Review: Trading Values in Early Modern Antwerp

Christine Göttler, Bart Ramakers, and Joanna Woodall, eds.
Trading Values in Early Modern Antwerp 
Netherlands Yearbook for History of Art, 64. Leiden: Brill, 2014. 400 pp.;
180 color ills. Cloth
$157.00(9789004272156)

Nadia Baadj
Jan van Kessel I (1626–1679): Crafting a Natural History of Art in Early Modern Antwerp
(Studies in Baroque Art) (Dutch Edition).
Turnhout: Brepols, 2015. 208 pp.;
52 color ills.; 50 b/w ills. Cloth
$150.00(9781909400238)

Review by Marisa Anne Bass
CrossRef DOI: 10.3202/caa.reviews.2017.90

The history of art in early modern Europe would be unthinkable without Antwerp. And yet until quite recently, Antwerp was a place that nobody talked much about. Scholarship on the southern Netherlandish city (now part of Belgium) long remained the province of local historians, the indefatigable Floris Prims notable among them. And while first Pieter Paul Rubens and then Pieter Bruegel the Elder met with increasing art-historical interest following Belgium’s assertion of independence in 1830, a dogged nationalistic approach to their oeuvres meant that the city in which they lived and worked did not generate much attention in its own right. It was the artist as Flemish genius, and not the city as stimulus, that mattered.

CFP: Early Netherlandish Art in the Long 19th Century (Ghent, 24 – 26 May 18)

Revisiting Rediscovery: Early Netherlandish Art in the Long 19th Century

 Call for Papers
Ghent, May 24 – 26, 2018
Deadline: Jun 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.

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