Ad vivum?: visual materials and the vocabulary of life-likeness in Europe before 1800 /

377 Pages·25.302 MB·English

by  edited by Thomas Balfe, Joanna Woodall, Claus Zittel.

Ad vivum?
Intersections
Interdisciplinary Studies in Early Modern Culture
General Editor
Karl A.E. Enenkel (Chair of Medieval and Neo-Latin Literature
Westfälische Wilhelms-Universität Münster
e-mail: kenen_01@uni_muenster.de)
Editorial Board
W. van Anrooij (University of Leiden)
W. de Boer (Miami University)
Chr. Göttler (University of Bern)
J.L. de Jong (University of Groningen)
W.S. Melion (Emory University)
R. Seidel (Goethe University Frankfurt am Main)
P.J. Smith (University of Leiden)
J. Thompson (Queen’s University Belfast)
A. Traninger (Freie Universität Berlin)
C. Zittel (University of Stuttgart)
C. Zwierlein (Otto-Friedrich-Universität Bamberg)
VOLUME 61 – 2019
The titles published in this series are listed at brill.com/inte
Ad vivum?
Visual Materials and
the Vocabulary of Life-Likeness in Europe
before 1800
Edited by
Thomas Balfe
Joanna Woodall
Claus Zittel
LEIDEN | BOSTOn
Cover illustration: Wenceslaus Hollar, Dragonfly and butterflies (1647). Etching, 8 × 11.4 cm. Inscription
(lower left): ‘WHollar ad vivum delin: et fecit 1647’.
Library of Congress Cataloging-in-Publication Data
Names: Balfe, Thomas, editor. | Woodall, Joanna, editor. | Zittel, Claus, editor.
Title: Ad vivum? : visual materials and the vocabulary of life-likeness in Europe
 before 1800 / edited by Thomas Balfe, Joanna Woodall, Claus Zittel.
Description: Leiden ; Boston : Brill, [2019] | Series: Intersections : Interdisciplinary
 studies in early modern culture, ISSN 1568–1181 ; volume 61 | Includes
 bibliographical references and index.
Identifiers: LCCN 2019012521 (print) | LCCN 2019016140 (ebook) |
 ISBN 9789004393998 (ebook) | ISBN 9789004329942 (hardback : alk. paper)
Subjects: LCSH: Art—Historiography—Terminology. | Latin language—Terms and
 phrases. | Historiography—Europe—History. | Resemblance (Philosophy) |
 Visual communication—Europe—History. | Knowledge, Theory of—Europe—
 History.
Classification: LCC N34 (ebook) | LCC N34 .A3 2019 (print) | DDC 709.4—dc23
LC record available at https://lccn.loc.gov/2019012521
Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface.
ISSN 1568-1181
ISBN 978-90-04-32994-2 (hardback)
ISBN 978-90-04-39399-8 (e-book)
Copyright 2019 by Koninklijke Brill NV, Leiden, The Netherlands.
Koninklijke Brill NV incorporates the imprints Brill, Brill Hes & De Graaf, Brill Nijhoff, Brill Rodopi,
Brill Sense, Hotei Publishing, mentis Verlag, Verlag Ferdinand Schöningh and Wilhelm Fink Verlag.
All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system,
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This book is printed on acid-free paper and produced in a sustainable manner.
