karel van mander as a painter

54
Karel van Mander as a Painter Author(s): Marjolein Leesberg Source: Simiolus: Netherlands Quarterly for the History of Art, Vol. 22, No. 1/2 (1993 - 1994), pp. 5-57 Published by: Stichting voor Nederlandse Kunsthistorische Publicaties Stable URL: http://www.jstor.org/stable/3780804 . Accessed: 16/06/2014 23:51 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . Stichting voor Nederlandse Kunsthistorische Publicaties is collaborating with JSTOR to digitize, preserve and extend access to Simiolus: Netherlands Quarterly for the History of Art. http://www.jstor.org This content downloaded from 185.2.32.152 on Mon, 16 Jun 2014 23:51:43 PM All use subject to JSTOR Terms and Conditions

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Page 1: Karel van Mander as a Painter

Karel van Mander as a PainterAuthor(s): Marjolein LeesbergSource: Simiolus: Netherlands Quarterly for the History of Art, Vol. 22, No. 1/2 (1993 -1994), pp. 5-57Published by: Stichting voor Nederlandse Kunsthistorische PublicatiesStable URL: http://www.jstor.org/stable/3780804 .

Accessed: 16/06/2014 23:51

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

Stichting voor Nederlandse Kunsthistorische Publicaties is collaborating with JSTOR to digitize, preserve andextend access to Simiolus: Netherlands Quarterly for the History of Art.

http://www.jstor.org

This content downloaded from 185.2.32.152 on Mon, 16 Jun 2014 23:51:43 PMAll use subject to JSTOR Terms and Conditions

Page 2: Karel van Mander as a Painter

5

Karel van Mander as a painters

Marjolein Leesberg

Art history has long tended to neglect the fact that Karel van Mander, author of the renowned Schilder-boeck, was in the first place a painter. It was as an artist that he un- dertook to write the Schilder-boeck, in the interest of the prestige of the "noble, free art of painting," and Nether- landish painting in particular, as Vasari had done for Ital- ian art. That he, a painter, carried out such a project seemed to him to bode well, as is evident from the follow- ing passage in the foreword to Den grondt der edel vry schilder-const: "Someone more eloquent could have writ- ten this in finer language and more artistically, though it is to be feared that, not being a painter himself, he might have made errors as regards our craft and its singulari- ties." The foreword is signed with a self-assured flour- ish: "Carel van Mander, painter."'

From an art-historical point of view, van Mander car- ries more weight as the author of the Schilder-boeck, and as a designer in the sphere of the graphic arts, than he does as a painter. From his painted oeuvre it is readily evident that he was no more than a mediocre figure who played no major role in the development of Dutch paint- ing. Nevertheless his paintings merit examination, as the Schilder-boeck offers a unique opportunity to test this painter's theories and preferences against his own work.

The Grondt der edel vry schilder-const not only serves to educate "the young apprentices of art," but informs us as well of van Mander's ideas about the fundamentals of

painting in all its facets. His paintings in turn reflect these theories.

The length of the biographies in Het leven der door- luchtigheNederlandtsche, en Hooghduytscheschilders is in- dicative of which artists van Mander was, for differing reasons, most interested in. Among the most extensive lives are, first, those of Spranger, Goltzius, and Ketel, three of van Mander's closest friends. Not only did he admire them greatly, as is clear from the individual texts, but he was clearly better informed about them than about others. He also included a lengthy biography of Pieter Vlerick, his second master, a painter otherwise unknown to us. The van Eyck brothers are the subject of much attention, as Jan van Eyck had taken the wind out of the Italians' sails by inventing oil paint and introdu- cing this important new technique. Finally, he deals at length with those artists who laid the foundations for la- te sixteenth-century art in the Netherlands-Frans Flo- ris, Lucas van Leyden, Jan van Scorel and Maarten van Heemskerck.2

