Artikelen, hoofdstukken in boeken en catalogusbijdragen
Articles, book chapters, and catalogue entries
2021
‘Manuscript production in the monastery of St Hieronymusdal in Lopsen, near Leiden’
Oud Holland. Journal for Art of the Low Countries 2021, nos. 2/3, volume 134, pp. 69-100
oudholland.rkd.nl
Summary: The surviving account books of the monastery of Lopsen near Leiden contain numerous payments relating to panel painting, pigments, parchment, and the writing, illumination and binding of books (figs. 2-3). They span the period from c. 1440 to 1507. This article analyses the entries that refer to writing and illumination, and discusses scribes, illuminators, and the book types mentioned (appendices 1-2). The results are compared with the corpus of extant manuscripts attributed to Leiden (figs. 1, 4-6). This leads to abandonment of the general theory that the so-called Masters of the Suffrages were active in Lopsen; instead, the author proposes that the documentary records from Lopsen concerning illumination refer to pen-flourishing (penwork decoration) instead of painting. The author argues that Lopsen did not produce luxury codices with painted miniatures and borders, but well-made books aptly decorated with pen-flourishing, in a South Holland style that is known as loops penwork. The extant manuscripts containing loops penwork are in line with the book types mentioned in Lopsen’s archives (figs. 7-18). Their main customers were members of churches and religious institutions: priests, monks and priors, nuns and abbesses, tertiaries and beguines, church wardens and guild masters, even though some books were made for devout lay people: educated burghers and governors of Leiden as well as family members of the Lopsen monks. The author concludes that the results obtained by this study would merit comparison with the practices of other religious communities that are known to have produced books, and she suggests that some other monastic workshops to which ‘illumination’ has been attributed actually provided pen-flourishing. The author further concludes that different patterns of production can be found in the northern Netherlands in the fifteenth and the early sixteenth century, which invite exploration of the relationships between urban and monastic workshops in other Dutch cities, such as Delft, Haarlem, Amsterdam, Utrecht, Zwolle and Groningen.
2019
‘The Grotesque Initials in the Alamire Choirbooks’
Journal of the Alamire Foundation volume 11, issue 1-2, pp. 13-46, 165-186
https://www.brepolsonline.net/toc/jaf/2019/11/1-2
Abstract: Among the most distinctive visual aspects of the Alamire manuscripts are the initials that incorporate grotesque male heads. Although they have been linked to the Alamire scriptorium, the relationship between the producers of these grotesque initials, the scribes, and the miniaturists has thus far not been determined. This article offers an art-historical analysis of the grotesque initials, the decorated initials, the border decorations, and the miniatures in the entire Alamire corpus. An investigation of stylistic evidence, including the division of work between the painters of the grotesque initials, the miniatures, and the painted borders, leads to the conclusion that the grotesque initials were produced by professional illuminators. Two main stylistic groups can be discerned. One of these was probably produced by artists under the direction of Jacques Scoon, who signed one of the grotesque initials in MechAS s.s., and who may well have organized the illumination of the choirbooks. Several illuminators from the circle of the Master of the Prayer Books of around 1500 participated in the execution of the minor illustrations, strewn borders, and decorated initials that appear in conjunction with the grotesque initials. The miniatures and borders on the major opening pages were usually ordered from the Master of the Baudeloo Missal, who worked independently from the workshop that provided the grotesque initials.
2019
‘Illuminations’ / ‘De verluchting’
chapter II in: The Mechelen Choirbook: A Treasure from the Scriptorium of Petrus Alamire / Het Mechelse koorboek: een schat uit het scriptorium van Petrus Alamire, edited by David J. Burn & Honey Meconi. Leuven Library of Music in Facsimile 2. Antwerp (Davidsfonds / Standaarduitgeverij) 2019, pp. 29-54 / 249-275, plates: pp. 165-185
https://www.illuminarescribendo.nl/manuscript-studies-in-the-low-countries/
2018
‘Re-Thinking Margins and Miniatures: Collaborative Practices in Flemish Manuscript Painting around 1500’
in: New Perspectives on Flemish Illumination. Papers presented at the International Colloquium held in the Royal Library of Belgium, Brussels, November 16-18, 2011, edited by L. Watteeuw & J. Van der Stock. Corpus of Illuminated Manuscripts, vol. 21, Low Countries Series. Leuven (Peeters Publishers), pp. 192-209
2018
‘The Missing Miniatures of the Hours of Louis Quarré’
Journal of Historians of Netherlandish Art, vol. 10.1, 2018
DOI: 10.5092/jhna.2018.10.1.2
Abstract: Several dispersed miniatures are here identified as belonging to the Hours of Louis Quarré (Oxford, Bodleian Library, Ms Douce 311). The original decorative program of the Quarré Hours is analyzed and the cuttings traced thus far are reintegrated into the manuscript. The Quarré Hours, which was probably produced in two stages, is situated in the oeuvre of the Master of the First Prayer Book of Maximilian. The provenances of the parent manuscript and cuttings are reconstructed in an attempt to determine when the Quarré Hours lost its miniatures.