Contents
Acknowledgements vii
List of Illustrations viii
Notes on the Editors xv
Notes on the Contributors xvi
1 Introduction: From Living Presence to Lively Likeness – the Lives of
ad vivum 1
Thomas Balfe and Joanna Woodall
2 Naer het leven: between Image-Generating Techniques and Aesthetic
Mediation 44
Robert Felfe
3 Ad vivum Images and Knowledge of Nature in Early Modern
Europe 89
Sachiko Kusukawa
4 Paintworks au vif to Paintings from Life: Early Netherlandish Paintings
in the Round and the Invention of Indexicality 122
Noa Turel
5 Cities under Siege Portrayed ad vivum in Early Netherlandish Prints
(1520–1565) 151
Pieter Martens
6 ‘Jerusalem naert Leven’? Envisioning the Holy City in the Low Countries
(1525–1575) 200
Daan van Heesch
7 Coming to Life at the Sacro Monte of Varallo: the Sacred Image al vivo in
Post-Tridentine Italy 224
Carla Benzan
8 The Vital Breath: Mathematical Visualizations in England and the
Netherlands around 1600 247
Eleanor Chan
vi Contents
9 Nature au naturel in Late-Seventeenth-Century France 272
José Beltrán
10 Drawing the Cadaver ad vivum: Gérard de Lairesse’s Illustrations for
Govard Bidloo’s Anatomia Humani Corporis 294
Mechthild Fend
11 The Mechanism and Materials of Painting Colour ad vivum in the
Eighteenth Century 328
Richard Mulholland
Index Nominum 356
Acknowledgements
We would firstly like to thank all the participants in the 2014 Ad Vivum?
conference at the Courtauld Institute of Art, University of London. This book
would not have been possible without their contributions. The project took
shape in dialogue with the foundational studies of ad vivum by Boudewijn
Bakker and Claudia Swan that are cited in several of the chapters here. Other
sources of inspiration include the influential analysis of the term contrafac-
tum by Peter Parshall, and Joaneath Spicer’s important work on a group of
naer het leven drawings mainly attributable to Roelandt Savery. Some of these
are in The Courtauld collection and were included in a pop-up exhibition at
the 2014 conference expertly organised by the Print Room staff. Also at The
Courtauld, we are grateful to Karin Kyburz for her help with picture research,
to the Research Committee for a grant towards the purchase of images, and to
the Research Forum for supporting our conference. A grant from the Embassy
of the Kingdom of the Netherlands enabled several Dutch scholars to attend
Ad Vivum?
Thanks are due to Karl Enenkel and the editorial board of Intersections for
their interest and faith in the project. We would also like to express our grat-
itude to Robert Felfe, Mechthild Fend, Sara Frier, Sam Luterbacher, Sachiko
Kusukawa, and Stephanie Porras.
Illustrations
1.1 Hendrick Hondius, Crispijn van den Broeck, engraving inscribed ‘Hh Cum
privil’, 20.4 × 12.1 cm. From Hendrick Hondius, Pictorum aliquot celebrium
praecipué Germaniae Inferioris (The Hague, Ex officina Henrici Hondii: 1610).
British Library, London, C.74.d.6.(2.). Courtesy https://sites.courtauld.ac.uk/
netherlandish-canon/ 12
1.2 Attributed to Simon Frisius, Michiel van Mierevelt, etching and engraving
inscribed ‘Hh’, 20.2 × 12.4 cm. From Hendrick Hondius, Pictorum aliquot
celebrium praecipué Germaniae Inferioris (The Hague, Ex officina Henrici
Hondii: 1610). British Library, London, C.74.d.6.(2.). Courtesy https://sites
.courtauld.ac.uk/netherlandish-canon/ 13
1.3 Robert de Badous, Isaac Oliver, engraving inscribed ‘Hh exv’, 20.6 × 11.9 cm.
From Hendrick Hondius, Pictorum aliquot celebrium praecipué Germaniae
Inferioris (The Hague, Ex officina Henrici Hondii: 1610). British Library,
London, C.74.d.6.(2.). Courtesy https://sites.courtauld.ac.uk/netherlandish
-canon/ 14
1.4 Attributed to Veit Speklin, Portraits of Heinrich Füllmaurer, Albrecht Meyer and
Veit Speklin, woodcut from Leonhart Fuchs, De historia stirpium commentarii
insignes (Basle, Michael Isengrin: 1542) 23
1.5 Anthonis Mor van Dashorst, Portrait of Hubert Goltzius (1576; painting earlier).
Oil on panel, 66 × 50 cm. Musées des Beaux-Arts de Belgique, Brussels.