The importance van Mander attributed to the Italian painters is evident from his critical revision of Vasari in Het leven der moderne, oft dees-tytsche doorluchtighe Ita- liaensche schilders. The degree of completeness with which he adopts Vasari's biographies reflects his person- al preferences.3 At the same time, he added to Vasari's original roster his own biographies of Jacopo Bassano,

* This article is the result of my research on Karel van Mander as a painter, following my graduate thesis of i985 on the same subject. It was suggested to me by my first teacher, E. K.J. Reznicek, and initially carried out under his supervision. Peter Hecht inherited not only his gown, but also my manuscript, and without his help it would not have appeared in this form. Thanks are also due to Hessel Miedema, who kindly supplied several photographs which otherwise would have been very difficult to obtain. The translation is by Claudia Swan and Michael Hoyle.

i Karel van Mander, Den grondt der edel vry schilder-const, Haarlem i604, fol. *4v: "Yemandt spraeck-condigher hadde moghen dit veel schoon-taliger en constiger te weghe brenghen: doch waer te besor- ghen, indien hy self geen Schilder en waer, dat hy in onse dinghen en

eyghenschappen, hem dickwils soude hebben verloopen." For the pag- ination of the Grondt I refer to the annotated edition by H. Miedema, Karel van Mander, Den grondt der edel vry schilder-const, Utrecht 1973.

Miedema used the so-called Boost version of the i604 edition, for which see ibid., vol. i, p. 13. For the pagination of the other sections of the Schilder-boeck I have used the facsimile of the 1i64 edition: Utrecht I969.

2 H. Miedema, Kunst, kunstenaar en kunstwerk by Karel van Man- der: een analyse van zzjn levensbeschrijvingen, Alphen aan den Rijn I98I.

3 H. Miedema, Karel van Manders "Leven der moderne, oft dees-tiyt- sche doorluchtighe italiaensche schilders" en hun bron: een vergelijking tussen van Mander en Vasari, Alphen aan den Rijn I984.

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Page 3: Karel van Mander as a Painter

6 MARJOLEIN LEESBERG

Federigo Zuccaro, Federico Baroccio, Jacopo Palma il Giovane, Giuseppe Cesari, as well as chapters about the "Italian painters presently active in Rome" (Caravaggio among them) and the "Italian painters who were in Rome in my time" (who included Girolamo Muziano and Raffaelino da Reggio). These chapters, written inde- pendently of Vasari, give an impression of the Italian painters considered to be the most important in van Mander's day.4

The final section of the Schilder-boeck contains the Wtlegghingh op den Metamorphosis Pub. Ouidij Nasonis and the Wtbeeldinge derfigueren. These iconological sup- plements constitute a potential source for investigating the iconography of van Mander's work.

For the purposes of the present article, the i604 edi- tion of the Schilder-boeck is perhaps less important than that of i6i8, as the latter contains an anonymous bio- graphy of Karel van Mander himself. This "biographi- cal notice" is more or less the only source on his career as a painter. Moreover, it mentions roughly 40 of his paintings, and describes a few of them in some detail. The author reports that he has treated van Mander's paintings only "in part."5 The actual scope of van Man- der's oeuvre is difficult to determine; apart from the list provided by the biographer, paintings by van Mander are repeatedly mentioned in seventeenth-century inven- tories. A survey of the citations I have been able to assem- ble accompanies this text in the form of an appendix. At the present moment, only around 30 pictures can safely be attributed to van Mander. They are listed in the cata- logue appended to this article.

HISTORIOGRAPHY A review of the literature indicates that Karel van Mander was well admired as a painter during his own lifetime.6 According to his biographer, there were "few who love art in Holland who have noth- ing from his hand."7 This is confirmed by the seven- teenth-century inventories referred to above, which show that van Mander's paintings indeed hung in numer- ous collections, primarily in Haarlem and Amsterdam.

