning not to associate with such as they because one cannot rely on them....

... ight dew and the fields are still covered by fog as if in a blue haze and the tops of villages and church towers are here and there beginning to appear in a golden sparkle, but that she shows her most picturesque features to those who make it their business to portray these on panel at the right moment. LUCAS van UDEN observed this, for people say of him that he broke out of his bloated sleep and got up at the crack of dawn and went to fields and forests,...

... f drawing and also of engraving or plate cutting, in which he was well advanced, as may be seen from a certain well-known print called Ecce Homo (which he also drew himself) [7]. But just as usually one national character excels in some aspect of sciences and craft, so Germany surpassed the Netherlands in the gilding of silver at that time. Thus Dirk was spurred on by inquisitiveness to undertake a journey there...

Volume 1, page 110-119

... book about The Vanity of Arts and Sciences) befell the Greeks and Italians because of the ambiguity of the word Φῶς, which could mean a man and a light, by which the one-time organizers of the feasts of Saturn, misled by the ambiguity of the word, for years offered a human being to Saturn, though they could have satisfied him by lighting wax candles or some other light. This miscomprehension of the people at last having been understood through instruction by Hercules, they later became wiser,...

... may still be seen to keep the memory of this practice alive. Where, above the festoons with offerings, tied to two horned skulls may be seen a so-called Pater, being a sacrificial bowl or the basin in which people were accustomed to catch the blood of slaughtered animals. See Oudaan’s Roomsche mogentheid, p. 557. This bowl served to drink from during the sacrifice for (as Mister Ludolf Smids’ notes in this margin notation on Ovid’s work). Rarely were...

... hich the sacrificial servants carried the wine to the temple or wherever the sacrificial service was conducted, and XIX., two different cups to pour the sacrificial wine on the altar or to fill the drinking bowls (after they had been filled from the offering jug named praefericulum or sympulum).XX. A small white earthenware jug with a narrow neck called Urceus, Urcelolus, or Guttus (Oudaan calls it a dripping jar) because the moisture came out in drops...

... d along with a bay leaf or other green branch to sprinkle the sacrificers or the offering, which sprinkling the heathens held in great esteem, imagining thereby to be cleansed of criminal stains. Virgil, describing the funeral of Misenus says that Coryneus, having placed the bones in a copper vat, sprinkled those who were around with clean water, using an olive branch as brush.Herewith we show XXIII., the holy-water font. This was placed at or in the entryway...

... runkenness and lewdness. We therefore wish to break off our digression here.With the opening of this new stage appear David Teniers and Hendrik van der Borght, followed by their contemporaries.An inexperienced helmsman may finally reach his harbour after much tossing about on the wild waves, but he who takes on an experienced pilot in time goes more surely.In the beginning DAVID TENIERS the elder took his direction from that experienced pilot in art Peter Paul Rubens,...

... ies and antique medals, which especially endeared him to the Earl of Arundel. He died at a good old age, but where and when has remained unknown to me up to now.Among the number of painters whom we find listed by Cornelis de Bie without any indication of their place of birth or time of death, or with whom they studied art, are mentionedWENZEL COEBERGHER. He was Praefectus Generalis Montium Pietatis Bruxellis, Alberti Archiducis quondam Pector humenarum Figurarum....

... e, eagerly and diligently continuing his art after the best models, but finally left for Brabant. In Antwerp, in the chapel of the archers in the church of Our Lady , he painted a Saint Sebastian larger than life [1], with some women in the background weeping over the martyr’s death of that saint, in whose features he showed the lines of death so naturally that all art lovers must have been amazed and astonished when they saw it. But it was his misfortune that the work...

... at what time he lived, to give him a place among the most commendable art practitioners. For the Archduke Albrecht, son of Emperor Ferdinand II, was born in 1560, married in the year 1599 and died in 1621. Thus (assuming nothing more precise turns up about it) we will place him in the year 1583.One sees his portrait, following the painting by Anthony van Dyck [3], at the top of Plate F, next to that of Lucas van Uden.In 1584 Leiden, fruitful in the production of artist, brought forth...

... ing, his father placed him with Adriaen van der Burch to be instructed in art, although he kept himself amused with medicine at that time, until he left for Amsterdam in the year 1601 to continue art under the tutelage of Cornelis van der Voort, then deemed to be the best portraitist, with whom he remained for about six years. And as the latter owned many artful paintings by other artists, he found opportunity to copy one now and then. Among these was a temple by Hendrik van Steenwijck, which he copied so artfully that the mentioned Steenwijk had difficulty...

