Search

Search

Bibliography R – S

... de l’art (1700–1750), 2 vols, Paris 1964–71...
... on catalogues', in Feigenbaum & Reist 2012, pp. 86–103...
... istica universale illustrata)...
... 26), pp. 18–28...
... iss in Editorial 1953, pp. 33–4...
... iss, ‘Aelbert Cuyp’, Burl. Mag. 95 (1953), pp. 42–7...
... ish Collections, London 1973 [exh. NG, London]...
... iss, Aelbert Cuyp, London 1975...
... feu M. Blondel de Gagny […], Paris 1776 [Lugt 2616]...
... ischen Themen bei Rubens’, in Rubens 1981, pp. 105–35...
... ischen Bildthema bei Jan Massys’, in Cavalli-Björkman 1985b, pp. 35–46...
... ische Bauerngenre, 1600–1660, Munich 1986 [exh. Alte Pinakothek, Munich]...
... ische Malerei des Barock in der Alten Pinakothek, Munich/Cologne 2002...
... ish portraiture’, in Postle 2011, pp. 100–123, 251–2 (no. 71)...
... ew Haven/London 1984 (Studies in British Art)...
... istiani e Religiosi Cavalieri.” Nove secoli dell’Ordine di Malta in Piemonte, Milan 2000...
... ish Quarterly Review of Letters, Philosophy & Science 71 (1982), pp. 227–45...
... issance, Baltimore/London 1985...
... [2nd edn of Sparkes 1876; Bourgeois Bequest alone; alphabetically by artist]...
... p; Carver 1890; this catalogue has the new inventory numbers which are still being used; a separate sequence listing pictures not exhibited]...
... h with biographical notices of the painters, London 1905 [a revision of Richter & Sparkes 1892 with the addition of five p...
... p; dichiarate Da Cesare Ripa Pervgino [...] – Di nuouo reuista, & dal medesimo ampliata di 400. & pi Imagini...
... 1983 (Kataloge des Wallraf-Richartz-Museums Graphische Sammung, i)...
... L. Silver, Catalogue of the Flemish and Dutch Paintings 1400–1900...
... isseur 90, no. 374 (Oct. 1932), pp. 257–62...
... en 1961 (Yale Publications in the History of Art, xiii)...
... geles 1968 (California Studies in the History of Art, viii)...
... isberger, ‘Da Bril a Swanevelt. Tondi olandesi di paesaggio, 1600–1650’, Palatino 12 (1968), pp. 387–93...
... segno. Studien zur Geschichte der Europäischen Handzeichnung, i)...
... isberger, Bartholomeus Breenbergh. The paintings, Berlin/New York 1981...
... rnspijk 1993 (Aetas Aurea. Monographs on Dutch and Flemish painting, xi)...
... isberger and D. Cecchi, L’Opera completa di Claude Lorrain, Milan 1975...
... et al., Rembrandt? The master and his workshop, [Copenhagen] 2006 [exh...
... istoire et description de ses tableaux et dessins, 5 vols, Antwerp 1886–92 (vol. i, 1886; vol. ii, 1888; vol. iii, ...
... isjaren’, Onze Kunst 6/12 (1907), pp. 1–13...
... t sa vie et ses œuvres, 6 vols, Antwerp 1887–1909 [NB: vol. i is by C. Ruelens]...
... les (1635–1709)’, Kroniek van het Rembrandthuis 1992, no. 2, pp. 2–22...
... 635–1709)’, Kroniek van het Rembrandthuis 1993, no. 2, pp. 9–14...
... vue Belge d'Archéologie et d'Histoire de l'Art 77 (2008), pp. 91–...
... isure. The guardroom scene in Dutch genre painting of the Golden Age, Amsterdam 2010...
... isters Gemälde in 551 Abbildungen, Stuttgart/Leipzig 1905 (Klassiker der Kunst, v)...
... isters Gemälde in 565 Abbildungen, Stuttgart/Leipzig 1906, 2d edn (Klassiker der Kunst, ii). See also Rosenberg &...
... isters Gemälde in 551 Abbildungen, Stuttgart/Leipzig 19113. See also Oldenbourg 1921...
... isdael, Berlin 1928...
... 1600–1800, Rotterdam 1992 [exh. Musée des Beaux-Arts, Dijon/Institut Néerlandais, Paris/BvB, Rotterdam 1992–3]...
... isonné des dessins, 3 vols, Milan 1996...
... isters Gemälde in 643 Abbildungen, Stuttgart/Leipzig 1906, 3rd edn (Klassiker der Kunst, ii). See also Rosenberg 1906...
... is, Milan 2006...
... tment of Prints and Drawings in the British Museum, London 1977 [exh. BM, London...
... is 1992...
... nd watercolours by Van Dyck and his contemporaries, London 1999 [e...
... ish Museum, 2010, online: https://www.britishmuseum.org/collection/term/BIB6822 (Jul...
... isch [based on Benesch 1973]http://rembrandtcatalogue.net...
... ische Staatsgemäldesammlungen (eds), Peter Paul Rubens. Werk und Nachruhm [Gewidmet dem Andenken an Ulla Krempel], M...
... is des Beaux-Arts, Lille]. See review: Van Hout 2004c...
... intigjarig bestaan van het Nationaal Centrum voor de Plastische Kunsten in de 16de en 17de Eeuw, Antwerp 1985...
... istoffel van den Berghe […], Winterlandschap, c. 1615–1620’ in Van Suchtelen 2001, pp. [94–5], and p. 160...
... True, the Beautiful, and the Intellectual from the works of Modern artists, especially from those of J. M. W. Turner, Esq. RA, London 1843; ...
... d history of collecting’ (with a summary in English), PhD, Utrecht University 2008...
... Family, pt iii, Rotterdam 2003 (Hollstein’s Dutch & Flemish etchings, engravings and woodcuts 1450–1700, lxi)...
... is. Het ongeschreven verhaal van De Vrienden en de collectie, Louvain 2009...
... s 1611–1795, Munich, etc. 1996 (Documents for the history of collecting: Italian inventories, ii)...
... 1800 in bedeutenden Sammlungen. Illustriertes Gesamtverzeichnis, i)...
... eliges Danske Videnskabernes Selskab Historisk-Filosofiske Skrifter, 5, 3)...
... dia universale degli artisti. Indice bio-bibliografico A–Z / Enciclopedia universal de los artistas. Indice bio-bibliográfico A–Z, 10 vols, Munich/Leipzig 1999–2000...
... erre/Paris 1959 (Cahiers d’archéologie et d’histoire, iii)...
... is]...
... derlandse kunst en cultuur aan Duitse vorstenhoven in de zeventiende en achttiende eeuw, Apeldoorn 1999 [exh. Paleis Het Loo, Apeldoorn 1999–2000]...
... tterdam/Zwolle 1994 [exh. Historisch Museum Rotterdam 1994–5]...
... isters Gemälde in 537 Abbildungen, Stuttgart/Leipzig 1909. See also Glück 1931...
... feest! Hoogtepunten uit een academische collectie, Leiden 2014 [exh....
... ish: Dutch figure Drawings from the Seventeenth Century), The Hague 1981 [exh. RPK, Amsterdam/NGA, Washington 1981–2]...
... ists in Italy, Amsterdam/Zwolle 2001 [exh. RM, Amsterdam]...
... gt Collection, 2 vols, Bussum/Paris 2010...
... is), Guillam (Willem)’, in Saur, xxx, 2001, pp. 52–3...
... ische Malerei, Munich 2006...
... en des Ostfriesischen Landesmuseum Emden, xxvii) [exh. Ostfriesisches Landesmuseum and Emder Rüstkammer, Emden 2008–9]...
... de, Rotterdam/Amsterdam 2000 (Dutch and Flemish etchings, engravings and woodcuts ca. 14...
... ische kunstkamer’, OH 84 (1969), pp. 81–147...
... rei: das Motiv der spinnenden Frau’, Kritische Berichte 15/2 (1987), pp. 20–31...
... PhD, Yale University 1978] (Studies in Baroque Art History, iii)...
... unst, Tübingen [1968] (Monumenta artis antiquae, iii)...
... isdaels. Frühwerke und Wanderjahre, Hildesheim/New York 1981 (Studien zur Kunstgeschichte, xv)...
... istique, Brussels 1908...
... Isack van Ostade. Zeichnungen und Aquarelle. Gesamtdarstellung mit Werkkatalogen, 2 vols, Hamburg 1981...
... ister. Gesamtkatalog. Staatliche Museen Kassel, 2 vols, Mainz 1996...
... is’, in Turner 1996, ix, pp. 456–7...
... Isak] van Ostade’, in Turner 1996, xxiii, pp. 609–15...
... in Antwerpen und Neapel um 1640, mit einem Werkverzeichnis’, Wallraf-Richartz-Jahrbuch 66 (2005), pp. 109–38...
... andt: with a catalogue raisonné of his early Leiden work 1623–1632, Pete...
... in Thieme & Becker, xix, 1926, p. 144...
... s des écoles française et hollandaise, Haarlem 1904...
... ische Reproduktionen des 17.–19. Jahrhunderts nach Gemälden und Zeichnungen Adriaen Brouwers, Marburg 1985 (Studie...
... isanz-Prakken (eds), Das Zeitalter Rembrandts, Vienna/Ostfildern 2009...
... ish and Continental Gold and Silver in the Ashmolean Museum, 3 vols, Oxford 2009...
... Visscher, Roosendaal 1992 (Hollstein’s Dutch & Flemish etchings, engravings and woodcuts, ca. 1450–1700, x...
... osendaal 1992 (Hollstein’s Dutch & Flemish etchings, engravings and woodcuts, ca. ...
... erdam 1993 (Hollstein’s Dutch and Flemish etchings, engravings and woodcuts ...
... dam 1995–6 (Hollstein’s Dutch & Flemish etchings, engravings and woodcuts, 1...
... ischen Katalog der Gemälde und Zeichnungen, Berlin 1978...
... ischen Katalog der Gemälde und Zeichnungen, Berlin/New York 1982...
... Monographs on Dutch & Flemish painting, xviii)...
... 98 [exh. Städelsches Kunstinstituut und Städtische Galerie, Frankfurt]...
... 2006 (Aetas Aurea. Monographs on Dutch & Flemish painting, xx)...
... is paintings. A new biography with all accessible paintings illustrated in colour, Harmondsworth, etc. 1985 (19841...
... ists born between 1740 and 1800, Haarlem/Ghent/Doornspijk 2004...
... is world, London 2006...
... is time, The Hague/Maarssen 1990 (original Dutch edn 1989)...
... istory 36 (2013), pp. 568–607...
... mericas in the Philadelphia Museum of Art. A concise catalogue, Philadelphia 1994...
... ische Genremalerei in Schwerin. Bestandskatalog Staatliches Museum Schwerin, Petersberg 2010...
... , in S. Dupré and C. Göttler (eds), Knowledge and Discernment in the Early Modern Arts, London/New Yor...
... homann von Hagelstein (1588–1653)’, Wissenschaftliches Jahrbuch Zeppelin M...
... rke mit Themen aus der artike Mythologie und Historie, Petersberg 2011 (Studien zur internat...
... iscovery of the master, Edinburgh 2018 [exh. NGS, Edinburgh]...
... ish Paintings and Drawings at 56 Princes Gate London S.W.7 [collection of Count A. Seilern], London 1955...
... 001 (The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts ...
... uvre, Paris 1978 [exh. Louvre, Paris]...
... 1629’, in Tempestini & Settis 2009, pp. 6–38...
... ustrated summary catalogues of the collection of Old Masters. Old European art. Netherlandish art, I/3)...
... ist Church Oxford, Oxford 1967...
... ist Church Oxford. A selection, Oxford 1968...
... ist Church, Oxford, 2 vols, Oxford 1976...
... isitor’s guide, London 2000...
... ish painting, London 2007 [exh. The Queen’s Gallery, Holyroodhouse Palace, Edinburgh/The Queen’s Gallery, London 2007–8]...
... the Dulwich Picture Gallery, [London] 1999 [exh. Isetan Museum of Art, Tokyo/Hiroshima Museum of Ar...
... is seventy-fifth birthday, Cambridge, Mass. 1995...
... istorien- und Genremalerei des 17. und 18. Jahrhunderts aus den Beständen der Alten Pinakothek, Munich 1993 [exh. ...
... ischer Schlachtenmaler’, in Siefert 1993a, pp. 21–33, 58–9...
... isonné, Oxford 1984...
... isdael: eine Darstellung seiner Entwicklung, Berlin [1930, 19271]...
... schen Gemälde, 1350–1800 (Die Gemälde der alten Meister), Cologne 2007 (Die Sammlungen der Hamburger...
... es’, Technologische Studien Kunsthistorisches Museum [Wien] 5 (2008), pp. 140–...
... ists, i, New York 1978...
... s of the collection of Old Masters. Old European art. Netherlandish art, I/2)...
... istorians and Art Critics – II. Huygens on Rembrandt’, Burl. Mag. 94 (1952), pp. 260–64...
... is Critics 1630–1730, The Hague 1953...
... is Pupils and Followers, 2 vols, New York 1965...
... 1995 [sections were previously published as pts i and ii of Rosenberg, ...
... is paintings, drawings and etchings, New Haven/London 2001...
... isdael. Master of landscape, London 2005 [exh. Los Angeles County Museum of Art/Philadelphia Museum of Art/RA...
... isdael. Windmills and water mills, Los Angeles 2011 [exh. J. Paul Getty Museum, Los Angeles]...
... isdael, Amsterdam 1981 [exh. MH, The Hague/Fogg Art Museum, Cambridge, Mass. 1981–2]...
... angenburg”: de liefdesgeschiedenis van Aeneas en Dido’, Nederlan...
... r”: het aanzien van Jan van Mieris’, LKJ 8 (1989), pp. 287–307...
... is.” Naar aanleiding van Peter Hecht, De Hollandse fijnschilders [Hecht 1989] , OH 105 (1991), pp. 50–63...
... istory painting in Amsterdam, 1630–1650, Amsterdam 2015 (Oculi, Studies in the arts of the Low Countries, xiv)...
... nschilders. Van Gerrit Dou tot Frans van Mieris de Jonge, 1630–1760, Zwolle/Leiden 1988 [e...
... is van Poelenburch (ca. 1593–1667)’, PhD, Leiden University 1984...
... is van’, in Turner 1996, xxv, pp. 65–8...
... L. Vergara (eds), In his Milieu. Essays on Netherlandish art in memory of John Michael Montias, Amsterdam ...
... is van Poelenburch als portretschilder’, in Buijsen, Dumas & Manuth 2012, pp. 161–6...
... is van Poelenburch. 1594/5–1667. The paintings, Amsterdam 2016 (Oculi. Studies in the arts of the Low Countries, xv)...
... 4 (https://www.hkwalcheren.nl/pdf/01.04.2011_16:58DeWete_38_4_StadhuisInterieur.pdf (July 10, 2020)...
... raisonné of the Works by Pieter Jansz. Saenredam published on the Occasion of the Exhibition Pieter Jansz. ...
... to the galleries and private collections, in which a large portion are at present; and the names of the artists by whom they have been engraved; to which is added, a brief notice of the scholars & imitators of the great masters of the above schools: by John Smith, dealer in pictures, late of Great Marlb...
... kirche in Antwerpen’, Jahrbuch der Kunsthistorischen Sammlungen in Wien 65, N.F. 29 (1969), ...
... 659–1722 Rotterdam, Rotterdam 1973 [exh. Historisch Museum, Rotterdam]...
... el, Paris 2001 [exh. Louvre, Paris]...
... exh. Tate Britain, London/Grand Palais, Paris/Museo Nacional del Prado, Madrid 2009–10...
... Deuxième partie: écoles néerlandaises et école allemande, St Peter...
... Museum of Art: Aspects of Connoisseurship, vol. 1, Paintings: P...
... London 1876 [only the Bourgeois Bequest; alphabetically by artist]...
... co/New Haven/London 1997 [exh. Fine Arts Museums of San Francisco/Walters Art Gallery, Baltimore/NG, London 1997–8]...
... ische Annalen 116 (2005), pp. 237–48...
... nald de Leeuw. His favourite acquisitions for the Rijksmuseum, Ams...
... oire du goût au XVIIIe–XIXe siècles, Paris 2011 [exh. Musée National du Palais de Compiègne]...
... ist Weenix’, The Art Quarterly 11 (1948), pp. 181–98...
... ischen Künstler des 17. Jahrhunderts’, in H. Ladendorf (ed.), Festschrift Dr. h.c. Eduard Trautscholdt zum siebzigsten Geburtstag...
... ische Zeichnungen 1450–1850, 3 vols, Cologne/Weimar/Vienna 2011 (Die Sammlungen der Hamburger Kunsthalle, Kup...
... issance Art and in Modern Oblivion, New York 1983...
... is. Anatomy of a Tragedy, Jerusalem 2012 [exh. Israel Museum, Jerusalem]...
... e of the Collection of Netherlandish Painting, Wrocław 20062...
... ischen Jan Both und Jan Asselijn in Rom vor 1641’, Niederdeutsche Beiträge zur Kunstgeschichte 27 (1988), pp. 115–38...
... gen zu Herkunft, Stil und Arbeitsweise’, Wallraf-Richartz-Jahrbuch. We...
... ism, love and the antique in Van Dyck’s art’, Apollo 152 (Aug. 2000), pp. 26–33...
... ische catalogus, Brussels 1990 (Verhandelingen van de Koninklijke Academie voor Weetenschappen, Letteren en Schone Kunsten van Be...
... is de Vos’, in Turner 1996, xxxii, pp. 702–5...
... is colleagues in honour of Hans Vlieghe, 2 vols, Turnhout 2006...
... et ontstaan en nabestaan van twee enigmatische schilderijen’, in Van der Stighelen...
... . Watteeuw (eds), Pokerfaced. Flemish and Dutch Baroque faces unveil...
... euwarden/Zwolle 2018 [exh. Fries Museum, Leeuwarden/Gemäldegalerie Alte Meister, Museumslandschaft Hessen Kassel 2018–19]...
... ard, Venetian,Neapolitan, Flemish, French and Spanish Schools, to which are added, Remarks on the Pr...
... istance of S. A. C. Dudok van Heel and P. J. M. de Baar, The Rembrandt Documents, New York 1979...
... is Italian Followers from the Collections of the Galleria Nazionale d’Arte Antica di Roma, Venice 1998 [exh. Wadsworth Athe...
... Campen … new theories and old issues concerning other Caravag...
... is 1913...
... t (also in English: Jan Steen’s Histories), The Hague/Zwolle 2018 ...
... Brown 19942, pp. 100–102, no. 26. See also White 1985...
... ish landscape paintings from Dulwich Picture Gallery, [leaflet/poster; Bath] 1999 [exh. Holburne Museum, Bath]...
... issue of Les Arts plastiques 6/6 (1954)...
... ique; X Amateurs and scholars; XI Paris – Londres; XII A wealth of picture...
... ish Seventeenth-century Paintings. The Harold Samuel Collection, London 1992...
... 94 [exh. Fundación Colección Thyssen-Bornemisza, Madrid]...
... ish and Dutch paintings, Philadelphia 1972...
... is: the forgotten years of Herman van Swanevelt’, Burl. Mag. 145 (2003), pp. 199–205...
Bibliography N – P