Before I599, the year he died, Peter Hogerbeets, the doctor and poet from Hoorn, wrote an ode "On the painting of the three kings, very beautifully executed by Karel van Mander."8 Hogerbeets seems to have been a friend of van Mander's, and had his portrait drawn by him (fig. i).9 It is possible that the poem was written about the Adoration of the Magi in the collection of Melchior Wijntgis. In his inventory, taken in i6i8, this painting is described as "a three kings full of figures, with rocks and ruins in a landscape, painted in oils by Karel van Mander" (see Appendix). As it was valued at 250 guilders, it must have been a large and important work, worthy of a paean. The painting is now presumed lost.

As the ode of praise is one of the first printed docu- ments referring to a painting by van Mander, it follows here in its entirety:

In picturam Trium Regum a Carolo Mandro elegantis- sime elaboratam

Thure deum, myrraque hominem ut venerentur, et auro En regem, laspar, Melciorque et Balthasar. Mandri opus, hoc cunis videas gestire repertis,

4 H. Noe, Carel van Mander en Italie, The Hague 1954. 5 Karel van Mander, Het schilder-boeck, Amsterdam i6i8, "Le-

vensbericht," fols. R-Siij: "'t Geslacht, de geboort, plaets, tydt, leven, ende wercken van Karel van Mander, Schilder, en Poeet, Mitsgaders Zyn overlyden, ende begraeffenis;" fol. Sijr: "ten deele." This biogra- phy falls into three parts. The first may have been written by van Man- der's brother Adam; see Miedema, op. cit. (note I), pp. 297-98, note 3. I used the copy of the I6I8 edition of the Schilder-boeck at the Art- Historical Library of Utrecht University, and refer to the original page numbers.

6 H. Miedema, Karel van Mander (I548-I606): het bio-bibliogra- fisch materiaal, Amsterdam 1972; see esp. par. 2. I. "Waardering voor van Mander," and par. 3.2. "Van Mander als beeldend kunstenaar."

7 "Levensbericht," cit. (note 5), fol. Sijr: "...weynich beminders in Hollant, ofsy hebben van sijn dinghen."

8 Petr. Hogerbetii Hornani, Medici, x Poetae clarissimi, Poematum

Reliquiae, Hoorn (Willem Andreas) i6o6, pp. 28-29: "Op de schilderij der Drie Koningen, zeer sierlijk door Carel Mander vervaardigd." My thanks to C. L. Heesakkers for supplying a Dutch translation of the Latin. Hogerbeets's collection of poems also contains a sonnet, "Opte Bucolica ende Georgica Virgilii, vertaelt door Carel van Mander" (On the Eclogues and Georgics of Virgil, translated by Karel van Mander). See also C. A. Abbing, Geschiedenis der stad Hoorn i630-I773, 2 vols., Hoorn i841-42, vol. 2, p. i8.

9 It was engraved by Jan Saenredam, see F.W.H. Hollstein, Dutch and Flemish etchings, engravings and woodcuts, ca. i450-I750, in prog- ress, Amsterdam I949-, vol. 23, p. ioo, nr. I26; reproduced in The il- lustrated Bartsch (hereafter cited as TIB), vol. 4, p. 430. A proof impression of the engraving, with part of the border added by van Man- der in chalk and pen, is in the Rijksmuseum printroom in Amsterdam. Above the portrait on the print is a recommendation by Jacques Razet, and beneath it a poem by Daniel Heynsius.

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Karel van Mander as a painter 7

Natum, puerperam stupere virginem Germen Iessaea natum de virgine, nobis 0 certa Lux, o Israei gloria.

Aliud in eundem sensum

Natum thure deum myrrha das Mander, et auro, FaBique, laspar, Melciorque, et Balthasar.

(On the painting of the three kings, very beautifully ex- ecuted by Karel van Mander. Behold how Jasper, Melchior and Balthasar honor the God with incense, the Man with myrrh and the King with gold. It is the work of van Mander. When you find the cradle you can see the Child gesture and the new virgin-mother in her amazement. Shoot born of the virgin ofJesse, 0 reliable light for us, 0 fame for Israel. Another poem on the same subject. Here, van Mander, you offer us the Child who is God, with incense, myrrh and gold. And Jasper, Melchior and Balthasar have professed it.)