... Leiden in the year 1613, so as to practice his art in quiet after having come to rest.People (the proverb says) live by change. That also appears from our David Bailly, for in the year 1623 he exchanged his bold brush for the finely cut pen and drew many detailed portraits in ink on parchment (which he then heightened with the brush) in which lovers of art took great pleasure.Around this time (in his Korte beschryving van Lugdunum Batavorum nu Leyden) Simon van Leeuwen...

Volume 1, page 20-29

... golden light on the Rotterdam saint.--------*In the year 1572.On the base of the statue one finds this by Joachim Oudaan:Here rose that great sun, and set in Basel:The imperial city honours and celebrates him sainted in his grave:This gives a second life to he who gave up the first;But the light of languages, the salt of morals, the heavenly miracle,Where pride is taken in love, and peace, and theology,...

... Is not honoured by a grave, nor rewarded with a statue:Hence the vault of the sky must here cover Eras...

... outlined with the pen and shaded with the brush, resembles the handling of Lucas van Leyden.One can see his portrait in Plate A, next to that of Erasmus, below which, beneath the addition of art implements, is a mask encircled by a snake (serving as an emblem of his way of life) is visible.Now follows in order of timeCORNELIS ANTHONISZ., born in Amsterdam. Of his brushwork one sees--------* For more on this see the Beschryvinge der stadt Delft, p. 763....

... bestowed a patent against copying of the same [5]. Prints of which remain amongst lovers of antiquities.And next to him appears:JAN de HOEY, born in Leiden in the year 1545. I do not know with whom he studied art or what he painted. The rust of time has erased his memory and left us only faint marks as evidence that there was such an artist in that early century whose brushworks were honoured by Henry IV,...

... Mander commemorates with only a few words) was BERNARD van ORLEY, born in Brabant, but in which city or year I know not, seeing that a long series of years have gone by and buried the recollection of events. But it may clearly be measured that he lived to a ripe old age, since he was a pupil of the great Raphael of Urbino, who died in the year 1520, only 37 years old, to the great loss of art, with our Van Orley following his example in 1550....

... (as also for the depictions of the Emperor and the most eminent of the court) he was richly rewarded.In Antwerp he painted for the canons the Last Judgment on a gilded ground to decorate one of their monastic chapels [6], and for the brotherhood in Malines a great piece in which St. Luke sits painting the portrait of the worthy maiden-mother Mary [7-8].MICHIEL COXIE later painted the exterior of the doors which protected this artwork from excessive light and dust....

... 26Which Van Mander also commemorates in the life of Michiel Coxie, pupil of our Van Orley, with these...

... ity that it is hardly to be believed. That, however, is apparent from the dates. The year after he had finished his first window in the year 1561, in which the Queen of Sheba [13] is depicted, Wouter completed the great window paid for by Duchess Margaret and given by her to the church [14]. In the year 1564 followed a work with the birth of Christ and in 1566 one with the expulsion of Heliodorus all within a space of six years [15-16]. And still Dirk was more deft in his work,...

... ething to communicate, they informed each other in writing. It is also witnessed that they did not did not claim great reward for their church work, which is also why they continued to make windows for as long as they lived.Dirk remained single and lived on the west shore of the Gouwe, above the turf bridge, where the Amsterdam ferry is to this day. He still lived in the year 1600.Wouter lived behind the fish market, on the north side, and married a woman of the old Van Proyen family [= Neeltje Goverts van Proyen] and left a son named Pieter,...

... lthough Mister Almeloveen claims that in the library of Mister Joachim Feller one or two books were found from which this art could be learned. What is the case I do not know, but I do know that nothing more was heard of the influence of that text. Mentioned Willem Tomberg does give some indication of the materials that they used for glass painting, but he confesses his ignorance about how they prepared the materials...

Volume 1, page 10-19

... useful dispositions and give thanks to my diligence, if theyTo the pleasure of my contemporariesRobbed miserly Time of time.But moving beyond all this, I wish to prepare myself to commence and propose to the modest reader if it would not be appropriate to take up every artist's Life where Van Mander left off? They will judge 'yes' with me because there are many artists such as Hendrick Goltzius,...