... istic amulation with Rubens?’, in Kofuku 2004, pp. 123–38...
... is, F. A. Homann and W. S. Melion, Annotations and meditations on the gospels, 3 vols, Philadelphia 2003–7...
... d 17. Jahrhunderts. Ikonographische und koloristische Aspekte, Petersberg 2003...
... e von Godfried Schalcken (1643–1706)’, in Neumeister 2003a, pp. 339–57, 364–8...
... 0–1800, vol. i: Künstler geboren bis 1615, Petersberg 2005...
... ische Malerei, Munich/Ostfildern 2009...
... is Barlow (about 1626–1704)’, Country Life 149, 3853 (15 April 1971), pp. 884–6...
... ish Etchings, Engravings and Woodcuts 1450–1700, various places of publication, 1993–...
... ische Malerei 1430–1800. Museum der bildenden Künste Leipzig, Leipzig 2012...
... Leeflang & Luijten 2003, pp. 264–305, 327–32...
... anger’, Repertorium für Kunstwissenschaft 52 (1931), pp. 7–3...
... Isaacsz. (1568–1625). Court Painter, Art Dealer and Spy, Turnhout 2007...
... is, ‘The Rubens exhibition at Amsterdam’, Burl. Mag. 63 (1933), pp. 229–30...
... ish Paintings at Bruges’, Burl. Mag. 99 (1957), pp. 125–6. See also Grossmann 1957a and b...
... is time, 2 vols, London 1830...
... th-century Dutch painting’, 2 vols, Thesis master Dutch Art in European Context,...
... is [...], 7 vols, Rotterdam 1877–90...
... isters Gemälde, Stuttgart 19214 (Klassiker der Kunst). See also Rosenberg 1911...
... eröffentlichung vorbereiteten Abhandlungen über den Meister, Munich/Berlin, 1922...
... is (NG 194)’, National Gallery Technical Bulletin (2005), no. 26, p. 4–22...
... rts d’Orléans, 2 vols, Nantes 1981 [PhD, Paris-Sorbonne 1980]...
... sources du Baroque dans un milieu artistique italien, Krakow 1981 [PhD, Un...
... picture; the executive part under the management of Peltro William Tomkins, Esq. historical engraver to Her Majesty, 4 parts in 2 vols, London 1818...
... et Chardin. Les Pays-Bas et les peintres français du XVIIIe siècle, Lille 1985 [exh. Musée des ...
... ised edn of 19541)...
... issance, New York/Boulder, Colo. 1972 (19391)...
... is 1952–3 see Portrait 1952...
... is/Dublin/Washington 2017–18 see Waiboer 2017...
... et de son œuvre dessiné, 2 vols, Paris 1957...
... ist in England. With notices of private galleries, and remarks on the state of art, 2 vols, East Ardsley 1978 (Londo...
... istoriestukken in particulier bezit’, in Tümpel 1991, pp. 122–33...
... ish Galleries of Art. – no. vi. Dulwich College’ [part 1], New Monthly Magazine and Literary Journal 7 (1823),...
... ish Galleries of Art, London 1824...
... is 1884...
... istory 23 (2000), pp. 262–89...
... y Magazine 10 (1841), no. 595, pp. 265–6 [Ostade; DPG115]...
... is works with an introductory text, Oxford 1984...
... o (1516–1700). La difesa dell’isola, le città capitali, la c...
... re amateur de livres 1694–1736, 2 vols, Paris 1880...
... istory, 1616–2008, London 2008...
... issen zur Ikonographie des 17. und 18. Jahrhunderts, 2 vols, [Budapest] 1956...
... issen zur Ikonographie des 17. und 18. Jahrhunderts, 3 vols, Budapest 1974 [19561]...
... is 1708...
... is 1715...
... isz.; Karel) de’, in Saur, lxxiv, 2012, pp. 424–5...
... ische beeldende kunstenaars van de 19e tot de 21e eeuw, 2 vols, Antwerp 2016...
... ische Maler des XVII. Jahrhunderts, Leipzig 1960...
... is in Focus 18/2 (2005), pp. 6–21...
... rom the diary of the Rev. Francis Kilvert chosen, edited &...
... ists born between 1575 and 1630, Haarlem/Ghent/Doornspijk 1997...
... 1 [exh. Teylers Museum, Haarlem/Institut Néerlandais, Paris 2001–2]...
... rk 2015. See also http://knarf.english.upenn.edu/Plutarch/romulus.html...
... is zum 20. Jahrhundert, 2 vols, Worms 1988...
... sur le Muséum national 14 Janvier 1793, Paris 1992...
... ubens en zijn tijd / Rubens and his Age, Rotterdam [1990] [exh. Bv...
... sels 1952 [exh. Orangerie, Paris 1952–3]...
... ish art, Nottingham/London 1998 [exh. Djanogly Art Gallery, University of Nottingham/Kenwood House, London]...
... n 2011 [exh. Yale Center for British Art, New Haven/RA, London 201...
... ia de Fraeye, geportretteerd door Cornelis Jonson van Ceulen’, in Buijsen, Dumas...
... lleben 1559–1689, Lingen 2002 [exh. Villa Hügel, Essen/Kulturhistorisches Museum, Vienna] pp. 320–25...
... is Pronk’, Pronk-stukken. Mededelingenblad van de Stichting Familiarchief Pronk [newsletter of the Pronk family ar...
... coloris dans la peinture française à la fin du XVIIe siècle, G...
... ish edn: Van Puyvelde 1947...
Bibliography B

