Author:
Walter S. Melion
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Type:
Chapter
Pages:
549–573
DOI:
https://doi.org/10.1163/9789004523074_021
Open Access
Drawing of Karel van Mander lying dead on his deathbed, a harp placed on his chest.

Chapter 1 Figure 9

Jacques de Gheyn II, Karel van Mander on his Deathbed, 1606. Pen and brown ink on traces of black chalk on white paper, blue wash, heightened in white, on white-colored paper

Städel Museum, Frankfurt. Inv. no. 800
Red-chalk drawing of the goddess Flora draped in a classical mantle and holding a floral wreath.

Chapter 2 Figure 10

Hendrick Goltzius, Flora Farnese, 1590–1591. Red chalk on ivory laid paper, 416 × 219 mm

Teylers Museum, Haarlem
Chiaroscuro woodcut of the apostles Peter and John healing lame men at the Beautiful Gate.

Chapter 2 Figure 11

Parmigianino after Raphael, Peter and John Heal the Lame Beggar at the Beautiful Gate of the Temple, ca. 1513–1540. Etching and chiaroscuro woodcut, 278 × 408 mm

Rijksmuseum, Amsterdam
Engraving of the goddess Venus holding an apple, her son Cupid and a pair of swans at her side.

Chapter 3 Figure 12

Nicolaas Braeu after Karel van Mander, Venus, 1598. Engraving, 267 × 167 mm

Rijksmuseum, Amsterdam
Engraving of the god Vulcan holding and hammer and tongs, beside him an anvil.

Chapter 3 Figure 13

Nicolaas Braeu after Karel van Mander, Vulcan, 1598. Engraving, 267 × 165 mm

Rijksmuseum, Amsterdam
Engraving of Psyche brought to Olympus by Mercury who presents her to Jupiter and his fellow gods and goddesses.

Chapter 4 Figure 14

Bartholomeus Willemsz. Dolendo after Karel van Mander, Psyche Brought to Olympus by Mercury, ca. 1580–1626. Engraving, 245 × 644 mm

Rijksmuseum, Amsterdam
Engraving of Christ raising Lazarus from the grave, surrounded by astonished onlookers.

Chapter 4 Figure 15

Jan Harmensz. Muller after Abraham Bloemaert, Raising of Lazarus, 1598–1602. Engraving (proof), 347 × 484

Rijksmuseum, Amsterdam
Painting of the Roman general Scipio who, having conquered Carthage, returns a captive bride to her bridegroom and restitutes her family’s possessions.

Chapter 5 Figure 16

Karel van Mander, The Continence of Scipio, 1600. Oil on copper, 44 × 79 cm

Rijksmuseum, Amsterdam
Engraving of shepherds gathering on the steps of a large, steeply foreshortened building, from where they gaze at the Nativity of Christ, set in the distance.

Chapter 5 Figure 17

Jan Saenredam after Karel van Mander, Adoration of the Shepherds, ca. 1589–1607. Engraving (three plates), 441 × 1095 mm

Rijksmuseum, Amsterdam
Engraving of the angel Gabriel announcing to Mary that she has been chosen to be mother of Christ, with six prophets of the Nativity in the foreground, each holding the text of his prophecy.

Chapter 5 Figure 18

Cornelis Cort after Federico Zuccaro, Annunciation Surrounded by Prophets of the Mystery of the Incarnation, 1571. Engraving, 481 × 680 mm.

Rijksmuseum, Amsterdam.
Painting of soldiers massacring innocent children in Bethlehem at the order of King Herod, whose command is read out by a herald on horseback at right.

Chapter 6 Figure 19

Pieter Bruegel the Elder, Massacre of the Innocents, ca. 1565–1567. Oil on panel, 109.2 × 105.1 cm.

Royal Collection Trust, Windsor RCIN 405787.
Engraving of the infernal boatman Charon driving damned souls from his barque onto the shores of hell.

Chapter 6 Figure 20

Giorgio Ghisi after Michelangelo, Last Judgment (Sheet 1: Charon’s Boat), published by Vincenzo Cenci, Giacomo Cenci, and Matthijs van de Merwede, ca. 1582–1650. Engraving, 360 × 575 mm

Rijksmuseum, Amsterdam
Painting of the household servants of the patriarch Abraham gathering his possessions, including pots, pans, and livestock, in advance of their migration to a new homeland.

Chapter 7 Figure 21

Jacopo da Ponte, called Bassano, Abraham’s Journey to Canaan, ca. 1580–1582. Oil on canvas, 93 × 115.5 cm.