... ent them when there is something lacking. We will especially add for greater completeness those who were entirely neglected or totally missed by Van Mander, along with their portraits (based on the best paintings, drawings and prints that were to be had), namely Desiderius Erasmus, Bernard van Orley, Cornelis Anthonisz., David Jorisz., Hans von Aachen, Jan de Hoey, Dirck Crabeth and Wouter Crabeth I, and those of whom one can’t say with certainty that they made renowned works, namely Mr. Isaac Claesz. van Swanenburg, Jan Woutersz. van Cuyck etc....

... s that were in use of old. We also show in print various portraits of the ancient world rulers such as Antiochus Epiphanes, Philip of Macedonia, Alexander the Great, etc. as well as of philosophers, especially those whose dispositions contain material for depiction in brush or drawing pen, so as to be able to use true portraits instead of fictive ones in depictions. All of this we have based on their medals and marble heads, which are locked and kept as reliable impressions in art cabinets and which we will introduce between acts to delight the reader by these alternations (even as the spectators of the stage are amused at intervals by the play of strings)....

... not only youthful painters who want to turn to the practice of histories, but also lovers of art, so that they will be able to make infallible choices with informed artistic judgment.Should someone think that it is conceited to propose to judge on so many important questions and the noblest aspects of art, I answer them in this respect like the mentioned Pels in his translation of Horace with respect to poetry, though with a few alterations:I will be like the whetstone, which can sharpen the iron,Though it remains dull itself; I will teach howOne ought to paint, although I do not do it myself;...

... rs, leaf through books with pursed forehead. A chain of consecutive matters of similar nature makes the reader sad, and though deliberate obscurity may well be a way to fill the reader with wonder at the intellect of the writer, it is also true that a reticent or enigmatic style and unknown or tangled words choke the meaning, so that the reader who is not accustomed to this does not understand what he reads, a burden not to be expected of my...

... cause glass painters as well as painters in oils must be seen to be builders and disseminators of art in those early times, from whom still others sprang forth and were formed by their art lessons and models, including amongst others the father of the famous Anthony van Dyck, who in his days was a glass painter in ‘s Hertogenbosch. As also the brothers Dirck and Wouter Crabeth, of whom Gouda is still proud, who produced and left a son and sundry commendable masters etc....

... ttention to this, for he places Michiel van Mierevelt, born in 1568, before Hendrick Goltzius, born in 1558. Nor did Cornelis de Bie heed this all that closely, but sometimes put one ahead of another. On this account, or as a consequence of our proposed method, the first to appear after the opening of our GREAT THEATRE of PAINTERS, with his portrait, is...

... rudiments of literary studies) placed him in the house of the brothers in s’Hertogenbosch, with the intention of raising him to the monk’s cowl. But as the plague increased steadily, he again turned to his guardians, who had no intention other than to make the monastic life palatable, so that agreeable to their wishes he went to the renowned monastery named Sion, located close to Delft. This was around 1486.The probationary years gone and asked what...

... to charm him with fine words. He therefore went to the monastery Emmaus, called ten Steene, near Gouda on the Yssel. Now whether it was affection for his old friend, the abundance of distinguished books, which were then not so readily come by as today, or that the rules of that monastery were not all that restrictive about limiting the activities of their monks, I do not know, but I find reason to believe the latter, seeing that as part of his recreation...

... was secured from the rubble by the praiseworthy arts of writing and printing in spite of ravenous time.He died in Basel on the 11th of July, 70 years old, and left an imperishable reputation on account of his learning.Those with power of attorney over the division of his estate had a distinguished grave erected in Basel,--------* This was Cornelis Musius, prior of the St. Aachen Cloister in Delft, who was later maltreated with barbaric cruelty and finally strangled at the order of Lumey, Count van der Marck. See Beschryvinge der stadt Delft, p. 444....

2010-2017

... and at bottom right: FINE ART PRINTING (mirror writing) edition: 33? impressions: Ist state: CU, inv. 2011-P-115: with plate tone, printed in brown ink (inscribed a...

... gin, in pencil: 18, 14 I) CU, inv. 2011-P.108: with plate tone, printed in blue and brown (?) ink, lettering covered up by ink (inscribed at margin, in pencil: Payne (?) 24, 16 I 2011) FK: with plate tone, printed in dark blue and black ink (inscribed below the plate, in pencil: Letter from oblivion à Charles & Jan Piet Frans pannekoek 21/35; and at margin: exemplaire à moi mème frans pannekoek janvier 2011, payne grey – blue, 26 f.p.at right: a letter from oblivion) CU, inv. 2011-P.109: with plate tone, printed in black and blue ink, lettering illegible (inscribed at margin, in pencil: 30, 17 I 2011) CD, gift 2015, printed in brown ink, washed with blueish watercolour (inscribed below the plate: KRAB voor Charles en Niovy; and at lower margin, in pencil: 17-I-2011, 33) RP-P-2017-1120-58: with light plate tone, printed in black and blue ink (inscribed be...

