Related Papers
Journal of Art Historiography
John Smith, his 'Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters' (1829–1842) and the ‘stigma of PICTURE DEALER’
2013 •
Antoinette Friedenthal
The monumental nine-volume Catalogue Raisonné by the London art dealer John Smith (1781-1855), covering the works of 41 painters, appeared between 1829 and 1842. In spite of the common recognition of its importance by the specialized secondary literature, this publication has hardly been looked at in a wider art historical context. Reasons for this may be found in the critical reactions by a few contemporary connoisseurs, as well as in the ambivalent status of the genre of the catalogue raisonné. The issues raised by Smith’s volumes and their reception not only pertain to questions of content, they also relate to such fundamental themes as scientific credibility, professional ethos, and the recognition of authority. As far as can be ascertained, this is one of the first instances where criticism of the market’s involvement in this genre makes itself heard. In the 19th century, art history’s search for a viable position among other fields of study led to considerable tensions. These not only resulted in precise demarcations of the discipline’s scope in relation to other academic fields, they also shaped certain patterns of argument which characterize the reception of catalogues raisonnés even today. In addition to addressing these points, the present study also throws some light on the market’s contribution to the formation of categories and systems of classification in the history of art.
John Ruskin and the National Gallery: evolving ideas about curating the nation's paintings during the second half of the nineteenth century
2020 •
Susanna Avery-Quash
Renaissance Quarterly
Early Netherlandish Paintings: Rediscovery, Reception, and Research
2006 •
Henk Veen
Münchner Jahrbuch der bildenden Kunst
Neupompejanisches Possenspiel. Ein wiederentdecktes Gemälde aus dem Besitz des Landschaftsmalers Charles Ross und die Echtheitsdebatten zur antiken Malerei um 1850. Exkurs: Die Deutung der griechisch-lateinischen Inschrift auf Jan van Eycks ›Léal Souvénir‹
2022 •
Matthias Steinhart
In 1853 Otto Jahn published a painting in the possession of Charles Ross, a landscape painter with great interest in Antiquity, living then in Munich. Although Jahn regarded it as an ancient original, there is no doubt that it is a modern work; whether it was made as forgery is discussed in comparison with other paintings based on Antiquity, and with clear forgeries. The painting is said in literature to be lost, but has been rediscovered in Kiel and is discussed here with its iconographical aspects. Furthermore the painting is important for the history of reception of Antiquity and of Archaeology – as well as for the use of scientific methods in Archaeology –, especially with regard to the involvement of personalities like Martin von Wagner, Johannes Riepenhausen and Otto Linné Erdmann. The discussion includes unpublished texts, above all a letter by Jahn to Ross on the necessities of the publication. An "Exkurs" deals with the Greek and Latin inscriptions on Jan van Eyck's "Léal Souvénir" (London, National Gallery), following the reading "ωϴEO[ " and understanding them TY.M. as T(abula) Y(t) (M)emoriae.
'A Brief History of the Catalogue Raisonné' in L. Nijkamp, K. Bulckens and P. Valkeneers (eds.), Picturing Ludwig Burchard (1886-1960), Turnhout – London: Brepols, 2015, pp. 103-114.
koen bulckens
ALLA MANIERA: TECHNICAL ART HISTORY AND THE MEANING OF STYLE IN 15th TO 17th CENTURY PAINTING
Painting by numbers: Evolution and standardization of colouring in the seventeenth century
2024 •
Lisa Wiersma
Skilful material depiction is one of the main stylistic features of seventeenth-century Netherlandish art. Where sixteenth- and early seventeenth-century painters were experimenting with colour combinations for material depiction, Dutch artist and teacher Willem Beurs could write a book containing standardized reci- pes for marvelously animated surfaces and ideal appear- ances in 1692, The Big World Painted Small. His method corresponds with the techniques of the best artists of his time. This paper demonstrates the development of successful colour combinations, juxtapositions and layer- ing. The depiction of grapes serves as an example to contribute to our understanding of the ‘tangible style’: paintings showing convincing material depiction, which emerged from technical abilities and practice, and which was achieved in the course of the seventeenth century through standardization of complex painting techniques.
Boletín del Museo del Prado, vol. 32, no. 50, 2014, pp. 30-49
'Jan van Eyck and Spain'
2014 •
Susan Frances Jones
Alla maniera: Technical Art History and theMeaning of Style in 15th to 17th Century Painting (Underdrawing and Technology in Painting. Symposia, 22), ed Anne Dubois
An analytical investigation into two of Antonello da Messina’s nephews’ workshop practices: insights into Antonio de Saliba and Salvo d’Antonio’s paintings on Malta
2024 •
Charlene Vella
An Eyckian Crucifixion Explored: Ten Essays on a drawing
Some Eyckian drawings and miniatures in the context of the (Rotterdam) Drawing
Till-Holger Borchert, Maryan W Ainsworth
Discusses the Eyckian Crucifixion drawing recently acquired by Museum Boijmans Van Beuningen
The Charterhouse of Bruges: Jan van Eyck, Petrus Christus, and Jan Vos
Collecting Jan van Eyck from Europe to America
2018 •
Emma Capron
