Пост 150. . Вермеер и Дельфтская школа, Часть 3. Живопись в Дельфте с 1600 по 1650 годы, Вальтер Лидтке, 65
167. See
Liedtke I985 and Liedtke 1996.
I68.
Montias 1982, pp. 198-99, also citing two other "temples" by Van
Bassen,
one with
Saint John healing the cripple and another with the story of
Zacharias
(John's birth foretold in the temple by the angel Gabriel).
169. See
Wagner 1971 on Van der Heyden, and the catalogue in Manke 1963 for
De Witte's
various invented and actual views. Jantzen 1910 (or Jantzen 1979)
is still
useful as a survey of Dutch and Flemish architectural painting.
170. The
Rotterdam specialists Anthonie de Lorme and Jan van Vucht are discussed
in Liedtke
2000, pp. 99-100, 102, 108. See also Rotterdam I99I, no.
48, for
one of Van Vucht's more elaborate efforts. In a contract of I635 Van
Vucht
agreed to deliver annually a picture with twelve columns, and in the
fifth year
a painting with forty-eight columns.
I7I. See
Kuyper I980, chap. 7, and Ottenheym's essay "'Possessed by Such a
Passion
for Building': Frederik Hendrik and Architecture," in The Hague
1997-98b,
pp. 105-25.
172. See
Liedtke 1982a, pp. 28-29, fig. 6, pl. III, and MacLaren/Brown 199I, p.11;
also
discussed in Liedtke 2000, pp. 95, 97.
I73· Dumas
1991, p. 98, fig. 5 (with earlier
literature), and Liedtke 2000, fig. 126.
174. This
view goes back to Jantzen I910. See L. de Vries 1984, pp. 138-39, rejecting
his own
hypothesis that Saenredam intervened, in favor of the argument
presented
in Liedtke 1982a, p. 38. The question is addressed again in Liedtke
2000, pp.
92-101.
I75· See
Schwartz and Bok I990, pp. I49-51. Huygens's support of Saenredam
appears to
have been directly related to his interest in the Romanesque
Mariakerk
in Utrecht.
176. For
biographies of the Vredeman de Vrieses, see most recently Briels 1997,
pp. 403-4.
See Rotterdam 199I, nos. I, 2, for paintings designed by Hans
and
executed by Paul in 1596 (both in the Kunsthistorisches Museum,
Vienna).
Paul was born in Antwerp but his father was Dutch, having been
born and
raised in Leeuwarden. On the triumphal entry into Amsterdam in
1613, see
Snoep 1975, pp. 34-36.
177. Orenstein 1994, pp. 197-209 (pp. 188-9I for Hondius's own treatise of
1622 ).
178.
Orenstein I996, p. 33.
179. De
Bie 1661, p. 488. He also records that Hondius stayed in London and
Paris,
where he visited the "art and treasure cabinets of various princes and
gentlemen:'
I80.
Orenstein 1990; Dumas 1991, p. 649; and Orenstein 1996, p. 32. Dumas suggests
that the
print was made in connection with the rebuilding of the
Stadholder's
Quarters (the wing on the right, with the archway) in 1621.
181. See
Rotterdam 1991, p. 8I, and the articles by Abraham Bredius cited there.
182.
Sluijter-Seijffert I984, pp. 30, I63, nn. 30, 32, and p. 250.
183. See
Liedtke 1991a, p. 4I, n. 4I, for references, and also Schwartz and Bok
I990, pp.
192-95; The Hague I997-98a; and The Hague 1997-98b.
I84. See
Dumas I991, no. 42.
185. See
(with caution) Kuyper I994, p. 299; see also pp. 268-74 (on Honselaarsdijk),
295-301
(on the palaces of Rhenen and Rijswijk). Compare Dumas
I99I, no.
42, on Rijswijk.
I86.
Bernard Vermet in Dictionary of Art 1996, vol.
3, p. 353·
187. Thus
it fell to Van Bassen to finish the work on the Saint Sebastiaansdoelen
(the
civic-guard headquarters) on the Korte Vijverberg, which had been
begun by
Van's-Gravesande in I636-37 (Dumas I99I, p. 703, fig. 3). The
building
now houses the Haags Historisch Museum (and is the Rijksbureau
voor
Kunsthistorische Documentatie of fond memory).
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