Recalibrating Witchcraft through Recycling and Collage: The Case of a Late Seventeenth-Century Anonymous Print

In: The Primacy of the Image in Northern European Art, 1400–1700
Author:
Charles Zika
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Type:
Chapter
Pages:
391–404
DOI:
https://doi.org/10.1163/9789004354128_030

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Series:  Brill's Studies in Intellectual History, Volume: 271/22 and  Brill's Studies on Art, Art History, and Intellectual History, Volume: 271/22
Cover The Primacy of the Image in Northern European Art, 1400–1700
E-Book ISBN:
9789004354128
Publisher:
Brill
Print Publication Date:
01 Jan 2017
Preliminary Material
Strategies of Intimacy: Memling’s Triptych of Adriaan Reins
Those Who Are Bashful Starve: An Interpretation of the Master of the Brunswick Diptych’s Holy Family at Meal
Hugo van der Goes and Portraiture
The Besieged War-Elephant: A Boschian Moralized Antiwar Discourse
The Overpainted Patron: Some Considerations about Dating Bosch’s Last Judgment Triptych in Vienna
The Red Jew, Red Altarpiece and Jewish Iconography in Jan de Beer’s St. Joseph and the Suitors
“Headlong” into Pieter Bruegel’s Series of the Seasons
Better Living Through Misinterpretation
The Last Supper with Donors in the Chrysler Museum Collection
Michiel Coxcie’s Artistic Quotations in The Death of Abel
Veronica’s Textile
It’s February in the Early Fifteenth Century: What’s for Dinner?
Oratio ad Proprium Angelum: The Guardian Angel in the Rothschild Hours
Chinese Painting and Dutch Book Arts: The Challenges of Cross-Cultural Interpretation
Kinesis and Death in Lautensack
Virgil’s Flute: the Art and Science of “Antique Letters” and the Origins of Knowledge
Born to Teach: Nikolaus Glockendon’s Finding of Jesus in the Temple
Nicolaes Witsen’s Collection, his Influence, and the Primacy of the Image
Dürer’s Rhinoceros Underway: the Epistemology of the Copy in the Early Modern Print
Praying against Pox: New Reflections on Dürer’s Jabach Altarpiece
The Weird Sisters of Hans Baldung Grien
Preserving Destruction: Albrecht Altdorfer’s Etchings of the Regensburg Synagogue as Material Performances of the Past and Future
The Case of the Missing Gold Disc: A Crucifixion by Albrecht Dürer
Hitler’s Dürer? The Nuremberg Painter between Self-Portrayal and National Appropriation
Performing Dürer: Staging the Artist in the Nineteenth Century
The Burin, the Blade, and the Paper’s Edge: Early Sixteenth-Century Engraved Scabbard Designs by Monogrammist ac
“Return to Your True Self!” Practicing Spiritual Therapy with the Spiegel der Vernunft in Munich
The Eucharistic Controversy and Daniel Hopfer’s Tabernacle for the Holy Sacrament
The Timeless Space of Maerten van Heemskerck’s Panoramas: Viewing Ruth and Boaz (1550)
Hendrick Goltzius’s Method of Exegetical Allegory in his Scriptural Prints of the 1570s
Narrative, Ornament, and Politics in Maerten van Heemskerck’s Story of Esther (1564)
Disgust and Desire: Responses to Rembrandt’s Nudes
A New Painting by Dirck van Baburen
“Verbum Domini manet in eternum”: Devotional Cabinets and Kunst- und Wunderkammern around 1600
Creating Attributability with the Five Senses of Jan Brueghel the Younger
Pieter Lastman’s Paintings of David’s Death Sentence for Uriah, 1611 and 1619
Thomas de Keyser’s Venus Lamenting the Death of Adonis
On Painting the Unfathomable: Rubens and The Banquet of Tereus
Jan Miense Molenaer’s Boys with Dwarfs and the Heroic Tradition of Art
Is it a Rembrandt?
Pieter Codde and the Industry of Copies in 17th-century Dutch Painting
Appendix: Larry Silver Bibliography
Index

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