Welcome to JHNA, the electronic journal of Historians of Netherlandish Art. Every summer and winter, the journal publishes issues of peer-reviewed articles that focus on art produced in the Netherlands (north and south) during the early modern period (c. 1400-c.1750), and in other countries and later periods as they relate to Netherlandish art. Submissions are encouraged on painting, sculpture, graphic arts, tapestry, architecture, and decoration, from the perspectives of art history, art conservation, technical studies, museum studies, historiography, and collecting history. Next submission deadline - March 1, 2014.
Special Issue in Honor of Egbert Haverkamp-Begemann,
Guest-Edited by Stephanie Dickey, Nadine Orenstein, and Jacquelyn Coutré
Gossart's Bodies and Empathy
An examination of the prevailing notions of Jan Gossart's pictorial empathy in art historical scholarship from the early modern period to the later nineteenth century.
More drawings as intermediary stages: Dirk Vellert's History of Abraham
This paper examines Dirk Vellert’s working methods in designing a painted–glass roundel cycle representing the History of Abraham.
Boschian Bruegel, Bruegelian Bosch: Hieronymus Cock's Production of “Bosch” Prints
This article explores the stylistic and thematic evolution of Hieronymus Cock’s publication of prints attributed to Hieronymus Bosch.
Drawings Connoisseurship and the Problem of Multiple Originals
After briefly tracing the history of the reception of copies, this paper uses examples of commissions for autograph versions of both paintings and drawings to demonstrate that multiple originals of drawings not only exist but are extremely valuable documents for the study of early modern workshop practice.
Dirck van Baburen and the "Self-Taught" Master, Angelo Caroselli
This essay examines Dirck van Baburen’s appropriation of motifs from Angelo Caroselli.
Italian Paintings in Amsterdam around 1635: Additions to the Familiar
Paintings by Bassano, Palma Giovane, and Guido Reni have been discovered in two Amsterdam inventories around 1635, adding exponentially to the known paintings by these artists in Holland and indicating an underrecognized appreciation for recent Italian art by Dutch collectors.
Urban Planning and Politics in the City Center: Frederik Hendrik and The Hague Plein
This article examines twelve drawings documenting urban design in The Hague in the mid-1630s, focusing on the role of the patron, Prince Frederik Hendrik.
Begging for Attention: The Artful Context of Rembrandt's Etching Beggar Seated on a Bank
Rembrandt's Beggar seated on a Bank (etching, 1630) contributes to a visual and literary tradition depicting "art impoverished" and reflects the artist's struggle for recognition at a pivotal moment in his early career.
The Catalyst for Rembrandt's Satire on Art Criticism
This article proposes that Rembrandt created his Satire on Art Criticism in response to the 1644 publication of several disparaging epigrams written by Constantijn Huygens.
Rembrandt Looks to Schongauer
This essay proposes that Rembrandt consulted Martin Schongauer’s Christ Carrying the Cross for a number of works, most notably The Hundred Guilder Print.
Rembrandt's Saul and David at the Mauritshuis: a progress report
New investigative techniques have made it possible to answer a number of outstanding questions regarding Rembrandt’s Saul and David, (Royal Picture Gallery Mauritshuis), particularly about its condition and authorship.
Willem de Poorter: Rembrandt/Not Rembrandt Pupil
Often described as a Rembrandt-pupil, the Haarlem painter Willem de Poorter (1607/08-1648 or after) is unlikely to have trained with Rembrandt (1606–1669) in Leiden, but may have briefly worked under the latter’s guidance in Amsterdam in the mid-1630s
Abraham Meeting the Lord and Two Angels: Making the Case for Ferdinand Bol and Workshop
This article examines the subject matter and authorship of two drawings of the same subject, Abraham Meeting the Lord and Two Angels, both currently attributed to Ferdinand Bol (1618–1680).
Decoration à l'Orange: Jan Lievens's Mars and Venus in Context
This essay examines Jan Lievens’s Mars and Venus in the context of the continuation of the collecting tastes of the late stadholder Frederik Hendrik of Orange-Nassau and his wife Amalia van Solms-Braunfels by their daughter, Louise Henriette, Electress of Brandenburg.
Temporality and the Seventeenth-century Dutch Portrait
The ungainly poses of a group of seventeenth-century Dutch portraits, when considered in the context of contemporaneous developments in time-keeping and debates about the nature of time, may be understood as intensify the presence of the portrayed and reducing the psychological barrier created by the painted portrait as a physical object.
Sri Lankan ivories for the Dutch and Portuguese
Two ivory objects carved in Sri Lanka – a pipe case and a sculpture of the Virgin and Child, testify to the sophistication of Sinhalese artistic responses to Dutch and Portuguese trading networks in the sixteenth and seventeenth centuries.
Incapable of That Sort of Thing: Millet's Dutch Sources
This essay reveals that a previously unrecognized seventeenth-century Dutch source, Jan Luyken, furnished Jean-François Millet with many of his depictions of traditional
Egbert Haverkamp-Begemann, 2011