2017
‘Middeleeuwse handschriften uit Groningse kloosters – Feldwerd’
in: Schriftgeheimen. Opstellen over schrift en schriftcultuur, edited by M. Hogenbirk & L. Kuitert. Amsterdam (Amsterdam University Press) 2017, pp. 247-269
https://www.aup.nl/en/book/9789462985155/schriftgeheimen
2016
‘Livre d’ heures’
[Paris, Petit Palais, musée des Beaux-Arts de la Ville de Paris, Ms. LDUT 36]
catalogue entry in: Trésors enluminés de Normandie, edited by N. Hatot & M. Jacob. Exhibition catalogue (Musée des Antiquités de Rouen in cooperation with Université de Rennes 2, INHA/Institut national d’ histoire de l’art, and IRHT/Institute de recherche et d’ histoire des texts), pp. 223-224 (cat. no. 66)
2016 [herdrukt in 2019]
‘De bloeiende Middeleeuwen: de opkomst van de strooiranden in de Zuid-Nederlandse boekverluchting van de vijftiende eeuw’
chapter 13 in: De groene Middeleeuwen. Duizend jaar gebruik van planten (600 tot 1600), edited by L. IJpelaar & C.A. Chavannes-Mazel. Eindhoven (Lecturis), pp. 232-247
https://issuu.com/lecturis/docs/degroenemiddeleeuwen_issuu
2016 [herdrukt in 2019]
‘Bloemen van betekenis: de interpretatie van de randversiering in Zuid-Nederlandse handschriften rond 1500’
chapter 14 in: De groene Middeleeuwen. Duizend jaar gebruik van planten (600 tot 1600), edited by L. IJpelaar & C.A. Chavannes-Mazel. Eindhoven (Lecturis), pp. 248-259
2014
[Five catalogue entries on Dutch, Flemish and French books of hours and prayer books]
in: Die Liberna in der Draiflessen Collection: Die heilige Anna – Bildform und Verehrung / Liberna in de Draiflessen Collection: De heilige Anna – Beeldvorm en verering / The Liberna at the Draiflessen Collection: Saint Anne – Image and Worship. Exhibition catalogue in German, Dutch and English. Mettingen (Draiflessen Collection), pp. 64-65 (no. 12), 96-97 (no. 23), 104-105 (no. 27), 106-107 (no. 28), 110-111 (no. 29)
2014
‘De marges in het middelpunt’
in: Gezien met eigen ogen! Topstukken uit de Middeleeuwen in Museum Catharijneconvent, edited by W. van Welie and K. Broekhuijsen. Amersfoort / Brugge (Bekking & Blitz), pp. 137-139
2013
‘Manuscript Production in a Carmelite Convent: The Case of Cornelia van Wulfschkercke’
in: Books of Hours Reconsidered, edited by S. Hindman and J.H. Marrow. HMSAH Series: Studies in Medieval and Early Renaissance Art History, vol. 72. Turnhout (Brepols), pp. 279-296, 519-520 [on invitation; peer-reviewed volume]
http://www.brepols.net/Pages/ShowProduct.aspx?prod_id=IS-9781905375943-1
2012
‘Middeleeuwse handschriften uit Groningse kloosters – een kwart eeuw later’
in: Illuminatie, Illustratie, Boekband & Bibliotheek in de Noordelijke Nederlanden. Toogmiddag in de Bibliotheek van de Rijksuniversiteit Groningen 30 maart 2012 bij het verschijnen van het Liber amicorum Jos. M.M. Hermans († 2007), Belgian-Dutch Binding Society. Special edition of De Gulden Passer (Blue Series), edited by M. de Schepper. Antwerpen (Publications of the Vereniging van Antwerpse Bibliofielen, New Series, no. 5), pp. 13-33
2010
‘Passiegebedenboek uit Thesinge’
On-line publication for Librairie Loeb-Laroque in Paris; meanwhile off-line
2009
‘Over schrapen, schrijven, verluchten en binden: het maken van boeken in de Middeleeuwen’
hoofdstuk in: Beeldschone boeken. De Middeleeuwen in goud en inkt, edited by M. Leeflang and K. van Schooten. Zwolle / Utrecht (Waanders / Catharijne-convent), pp. 46-57
2007
‘A Little Treasure: Prayer Book 74 G 2 from the Koninklijke Bibliotheek in The Hague’
in: Manuscripten en miniaturen: Studies aangeboden aan Anne S. Korteweg bij haar afscheid van de Koninklijke Bibliotheek, edited by J. Biemans, K. van der Hoek, K.M. Rudy and E. van der Vlist. Zutphen (Walburg Pers), pp. 21-32, 66-67
2007
‘Weaving Mary’s Chaplet: the Representation of the Rosary in Late Medieval Flemish Manuscript Illumination’
https://doi.org/10.1484/M.MCS-EB.3.1872
in: Weaving, Veiling, and Dressing. Textiles and their Metaphors in the Late Middle Ages, edited by K.M. Rudy and B. Baert. Turnhout (Brepols) [peer-reviewed volume]
