Making and Marketing: Studies of the Painting Process in Fifteenth- and Sixteenth-Century Netherlandish Workshops

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1 Making and Marketing: Studies of the Painting Process in Fifteenth- and Sixteenth-Century Netherlandish Workshops

2 Making and Marketing: Studies of the Painting Process in Fifteenth- and Sixteenth-Century Netherlandish Workshops Edited by Molly Faries H F

3 Me Fecit As a sign not only of a burgeoning artistic self-awareness, but also of a certain level of excellence long maintained by the medieval craft tradition, early Renaissance artists began to inscribe their paintings along with the declaration, Me fecit. This series, which takes its inspiration from this phrase, features one or more paintings by artists of the fifteenth- and early sixteenth-centuries that are deemed autograph due to inscriptions, through reliable documentary evidence, or on account of manifest self-portraiture.the aim is to explore such paintings in an interdisciplinary manner, from all points of view: the nature of the documentation, the physical characteristics of the painting and the apparent working procedure, the place of the work within the œuvre of the artist, the iconographic problems the theme presents, and the unique manner in which the artist solved the challenge of a given commission be it traditional or innovative. Each book in the series will attempt to unite the results of the technical investigation of paintings with art historical concerns in order to provide the most fully integrated study possible of documented works by a number of well-known artists. In turn, it is hoped that in-depth views of artistic production will provide the foundation for the investigation of other works or oeuvres. These publications may be the product of one author or enriched by collaboration among specialists in different fields of expertise. Maryan W. Ainsworth The Metropolitan Museum of Art Cover illustration: Bernard van Orley, Last Judgment Triptych (interior) Antwerp, Koninklijk Museum voor Schone Kunsten. 2006, Brepols Publishers n.v.,turnhout, Belgium. All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise without the prior permission of the publisher. D/2006/0095/151 ISBN X Printed in the E.U. on acid-free paper

4 Contents Editor s Foreword VII Molly Faries Making and Marketing: Studies of the Painting Process 1 Micha Leeflang The Saint Reinhold Altarpiece by Joos van Cleve and his Workshop: New Insights into Albrecht Dürer s Influence on the Working Process 15 Ron Spronk and Catharina van Daalen Two Scenes from the Passion at the Harvard Art Museums: a Tale of Two Antwerp Workshops? 43 Daantje Meuwissen A Painter in Black and White : the Symbiotic Relationship Between the Paintings and Woodcuts of Jacob Cornelisz. van Oostsanen 55 Anne H. van Buren Collaboration in Manuscripts: France and the Low Countries 83 Maryan W.Ainsworth Romanism as a Catalyst for Change in Bernard van Orley s Workshop Practices 99 Linda Jansen Shop Collaboration in the Painting of Background Landscapes in the Workshop of Pieter Coecke van Aelst 119 Hélène Verougstraete and Roger Van Schoute Copies, Pastiches, and Forgeries after Bosch 143 Margreet Wolters Creativity and Efficiency:Aspects of Joachim Beuckelaer s Use of Patterns and Models 155 Maria Galassi Jan Massys and Artistic Relationships Between Antwerp and Genoa during the Sixteenth Century 179 V

5 Liesbeth M. Helmus Journeymen and Servants: Sixteenth-Century Employment Contracts with Painters from the Netherlands 201 Maximiliaan P.J. Martens and Natasja Peeters Artists by Numbers: Quantifying Artists Trades in Sixteenth-Century Antwerp 211 Bibliography 223 Color Plates 244 Illustration Credits 277 VI CONTENTS

