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Joanna Woodall

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Joanna Woodall

Joanna Woodall: De wisselaer. Quentin Matsys’s Man weighing gold coins and his wife, 1514

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Joanna Woodall

'Painting contains a divine force which not only makes the absent present, as friendship is said to do, but moreover makes the dead seem almost alive.' Taking up Alberti's connection between divine power, mimesis and friendship, this study explores the artistry of the Utrecht portrait specialist Anthonis Mor. It considers Mor's work in relation to reformation debates, and to the challenges to dynastic authority that took place during his lifetime, tracing the breakdown and transformation of belief in 'friendship' or love as a means of binding abstract authority and the embodied world together. Although Mor succeeded Titian as principal portraitist to the Habsburgs, his ambition was not limited to portrayal in a narrow sense. His work enters into dialogue with the elevated conceptions of the artist being enunciated by his humanist friends, and with devotional and allegorical imagery. The book brings Mor's arresting vision to a wider public and reveals its centrality to a broader understanding of how authority was conceived and reshaped in the sixteenth-century. previously published as hardback with isbn 9789040084218.
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Frits Scholten and Joanna Woodall

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Edited by H. Perry Chapman and Joanna Woodall

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H. Perry Chapman and Joanna Woodall

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Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 59 (2009)

Envisioning the Artist in the Early Modern Netherlands / Het beeld van de kunstenaar in de vroegmoderne Nederlanden

Edited by H. Perry Chapman and Joanna Woodall

The early modern period is defined, in part, by the emergence of the artist as a distinctive kind of human subject. This volume is concerned with images and discourses of the artist in the Netherlands from the late 15th century until the mid 17th century, when the relationship between a community of craftsman and elite individuals, between consciousness of a native tradition and membership of international humanist society, between image and word, between hand, mind and spirit, were being actively negotiated. Discussions of architects, painter-poets and copyists critically engage with the Netherlandish artist’s identification with ail painting, which became ever-closer during this period. Contributions in which self-portraits, images of the studio and art literature are related tot the practices, behavior and economic lives of a range of practitioners, provide new insights into the artist not only as a producer but a figure produced by his work.
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Edited by Frits Scholten, Joanna Woodall and Dulcia Meijers

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Edited by Christine Göttler, Bart Ramakers and Joanna Woodall