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Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 63 (2013)

Art and Migration. Netherlandish Artists on the Move, 1400-1750

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Edited by Frits Scholten, Joanna Woodall and Dulcia Meijers

Since the Middle Ages artists from the Low Countries were known to be fond of travelling, as Guicciardini in his Descrittione di tutti i Paesi Bassi (Antwerp, 1567) and Karel van Mander in his 1604 Schilderboeck, already noticed. Much more mobile than their colleagues from other European countries, many Netherlandish artists spread all over Europe; a remarkable number among them achieved great fame as court artists, as the careers of Claus Sluter in Burgundy, Anthonis Mor in Spain, Bartholomeus Spranger or Adriaen de Vries in Prague, Giambologna and Jacob Bijlevelt in Florence demonstrate. Moreover, they exerted considerable influence on the artistic production of their time. Nevertheless most of them sank into oblivion soon after they died. Dutch art history neglected them for a long time as they did not fit into the traditional canon of the Low Countries, nor were they adopted by the art histories of their new homelands. This new NKJ volume is an attempt to change this.

Table of Contents
1. Frits Scholten & Joanna Woodall, Introduction
2. Filip Vermeylen, Greener pastures? Capturing artists’ migrations during the Dutch Revolt
3. Hope Walker, Netherlandish immigrant painters and the Dutch reformed church of London, Austin Friars, 1560-1580
4. Arjan de Koomen, ‘Una cosa non meno maravigliosa che honorata’. The expansion of Netherlandish sculptors in sixteenth-century Europe
5. Franciszek Skibiński, Early-modern Netherlandish sculptors in Danzig and East-Central Europe. A study in dissemination through interrelation and workshop practice
6. Aleksandra Lipińska, Eastern outpost. The sculptors Herman Van Hutte and Hendrik Horst in Lviv c. 1560-1610
7. Gert Jan van der Sman and Bouk Wierda, Wisselend succes. De loopbanen van Nederlandse en Vlaamse kunstenaars in Florence, 1450-1600
8. Marije Osnabrugge , From itinerant to immigrant artist. Aert Mytens in Naples
9. Abigail D. Newman, Juan de la Corte in Madrid: ‘branding’ Flanders abroad
10. Judith Noorman, A fugitive’s success story. Jacob van Loo in Paris (1661-1670)
11. Isabella di Lenardo, Carlo Helman, merchant, patron and collector, and the role of family ties in the Antwerp–Venice migrant network
12. Saskia Cohen-Willner, Between painter and painter stands a tall mountain. Van Mander’s Italian Lives as a source for instructing artists in the ‘deelen der consten’

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Michael Greenhalgh

The French invaded Algeria in 1830, and found a landscape rich in Roman remains, which they proceeded to re-use to support the constructions such as fortresses, barracks and hospitals needed to fight the natives (who continued to object to their presence), and to house the various colonisation projects with which they intended to solidify their hold on the country, and to make it both modern and profitable. Arabs and Berbers had occasionally made use of the ruins, but it was still a Roman and Early Christian landscape when the French arrived. In the space of two generations, this was destroyed, just as were many ancient remains in France, in part because “real” architecture was Greek, not Roman.