... ist, February 2011 (plate from December 1992, reworked in February 2011) drypoint, 64 × 98 mm, lettered in the plat...

... mo la Duquesa de Alba! à MOI, 28 Mayo 2016) CU, inv. 2018-P.53: printed in brown ink (inscribed at margin, in purple pencil: 20 VII 29 Mayo 6, Duquesa luminosa) CU, inv. 2018-P.54: with plate tone, printed in blue ink, lettering not inked (inscribed at margin, in purple pencil: GALA SUSANA, No 24, 29 MAYO 2016) CU, inv. 2018-P.49: printed in blue ink, lettering not inked (inscribed at margin, in purple pencil: Susana Impresionista No 25 Mayo 30 2016 Andaluza) CU, inv. 2018-P.56: printed in brown ink, lettering not inked (inscribed at margin, in purple pencil: la buena jefa de los indios, 34 VII, 31 Mayo 2016) CU, inv. 2018-P.57: with plate tone, lettering not inked (inscribed at margin, in purple pencil: 35, 1 Junio 2016) CU, inv. 2018-P.52: with plate tone, lettering not inked (inscribed at margin, in purple pencil: 36, 1 Junio 2016) CU, inv. 2018...

... ink on paper smaller than the plate, lettering not inked (verso: inscribed in purple pencil: 30 XII, 23 V; inscribed in pencil: 24) CU, inv. 2018-P.16: impression printed in negative, with plate tone, printed in brown ink on paper smaller than the plate, lettering not inked (verso: inscribed in purple pencil: 30 XII, 24 V; inscribed in pencil: 25) CU, inv. 2018-P.19: with plate tone, printed in brown ink on paper smaller than the plate (verso: inscribed in purple pencil: 25 V, 2 I 2016; inscribed in pencil: 27) CU, inv. 2018-P.17: impression printed in negative, with plate tone, printed in blue and brown ink on paper smaller than the plate, lettering at upper left corner erased or not inked (verso: inscribed in purple pencil: 26 V, 31 XII, 2016; and in pencil: 29) VIst state: lettering added at upper left corner: (…) opresion CU, inv. 2018-P.20: with plate tone, printed in black and blue ink on paper smaller than the plate (verso: inscribed in purple pencil: 29 VI, 5.1 2017 estado de animo II; inscribed in pencil: 32) CU, inv. 2018-P.18: with plate tone, printed in black and blue ink on paper smaller than the plate (verso: inscribed in purple pencil: 31 VI, 6 1 17; inscribed in pencil: 34) CU, inv. 2018-P.21: with plate tone, printed in blue ink on paper smaller than the plate (verso: inscribed in purple pencil: Dry paper, 34 VI, 6 I 2017; inscribed in pencil: 37) IXth state: horizontal lined added at lower part of plate CU, inv. 2018-P.23: with plate tone, printed in brown ink on paper smaller than the plate (verso: inscribed ...

... n ink (inscribed at margin, in pencil: 10, dins 24 Jan 2017) CU, inv. 2018-P.27: with plate tone, printed in brown and blue ink (inscribed at margin, in pencil: 12, miercol, 25 I 2017) CU, inv. 2018-P.28: with plate tone, printed in blue ink (inscribed at margin, in pencil: 15, 26 I, 2017) VIth state: lettering along left plate mark extended: LA LINEA RECTA CU, inv. 2018-P.30: with plate tone, printed in brown and red ink (inscribed at margin, in pencil: 22 VI, invasión, Sabado, 28 I, 2017) CU, inv. 2018-P.31: with plate tone, printed in red ink (inscr...

... scribed at margin, in pencil: 9 III, 8 febrero, traversia del Pantano) CU, inv. 2018-P.40: with plate tone, printed in black and blue ink, lettering illegible (inscribed at margin, in pencil: 11 III, traversia del Pantano, 8 febrero 2017) CU, inv. 2018-P.41: with plate tone, printed in brown and red ink (inscribed at margin, in pencil: Crossing the lake, 13 III, 9 febr 2017) comments: the grebe is crossing the lake, just like love and the muse. (6 other prints; 13 III - 9 February 2017). ...