... isseur 90, no. 376 (Dec. 1932), pp. 377, 409–14. See also Roe 1932...
... isch 1966...
... ’. The Landscape of English Romanticism and the Dutch Seventeenth-centur...
... r Porträttyp, Würzburg 1934 [PhD, Rheinischen Friedrich-Wilhelms-Universität, ...
... is through the Apocrypha, Milwaukee 1976 [exh. Milwaukee Art Center]...
... [exh. NGA, Washington/DPG/MH, The Hague 2000–2001 [NB Dutch version is different]]. See review: Gaskell 2000...
... 26–52...
... 2007] [exh. The Frick Collection, New York/Louvre, Paris 2007–8]...
... isier (ed.), Divine Interiors. Experience Churches in the Age of Rubens, Antwerp 2016 [exh. Museum Mayer ...
... ish Portraiture before and after Van Dyck, 2 vols, London 1912...
... ond op twee plafonds. Iconografische aspecten van “Goden en te...
... issance, durée et chute des Estats de Lucinge’, Astérion 2 (2004) see https://doi.org/10.4000/asterion.92...
... is, ‘Fabeluitbeeldingen in de 17de-eeuwse Vlaamse schilderkunst’, in C. Kruythooft (ed.), Zoom op zoo. A...
... is, Rubens: Hunting Scenes, London/Oxford/New York 1986 (Corpus Rubenianum Ludwig Burchard, xviii (2))...
... is, ‘The Val van Phaëton/The fall of Phaeton’, in Kockelberg & Huvenne 1993, pp. 164–7...
... is, ‘Boel, Pieter’, in Turner 1996, iv, pp. 221–2...
... is, ‘(2) Paul [Paulus] de Vos’, in Turner 1996, xxxii, pp. 705–7...
... is, ‘Van Dyck’s drawings after the Antique’, in Vlieghe 2001, pp. 29–42...
... isch schilderij van Justus van Egmont’, in Van der Stighelen 2006a, ii, pp. 613–29...
... is, ‘Rubens en zijn atelier: een probleemstelling’, in Vander Auwera, Van Sprang & Rossi-Schrimpf 20...
... is, A. Merlotti and T. R. di Netro, ‘I Savoia. Storia di una dinastia’, in Castelnuovo 2007, pp. 21–90...
... Van Dyck a Genova. Grande pittura e collezionismo, Milan 1997 [exh. Palazzo Ducale, Genoa]...
... over, N.H./London 1994 (Studies in the History of Art, xlvi; Symposium Papers, x...
... derländischer und flämischer Meister des 17. Jahrhunderts aus ...
... – Verschollen. Die Verluste der Preuβischen Schlösser im Zweiten Weltkrieg....
... ist in...
... de la vie des auteurs qui la composent [...] exécutée sous la direction du sieur Fr. Basan, Paris 1781...
... iskerk te Antwerpen’, Bulletin Musées Royaux des Beaux-Arts de Belgique/Bulletin Koninklijke Musea voor Schone Kunsten van Bel...
... isoprichting van Pieter Paul Rubens’, in Goedleven 1992, pp. 43–96...
... rp 1992 [exh. Wallraf-Richartz-Museum, Cologne/KMSKA, Antwerp/Kunsthistorisches Museum, Vienna 1992–3. See also Mai & Vlieghe 1992 [NB these a...
... is, s.l. [2005]...
... i. Die niederländischen und flämischen Gemälde des 16.–18. Jahrh...
... ische Studien zu Rubens Kriegs- und Friedensallegorien’, Aachener Kunstblätter 45 (1974), pp. 125–234...
... isterwerke der Sammlungen des Fürsten von Liechtenstein. Gemälde, Zurich/Munich 1980...
... odbridge 2004 (Royal Historical Society Studies in History, n.s.)...
... is’, in Saur, xxxi, 2002, pp. 239–40...
... 265–8...
... is 1988...
... sts. I. German and Netherlandish Artists, 2 vols, London 2009 (Corpus Ru...
... ens als verzamelaar (also in English: A House of Art. Rubens as Co...
... isa di Giovanni Francesco Grimaldi, Bologna 2012...
... ist’, in Van Suchtelen & Van Beneden 2009, pp. 56–97...
... Antwerp/Brussels 2015 [exh. Rubenshuis Antwerp]...
... is 1947...
... iscellany 30 (July 1851), pp. 344–52...
... ish Yacht saluting a Dutch Man-of-War in the Port of Rotterdam’ [DPG608], in Conserving 1995, pp. 22 (fig.), 56–7...
... itut Néerlandais, Paris] (Collections flamandes et hollandaises des Musées de Province)...
... 9 [Kunst in Hessen und am Mittelrhein: 18 + 19; Beiheft. Schriften der Hessischen Museen]...
... andse landschap, Amsterdam 1978 [exh. Amsterdams Historisch Museum], pp. 135–56 (also in Holland 10 (1978), pp...
... hr. Klamt and K. Veelenturf (eds), Representatie. Kunsthistorische bijdragen over vorst, staatsmacht en beeldende kunst, o...
... eerssen and M. Mathijsen (eds), Free Access to the Past. Romanticism, Cultural Heritage and the Nation, Leiden/Boston 2010, pp. 17...
... 2011 (A. Gethmann-Siefert, B. Collenberg-Plotnikov, and E. Weisser-Lohmann (eds.), Kunst als Kulturgut, vol. 2), pp. 251–2...
... isering” van de National Gallery in Londen’, in: E. Bergvelt, D. J. Meijers and M. Rijnders (eds), Kabinetten, galerijen en ...
... 26–30): de ideale National Gallery van Pieter Christoffel Wonder en Sir John Murray’, in E. Bergvelt (ed.), P. C. Wo...
... 1735, 2 vols (a, essay volume; b, catalogue [exh. Amsterdams Historisch Museum]), Zwolle/Amsterdam 1992...
... ischen Maler des 17. Jahrhunderts, 3 vols, Munich [1948]...
... ish Painters of the Seventeenth Century, 3 vols, London 1970 [rev. edn, 19481]...
... ischen Maler und Zeichner des 17. Jahrhunderts, 5 vols, Munich 19804 [19481]...
... liner Kupferstichkabinett. Kritisches Bestandsverzeichniss, Berlin 2008...
... tions in the art of Albrecht Dürer and his predecessors’, Festschrift für Gert v...
... istory of Art, Vienna 1988...
... 264–5 (originally published in Arte in Europa. Scritti di Storia dell’Arte in onore di Edoardo Arslan, 2 vols, Milan 1966, i, p...
... ighe Croonen van Spaignien en Vrancryck, waer-inne begrepen is den ontsterffelijcken loff vande vermaerste constminnende...
... isseurship and technical research’, Burl. Mag 156 (Feb. 2014), pp. 91–8...
... istory paintings of Rembrandt’s pupils’, in Kofuku 2004, pp. 69–84...
... is good acquaintance, neighbour, and landlord,” truth and fantasy in Houbraken’s life of Karel du Jardin’, Burl....
... of the Seventeenth Century in the Rijksmuseum Amsterdam, i, Artists born between 1570 and 1600, Amsterdam 2007...
... l früher Historienbilder Jakob Jordaens’ und Anthonis van Dyck, Frankfurt etc. 1993...
... hnungen des 17. Jahrhunderts aus der Graphischen Sammlung Albertina, Vienna 1993 [ex...
... dle Ages’, Journal of Medieval and Renaissance Studies 25/2 (1995), pp. 163–76...
... issell, A. Derstine and D. Miller, Masters of Italian Baroque Painting. The Detroit Institute of Arts, Detroit/Lo...
... autres objets d’art. Avec diverses notes & notices historiques et biographiques, 2 vols, Paris 1857–8...
... istoire des peintres de toutes les écoles, iv–v)...
... iserende landschapschilders / Dutch 17th Century Italianate Landscape Painters, Soest 1978, rev. and enlarged (19651) ...
... d Private Collections, Amsterdam 1982 [exh. Provinciehuis, Zwolle 1982–3]...
... is 1997, pp. 32–57...
... B, Rotterdam/ Städelsches Kunstinstitut und Städtische Galerie, Frankfurt 1999–2000]...
... is Impact, Sydney/Zwolle 1997 [exh. National Gallery of Victoria, Melbourne/National Gallery of Australia, Canberra 1997–8]...
... isten in de beeldende kunst in de Nederlanden circa 1350–1650, Leiden 2000...
... y S. Woodford, Renaissance Artists and Antique Sculpture. A ...
... isti genovesi, Milan 2004 [exh. Palazzo Ducale/Galleria di Palazzo Rosso/Galleria Nazionale di Palazzo Spinola, Genoa]. See ...
... de Saboya (1588–1624)’, Reales Sitios. Revista del Patrimonio Nacional 24 (1987), no...
... is, Berlin 1996...
... ahrhundert, Berlin 1987 (Jahrbuch Preussischer Kulturbesitz, Sonderband 4)...
... lin 1930 (Staatliche Museen zu Berlin. Die Zeichnungen alter Meister im Kupferstichkabinett)...
... is Finson (Bruges, avant 1580–Amsterdam, 1617), Brussels 1970 (Académie Royale de Belgique. Classe des Beau...
... 70 (Études d'histoire de l'art [de l’Institut historique belge de Rome], ii)...
... ischen Künste 12 (1889), pp. 39–52...
... Meister der holländischen und vlämischen Malerschule im siebzehnten ...
... ish Painting, London 1909 [transl. of the rev. edn of Bode 1906a]...
... ische Maler deutscher Nation, Munich [1920]...
... chbildungen. Geschichte seines Lebens & seiner Kunst, 8 vols, Paris 1897–1905 (i, 1897; ii, 1897; iii, 1899; iv, 1900; v, 1901; vi, 19...
... is van Poelenburch’, in Spicer & Orr 1997, pp. 387–8, 439...
... istoffel van den Berghe: bloemen en landschap, recuperatie voor een schilder die zijn oeuvre verloor’, OH 71 (1956), ...
... ische Marinemalerei des 17. Jahrhunderts, Brunswick 1973...
... islaus Augustus as Patron and Collector, London 1992 [exh. DPG]...
... randt. Zeichnungen aus Weimar. Aus den graphischen Beständen der Kunstsammlungen zu Weim...
... the Frits Lugt Collection, 3 vols, Paris 1992...
... 1964] (Hollstein’s Dutch & Flemish etchings, engravings and woodcu...
... e, disegni e stampe nel collezionismo veneziano del Settecento’, i...
... ismo d’arte a Venezia. Il settecento, Venice 2009...
... ce-Museum Schloß Brake (30. Januar bis 1. Februar 2004), Marburg 2005 (Studien zur Kultur der Renaissance, iii)...
... nd die Renaissance im Norden, Munich 2002 [exh. Weserrenaissance-Museum Schloss Brake/KMSKA, Antwerp]...
... isdael, Jacob (Isaacsz.) van’, in Turner 1996, xxvii, pp. 324–30...
... issement, Amsterdam 2019...
... het Rijksbureau voor Kunsthistorische Documentatie ’s-Gravenhage ...
... skizzen, Zeichnungen. Triumph der Eucharistie. Wandteppiche aus dem Kölner Dom, ...
... d’Espagne au XVIIe siècle’, Bulletin Hispanique 58 (1956), pp. 421–52; 60 (19...
... re-numbered and arranged by H.M.R.), s.l. [printed in Salisbury] 1890...
... is (1598)’, Revue archéologique ser. 5, 30 (1929), pp. 256–70...
... la Société de l’Histoire de l’Art français (1967), pp. 141–52...
... istopher Plantin and engraved book illustrations in sixteenth-century Europe, Cambridge 2008...
... –1830, Cinisello Balsamo 2009 [exh. Musée National d'Histoire et d’Art, Luxembourg]...
... e Tamar and the Tavy: its natural history, manners, customs, superstit...
... n 1877–90, vi (1884–7), pp. 106–264...
... 26–8...
... rhunderts, 8 vols, The Hague 1915–22 (Quellenstudien zur holländischen Kunstgeschichte, v–vii, x–xiv)...
... is Ryckhals’, OH 35 (1917), pp. 1–11...
... du Musée du Louvre, i. Ecoles flamande et hollandaise, Paris 1979...
... iste Santerre)...
... is Agents in London and Italy, [London] 1982...
... iscipulorum J. R. J. van Asperen de Boer, Zwolle 1997...
... is Bega. Eleganz und raue Sitten, Stuttgart 2012 [exh. Suermondt-Ludwig-Museum, Aachen/Gemäldegalerie, Berlin]...
... in bedeutenden Sammlungen. Illustriertes Gesamtverzeichnis, i)...
... d with the […] intention of affording the most favourable contrast to modern art. etc. (A Catalogue raisonné of the Pictures now exhibiting in Pall Mall) [By R. Smirke, R.A.], [London, 1815]. See also Acc...
... ismus in Holland im 17. Jahrhundert’, PhD, University of Cologne 1958...
... istory of Tobacco and Tobacco smoking in the Netherlands, Groningen 1964...
... is, The Hague 1987...
... isen; Bakhuyzen], Ludolf’, in Turner 1996, iii, pp. 84–6...
... ist’s collection as a source of inspiration’, in Van den Boogert 1999b, pp. 90–139...
... (Oude tekeningen in het bezit van het Amsterdams Historisch Museum, waaronder de collectie Fodor, iv)...
... istory. The Constantine Series, London/Turnhout 2011 (Corpus Rubenianum Ludwig Burchard, xiii (3))...
... is 1938...
... isition in Focus, London 1983 [exh. NG, London]...
... isplay at the National Gallery, London 1991 [exh. NG, London]...
... is Pupils, Tokyo 1992 [exh. Bunkamura Museum of Art, Tokyo/Kawamura Memorial Museum of Art, Chiba/Yamaguchi Prefectur...
... ist” and “Samson and Delilah,”’ Wallraf-Richartz-Jahrbuch. Jahrbuch für Kunstgeschichte 55 (1994), pp. 43–54...
... ising the canon: the collector’s point of view’, Simiolus 26 (1998), pp. 201–12...
... istic Relations between Spain and England 1604–1655’, in Brown & Elliott 2002, pp. 41–68...
... istic Relations between Spain and Great Britain, 1604–1655, New Haven/London/Madrid 2002 [exh. Museo Nacional del Prado, Ma...
... is Workshop. Paintings, New Haven/London 1991 [exh. Gemäldegalerie, Berlin/RM, Amsterdam/NG, London 1991–2]...
... is voor Schone Kunsten, Brussels]...
... van Pieter Aertsen’, in Rubens and his World 1985, pp. 17–29...
... linus’, Jaarboek KMSKA (1980), pp. 261–329...
... isonné, Freren 1988 (Vlaamse schilders uit de tijd van de grote meesters, iv)...
... isual Theory. Painting and Interpretation, Cambridge 1991...
... istory of the importation of pictures by the great masters into England since the French Revolution, 2 vols, London 1824...
... ls of Europe, as well ancient as modern: being the newest, and most perfect work of the kind extant/done from the French of Monsieur de Piles; to which is added […], London 1706, pp. 354–480...
... added, an essay towards an English school, London [1754] 3rd edn; 17061, in which is now first inserted the life of Sir Godfrey Kneller, by the late B. Buckeridge, Esq., who wrote the greatest part of the English school, pp. 354–439. See also...
... isebach & Renger 1977, pp. 328–45...
... istocracy and noble business. Some remarks on Rubens’s financial affairs’, in Van der Stighelen 2006a, i, pp...
... eren. Kunsthistorische und kunsttechnologische Überlegungen zu einer wiederentdeck...
... des Musées de Province) [exh. Musée des Beaux-Arts de Lyon/Institut Néerlandais, Paris 1991–2]...
... ag 1600–1700, The Hague/Zwolle 1998 [exh. Haags Historisch Museum, The Hague 1998–9]...
... ber Amicorum presented to Rudolf E. O. Ekkart on the occasion of his 65th birthday, Leiden 2012...
... e 1994 [exh. Hoogsteder & Hoogsteder, The Hague/Hessenhuis, Antwerp]...
... ist, At Spes non Fracta. Hope & Co., 1770–1815. Merchant bankers and diplomats at work, The Hague 197...
... is Ryckhals (1609–1647). Een schilderende magiër uit Middelburg, Goes 1994. See review: Meijer 1995...
... is (1741–1825) ‘Lectures on Painting’. Das Modell der Antike und die moderne Nachahmung, Berlin 2005...
... chtlichen Gesellschaft, Berlin, 8 Oct. 1926, pp. 1–4...
... isegni, Bologna 1991...
... iii [essay volume II] Art and Culture), Osnabrück etc. 1998 [exh. Westfälisches Landesmuseum, Münster/Kulturgeschichtliches Museum and Kunsthalle D...
... ish Culture, Oxford 1998...
... is. A Summary Catalogue, The Hague/Zwolle 2004...
... isdael paints Bentheim), The Hague/Zwolle 2009 [exh. MH, The Hague]...
... ague/Zwolle 2002 [exh. MH, The Hague, organized by the Fondation Custodia, Paris]...
... Musées de Province, Paris/Montpellier 1998 [exh. Institut Néerlandais, Paris/Musée Fabre, Montpellier]...
Studio of David Teniers II DPG107, DPG109