6 Editor s Foreword This volume derives from a session organized for the Historians of Netherlandish Art International Conference entitled Painters Workshops in the Sixteenth-Century Netherlands, which was held in Antwerp in March, Five of the speakers at that session gratiously agreed to take time from their busy schedules to work up their presentations into articles for this publication. 1 Nine other scholars, Maria Galassi, Liesbeth M. Helmus, Linda Jansen, Daantje Meuwissen, Ron Spronk, Anne van Buren, Catharina van Daalen, Roger Van Schoute, and Hélène Verougstraete, were kind enough to submit important additional contributions to this volume. The contents have now been expanded to cover artists working from the fifteenth up to and beyond the middle of the sixteenth century, not only in the northern and southern Netherlands but also in France.While the focus is on painters and painting,the articles also touch on the related artistic traditions of manuscript illumination, printmaking, and tapestry production. It will be evident from the table of contents that this publication concentrates on the activities of sixteenth-century masters. It is intended to highlight the achievements of artists like Joos van Cleve, Jacob Cornelisz. van Oostsanen, Bernard van Orley, Pieter Coecke van Aelst, Joachim Beuckelaer, and Jan Massys, who are still not as well-known as they should be, especially when compared with their fifteenth-century counterparts.this volume is also intended to rectify a common misconception about the term workshop: that it implies only a working locale with sizable personnel capable of streamlined, or mass production.the idea of mass production must in any case be qualified, and this publication is meant to show a range of possibilities in workshop organization from the types of complex collaboration that can be detected in some shops, on the one hand, to the ingenious methods of one-person enterprises on the other. Infrared reflectography is the technical method of choice in most of the articles in this volume, but the research should not be misconstrued as underdrawing studies alone.what is gained by this type of research is insight into the painting process as a whole, and this is why the words painting process are stressed in the title.the elucidation of the overall painting process is indispensable in any study of artistic production; and it therefore forms the basis of this publication. Some articles in this volume present the results of new technical studies that are comprehensive in nature, revealing the inter-relationship between prints and painting practices, modes of collaboration, shifts in procedure, the development and use of shop models, and the impact of international commerce. Other articles present equally valuable information about historical context: new documentary evidence and new methods of historical statistics revealing trends in workshop size, career trajectories, and immigration. I would like to express my thanks to those museums, granting institutions, and colleagues who have made this publication possible. Much of the infrared documentation, research, and brainstorming took place within the context of a grant at University of Groningen from , Antwerp Painting Before Iconoclasm: a Socio-Economic Approach (co-directors Molly Faries and Maximiliaan P. J. Martens; post-doc, Natasja Peeters; Ph.D. candidates, Linda Jansen and Micha Leeflang, and technical assistant, Daantje Meuwissen), funded by the Netherlands Organization for Scientific Research (NWO).This grant afforded all of us exceptional research opportunities, many intense work sessions, and much stimulating discussion. Other research projects have also played a role in this publication, such as the Netherlands Organization for Scientific Research / Flemish-Dutch Committee for Dutch Language and Culture (NWO/VNC) grant that supported Margreet Wolter s research on Joachim Beuckelaer. My fellow authors and I are deeply indebted to the museums and collections whose works are discussed in this volume; the technical investigations in particular required much staff time in making arrangements and offering friendly assistance and interest in countless other ways. In return, we hope to have offered some sort of compensation by making the technical documents available and seeing to it that VII

7 they are properly archived. In that regard, I would like to thank the Netherlands Institute for Art History (RKD) for agreeing to house my own IRR archive as well as that of the Antwerp research project mentioned above. With this publication, Brepols Publishers continues to show its loyalty to the study of Netherlandish painting, and I would like to thank Johan Van der Beke, in particular, for shepherding this volume through the publication process.thanks also go to Maryan W.Ainsworth for agreeing to have this publication in the Me fecit series. Finally, as always, I owe more than I can possibly express, to my partner, Eileen Fry, for her patience and willingness to become involved in discussions dealing with matters ranging from editorial minutiae to grand hypotheses. Molly Faries NOTES 1.The session, held Friday, March 15, 2002, was chaired by Molly Faries and included the following talks: Micha Leeflang and Peter van den Brink, Demystifying the Process: Practices in Early Sixteenth-Century Antwerp Painters Workshops ; Maryan W.Ainsworth, Bernard van Orley: Evolution and Standardization in the Workshop ; Margreet Wolters, Creativity and Efficiency: the Use of Cartoons and Patterns in Paintings by Pieter Aertsen and Joachim Beuckelaer ; and Maximiliaan P.J. Martens and Natasja Peeters, Artists by Numbers: Quantifying Artists Trades in Sixteenth-Century Antwerp. I would like to thank Peter van den Brink for kindly allowing Micha Leeflang access to his research materials for her article in this volume. VIII EDITOR S FOREWORD

University of Groningen. 'Uytnemende Schilder van Antwerpen' Leeflang, Micha

University of Groningen. 'Uytnemende Schilder van Antwerpen' Leeflang, Micha University of Groningen 'Uytnemende Schilder van Antwerpen' Leeflang, Micha IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check