Author:
Walter S. Melion
Search for other papers by Walter S. Melion in
Current site
Google Scholar
PubMed Close
Type:
Chapter
Pages:
156–163
DOI:
https://doi.org/10.1163/9789004523074_003
Open Access
Engraved bust-length portrait of Karel van Mander at the age of 56, within an elaborated frame decorated, above, with the breastplate of Minerva, goddess of wisdom, and, at either side, with two crowned swans alluding to Van Mander’s poetry.

Figure 1

Jacob Matham after Karel van Mander, Title Page to Het Schilder-Boeck, waer in voor eerst de leerlustighe Iueght den grondt der Edel Vry schildeconst in Verscheyden deelen Wort Voorghedraghen. (Haarlem: Paschier van Wes[t]busch, 1604), quarto

Universiteitsbibliotheek Leiden, inv. no. 21220 E 9
Engraved title-page of the Schilder-Boeck, featuring, above, a winged ox signifying the painters’ guild of Haarlem, and, at the sides, personifications of Nature and Drawing at left, Painting and Fame at right.

Figure 2

Jan Saenredam after Hendrick Goltzius, Portrait of Karel van Mander, 1604. Engraving, 178 × 123 mm

Rijksmuseum, Amsterdam
Engraving of the marriage feast of Cupid and Psyche in Olympus, featuring the pantheon of ancient gods and goddess, including Hercules with his club, Ceres with the horn of plenty, Apollo and the Muses with their respective instruments, Pan with his panpipes, and Saturn with his scythe.

Figure 3

Hendrick Goltzius after Bartholomeus Sprangher, Marriage Feast of Cupid and Psyche, 1587. Engraving, 435 × 861 mm

Rijksmuseum, Amsterdam
Watercolor of a panoramic landscape over which fly Daedalus and his son Icarus, watched by peasants, a ploughman, and fishermen.

Figure 4

Hans Bol, Landscape with Fall of Icarus, ca. 1585. Watercolor on paper, 133 × 206 mm

Museum Mayer van den Bergh, Antwerp
Painting of ships threatened by a violent storm at sea, which the patron saints of Venice—Mark, George, and Nicholas—miraculously quell.

Figure 5

Palma Il Vecchio, Barrasca di mare (Saints Mark, Nicholas, and George Calm a Storm at Sea), before 1528. Oil on canvas, 362 × 408 cm

Accademia, Venice
Painting of a letter-rack from which various items hang, including a book, pamphlets, letters, spectacle, a quill, and a golden chain.

Figure 6

Samuel van Hoogstraten, Feigned Letter Rack Painting, ca. 1670. Oil on canvas, 79 × 63 cm

Staatliche Kunsthalle, Karlsruhe
Painting of a view through a series of rooms, in the last of which appear a yellow silk-draped table and chair, and a painting of a young women, her back turned to the viewer.

Figure 7

Samuel van Hoogstraten, The Threshold View of a Passageway, ca. 1655–1660. Oil on canvas, 103 × 126.5 cm

Musée du Louvre, Paris
Large pen-and-ink drawing of the lovers Venus and Adonis nestled in a vast landscape populated by a rushing stream, forests, high cliffs, and a distant view of the sea.

Figure 8

Hendrick Goltzius, Landscape with Venus and Adonis, 1596 [or 1598]. Pen and brown ink on brown-tinted paper, 635 × 484 mm

Albertina, Vienna
  • Collapse
  • Expand

Karel van Mander and his Foundation of the Noble, Free Art of Painting

First English Translation, with Introduction and Commentary

Series:  Brill’s Studies on Art, Art History, and Intellectual History, Volume: 62
Cover Karel van Mander and his <i>Foundation of the Noble, Free Art of Painting</i>
E-Book ISBN:
9789004523074
Publisher:
Brill
Print Publication Date:
20 Sep 2022
Front Matter
Introduction “ ‘Pictura’s Cornerstone’: Karel van Mander and His Foundation of the Noble, free Art of Painting”
Den Grondt: The Foundation of the Noble, free Art of Painting: In which her form, origin, and nature are placed before the eyes of inquisitive Youth, in discrete Parts, in Rhymed Verse.
Dedicatory Prefaces, Preface to the Foundation of the Noble, Free Art of Painting, and Selection of Preliminary Poems on the Grondt
Chapter 1: “Exhortation, or Admonition to up and coming young Painters”
Chapter 2: “On Drawing, or the Art of Delineating”
Chapter 3: “Analogy, Proportion, or measurement of the Parts of a Human Body”
Chapter 4: “On the Attitude, Decorum, and Decorous Motion of a Human Figure”
Chapter 5: “On the Ordonnance and Invention of Histories”
Chapter 6: “Portrayal of the Affects, Passions, Desires, and Sorrows of Persons”
Chapter 7: “On Reflection, Reverberation, re-reflected luster, or re-reflection”
Chapter 8: “On Landscape”
Chapter 9: “On Cattle, Animals, and Birds”
Chapter 10: “On Fabrics or Drapery”
Chapter 11: “On Sorting and Combining Colors”
Chapter 12: “On Painting Well, or Coloring”
Chapter 13: “On the Origin, Nature, Force, and Effect of Colors”
Chapter 14: “On the Interpretation of Colors, and What They Can Signify”
Register of Commonplaces: “Table of the Foundation of the Art of Painting”
Commentary
Illustrations

Metrics

All Time Past 365 days Past 30 Days
Abstract Views 0 0 0
Full Text Views 59 20 4
PDF Views & Downloads 103 34 1