... the pair on DPG112).DPG107 depicts a female pilgrim in a landscape, wearing heavy clothing and holding a staff and rosary; on her grey cape is a pilgrim badge; on her belt is a small portable religious sculpture, with wings to protect it. The picture is related to a drawing in Berlin (Related works, no. 1) [1], and a similar head of a female pilgrim, holding a coin, was in Amsterdam in the 1920s (Related works, no. 2). The woman in DPG107 looks very much like a figure in a series of five etchings of pilgrims by Teniers, in reverse (Related works, no. 3c) [3]. In the painting she has acquired a pilgrim badge, and what was a water gourd has become a triptych. The exact relation between the print and the picture is not clear. Teniers probably made the first versions of the paintings as models for the prints, and then he and his studio produced many copies of both paintings and prints. These are most probably later versions by the studio.DPG109 shows a bald old pilgrim doffing his hat, perhaps to ask for alms. He too holds a staff and wears a grey cape with pilgrim badge; from his belt hangs a water gourd. His figure also occurs, again in reverse, in the same series of five etchings by Teniers (Related works, no. 3a) [2]. The differences are greater here: in DPG109 he is full-face, whereas in the print he is almost in profile; in the print he has a shell-like pilgrim badge, whereas in the painting the badge seems to be made from another material; and his staff too is different. Again, the relation between print and painting is unknown. The same pilgrim is depicted in a painting in Dunkirk, possibly after the print (Related works, no. 3b). Two pictures of pilgrims in the Ashmolean Museum, about the same size as the DPG pair and painted in a similar rather crude style, are considered to be by the master himself (Related works, no. 4). They seem to be painted somewhat more proficiently than the ones in Dulwich. The figure in An Old Man holding a Long Wooden Staff (Related works, no. 5) [4] holds a different staff but has the same hat in his right hand; he is depicted in front of people sitting in a tavern, doing nothing. Klinge suggests that Teniers here intended the message that poverty would be the result of such a slothful way of life.233 Although the line dividing beggars and pilgrims seems to have been thin at the time, probably no such message was intended by Teniers (or his studio)....