Gemäldegalerie, Staatliche Museen, Berlin. Inv. 60.4. Photo: Joerg P. Anders.
Drawing of the gods Bacchus and Ceres offering gifts of grapes and produce to the goddess Venus, before whom her son Cupid blows on a flame, attempting to warm his mother.

Chapter 7 Figure 22

Hendrick Goltzius, Venus, Bacchus, and Ceres, 1593. Pen and brown ink on parchment, 629 × 494 mm.

The British Museum, London. Inv. no. 1861,0608.174.
Engraving of the figures of philosophers gathered in a cave, some of whom mistake cast shadows for images of real things, while others observe that the shadows are cast by effigies backlit by a strong light.

Chapter 7 Figure 23

Jan Saenredam after Cornelis Cornelisz., Antrum Platonicum (Plato’s Cave), 1604. Engraving, 329 × 452 mm

Rijksmuseum, Amsterdam
Engraving of a deep river valley surrounded by high mountains through which convoys of travelers wind their way.

Chapter 8 Figure 24

Johannes and / or Lucas van Doetecum after Pieter Bruegel the Elder, Alpine Landscape with a River Valley Cut through by a Stream, 1553–1558. Engraving and etching, 324 × 428 mm

Rijksmuseum, Amsterdam
Engraving of Saint Eustace kneeling in a forest glade before the image of the Crucifix hovering miraculously between a stag’s antlers.

Chapter 8 Figure 25

Cornelis Cort after Girolamo Muziano, Landscape with the Vision of St. Eustachius, 1573. Engraving, 520 × 390 mm

Rijksmuseum, Amsterdam
Engraving of shepherds and a milkmaid amongst livestock, with an angel hovering over than and announcing the birth of Christ.

Chapter 9 Figure 26

Aegidius Sadeler after Jacopo Bassano, Annunciation to the Shepherds, 1593. Engraving, 271 × 208 mm

Rijksmuseum, Amsterdam
Painting of a white horse led by a groom.

Chapter 9 Figure 27

Jacob de Gheyn II, Spanish Warhorse Captured at the Battle of Nieuwpoort, 1603. Oil on canvas, 228 × 269 cm

Rijksmuseum, Amsterdam
Painting of the Virgin offering the infant Christ a bunch of grapes while preparing to suckle him.

Chapter 10 Figure 28

Jan Gossart, called Mabuse, Virgin and Child, ca. 1520. Oil on panel, 47.7 × 38.2 cm.

Gemäldegalerie, Staatliche Museen, Berlin. Inv. no. 650. Photo: Jörg P. Anders
Watercolor painting of a panoramic vista of villages, meadows, and a distant riverside town, with Jacob at the well in the foreground.

Chapter 11 Figure 29

Hans Bol, Landscape with Jacob at the Well, 1593. Gouache on parchment, mounted on panel, 13.3 × 20.3 cm.

Städel Museum, Frankfurt. Inv. no. 1909.
Painting of the newly risen Christ adjuring the Magdalene not to touch him.

Chapter 12 Figure 30

Titian, Noli me tangere, ca. 1514. Oil on canvas, 110.5 × 91.9 cm.

National Gallery, London. Photo: Julie Molloy
Painting of the angel Gabriel alighting to announce to Mary that she has been chosen to be the mother of Christ, while a glory of angels hovers above.

Chapter 12 Figure 31

Titian, Annunciation, 1564–1565. Oil on canvas, 403 × 235 cm.

San Salvatore, Venice. Photo: Renée Lessing-Kronfuss
Painting of nude young men and women feasting and embracing while Noah builds the ark in the background.

Chapter 13 Figure 32

Karel van Mander, Before the Flood (obverse of Fig. 33), 1600. Oil on copper, 31.1 × 25.6 cm.

Städel Museum, Frankfurt. Inv. no. 2088. Photo: Ursula Edelmann
Painted compilation of various symbols, including, from below to above, a winged hand holding artisanal implements, a cornucopia topped by arrows, a peacock and goat on either side of swords placed point to point, a plumed helmet, crutches, and the caduceus of the god Mercury.

Chapter 14 Figure 33

Karel van Mander, Emblematic Image (Vicissitudes of Life) (reverse of Fig. 32), 1600. Oil on copper, 31.1 × 25.6 cm.

Städel Museum, Frankfurt. Inv. no. 2088. Photo: Ursula Edelmann
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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”
Illustrations
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

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