Image © Musees Royaux des Beaux-Arts de Belgique, Brussels / photograph
J. Geleyns 26
1.6 Philips Galle, Portrait of Hubert Goltzius, engraving from Hubert Goltzius,
Sicilia et Magna Græcia sive Historiæ urbium et populorum Græciæ ex antiquis
numismatibus restitutæ liber primus (Bruges, Hubert Goltzius: 1576). British
Library, London, 602.i.13.(1,2.). Photograph: Joanna Woodall 30
2.1 Roelant Savery, Standing Peasant Seen from the Rear (ca. 1605). Pen and brown
ink over traces of black chalk, 19.3 × 12.4 cm. Museum Boijmans Van Beuningen,
Rotterdam 45
2.2 Quentin Massys, Portrait medal of Erasmus of Rotterdam (1519). Bronze,
diameter 10.5 cm. Historisches Museum, Basle 51
2.3 Hendrick Goltzius, Dirck Volckertzs. Coornhert (ca. 1591). Engraving,
52.1 × 41.4 cm. Rijksmuseum, Amsterdam 52
2.4 Anthonis Mor van Dashorst, Hubert Goltzius (1576; painting earlier). Oil on
panel, 66 × 50 cm. Musées Royaux des Beaux-Arts de Belgique, Brussels.
Image © Musées Royaux des Beaux-Arts de Belgique, Brussels / photograph
J. Geleyns 54
Illustrations ix
2.5 Lucas Vorsterman after Anthony van Dyck, Antonius Cornelissens, from the
series Icones Principum Virorum Doctorum, Pictorum, Chalcographorum […]
(Antwerp: 1650). Etching (first state of 10), 24.4 × 15.7 cm. British Museum,
London. Image © The Trustees of the British Museum 55
2.6 Jacob Matham after Roelant Savery, Mountainous Landscape with a Pair
of Lovers and a Sportsman (1606). Engraving printed from two plates,
48.6 × 75.6 cm. Rijksmuseum, Amsterdam 60
2.7 Peter Jansz. Saenredam, Square in Front of the Marienkerk in Utrecht (1636).
Graphite and pen with brown ink and watercolour, 34.9 × 50.1 cm. Teylers
Museum, Haarlem 62
2.8 Melchior Lorck, Tortoise above the Venetian Lagoon (1555). Black and white
chalk on paper and watercolour, 18.8 × 20.5 cm. British Museum, London.
Image © The Trustees of the British Museum 63
2.9 Workshop of Wenzel Jamnitzer, Nature Casts of Lizards (ca. 1540–1550). Silver.
Germanisches Nationalmuseum, Nürnberg 68
2.10 Unknown artist after Albrecht Dürer and Hans Liefrinck the Elder,
Rhinoceros (ca. 1550). Woodcut with hand-colouring, letterpress and impressed
plants, block 21.5 × 29.8 cm, sheet 26.1 × 41.3 cm. British Museum, London.
Image © The Trustees of the British Museum 71
2.11 Jan Wandelaar, Tissue section, in Frederik Ruysch, Opusculum Anatomicum de
Fabrica Glandularum in Corpore Humano (Amsterdam: 1722) 75
2.12 Peter Jansz. Saenredam, Study of a Flowering Rhubarb Plant (1630). Pen and
brown ink, brush and watercolour, 13.9 × 16.6 cm. Kupferstichkabinett,
Staatliche Museen zu Berlin. Image © Kupferstichkabinett, Staatliche Museen
zu Berlin 76
2.13 Samuel van Hoogstraten, Self Portrait of the Author, from his Inleyding tot de
hooge schoole der schilderkonst: anders de zichtbaere werelt (Rotterdam: 1678).
