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  • Author or Editor: Ann-Sophie Lehmann x
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In: Materialität

A close reading of the first handbook for teachers written in the Dutch Republic by Dirck Adriaensz Valcooch and the color recipes it contained, offers some answers to broader questions concerning the role of art making in general education: was the broad literacy movement in the Protestant Republic beneficial to creative practices? Did the ubiquitous presence of art works support the emergence of practice-based learning? And were pedagogical and artistic expertise related when it came to teaching art? In order to move the teacher’s manual closer to the domain of art history, this article first addresses the difficulties that instructive descriptions of color-related processes posed for Karel van Mander and others, and then briefly looks at how general education welcomed or discouraged creative practices before and around 1600. The analysis of Valcooch’s chapter on ink and paint against the background of wider pedagogical developments, argues that educational writings can significantly add to our understanding about how the artistic use of colors was conveyed in teaching.

In: Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online
Editor-in-Chief:
Brill’s Studies in Art & Materiality is a peer-reviewed book series dedicated to innovative scholarship about the relation between art, materials, and making.

Artists possess knowledge about materials, their affordances and interactions, and skillfully transform materials into art objects. The resulting specific materiality of a work of art is not only an index of its making, but is also fundamentally connected to meaning, aesthetic perception, mimetic potential, economic value, cultural and social impact, as well as its endurance and preservation. Understanding these connections enhances the field of art history and opens new avenues of investigation, ranging from the focused situated study of individual materials and art objects to comparative inquiries that cross traditional boundaries between genre, time, and space. The development of salient theoretical and methodological frameworks to study the materiality of art connects art history and its sub-disciplines (technical art history, museum studies) to anthropology, history of science, archaeology, material culture studies, as well as the cognitive sciences.

The series accommodates scholarly monographs, collections of essays, conference proceedings, and reference works that engage with the rich meanings of art works’ materiality.

The series is not restricted to a particular chronological period or geographical region, thereby allowing for a broad range of topics. In addition, the series has an interdisciplinary component, while keeping a distinct profile. As such, the series promises rich, innovative content for a wide academic readership.

This book covers the body and embodiment in Dutch visual art from 1450-1700. Portrayals of the body as we come across them in paintings, drawings and sculpture of the period are explored from recent art and cultural history perspectives in a succession of informative chapters. Among the themes looked at are: the iconology of the noli me tangere, the ideal soldier in Jacques de Gheyn’s Wapenhandelinghe, the painted skin in art theory, Jan Gossaert’s epitomisation of the Maecenas, the secrets of the dummy, the female nude as Ruben’s trademark, Rembrandt and the body language of Mughal miniatures and Frederick Ruysch between anatomy and art. Text in English and Dutch.

This article introduces the conceptual framework of the volume Wetland. Shaping environments in Netherlandish art and presents a brief state of research. Using three examples – the loss of woodlands and its impact on painting, Dutch hydrological technology in the service of the colonization of Brazil, and the surge of a new Land art in the Netherlands in the face of climate change – the authors highlight the contemporaneity of early modern representations of Netherlandish landscapes against the background of ecological crisis.

Open Access
In: Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online