... margin, in pencil: 6 V, 12 II 017) comments: Dolores is the grandmother of the artist's muse Susana. ...

... in upper centre: (…) siempre (…) MACHISM MASA, MUSA 41, SIN edition: 15 imp...

... n brown ink (inscribed at margin, in pencil: 7 II, 20 III 2017) comments: fur boots and cat of the artist's muse. Refers to the fairy tale 'Puss in Boots'. ...

... CHAQE TRACE A ÇA PLACE, AUSENTE; and at lower left corner: 26 (…) edition: 35 impressions: IInd state: CU, inv. 2018-P...

2002-2009

... in pencil: f pannekoek; inscribed at lower right margin: 13) comments: location, Doñana National Park, Andalusia, The park of the Duquesa d’Alba, where Francisco Goya stayed as a guest in the palace.#]...

... que; at bottom centre: 2002 fp montfroc (mirror writing) de la main impressions: Ist state: CU, inv. 2003-P.67: with plate tone, printed in brown ink (signed and ...

... ate, at upper centre: Road to Barbate impressions: Ist state: without fence on the left CU, inv. 2003-...

... t lower left: Panne Koek 850 (…) impressions: Ist state: CU, inv. 2003-P.74: with plate tone...

... at bottom left: caños 2002, FP impressions: Ist state: CU, inv. 2003-P.99: with plate to...

... te tone, printed in brown ink (signed and dated below the plate, in pencil: f pannekoek 2002; inscribed at margin, in pencil: caños de meca) comments: Pannekoek (oral comment, December 2017): printed on a sheet of paper that is smaller than the plate 'to give it a Japanese appearance'. ...

... pencil: f pannekoek 2002; along right plate mark: f pannekoek 2002; inscribed at margin, in pencil: gedroogde vissekop, 11/21) CU, inv. 2003-P.81: with little plate tone, printed in brown ink (signed and dated below the pl...

... at lower left corner: FP, 2002 impressions: Ist state: CU, inv. 2003-P.64: with plate to...

... 7) RP-P-2017-1120-42: with light plate tone, reworked with brush in red (inscribed below the plate, with brush in red: I fpannekoek 2002; and at margin right: 20/20 10 sept.) CU, inv. 2003-P.88: with plate tone, printed in brown ink and retouched with watercolour (inscribed below the plate, with brush: AJO IV 12 sept 2002 f pannekoek; and at margin, in pencil: 25) exhibitions: Amsterdam 2010; Paris 2011 literature: Schatborn 2011, no. 49 (CU, inv. 2003-P. 86) ...

... min 1151 +; and at lower centre: fp (mirror writing) impressions: Ist state: CU, inv. 2003-P.89: with plate tone, printed in brown in...

... ribed at margin: 1, 8 oct 2002, sec v epais, 180) IInd state: lettered at upper centre extended, before (A Pisanello, 8,7 X): pegaso; and at upper right: illegible CU, inv. 2003-P.91: with plate tone, printed in brow...

... tone, printed in brown ink (signed and dated below the plate, in pencil: f pannekoek 2002; inscribed at margin: 7) CU, inv. 2003-P.95: with plate tone, printed in brown ink (signed and dated below the plate, in pencil: f pannekoek 2002; inscribed at margin: 15) exhibitions: Pannekoek 2010; Paris 2011 literature: Schatborn 2011, no. 50 (CU, inv. 2003-P. 98) comments: dedicated to ANNA: Anneke van Brussel. ...

... ower right corner: FP 2002 impressions: Ist state: CU, inv. 2003-P.53: with plat...

... oyo San Ambrosio & mangueta impressions: Ist state: CU, inv. 2003-P.59: with plate ton...

... 5/25) comments: Pannekoek (oral comment, December 2017): location, Saint-Vincent-des-Forts (Alpes-de-Haute-Provence), crashed there and had to be operated on his neck.#]...

... centre: DORP N.O. 86 edition: 25 impressions: Ist state: CU, inv. 2003-P.46: with plate tone...

... late, at upper centre: 30 XI 005 impressions: Ist state: CU, inv. 2007-P.31: with little pla...

... n pencil: 10) CU, inv. 2007-P.44: with little plate tone (inscribed at lower margin, in purple pencil: 15) CU, inv. 2007-P.43: with plate tone (inscribed at lower margin, in purple pencil: 24) exhibitions: Amsterdam 2010; Paris 2011 literature: Schatborn 2011, no. 49 (CU, inv. 2007-P.44)...

