By Amy Golahny, Mia M. Mochizuki, Lisa Vergara
Gathered in honor of John Michael Montias (1928–2005), the best pupil on Johannes Vermeer and a pioneer within the research of the socioeconomic dimensions of artwork, the essays in In His Milieu are a vital contribution to the learn of the social capabilities of creating, accumulating, showing, and donating artwork. The approximately 40 essays the following by—all across the world well-known specialists within the fields of paintings background and the economics of art—are specially revealing concerning the Renaissance and Baroque eras and current new fabric on such artists as Rembrandt, Van Eyck, Rubens, and da Vinci.
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Additional resources for In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias
Diss. (Universiteit Leiden, 2001), vol. 2, pp. , Portraits in the Mauritshuis, 1430-1790 (The Hague: Mauritshuis; Zwolle: Waanders, 2004), no. 41, pp. 180-83. Lisa Vergara has convincingly argued that Anthony van Dyck used Titian’s prototype in his later portrait of Hendrik van Steenwyck the Younger in a lost drawing of about 1617, known through the engraving by Paulus Pontius. See Lisa Vergara, “Steenwyck, De Momper, and Snellinx: Three Painters’ Portraits by Van Dyck,” in Essays in Northern European Art Presented to Egbert Haverkamp-Begemann on his Sixtieth Birthday, ed.
He later started his still existing museum, the Hannema-de Stuers Fun- the case of han van meegeren’s | 53 montiasdeel1 04-12-2006 13:55 Pagina 54 Fig. 4. Attributed to Vermeer by Hannema and Decoen in 1935, tentatively attributed to Nicolas Tournier by Juynboll, Mary Magdalen Under the Cross, oil on canvas. Present whereabouts unknown. datie in his castle, “Het Nijenhuis,” near Heino in the eastern part of the country.
D. , Harvard University, 1985, no. 26 (University Microfilms International, no. 8520159). I am grateful to Gail Feigenbaum in whose Getty Research Institute Seminar, “The Persistence of Technê: Nature, Design and Early Modern Practice of the Arts” (March 2006) some of the ideas presented here were developed. Adams 1985, nos. 13, 14, 25. On the format originality, and potential inspiration from full-length court portraiture, see Adams 1985, pp. 95-109. Karel A. Citroen, Amsterdam Silversmiths and Their Marks (Amsterdam and New York: American Elsevier, 1975), p.
In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias by Amy Golahny, Mia M. Mochizuki, Lisa Vergara