Huis van Rijn, Dordrecht 79
3.1 Otto Brunfels, Herbarum vivae eicones (Strasbourg, J. Schott: 1530) title-page.
Missouri Botanical Garden, Peter H. Raven Library, via Biodiversity Heritage
Library (http://www.biodiversitylibrary.org/, accessed 20/11/2017) 98
3.2 Conrad Gessner, Historia animalium, vol. 4 (Zurich, C. Froschauer: 1558)
title-page. Zentral Bibliothek, Zurich, via e-rara ch (http://dx.doi.org/10.3931/
e-rara-16853, accessed 20/11/2017) 102
4.1 Rogier van der Weyden, St Luke Drawing the Virgin and Child (ca. 1435–1440).
Oil and tempera on panel, 137.5 × 110.8 cm. Museum of Fine Arts, Boston. Gift of
Mr. and Mrs. Henry Lee Higginson, 93.153. Image © 2016 Museum of Fine Arts,
Boston 123
4.2 Willem van Haecht, The Gallery of Cornelis van der Geest (1628). Oil on panel,
100 × 130 cm. Rubenshuis, Antwerp. Image in the public domain (source:
Wikimedia Commons) 127
x Illustrations
4.3 Hubert and Jan van Eyck, Ghent Altarpiece, closed view (1432). Oil on panels,
350 × 223 cm. St Bavo’s Cathedral, Ghent. Image © Lukas – Art in Flanders VZW,
photograph Hugo Maertens 130
4.4 Fastre Hollet, fol. 77v from the report (compte) of expenses incurred in
the production of the 1468 Golden Fleece and wedding festivities at the
Burgundian court (1471). MS 1795, Archives générales du Royaume, Brussels.
Image by the author 135
4.5 Fastre Hollet, fol. 94r from the report (compte) of expenses incurred in the
production of the 1468 Golden Fleece and wedding festivities at the
Burgundian court (1471). MS 1795, Archives générales du Royaume, Brussels.
Image by the author 136
4.6 Fastre Hollet, fol. 99v from the report (compte) of expenses incurred in the
production of the 1468 Golden Fleece and wedding festivities at the
Burgundian court (1471). MS 1795, Archives générales du Royaume, Brussels.
Image by the author 137
4.7 Limbourg Brothers, “January”, fol. 14v from the Très Riches Heures du Duc de
Berry (ca. 1412–1416). MS 65, Musée Condé, Chantilly. Image in the public
domain (source: Wikimedia Commons) 143
5.1 Hieronymus Cock (publisher), Bird’s-eye view of Le Havre (1563). Etching and
engraving. Brussels, Royal Library of Belgium, Print Room, inv. S.V 88676 158
5.2 Mathurin Breuille (publisher), The siege of Le Havre (1563). Woodcut. Dresden,
Sächsische Hauptstaatsarchiv, 12884, Karten und Risse, Schrank 1, Fach 13,
nr. 28 159
5.3 Anonymous master, The siege of Metz (1552). Pen and ink with watercolour on
paper. London, British Library, Cotton MS Augustus I.i.62 162
5.4 Anonymous master, Bird’s-eye view of the Sforza castle in Milan,
‘gheconterfeyt na het leven’ (ca. 1521–1535). Coloured woodcut. Amsterdam,
Rijksmuseum, Print Room, RP-P-1954-307 (only known impression) 167
5.5 Cornelis Anthonisz, The siege of Thérouanne, ‘gheconterfeijt na tdleven’ (1537).
Woodcut. Amsterdam, Rijksmuseum, Print Room, RP-P-BI-136 (only known
impression) 168
5.6 Anthonisz’s view of Thérouanne compared with four related images. Top:
Detail of Fig. 5.5. – Middle: Anonymous master, The Battle of the Spurs in 1513
(ca. 1545). Oil on canvas (detail). The Royal Collection © Her Majesty
Queen Elizabeth II. – Below: Herri met de Bles (attr.), The Siege of a Town
(ca. 1540–1560). Oil on panel (detail). © Courtesy of Christie’s, London –
Middle: Heinrich Zell, The Siege of Thérouanne (1553). Coloured woodcut
(detail). London, British Museum (only known impression). –
Below: Anonymous master (Hieronymus Cock?), The Siege of Thérouanne
(1553). Etching (detail). Rotterdam, Atlas van Stolk, no. 258 172