... ate, at upper left: FP 200(?) impressions: Ist state: CU, inv. 2007-P.46 (inscribed at...

... 48: with light plate tone (inscribed at lower margin, in pencil: 5/3, 26.10.2005) CU, inv. 2007-P.49: with light plate tone (inscribed at lo...

... plate tone (inscribed at lower margin, in purple pencil: 21) exhibitions: Amsterdam 2010; Paris 2011; Paris 2018 literature: Schatborn 2011, no. 57; Grison 2018, no. 59 comments: Pannekoek (oral comment, December 2017): first attempt at drawing a hand, the important thing is the fall of light on the hands. Uses a converted shoemaker’s press. A drawing of the complete composition of the arm and head in sketchbook Cuaderno de Chroner II, 2004-2005, CU, inv. 2007-T.5). ...

... -P-2017-1120-3: with little plate tone (inscribed at margin, in pencil: 24) comments: fishing boats on land, waiting for the tuna fishing-season. A carpenter is repairing a boat....

... entre: FP, 24 XII, Labyrintus Vitae impressions: Ist state: CU, inv. 2017-P.34: with surface tone ...

... f 2) CU, inv. 2010-P.18: with plate tone (inscribed at lower margin, in pencil: 11) comments: Anneke is looking in the direction of La Muela, the drawing was made near San Ambrosio.#]...

... 120-50: with light plate tone (inscribed at lower right margin, with brush in blue: 31) RH FM, P.197-2015 (donated by FP in memory of Carlos van Hasselt) An impression added in the deluxe edition by the Hercules Segers Stichting of Schatborn 2010. literature: Schatborn 2011, p. 6 comments: the artist found the cuckoo drowned in a water barrel next to his house on 12 June 2009. A preparatory study in sketchbook V, 2007-2011 (CU, inv. 2013-T-136: 12 VI (?) 09, vandaag verdronken in watervat)...

... .42: with plate tone, printed in brown ink (inscribed at lower right margin, in pencil: 9V) CU, inv. 2010-P.43: with plate tone (inscribed at lower right margin, in pencil: 1 July 17 V) VIth state: feather reworked in drypoint, lettering added at bottom centre, between (THIS IS) and (NOT A FEATHER, FP): STILL (vertical) CU, inv. 2010-P.44: with plate tone (inscribed at lower left margin, in pencil: 18/VI (…) 2 July 2009) CU, inv. 2010-P.48: with plate tone, printed in black and brown ink ((inscribed at lower right margin, in purple pencil: 26) CU...

... 4) CU, inv. 2010-P.5: with plate tone, printed in brown ink, lettering at upper centre not inked (inscribed at lower right margin, in purple pencil: 21) CU, inv. 2010-P.6: maculature impression, printed in brown ink, lettering at upper centre not inked (inscribed at lower right margin, in purple pencil: 22) CU, inv. 2010-P.15: with plate tone, reworked with brush in watercolour (inscribed at right margin, with brush: 26/IX BRAIN WASH (vertical); and at lower right corner, in purple pencil: 26) CU, inv. 2010-P.7: with light plate tone (inscribed at lower right margin, in purple pencil: 27) RP-P-2017-2011-52: with light plate tone (inscribed at lower right margin, in pencil: 28-29 (28)) CU, inv. 2010-P.9: with plate tone (inscribed at lower right margin, in purple pencil: 29, last! 30/31) literature: Schatborn 2011, p. 13 (CU, inv. 2010-P.10) comments: the print is based on the reproduction of a painting attributed to Hercules Segers in John Rowlands, Hercules Segers, London 19...

... tom left: FP 2009 edition: 29? impressions: Ist state: without giant CU, inv. 2010-P.19:...

... ft corner: FP 2009, voor de dorst edition: 25 impressions: Ist state: CU inv. 2010-P.25: with plate tone (inscribed at...

... ck and blue ink (inscribed at margin, in pencil: 20, 12 XI 09) IIIrd state: reworked with drypoint at lower right below tree CU, inv. 2010-P.33: with plate tone (inscribed at margin, in pencil: 25, last, 13 XI 09) comments: the title refers to Antonio Machado's 'Ligero de equipaje'. Pato refers to Ramón, a friend of the artist who was always singing while flying hang-gliders. ...

... orner: domingo 15 novembre; and at lower left corner: fp 2009 (…) edition: 25 impressions: Ist state: CU, inv. 2010-P.35: with plate tone (inscribed at margin, in pencil: épreuve 1, ...