Notes
... ...
... 0934/RM0001.COLLECT.184954 (May 23, 2020); and https://www.britishmuseum.org/collection/object/P_Sheepshanks-6762 (May 20, 202...
... ; White 1999a, p. 154, no. A 1035b. Another version of this picture is in the Musée des Beaux-Arts et d’Archéologie, Châlons-en-Champagn...
David Teniers II DPG314, DPG323

... e/images/289996 (June 15, 2018).EXHIBITIONSLondon 1953–4, p. 111, no. 399 (Teniers I); Antwerp 1991, pp. 42–5, no. 8A (D. Teniers II); Houston/Louisville 1999–2000, pp. 144–5, no. 44 (D. Shawe-Taylor).TECHNICAL NOTESSingle-member oak panel with horizontal grain and a slight horizontal warp. The paint is in good condition with only a few very small retouchings; there are, however, old losses in the centre and above St Peter’s shoulder that have been retouched at some stage without first being filled. In some areas the thin paint allows the grain of the panel to show through. There is raised craquelure towards the top right corner and in the dark part of the arch above St Peter; elsewhere the fine craquelure is predominantly vertical. Previous recorded treatment: 1933, glazing added to frame; 1949–53, conserved, Dr Hell....
... 89998: https://rkd.nl/en/explore/images/289998 (June 15, 2018).EXHIBITIONSLondon 1953–4, p. 111, no. 403 (Teniers I); Antwerp 1991, pp. 42–4, no. 8A and p. 52, no. 9 (in cat. no. 11); Houston/Louisville 1999–2000, pp. 144–5, no. 45 (D. Shawe-Taylor).TECHNICAL NOTESSingle-member oak panel with horizontal grain and a minor horizontal warp; there is a thin horizontal crack running across the sky in the centre (above the two birds) and the verso edges are slightly bevelled. The fine paint craquelure is predominantly vertical and there are several cracks in the paint, relating to the grain of the panel. The distant hills have retained their vibrant blue tint, indicating that the pigment used is likely to be a mineral blue; it has not been tested but has the appearance of ultramarine. There are small retouchings, including some on the Magdalen’s forehead, nose and sleeve. Previous recorded treatment: 1933, glazing added to frame; 1949, conserved (including frame), Dr Hell....
... TENIER FEC, c. 1634, copper, 37.5 × 56 cm. KMSKB, Brussels, 1257.3211d) David Teniers II, The Artist in his Studio, signed and dated D.TENIER.F and 1635, panel, 54.6 × 77.5 cm. Private collection [5].3312) Jan Steen, Self-Portrait with Lute, signed J. Steen, panel, 55.3 x 43.8 cm. Museo Thyssen-Bornemisza, Madrid, 373 (1930.110) [6].34These two paintings were already paired in Britton’s inventory of 1813, and continued to be in all subsequent gallery publications. Whether they were created as a pair, however, is debatable. In favour is the fact that the combination of St Peter and St Mary Magdalen is not unusual: both had erred before becoming saints, and both had tried to atone for their sins by life in the desert and contemplation. They are variations on a theme, using a very similar composition. Against the idea is the fact that in both paintings the figure sits on the left, so they do not form a balancing pair. (Another picture of St Peter in Penitence (Related works, no. 9d) was paired with an Annunciation, but again it is not known how or when they became pendants.)...
... s, as in the picture with gipsies in St Petersburg (Related works, no. 8).Interestingly, there are some grotto pictures by Teniers that have no theme, religious or secular: a painting in Washington (Related works, no. 4) [3] , which does have a cross at the far left; a drawing in London (Related works, no. 1a) [1]; and interiors in Berlin (Related works, no. 11a) [5] and in a private collection (Related works, no. 11d) [5]. It has been suggested that Teniers produced these ‘empty’ landscapes for a client to choose the subject to be filled in,42 as suggested in connection with the drawing mentioned above (Related works, no. 1a).Paintings of grottoes are shown hanging on the walls in several interiors by Teniers of the 1630s. They usually include hermits and penitents, and present a contrast to the scenes in the rooms – with titles such as Merry Company or Company at Table and The Prodigal Son between the Prostitutes (such as Related works, nos 11a and 11b). Kauffmann in 1943 interpreted the grotto in the Allegory of the Five Senses (which takes the form of a bourgeois conversation piece: Related works, no. 11c) as a reference to asceticism, as a contrast to the senses.43 Interestingly, in a self-portrait with lute by Jan Steen in Madrid (c. 1663–5) an oil sketch with a hermit seems to be depicted, the composition of which looks very much that of our two grotto pictures (Related works, no. 12) [6]. He seems to be a reference to spiritual contemplation in contrast to the joyous lute-player, a juxtaposition comparable to that in the Teniers interiors.44Two pictures similar to DPG314 and DPG323 appear in a self-portrait of the artist in his studio painted in 1635 (Related works, no. 11d) [5]. However, the picture with the composition which in Dulwich shows St Mary Magdalen is shown with seemingly different proportions to DPG323 and without the figure of the saint, so it may be a version of the Dulwich picture.45It has proved impossible to trace the provenance of DPG314 and DPG323 before Bourgeois’ ownership. Their absence from Desenfans’ lists, inventories and sales makes it possible that they were purchased after his death....

Notes
... vern; in the recesses of which a male saint is praying before a wooden cross.’ ...
... This picture shows no trace of the younger Teniers’ influence. Teniers is here still independent of the style of his son.’ ...
... le saint, rapt in holy musing, is ruminating. A large opened folio is before her on the ground.’ ...
... 26–9 (fig. 17). ...
... ...
... en/explore/images/290241 (June 26, 2018); Klinge & Lüdke 2...
... isch 1998, and Haskins 1993, pp. 95–6. ...
... is of the setting of the Magdalen myth in Provence see Saxer 1959. ...
... 26 See Friesen 1999. ...
... den: for instance that of Jan Jansz. van Rijn (1668), no. 133, lists Een rotse door Teniers (A rock by Teniers), Op te voorkamertje (in the little front room), and this could be a grotto picture (Erfgoed Leiden & Omstreken, archive notary K. Outerman, inv. 462, deed 268 – with many thanks to Piet Bakker). ...
Jan Frans SOOLMAKER

... ish painter, draughtsman and printmaker...
... guild there. It is likely that he became a member of the guild in Amsterdam, where in December 1665 his will was drawn up before an intended journey via Portugal to Italy; whether the trip was realized is not known. A signed Italian landscape bears the date 1668 (Mak van Waay, Amsterdam, 8 October 1973, not illustrated), which may be authentic; no other dated works are known....
... amp; Kervyn de Meerendre 1987, pp. 198–9; Van der Willigen & De Kinkelder 1993–98; Saur, cv, 2019, p. 57 (U. Heise); Ecartico, no. 6963: http://www.vondel.humanities.uva.nl/ecartico/persons/6963 (Nov. 26, 2017); RKDartists&, no. 73946: https://rkd.nl/en/explore/artists/73946 (Nov. 26, 2017)....
... Jan Frans Soolmaker, Landscape with Animals, c. 1660–65, panel, 37.4–37.6 x 49.3–49.6 cm. Musée d’art et d’histoire, Legs Gustave Revilliod, Geneva, CR0194 [2].7This is an Italianate landscape of the 1660s. It was catalogued in the Bourgeois collection in 1813 as by Cuyp, which at the time meant Aelbert Cuyp (1620–91); in 1859 Denning doubted the attribution, and suggested Aelbert’s father Jacob Gerritsz. Cuyp (1594–1652). In 1880 Richter and Sparkes demoted it to ‘Dutch School’. Although to modern eyes clearly not by Cuyp, the picture was considered good enough to occupy a central place in the passage to the dining room in Bourgeois’ house in Charlotte Street (a position also owed no doubt to its being rather large). It is reminiscent of Cuyp in its composition – a pastoral scene with an elevated foreground and a distant view to one side (cf. DPG4, DPG96) – but the curiously rather large herdsman and his cows and dog are quite unlike Cuyp. Comparison with two paintings by Jan Frans Soolmaker makes the attribution to him convincing (Related works, 1, 2) [1-2]....

Notes
... al and lucid; the herbage and plants in the fore-ground are beautiful; and the dog pointing at his game gives it additional interest.’ ...
... of one mind and one hand […] There is a rich sombre tone of colouring pervading this picture, and a fine bold simplicity of composition and of handling, which corre...
... ardly equal to Cuyp’s best manner. It might be by his father, Jacob Gerritsz Cuyp (1575–1649).’ ...
Jacob van Ruisdael DPG168

... sdael adopts a low viewpoint, magnifying the mills so that they dominate the landscape, and silhouetting them against a dramatic sky. Slive has commented that the handling and overall composition are similar to Ruisdael’s Windmill near a River and the Ruins of Egmond Abbey and the Buurkerk at Egmond-Binnen (Related works, no. 7), which shows an eight-sided mill.27 Here, however, unlike those two pictures, brilliant sunlight breaks through to illuminate a sliver of the landscape, monumentalizing an everyday scene. In this monumentality and drama Ruisdael departed from his early models, his uncle Salomon van Ruysdael (c. 1600/1603–70) and Jan van Goyen (1596–1656).DPG168 shows a landscape where windmills turn and people work. The choice of what is essentially an industrial landscape as a subject for painting is one of Ruisdael’s most important legacies, leading to Romanticism and its various 19th- and 20th-century descendants. As with all his works, it is difficult to decide whether the artist intended his picture to have an allegorical or symbolic meaning.28 Windmills were very common in the Netherlands at the time – for grinding grain, for keeping water out of the polders, and for water management in general. They were often depicted in prints,29 such as the Amstel Gesichjes, six picturesque views of the river Amstel by Abraham Bloteling after Jacob van Ruisdael probably made for tourists: in three of these prints mills feature prominently, especially in the frontispiece (Related works, no. 9) [5]. Today the windmill is an icon of the Netherlands, but in the 16th century windmills came to be given a wide range of meanings: as an icon of modern technology, as a symbol of the mind, of the fortune of man, of the evil world, or, in a more specifically Christian context, of the Eucharist and Redemption.30 As Seymour Slive has repeatedly pointed out, however, given the objects featured in Ruisdael’s paintings, almost any composition could be interpreted as symbolic. In the case of DPG168, it is perhaps best to say that while some of Ruisdael’s contemporaries may have seen symbolism in it, others may not.Given its dramatic nature it is not surprising that the picture should have attracted the attention of John Constable, who painted a copy in 1831 (Related works, no. 11) [6]. Constable visited the Gallery on 30 July 1830 with five other Royal Academicians, and chose the Ruisdael and five other paintings to copy in the Royal Academy school. He had long been interested in Ruisdael, writing in a letter of 4 February 1799 that ‘I shall begin painting as soon as I have the loan of a sweet little picture by Jacob Ruysdael to copy’.31 Constable’s copy bears an inscription under a label that reads ‘… by John Constable RA f. 1831 from the original painting by J. Ruysdael in the Dulwich Gallery’. Desenfans and Bourgeois had assembled their collection precisely to enable such copying. In Constable’s day the windmill had become an icon of an almost vanished golden age, whereas in Ruisdael’s time it was a vital source of Dutch prosperity.Parts of DPG168 had been overpainted, perhaps by Bourgeois. The overpainting was removed in 1996 (see Technical Notes), but the figures can still be seen in the Constable copy and in the print by Ralph Cockburn (1779–1820) [7].32...

