Historians of Netherlandish Art announces the publication of the Winter 2018 issue (vol. 10:1) of the refereed, open-access Journal of Historians of Netherlandish Art (jhna.org).
Table of Contents:
LYNN F. JACOBS. Thresholds and Boundaries: Liminality in Netherlandish Art (1385-1530), Routledge, 2017, 256 p.
lthough liminality has been studied by scholars of medieval and seventeenth-century art, the role of the threshold motif in Netherlandish art of the late fourteenth, fifteenth and early sixteenth centuries — this late medieval/early ‘early modern’ period — has been much less fully investigated. Thresholds and Boundaries: Liminality in Netherlandish Art (1385-1550) addresses this issue through a focus on key case studies (Sluter’s portal of the Chartreuse de Champmol and the calendar pages of the Limbourg Brothers’ Très Riches Heures), and on important formats (altarpieces and illuminated manuscripts). Lynn F. Jacobs examines how the visual thresholds established within Netherlandish paintings, sculptures, and manuscript illuminations become sites where artists could address relations between life and death, aristocrat and peasant, holy and profane, and man and God—and where artists could exploit the “betwixt and between” nature of the threshold to communicate, paradoxically, both connections and divisions between these different states and different worlds. Building on literary and anthropological interpretations of liminality, this book demonstrates how the exploration of boundaries in Netherlandish art infused the works with greater meaning. The book’s probing of the — often ignored –meanings of the threshold motif casts new light on key works of Netherlandish art.
JOSEFINA PLANAS BADENAS (ed.). Manuscrits il·luminats. La tardor de l’Edat Mitjana i els inicis del Renaixement, Universitat de Lleida, 2017, 204 p.
L’interès d’aquesta recopilació d’estudis recau en el fet d’analitzar l’elaboració del llibre miniat durant un període cronològic, que inclou les darreres manifestacions gòtiques i els primers còdexs elaborats, d’acord amb les pautes formals del Renaixement. La línia divisòria que separa els dos períodes esmentats no es regeix per una cronologia estricta, sinó que en funció de la situació particular de cada un dels estats europeus es manifesta la persistència de la tradició gòtica o es percep la oració del nou llenguatge formal creat a la Toscana. Aquesta exibilitat ha permès reconstruir la creació de manuscrits il·luminats al llarg del segle XV i principis del XVI, ponderant la varietat de propostes estètiques que van conviure entre si, durant aquest període. L’anàlisi de diversos centres de producció artística i del paper protagonista dut a terme per destacats promotors de l’envergadura de la reialesa, l’aristocràcia castellana o la cúria papal, enriqueixen aquesta visió de conjunt. Finalment, l’estudi dels manuscrits elaborats a Roma, durant el Duecento, planteja una reflexió sobre la reinterpretació del món clàssic, amb totes les connotacions iconogràfiques i ideològiques que va implicar la recuperació d’aquest llegat en una fase prèvia a la gran eclosió del Renaixement.
C. CURRIE. Van Eyck Studies: Papers Presented at the Eighteenth Symposium for the Study of Underdrawing and Technology in Painting, Peeters, 2017, 598 p.
Since Paul Coreman’s ground-breaking L’Agneau mystique au laboratoire in 1953, the Ghent Altarpiece, masterwork of the Van Eyck brothers, has been a major focus of research at the Royal Institute for Cultural Heritage (KIK-IRPA, Brussels). Some sixty years later, in the wake of a new conservation campaign in which KIK-IRPA is again playing the leading role, the art of Hubert and Jan van Eyck took centre stage at the Symposium XVIII for the Study of Underdrawing and Technology in Painting (Brussels, 19-21 September 2012). The event was organised by the KIK-IRPA and the Centre for the Study of the Flemish Primitives in collaboration with the Laboratoire d’étude des œuvres d’art par des méthodes scientifiques (Université catholique de Louvain-la-Neuve), and Illuminare – Centre for the Study of Medieval Art (Katholieke Universiteit Leuven).
The Ghent Altarpiece and the oeuvre of Jan van Eyck continue to captivate modern viewers and still arouse tremendous interest among art historians. The fascination with Eyckian art, with all its dazzling illusionistic effects and iconographic finesse, is every bit as fresh and challenging as it was six centuries ago.
During three days of presentations and intense discussions, eminent specialists from all over the world attempted to fanthom the secrets of Van Eyck’s success. They debated the issues from a variety of different standpoints, and shed new light on thorny topics such as attribution, iconography and painting technique.
This book captures the variety of thirty-seven papers presented at the symposium and provides state-of-the-art knowledge on one of the most significant painters of all time. It should be read in conjunction with the widely acclaimed website “Closer to Van Eyck”, which offers the scientific imagery of the Ghent Altarpiece in glorious high resolution.
Rubenianum, Antwerp, Belgium, 05. – 06.11.2018
Deadline: Mar 1, 2018
Many Antwerp Hands: Collaborations in Netherlandish Art, 1400-1750
In the early modern Low Countries, distinctive patterns of collaboration developed. Not only legal agreements but also relationships of trust fostered an artistic culture in which collaboration was a central practice – seemingly as important to the participating artists as to their works’ viewers. Quinten Metsijs and Joachim Patinir’s collaborative production of The Temptation of St. Anthony (Madrid, Prado), painted in Antwerp in about 1520-24, was still recognized half a century later and far from its geographical origins as a work produced by two painters in concert: a 1574 list of works King Philip II of Spain sent to the monastery of El Escorial expressly described the painting as having figures by Metsijs and a landscape by Patinir.
