Maarten Van Heemskerck's Rome

Antiquity, Memory, and the Cult of Ruins
Erscheinungsjahr 2019
ISBN: 978-90-04-38046-2
Verlag: Brill

Buch, Englisch, Band 287/31, 526 Seiten, Format (B × H): 177 mm x 251 mm, Gewicht: 1547 g

Reihe: Brill's Studies in Intellectual History / Brill's Studies on Art, Art History, and Intellectual History

This book presents the first sustained study of the stunning drawings of Roman ruins by Haarlem artist Maarten van Heemskerck (1498–1574; in Rome, 1532–ca. 1537). In three parts, Arthur J. DiFuria describes Van Heemskerck’s pre-Roman training, his time in Rome, and his use his ruinscapes for the art he made during his forty-year post-Roman phase.

Building on the methods of his predecessors, Van Heemskerck mastered a dazzling array of methods to portray Rome in compelling fashion. Upon his return home, his Roman drawings sustained him for the duration of his prolific career. Maarten van Heemskerck’s Rome concludes with the first ever catalog to bring together all of Van Heemskerck’s ruin drawings in state-of-the-art digital photography.

Autoren/Hrsg.

Di Furia, Arthur J

Fachgebiete

• Geisteswissenschaften Kunst Kunst, allgemein Einzelne Künstler: Biographien, Monografien
• Geisteswissenschaften Architektur Geschichte der Architektur, Baugeschichte
• Geisteswissenschaften Kunst Kunstformen, Kunsthandwerk Malerei: Gemälde
• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: Renaissance, Manierismus

Inhaltsverzeichnis

Preface and Acknowledgments

List of Illustrations

Introduction

Maarten van Heemskerck’s Rome

Drawings in Berlin and Scattered to the Four Winds

The Historicized Van Heemskerck and Karel Van Mander’s Schilder-Boeck

Van Heemskerck’s Drawings and Memory

Van Heemskerck and the Cult of Ruins

Part 1: Imagining the Eternal: Maarten van Heemskerck Before Rome

Introduction

1 The Possibility of a pre-Roman Maarten van Heemskerck

Collection, Invention, and Netherlandish Antiquity c. 1510–25

The Status of the Ruin in Netherlandish Visual Culture c. 1510–25

The Roman Journey’s Status in the Netherlands and Van Heemskerck’s Road to the Eternal City

2 The Ruin Landscape in Jan van Scorel’s Workshop

Prototype, Imitation, Emulation, Invention

Van Scorel, Van Heemskerck, and the Ruin

Leaving Van Scorel’s Workshop: Landscape and the Wanderjahr Drawing

Part 2: Drawing the Eternal: Van Heemskerck in Rome

Introduction

3 Drawing Ruins in Post-Sack Rome

Rome’s Post-Sack Milieu

Drawing, Collecting, and the ‘Chaos of Memory’

Ruins in Post-Sack Rome

Raphael and Van Heemskerck’s Ruinscapes

Charles V’s Triumphal Procession

4 Memory and Maarten van Heemskerck’s Eternal Eye

Discovering the Vestiges of Ancient Rome in the Frame

The Compelling Space and the Epochal Time of Van Heemskerck’s Ruinscapes

Artistry and Roman Topography as Memory

5 The Copious Hand

An Abundant Technique

Van Heemskerck’s Pre-Roman Technical Inheritance: Pen and Ink Hatching, Netherlandish Realism

Towards Finish: The Flexibility of Van Heemskerck’s Pen and Ink Process

Ink Washes, Chalk, Texture: Performance

Mimesis, Performance, and Function

Part 3: Remembering the Eternal: Van Heemskerck After Rome

Introduction

6 Invention, Collecting, Antiquarianism

Reinventing Rome: Panorama with the Abduction of Helen Amidst the Wonders of the World

Memory and Invention After Rome: Van Heemskerck’s Drawings in the Netherlands

Van Heemskerck’s Inventions After the Antique: Means and Modes

In Reminiscor: Reading the Ruins

7 Antiquity in 1553: Ruins and Self-Fashioning

A Summa of the Self

Coming of Age: The Signature Ruin and Netherlandish Antiquarianism

Van Heemskerck’s Drawings and Hieronymus Cock’s Præcipua aliquot Romanae Antiquitatis Ruinarum

Self-Portrait before the Colosseum’s Antiquarian Audience

8 Regnum, Reform, and Ruin

Van Heemskerck and the Destruction of Art in the ‘Age of Art’

Before the Beeldenstorm, After the Antique

1569: The Rhetoric of Ruination

Epilogue

After Van Heemskerck, After the Antique: A Continuum of Pictorial Memory

Part 4: A Catalog of Maarten van Heemskerck’s Roman Ruin Drawings

A Note on the Catalog

In and Around the Forum

Forum Romanum

Capitoline Hill

Palatine Hill

Arch of Titus

Colosseum

Arch of Constantine

Septizonium

Forum Nervae

On the Quirinal Hill

Frontespizio di Nerone

Baths of Diocletian

Trofei di Mario

San Lorenzo Fuori le Mure

On the Tiber’s East Bank and On the Interior

Porticus Octaviae

Forum Boarium

Piazza del Popolo

Pantheon

In and Around the Vatican

Banchi and Borgo

St. Peter’s

Belvedere

Near the South Wall

Baths of Caracalla

San Giovanni in Laterano

Temple of Minerva Medica

Porta Maggiore

Pyramid of Cestius

Further Afield: Otium

Tivoli

Villa Madama

Panorama, Collection, Fragment, Fantasia

Broad-View Panoramas

Sculpture Collections, Gardens, and Cortile

Architectural Fragments

Fantasia

Single Sheets with Multiple Copies after Maarten van Heemskerck: The so-called De Vos Sketchbook

Deattributions

Deattributions from Maarten Van Heemskerck

A Deattributed Group of Drawings in Berlin: ‘Anonymous C’

A Brief Explanation and List of Previous Deattributions

Notes

References

Über Autor(innen)

Arthur J. DiFuria, Ph.D. (2008, Delaware), is Savannah College of Art and Design’s Chair of Art History. He has published books and articles on early modern Netherlandish art, including Genre Imagery in Early Modern Northern Europe: New Perspectives (Ashgate / Routledge, 2016).