Notes
... Ruisdaels (DPG168 and DPG105); the others are now Decker (DPG349), Van Kessel (DPG210) and Woodburn (DPG150); Decker and Van Kessel are in this catalogue; for Woodburn, see Ingamells 2008, p. 124. ...
... ch, spirited, and unaffected work. It is “the truth, and nothing but the tru...
... he foreground has been re-painted, probably by the artist himself.’ ...
... […] which may be the one he refers to in a letter of 4 February 1799 […] If so, the picture was in England by 1799. It is an early work, c. 1650/52.’ ...
... (June 27, 2020); see also https://www.britishmuseum.org/collection/object/P_1868-061...
... 26 (June 13, 2017); Slive 2005, pp. 40–41, no. 2; Slive 2001, pp. 145–6, no. 127. ...
... 10934/RM0001.collect.82181 (May 6, 2020). See also Jacob van Ruisdael, Panoramic View on the Amstel looking towards Amsterdam,...
... dat gebruikt werd voor de blekerijen om de loogvaten te stoken. Ten noorden van Heemstede lagen een flink aantal kleerblekerijen waar het linnen van de Haarlemse en Amsterdamse huishoudens werd gebleekt. Op de plattegrond van Floris van Berckenrode zie je de situatie van het veengebied en de lage zandduinen die daar aan grensden. Je ziet ook hoeveel afwateringsloten en -kreken in dat gebied liepen, waarvan de waterstand door molens gecontroleerd moest worde...
... ...
... iscussions Bakker 2004, pp. 262–98. ...
... uishes three types in Netherlandish prints: panoramic landscapes...
... 26 For a summary of the symbolic meanings of the windmill see Chong 1987d, also Ketterin...
... n influenced by the figure types found in the Cuyps in his own collection. ...
Jacob van Ruisdael DPG105

... ed by the dramatic landscapes. Back in the Netherlands, he had begun to paint landscapes with Northern motifs by 1648 — mountain views, rock and water scenes, and waterfalls – and he continued to do so for the rest of his career (Related works, no. 3). On the other hand, Ruisdael was already interested in waterfalls in the 1650s, and had presumably seen them during his travels in Germany. Furthermore, he was also following an earlier Dutch tradition of waterfall scenes, chiefly in prints and drawings by Hendrick Goltzius (1558–1617; Related works, no. 4) and Roelant Savery (1576–1639), who depicted mountainous scenes in the Tyrol (Related works, no. 5).54 The fantasy landscapes of Hercules Segers (1589/90–1633) were also earlier in depicting waterfalls (Related works, no. 6).A number of Ruisdael’s waterfall scenes contain elements that might be interpreted as symbolic – castles, ruined huts, and so on. Some critics have seen a connection between the waterfall motif and references in contemporary literature to the cascade, a topos for the transience of human life.55 The play on Ruisdael’s name found in Houbraken also comes somewhat earlier in religious moralizing literature: in the writings of Jan Luyken (1708) the emblem of a waterfall with the motto ‘Tot verdooving’, ‘To deafening’, points the contrast between the noise of the waterfall and the silence of God:Indeed, tranquillity came to this life,which now for so long and many daysinhabited this valley of noise [Ruis-dal],a place that must displease this life.Oh valley of noise [Ruis-dal], all vanity,from the turbulent and teeming lifethat the world gives in the realm of time,one must flee and forsake you.56Others, however, have rejected the interpretation of Ruisdael’s works as allegorical or symbolic, arguing that such moralizing is too unspecific for it to be decoded today.The present picture would presumably have attracted Desenfans and Bourgeois for its sublime, Romantic character. Others disapproved. German authors including Goethe, Schlegel and Kugler, and the 19th-century theorist Théophile Thoré-Bürger (1807–69), favoured the Heimath-getreuen, the painters faithful to the homeland: Dutch landscape painters should depict real Dutch landscapes, with features such as windmills. Painters who went to foreign countries, be it Scandinavia or Italy, were regarded as traitors.57...

Notes
... ted by Ruïsdael, and again by Sir F. Bourgeois who had not seen the former signature, &a...
... l [145] [DPG105] and Hobbema’s Water-Mill [131] [DPG87] […] Is not this a sad anti-climax, from Jacob’s Dream to a picture of a Water-Mill...
... long most merrily; and that part of it which is flowing over the shallows is as transparent as crystal.’ ...
... is too prominent, and the handling almost too broad. […] (No. 224).’ ...
... ure on this picture certainly tends to confirm the correctness of this observation.’ ...
... is earlier works.)’ ...
... andscape” in an undated Desenfans list of “Pictures to be sold.”’ ...
... erhaps the upright landscape in the list of ‘Pictures to be sold’: see not...
... 262; Slive 2005, pp. 218–19, no. 90. ...
... ishmuseum.org/collection/object/P_W-5-42 (June 27, 2020). ...
... ishmuseum.org/collection/object/P_1981-1212-11 (June 27, 2020). ...
... ishmuseum.org/collection/object/P_Sheepshanks-5519 (June 27, 2020). ...
... isdael and Van Everdingen see Davies 1978, pp. 217–29. ...
... al waard, / Een Plaas die ‘t Leven moest mishaagen. / Ô Ruis-dal, aller ydelheid, / Van ’t woelend en krioelend leve...
After Rubens DPG506, DPG450, DPG218

... (1972–3), by Vlieghe; in 1977 Vlieghe rediscovered the altarpiece as a work by Rubens (and studio). In DPG506 only the Holy Family is depicted, with the Child standing on a stone pedestal with one foot raised, probably meant to be resting on the leg of his mother; St Willibrord and the angels crowning him have been left out. Probably a print or a drawing after the altarpiece was the model for the (amateur) London artist. The only known print could not have been the model: by Schelte Adamsz. Bolswert, it shows only the Madonna and Child, in reverse; he added a fountain and inscriptions which made the scene into a Madonna as the source of life (Related works, no. 1d.I). A drawing by an unknown artist, probably 17th-century (Related works, no. 1c), shows the scene with about the same crop; the quality seems to be a little better than in DPG506. The original painting in the church of St Willibrord inspired Jan Boeckhorst for a composition for an altarpiece with The Holy Family and St Francis, known by a modello; here we see a saint kneeling on stairs with the Holy Family towering above him (Related works, no. 2)....
... ns); Denning 1859, no. 117 (unknown);831 Sparkes 1876, p. 150 (copy after P. P. Rubens); Athenaeum 1876, p. 133 (column 1); Richter & Sparkes 1880, p. 143, no. 117 (under old copies after Rubens); Richter & Sparkes 1892, p. 232 (not exhibited); Richter & Sparkes 1905, p. 128, no. 450 (Harvesting); Bouverie & Squire 1909, i, under no. 19 (Related works, no. 1b.I), pp. 12–13 (note 1);832 Cook 1914, p. 254; Cook 1926, p. 236; Cat. 1953, p. 35; Murray 1980a, p. 302; Broun 1994/1987, ii, pp. 148–9, no. 10;833 Beresford 1998, p. 215 (Manner of Rubens); Jonker & Bergvelt 2016, pp. 210, 215 (after Rubens); Büttner 2018a, i, pp. 117, 119, under no. 7, copy no. 2, ii, fig. 43; RKD, no. 294845: https://rkd.nl/en/explore/images/294845 (Aug. 2, 2019).TECHNICAL NOTESThis possibly unfinished work is painted on an oak panel consisting of two hori...
... Shepherd and his Flock in the National Gallery (Related works, no. 1) [5]. Its principal subject is a shepherd playing a flute in the evening, his flock around him. The relationship to the National Gallery picture was first noted by Murray in 1980. Denning in 1858 caused confusion since he mixed up the numbers that were previously 175 and 207, calling them both the ‘Two Rainbows’, which applies to DPG132 but not to DPG218.Peter Murray also asked in a note whether DPG218 could have been the picture once in the collection of Sir Joshua Reynolds that was sold as lot 72 at Christie’s, London, on 7 Feb. 1801 (‘Rubens – A Landscape by Moonlight, a fine serene effect with the rich and luxuriant colouring of this great master; out of the collection of Sir Joshua Reynolds’).850 However it seems more likely that that picture is the one now in the Courtauld Institute, London (Related works, no. 2).851The picture is testament to the high esteem in which Rubens’s landscapes were held in the late 18th and early 19th centuries. That the painting is on panel might suggest that it is an early copy, but until dendrochonological analysis is carried out this must remain a conjecture....

Notes
... Cartwright’s painting is, however, most probably an English copy of the mid-seventeenth century.’ ...
... 41 (fig. 4); Keiser 1966, p. 73 (Abraham van Diepenbeeck, The Holy Family with a Bishop; no inv. no. is given). ...
... ens (Rooses 1886–92, i (1886), pp. 259–60, no. 193); a proof retouched by Rubens is in the Museum Plantin-Moretus, Antwerp. For another impression see BM, London,...
... rg) are not relevant here, as the Holy Family chosen for DPG506 is in the centre. ...
... ...
... d one of the most indisputable productions of the Prince of colourists in existence. Lord Radnor has a duplicate of it.’ ...
... d tone, all over the scene; over the sky even, which could not have existed originally, when the work came from the painter’s hand.’ ...
... nning 1859, no. 117 (unknown): ‘A Copy, not from a picture by Rubens, but from a print of one his pictures, now in the possession of the Earl of Radnor. The Engraving was Bolswerts.’ ...
... n of the partridges, church spire, etc.) is in the Dulwich Gallery’. See also note...
... that subject. Büttner (2018a, i, pp. 116–20) mentions an original painting by Rubens with Jan Wildens as his no. 7, presumably lost, to be dated c. 1617–19. ...
... n.’ Büttner (2018a, i, pp. 117–18, 119, notes 15–17, under no. 7, copy no. 7, with further provenance, but whereabouts unknown) considers this picture to be his copy no. 7, which in 1909 was in the possession of the 1st Baron Barrymore: see Bouverie & Squire 1909, i, p. 12. ...
... motives charming, and spiritedly and carefully executed in a bright tone. The landscape is also very pretty’); Rooses 1886–92, iv (1890), p. 100: C’est probablement le même tableau qui, dans la vente du comte de Plettenberg et Wittem (Amsterdam, 1738), fut adjugé à 240 florins et mesurait 2 pieds de haut et 3 pieds 3 pouces de large. (It is probably the same picture that, in the sale of the Duke of Plettenberg and Wittem (Amsterdam 1738), was sold for ƒ240, and was 2 feet high and 3 feet 3 inches wide.) Note by Ludwig Burchard (RUB, LB no. 782 file): die Ausführung zu weich und zu unbestimmt als dass sie von R. selber herrführen könnte. Die Landschaft hat nichts, gar nichts von L. von Uden (the execution is too weak and indeterminate for it to be by Rubens. The landscape has nothing, really nothing, to do with L. von Uden). See also Bouverie 1890, p. 2, no. 15. ...
... 26 (Sept. 16, 2019); Büttner 2018a, i, p. 117, 119 (notes 8–11) under no. 7, copy no. 3, ii, fig. 46, gives further provenance; s...
... i, pp. 118–19 , ii, fig. 47; Galen 2012, pp. 280–81, Z 26; Lahrkamp 1982, p. 158, no. 110 (fig.). ...
... the website that Büttner mentions no longer exists. ...
... 26 Jameson 1842, ii, pp. 460–61, no. 117. Which print by Bolswert she means is not clear...
... ens; The genuineness of this picture is very questionable.’ ...
... .uk/paintings/peter-paul-rubens-a-landscape-with-a-shepherd-and-his-flock (July 29, 2019); Brown 1996, pp. 82–3 (fig. 79); Jaffé 1...
Peter Paul Rubens DPG285