Abstract: Christianity is a religion of clothing. To become a priest or a nun is to take the cloth. The Christian liturgy is intimately bound with veiling objects and revealing them. Cloths hide the altar, making it all the more spectacular when it is revealed. Fragments of imported silk cradle the relic, thereby giving identity to the dessicated bone. Much of that silk came from the east, meaning that a material of Islamic origin was a primary signifier of sanctity in Christianity. Weaving, Veiling, and Dressing brings together twelve essays about text and textile, about silk and wool, about the formation of identity through fibre. The essays bring to light hitherto unseen material, and for the first time, establish the function of textiles as a culturally rich way to approach the Middle Ages. Textiles were omnipresent in the medieval church, but have not survived well. To uncover their uses, presence, and meanings in the Middle Ages is to reconsider the period spun, draped, clothed, shrouded, and dressed. Textiles in particular were essential to the performance of devotion and of the liturgy. Brightly dyed cloth was a highly visible maker of meaning. While some aspects of culture have been studied, namely the important tapestry industry, as well as some of the repercussions and activities of cloth guilds, other areas of textile studies in the period are yet to be studied. This book brings an interdisciplinary approach to new material, drawing on art history, anthropology, medieval text history, theology, and gender and performance studies. It makes a compelling miscellany exploring the nature of Christianity in the largely uninvestigated field of text and textile interplay.
https://www.brepolsonline.net/doi/book/10.1484/M.MCS-EB.6.09070802050003050105020704
2005
‘Recycling the Huth Hours: The Master of the David Scenes and the Making of the Brukenthal Breviary, or: The Ghent Associates and the Contribution of Simon Marmion to Ghent-Bruges Manuscript Painting’
in: Manuscripts in Transition: Recycling Manuscripts, Texts and Images. Proceedings of the International Congress held in Brussels (5-9 November 2002), edited by B. Dekeyzer and J. Van der Stock. Corpus of Illuminated Manuscripts, vol. 15. Leuven (Peeters), pp. 379-390
Abstract: «Manuscripts in Transition. Recycling Manuscripts, Texts and Images» gathers together some 40 contributions by art historians specialised in research into book illuminations from the time of Charlemagne to Charles V’s Habsburg empire (ca. 800-ca. 1550). The accent is mainly on the art of the illumination in the Gothic, Burgundian and Post-Burgundian periods. This anthology is the product of an international conference held in Brussels in 2002 in connection with the exhibition «Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475) (Leuven, Stedelijk Museum Vander Kelen-Mertens). The central focus of the conference was the systematic re-use of texts and images in the Middle Ages. The examination of this theme resulted in the present fascinating series of articles.
https://www.peeters-leuven.be/detail.php?search_key=9789042915626&series_number_str=15
2003
‘More than Marginal Meaning? The Interpretation of Ghent-Bruges Border Decoration’
Oud Holland 117, no. 1, pp. 3-33 [peer-reviewed journal]
2003
‘Het Trivulzio-getijdenboek’
Madoc. Tijdschrift over de Middeleeuwen 17, no. 1, pp. 30-37
2000
‘Marginal Decoration in Ghent-Bruges Manuscripts’
in: Sources for the History of Medieval Books and Libraries (Proceedings of the ‘Codicologendagen’ 1996), edited by J.M.M. Hermans, M. Hoogvliet and R. Schlusemann. Groningen (Forsten), pp. 239-250
1998
‘Marteling van de H. Erasmus’
in: Dirk Bouts (ca. 1410-1475), een Vlaams primitief te Leuven, edited by M. Smeyers. Exhibition catalogue. Leuven (Peeters), p. 525
1996
‘Het getijdenboek van Nyese van Keveren’
http://www.stichtingvijverberg.nl/Downloads/Omroeper_199604_LR.pdf
in: De Omroeper. Historisch tijdschrift voor Naarden, no. 4, pp. 138-145
1991
‘Het Kleed des Heren en andere Koptische stoffen in het Catharijneconvent’
Catharijnebrief 34, juni, pp. 10-14