JHNA is applying for a Digital Humanities Advancement Grant from the National Endowment for the Humanities. If successful, we will receive three bursaries of $10,000 each to develop and publish three digital art history projects. One project from each of the following areas of investigation will be selected:
1) Network Analysis:
Use of data analytics programs (e.g., Gephi, Network Workbench) to investigate connections among particular groups or individuals, such as artists, writers, art dealers, art markets and other networks of exchange;
2) Geographic Information Systems (GIS) and Mapping:
Use of maps in concert with data sets (e.g., depictions of sites, location of objects, paths of travel) through online programs like MapBox, Timemapper, or Neatline in order to investigate change over time and space;
3) High-Resolution Imaging and Dynamic Image Presentation:
Use of panoramic or high-resolution imagery to view, for example, panoramas, conservation images (x-radiographs, infrared reflectography), or moving images; also digital facsimiles of longer works, such as albums or sketchbooks.
County Durham, The Bowes Museum, Barnard Castle, June 19, 2017
Deadline: May 8, 2017
CVAC Study Day ‘St Luke Drawing the Virgin and Child: Constructing Narratives’
Following an export bar in July 2016, The Bowes Museum acquired the outstanding painting, ‘St Luke Drawing the Virgin and Child’ by Dieric Bout the Elder with support from the the Art Fund, Heritage Lottery Fund and a number of private donors. The painting is of major importance due to its connection with the artist, deemed one of the leading and most influential Netherlandish painters of his time.
This interdisciplinary study day aims to look at the painting ‘St Luke Drawing the Virgin and Child’ in the broad context of visual culture: exploring sainthood and investigating visual representations of sanctity, looking at perspective, with a particular attention to interiors and architecture in early modern Europe, and analysing identity and self-imagery.
The event is designed to be a cross- and inter-disciplinary study day where scholars, postgraduate and early career researchers can meet, debate, and collaborate on all issues pertaining to visual culture.
The Bowes Museum and CVAC invite proposals for thirty-minute papers from scholars, postgraduate and early career researchers that address any aspect of art, literature, history, and culture, with a particular attention to:
– Sainthood from Medieval to contemporary time;
– Visual representation of saints;
– Architecture and interiors in early modern Europe;
– Portraiture and identity;
– The theory and practice of perspective;
– Patronage and trade and circulation in early modern Europe.
The study day will take place at The Bowes Museum on 19 June 2017, with a number of thirty-minute papers, followed by discussion, and including lunch and morning and afternoon refreshments.
Abstracts of up to 200 words along with a brief biography should be submitted in the body of an email to
The closing date for submissions is Monday 8 May 2017, at 5pm.
For more details, please contact
Ghent, HNA Conference
Deadline: May 15, 2017
Calls for papers:
 Bruegel’s Politics
 Utensils in Art: The Object as an Artist’s Model and the Domestic Utensil as Decorative Arts
CFP: Early Netherlandish Art in the Long 19th Century (Ghent,
24 – 26 May 18), Ghent, May 24 – 26, 2018
Deadline: Jun 1, 2017
To submit a proposal for consideration, please send a 250 word
abstract, a 100 word bio, and a 1-2 page CV to firstname.lastname@example.org
by June 1, 2017.
Francis Haskell famously argued that the “rediscovery” of early
Netherlandish painting in the nineteenth century was central to the
notions of history and culture that undergirded the rise of the modern
nation-states of Belgium and the Netherlands. This view has been
enriched by recent scholarship on the medieval and Renaissance
revivalist movements that took hold in both countries from about 1840
through the early years of the twentieth century. Yet the complex
relationship between artistic and literary practices of the period and
the emergence of a distinctly northern European history of art remains
largely unexamined, and its implications unacknowledged.
As Léon de Laborde, Camille Lemonnier, Émile Verhaeren, Hippolyte
Fierens-Gevaert, and, slightly later, Johan Huizinga published
pioneering investigations into the world of Van Eyck, Memling, and
Rubens, a similar retrospective spirit animated the artistic
imagination. Painters from Henri Leys to Fernand Khnopff and writers
from Charles De Coster to Maurice Maeterlinck embraced northern
precedents as a key source of inspiration for works that were at once
contemporary and rooted in a rich regional heritage.
This panel aims to explore the interplay between the visual arts and
the nascent field of art history in Belgium and the Netherlands. It
seeks twenty-minute papers which address how artists, critics,
historians, and others working in the Low Countries and abroad
developed diverse perspectives on their past that continue to shape our
understanding of the subject. Papers addressing specific instances of
revivalism and historicism are welcome, as are broader studies of
historiographical and literary trends, which offer insight into how one
era may mediate and even define our vision of another.
Papers must be based on ongoing research and
unpublished. Participants must be HNA members at the time of the
Panel Chairs: Edward Wouk, Assistant Professor, The University of
Manchester; Alison Hokanson, Assistant Curator, The Metropolitan Museum