... isting of two pieces of linen (see Technical Notes)...
... n yellowish paper, c. 139 x c. 148 mm. SMK, Copenhagen, Rubens’s Cantoor.5742e.IV) (in reverse) Anonymous Flemish after Peter Paul Rubens (2e.I), Mars and Venus, c. 1650–1700, inscriptions in Dutch, etching, 406 (trimmed) x 460 mm. BM, London, 1891,0414.855.5752f) Peter Paul Rubens (and studio?), Allegory of Peace (Minerva defends Pax against Mars), c. 1630–32, canvas, 231 x 340 cm. Alte Pinakothek, Munich, 343.5762g) Peter Paul Rubens, The Victorious Hero takes Occasion to conclude Peace, black chalk, watercolour and bodycolour, 383 x 477 mm. Staatliche Kunstsammlungen, Weimar, KK 5068.577Copies after DPG285 (or a similar composition)3a) (modello? or after Rubens?), oil on panel, 43.1 x 31.8 cm. Present whereabouts unknown (N. Fischmann, London, 1954).5783b) Engraving by Bolswert.5793c) Unknown French artist (previously attributed to Jean-Antoine Watteau) after DPG285 (?), Venus, Mars and Cupid, red and black chalk and bistre wash, 200 x 148 mm. Musée Bertrand, Châteauroux [4].5803d) Copy (after DPG285; Mars in different armour; Cupid completely different): Venus, Mars and Cupid, canvas (?), 101 x 77 cm. Maurice Lecomte collection, Rouen.5813e) Copy (after DPG285; with the figure of Cupid in a different pose): Venus, Mars and Cupid, panel, 40.5 x 25 cm. In 1996 in the Wolfgang Körner collection, Vienna (formerly Gustav Schütz collection, Vienna, Ehrenmitglied der Akademie der Bildenden Künste in Wien, 1937).5823f) Copy (after DPG285): Venus, Mars and Cupid, canvas (?), 163 x 114 cm. D. Heinemann, Munich (Photo RKD).3g) Copy: in George Scharf sketchbook, Venus, Mars and Cupid, 1859. National Portrait Gallery, London, 57 NPG7/3/4/2/68, p. 18 [5].5833h) Copy (after DPG285): possibly William Etty, Venus, Mars and Cupid, canvas, 78.5 x 62.5 cm. Present whereabouts unknown (Douglas Chome Wilson, 2013).5843i) Copy (after DPG285): c. 1900, canvas, unknown dimensions. Present whereabouts unknown (Photo RKD).5853j) Copy (after DPG285; only Venus and Cupid): Venus and Cupid, canvas, 185 x 122 cm. Present whereabouts unknown (sale 29 Oct. 1928; M. Arot Freviez collection, ? [unknown city in France or Belgium] 29,000 fr.).3k) Copy (after DPG285): David Wilkie, Mars, Venus and Cupid, panel, 10 x 11½ p. [sic], present whereabouts unknown (sale Lambert-Théodore Nieuwenhuys, Brussels, Étienne le Roy, 11–12 April 1855, lot 78).586Earlier compositions by other artists4a) Titian, Allegory of Marriage (‘Allegory of Alfonso d’Avalos’), c. 1531–2, canvas, 123 x 107 cm. Louvre, Paris, 754.5874b) Jacopo Tintoretto, Vulcan, Venus and Amor, c. 1550–55, canvas, 85 x 197.4 cm. Palazzo Pitti, Florence, 1912, no. 3.5884c) Jacopo Tintoretto, The Origin of the Milky Way, c. 1575, canvas, 149.4 x 168 cm. NG, London, NG1313.5894d) Paolo Veronese, Mars and Venus united by Love, 1570s, canvas, 205.7 x 161 cm. MMA, New York, John Stewart Kennedy Fund, 1910, 10.189.5904e) Otto van Veen (Vaenius) and (?) Peter Paul Rubens, Typus Inconsulte Iuventute or Allegory of the Temptations of Youth, c. 1595, panel, 146 x 212 cm. Nationalmuseum, Stockholm, NM 666.591DetailsVenus5a) Albrecht Dürer, The Penance of St John Chrysostom, c. 1496, monogram AD, engraving, 183 x 120 mm. BM, London, 1868,0822.186 [6].5925b.I) Titian, Venus with a Mirror, c. 1555, canvas, 124.5 x 105.5 cm. NGA, Washington, Andrew W. Mellon Collection, 1937.1.34.5935b.II) Rubens and workshop of Titian (5b.I), Venus and Cupid with a Mirror, canvas, 137 x 111 cm. Thyssen-Bornemisza National Museum, Madrid, 1957.5.5945c.I) Athenian (2nd–1st century BC), Hellenistic copy after Praxiteles (c. 350 BC), Medici Venus, marble, h 153 cm. Uffizi, Florence, 1914, no. 224.5955c.II) Hendrick Goltzius, Venus Pudica, c. 1591, black chalk on blue paper, white heightening, 337 x 118 mm. Teylers Museum, Haarlem, K III 032.5965c.III) Roman (AD 100–200) after a Hellenistic copy after Praxiteles (c. 350 BC), Mazarin Venus, marble, h 184 cm. The J. Paul Getty Museum, Malibu, 54.AA.11.5975c.IV) Early Antonine copy of a late Hellenistic statue derived from the Cnidian Aphrodite of Praxiteles, Capitoline Venus, marble, h 187 cm. Musei Capitolini, Rome.5985d) Sostanza, woodcut, in Ripa 1603, p. 468.5995e) Jean Goujon, Octagonal fountain, woodcut in Colonna 1561, p. 23.6005f) Rembrandt, A Nude Woman with a Snake, c. 1637, red chalk touched with white, 24.7 x 13.7 cm. The J. Paul Getty Museum, Malibu, 81.GB.27.6015g) (attributed to) Jan Boeckhorst after 2c (Rubens’s Meleager and Atalante), Mary Magdalen, signed P. Rubens (in another hand), brush, black chalk, brown wash, 23.1 x 15.8 cm. Département des Arts Graphiques, Louvre, Paris, 20429.602MarsSee no. 4a.Cupid6) Roman, relief of Tellus Mater with two babies on the eastern side of the Ara Pacis, 13–9 BC, marble. Ara Pacis Museum, Rome [7].603Later compositions by other artists7a) Jan Lievens, Mars and Venus, 1653, canvas, 146 x 136 cm. Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg, since 2001 in the Oranienburg, GK I 2573.6047b) Luca Giordano, Venus, Cupid and Mars, 1663, panel, 152 x 129 cm. Museo di Capodimonte (Farnese collection), Naples.7c) Luca Giordano, Rubens painting the Allegory of Peace, c. 1660, canvas, 337 x 414 cm. Prado, Madrid, P190.605Lent to the RA to be copied in 1816, 1831, 1837, 1840, 1851 and 1877....
... an in the figure of Mars, which is composed with numerous sweeping and rapid brushstrokes; in Titian’s Allegory of Marriage (‘Allegory of Alfonso d’Avalos’), now in the Louvre (c. 1530–35; Related works, no. 4a), for example, we see ‘Alfonso d’Avalos’ in the same position as Mars, not with a bare forearm, but wearing a red shirt under his armour. That painting was in the royal collection in London when Rubens was there.624 The figure and features of Venus recall Titian’s nudes, such as the Venus with the Mirror, now in Washington (Related works, no. 5b.I); she also has her forearms crossed over her body, but in reverse to DPG285, a motif that Rubens used again for Atalante in his composition of Meleager and Atalante (Related works, no. 2c.I–II).Another visual source for Venus with her forearms almost parallel and crossed over her body are the many Roman copies after the Aphrodite by Praxiteles (c. 395–c. 330 BC), such as the Medici Venus and the Capitoline Venus (Related works, nos 5c.I–IV). The many references to older imagery, especially to Antique sculpture, raises the question whether the audience was supposed to recognize these quotations (see also under DPG451). Rubens’s pictures may have been discussed, for instance in his studio in York House in London, where Gerbier lived and where the collection of the Duke of Buckingham, who was murdered in 1628 (see also under DPG143), was still visible.625 Heinen in 2011 suggests that Rubens as a Spanish envoy used his pictures, and the conversation around them, as a means to win the trust of English courtiers in his attempts to make peace between England and Spain.626The picture that we know Rubens made in London is Peace and War, now in the National Gallery. It and DPG285 are closely related. We have already noted that Venus looks very much like the seated Pax, Goddess of Peace (Related works, no. 2b) [3]. The figures in the centre of the National Gallery picture are almost as large, but the figures are closer together in DPG285. Pax is suckling a young boy, who is standing next to her instead of seeming to be ‘defying gravity or slipping backwards’ (see Technical Notes) as in DPG285. The boy is her son Pluto, who represents wealth. Other interpretations see her as Venus, who nourishes her son Cupid, referring more generally to fertility.627 The difference between the two pictures is that in the National Gallery composition Mars is chased away by Minerva since he endangers peace, whereas in DPG285 Mars is tamed.628 That Rubens had taken inspiration from the Tellus relief for the babies in DPG285 and the National Gallery picture, two pictures about the desirability of peace and what is called in Latin ex pace ubertas (prosperity comes from peace), is very appropriate, since Tellus represented Peace, brought about by the Roman Emperor Augustus.629 According to Heinen 2011 it would seem logical that DPG285 was made as a starting point for the Allegory of War and Peace, thus while Rubens was still in London. But the technical evidence, in particular the different nature of the ground layers in the two pictures, suggests that Venus, Mars and Cupid was not painted in England: it must have been created either before or after Rubens’s visit. In support of Heinen 2011, on the other hand, the argument could be that Rubens had taken prepared canvases from Flanders to London, on one of which he had painted DPG285, but they had run out when he started on War and Peace. In any case it ‘seems likely that Rubens had large pieces of prepared canvas in his studio, which he joined as required’ (see Technical Notes).One of the most controversial aspects of the picture in the 19th century was that milk was spurting from Venus’s breast into Cupid’s open mouth. C. J. Cockburn, the Justice adjudicating Queen v. Hicklin in 1867, the case that provided the first legal standard for determining obscenity in both England and the USA, asked at the trial: ‘What can be more obscene than many pictures publicly exhibited, as the Venus in the Dulwich Gallery?’630 According to Mrs Jameson, the milk was painted away by Bourgeois. When it came back is not known, but Burchard, visiting the Gallery on 26 May 1939, saw two (or three?) rays of milk.631 But also in general this picture was considered ugly, and expecially the Venus in it, typically Flemish and typically Rubens (‘large and fat’).632 Comments include ‘naked country lass, fat and plump’ (annotation in a 1796 auction catalogue); ‘that gross, boisterous, and altogether unclassical manner’ and ‘the effect of the whole is extremely repulsive’ (Patmore 1824); ‘sadly devoid of those ideal forms of beauty and expression so indispensable to give value and interest to classic and poetical subjects’ (Smith 1829–42, in 1830); ‘the forms being in some parts even vulgar, as for instance the feet of Venus’ (Richter & Sparkes 1880). Nevertheless DPG285 was lent six times to the Royal Academy Schools to be copied (in 1816, 1831, 1837, 1840, 1851 and 1877): pupils could learn something here. We do not know of copies or influence in 19th-century London (as with DPG127, Van Dyck)....

Notes
... escubierta la Caueza. (In the Rubens room, with black frames and gold mouldings, there are the following paintings. […] 82. another painting on canvas two and a third varas [204 cm] in height and in width one and a half and three dedos [126 cm], where one can see a naked Venus seated, covered with a blue cloth over her waist [?] and her right hand over one breast from which milk jets out that a small cupid takes [in his mouth], and by her feet he has a [solfaua?] [a quive...
... Isabella Stewart Gardner Museum, Boston: ‘The Venus looks a naked country lass, fat and plump, squeezing one of her breasts for I...
... imitated in this fine picture, which is from the Orleans collection [£] 94.10.0’. The same text is in GPID (5 Aug. 2014). ...
... en; the link is based on the mention of the painting having belonged to the ex-King of Poland, and that it had fetched a very high price at his sale in St. Petersburg. But your picture had not been in St. Petersburg, so far as we know, and I don’t think the reference is trustworthy. This painting was one of a large group consigned by “A” who, of the four consigners, owned the most paintings. Almost all of these were Italian and Flemish paintings that brought very low prices, and the Rubens is the only one with a provenance. I think I can trace one other lot to a sale in Paris in 1793, but there is nothing to link these paintings to London.’ ...
... y strings of pearls & she has a veil which covers her right shoulder, & is linked to her arm by a bracelet with stones. She presses her left breast & makes milk spurt out on the face of Cupid who holds her by his left arm, & has a leg on her thigh. Mars, without a helmet, with armour that a little putto is fastening from behind, his shield next to him, sits on the same day bed, looking at Venus. Under the feet of this Goddess you can see Cupid’s quiver. The background of this picture depicts architecture on the left and on the right a red curtain.) ...
... is Royal, Cabinet de la Lanterne) Mars & Vénus, par Rubens. ...
... is fine picture was also honoured by the choice of the Academy for their students in 1816.’ ...
... colouring and invention. There is a great manual skill in this picture, and the colouring is, as usual, rich and fine; but the effect of the whole is extremely repulsive, for the reason above stated. In fact, the Venus looks like a Dutch courtesan, the Mars like a rough soldier of the League, a...
... e ideal forms of beauty and expression so indispensable to give value and interest to classic and poetical subjects. […] Worth 500 gs. There is an etching of Mars and Venus, anonymous.’ He probably means Bartsch 49 (Related works, no. 1b); Voorhelm Schneevoogt 1873, p. 125, no. 52 ...
... uently repeated, and which seems to have been with him a favourite image of fecundity. Sir Francis Bourgeois painted this out, and the alteration is visible. […] Engraved by Bolswert.’ See Related works, no. 3b. ...
... ing and bad taste. The head of Mars is a portrait of Rubens when young.’...
... . It was bought at Mr Bryan’s sale for £94.10.0. Cf: Buchanan Memoirs. (Vol: I p: 288) […]’ Then follows a quote from Smith and ‘He values this at 500 guineas.’ ...
... ts with two fingers, seems to offer it to the little Cupid that she looks at and who tries to climb up his mother’s thigh. On the right Mars in armour, bareheaded, in the shadow. Venus is a beauty from Antwerp. Smiling, she rearranges a fold of her blue coat to hide her nudity. Beautiful light. Lymphatic complexions well rendered.) ...
... is a portrait of the painter […] Engraved by Bolswert. Also an etching – anonymous’. ...
... even vulgar, as for instance the feet of Venus, there is still much to be admired in the very spirited execut...
... s is the collection of Prince Frederik Hendrik (p. 189), which is probably the picture by Jan Lievens in Berlin (Related works, no. 7a). The etching is described by Voorhelm Schneevoogt (1873, p. 125, no. 52; Bartsch 49); see Related works, no. 1b. ...
... is 411; Inv. III: 12.000 l.; Cat. Wilson, no. 6. Vente Van der Gucht (1796): 13 guineas; Vente Bryan (1798): 90 guinea...
... works, no. 2a, with a standing Venus] next to it is the modello for it is questionable). ...
... is repeated in the Dulwich Mars and Venus […] perhaps executed at about the same time’ (as Related works, no. 2b); p. 123 (no...
... ist of exhibited pictures. ...
... ted in England 1629–30, has two ground types on the extended canvas assemblage, neither of which is close in constitution to the paintings produced in Antwerp: see Roy 1999b. This argument is not very convincing because it is based only on one example of which we know that it was certainly made in England. The counter-argument could be that Rubens had taken prepared canvases from Flanders to London (on which he had painted DPG285), but they h...
... is, including cross-sections either side of the canvas join, a new X-ray and infrared imaging, was undertaken at the NG,...
... 26 Heinen (2011, p. 37) saw some additional pentimenti: ‘Possibly some visible pentiment...
... p. 188, no. 704 (as not described; see note 19 above); Voorhelm Schneevoogt 1873, p. 125, no. 52; Smith 1829–42, ii (1830), p. 197. Could this print be what the several authors meant when they referred to an engraving by Bolswert (see Related works, no. 3b, note 42 below)? ...
... 880 (Aug. 30, 2019); Held 1980, i, pp. 626–7, no. A5 (under ‘Questionable and Re...
... he picture was not presented during the farewell audience, as is generally said, but earlier, since it was already finished in December 1629 (p. 146). Adamson suggests that it was a New Year gift from Rubens to the King (p. 152); Jonker...
... , Van Sprang & Rossi-Schrimpf 2007, pp. 254–5, no. 102 (B. Schepers); Rubens 2004, pp. 171–2, no. 94 (H. Devisscher); Jaffé 1989, p. 360, no. 1292; KMSKB 1984, p. 451, no. 4105; Held 1980, i, pp. 284–5, no. 200, ii, pl. ...
... to-de-la-via-lactea/?no_cache=1 (July 25, 2019); Rubens 2004, pp. 171, 173, no. 95 (H. Devisscher); Díaz Padrón 1996, ii, pp. 924–5, no. 1668; Jaffé 1989, p. 360, no. 1293; Alpers ...
... tion, email Jaap van der Veen to Ellinoor Bergvelt, 21 Oct. 2014 (DPG285 file); Evers 1943, pp. 270–71 (Rinaldo and Armida instead?), fig. 292. See also Coutré 2013, p. 4 (fig. 7); according to her the Mars and Venus is c. 1617. ...
... ishmuseum.org/collection/object/P_1891-0414-855 (Aug. 2, 2020); Evers 1943, p. 270 (note 25), fig. 293; Voorhelm Schn...
... atalogue (Huyghe & Van Puyvelde 1954), although N. Fischmann is thanked on p. 13; Jonker & Bergvelt 2016, p. 202, copy, no...
... und. Could they mean the etching by an unknown 17th-century artist (Related works, no. 1b)? ...
... s (rejected drawings); ne manque pas de qualités (no lack of qualities); L. Burchard in London/Leeds 1947/1953 ‘at Châteauroux […] shows Mars’ forearm in armour, traces of which are visible in the painting’. ...
... e l’académie de Vienne possède une petite copie de cette pièce (The gallery of the Vienna Academy has a small copy of this piece). ...
... Venus & Cupid No 351 is colder in tone & browner than usual with Rubens, it is more like Van Dyck; I believe, as with [stricken: like of] Correggio no juvenile a...
... e, and was sold with all his other objects after the death of Wilkie). The dimensions do not agree with DPG285, which is much higher than wide. ...
... h to the path of pleasure (a kind of Hercules at the Crossroads); Minerva tries to prevent her. ‘The seduction is bizarrely represented by the milk’; Baumstark 1974, pp. 158–9 (fig. 21). ...
... (Oct. 10, 2019); see also https://www.britishmuseum.org/collection/object/P_1868-082...
... inen 2011, pp. 36, 38 (fig. 4); Humfrey 2007, p. 260, no. 194; Wethey 1969–75, iii (1975), pp. 200...
... . NB: the other drawing after the same statue (possibly a version in Naples, Farnese collection) in this museum is according to Reznicek not by Goltzius (Reznicek 1961, i, p. 346, no. K 248 , ii, fig. 181). ...
... tch-about-1637/ (July 25, 2019); Sluijter 2006, p. 286, fig. 262. ...
... Baumstark 1974, pp. 161–2 (according to him Rubens had not seen this relief, since no drawings are known; both Rubens and the Ara Pacis sculptor had read Lucretius); Donovan 2004, p. 123 (fig. 81). ...
... -mars-and-venus-in-context/ (July 25, 2019); Schacht & Meiner 1999, p. 266–7, no. 8/56. ...
... is from Heinen 2011, p. 35 (note 4). ...
... the inauguration of the Ara Pacis Museum in Rome in 1938 the T...
... to see all kinds of self portraits and portraits of an artist’s family members in pictures. ...
... ondon (24 May 1629 to the end of March 1630). According to Adamson the additions that Rubens painted on the new, added, parts refer to the house of Habsburg, Spain and its colonies. Adamson considers the painting as a new type of diplomatic gift and as a coded admonishment (pp. 168–9) ...
... G243 (Raphael).) DPG78 was mentioned as coming from the ‘real’ Orléans collection, but it is now known that it comes from the collection of the Chevalier d'Orléans, a bastard ...
... tto in the Palazzo Pitti (Related works, no. 4b); there Venus is lying on the ground. ...
... two basins made of porphyry. A satyr and two satyr children stand next to her. The title of the image is παντων τοκαδι, or à la mère de toutes choses (to the mother of everything), with which we are back ...
... 10 (U. Heinen). See also Held 2002, p. 101–3, who considers this scene to be eine Kirchliche Umarbeitung der Caritas Romana (a religious revision of Caritas Romana). ...
... is collection of antiquities in 1627: see under DPG143. ...
... ...
... ay contrasted the picture by Dou (DPG56) with Rubens’s DPG285: where Rubens’s painting was considered obscene in the 19th century, ‘Dou’s Lady playing a Clavichord seems very innocent. In fact it is 17th-century pornography, full of coded sexual invitation’ (see under DPG56). ...
... in red). (In the Dulwich canvas the boy is suspended like a bee from a calyx, and J. Wilde said to me in Dulwich in front of the picture, on 26 May 1939: this combination of violet and blue occurs only one other time, in Titian’s ‘Bella’ [now in the Pitti collection, Florence]). Zu...
... is oil sketches volumes cites Ernest Hemingway: ‘Do you know anything about art? Rubens, said Catherine, Large and fat, ...

<
>