After his death, a volume of poetry by friends and ac- quaintances was issued in van Mander's honor. The au- thors were all associated with or members of the local chambers of rhetoric, and the majority of them were of the circle around the Nederduytschen Helicon, an antho- logy initiated by van Mander. It comes as no surprise, then, that van Mander was honored first and foremost as a poet. But his painting, too, was well appreciated. He was "the jewel of Holland in both" ("in elck t'Hol- lants juweel"), in the words ofJacobus Celosse, factor of the Flemish chamber of rhetoric "De Orangie Lely" in Leiden. According to Charles van Wijckhuys, a teacher at the Latin School, his paintings were avidly sought af- ter: "Observe how one rides here and then travels there, crosses land, city and village, searches house, estate and castle to find panels painted by his hand."'0

In i6io. van Mander's portrait was included among

slE02-i R''S.

C): d'E'S- W

iJan Saenredam after Karel van Mander, Portrait of~eter Hogerbeets, engraving. Paris, Bibliothique Nationale

the renowned painters in the second edition of the Picto- rum aliquot celebriumpraccipue Germanicae inferioris effi'- gies. " Thereafter, however, interest in him as a painter declined rapidly, parallel with the growing aversion to late sixteenth-century art in the seventeenth century. Whereas Constantijn Huygens did discuss Goltzius and Cornelis van I Iaarlern (albit in negati\ e termis), hec ignored Karel van Mander entirely.'2

The only later advocates of the painter were two citi- zens of Haarlem, both of whom owned paintings by him. Theodoor Schrevelius, an old acquaintance of van Man- der's, includes a character sketch of the artist in his histo- ry of Haarlem, and describes a Judgment of Paris he owned.'13 Vincent Laurensz. van der Vinne, primarily a

Io Epitaphien ofte graf-schriften ghemaeckt op het afsterven van Carel van Mander, in sijn leven loeck schilder ende Poet, overleden zijnde op den i i September i6o6, Haarlem I 6o: "Siet hoe d'ee[n] herwaerts rit, en da[n] weer herwaerts vaert. Doorloopt la[nlt, stat, en dorp, doersoect huys, slot, casteele[n], om vinden van zijn handt beschilderde panee- len.'

ii In the edition by Hendrick Hondius, The Hague i 6 io, as nr. 48; reproduced in TIB, vol. 4, p. 4I7. It is the portrait engraved by Jan Saenredam in 1604 for the Schilder-boeck, and was made after a lost painting by Goltzius.

12 J.A. Worp, "Constantijn Huygens over de schilders van ziin tijd," Oud Holland 9 (i9i8), pp. i06-36.

13 T. Schrevelius, Harlemias, Haarlem 1648, p. 375.

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Page 5: Karel van Mander as a Painter

8 MARJOLEIN LEESBERG

painter of portraits and landscapes, appears to have felt a special affinity with van Mander. He, too, was both poet and painter, and had trained under van Mander's student Frans Hals. As a poet, he, like van Mander, wro- te a great deal for the Haarlem rhetoricians "De Wijn- gaertrancken," and for the Flemish chamber "De Witte Angieren." Around i655 he penned a "Klink-dicht ge- past op de overlanghe afgestorven Carel van Mander" (Sonnet on Karel van Mander, who died long ago). He himself owned a "roundel by van Mander" (see Appen- dix). I4

In the Dutch treatises on painting that began appear- ing from around the middle of the seventeenth century, taking their example from the Schilder-boeck, a few lines were generally devoted to the painter van Mander. No- where, however, do new facts about him or his paintings surface. Where paintings are cited, their titles are taken from the i6i8 biography.'5

Beginning in I7i8, Arnold Houbraken's "sequel to the Schilder-boeck by Karel van Mander," De groote schouburgh der Nederlantsche konstschilders en schilderes- sen, appeared in Amsterdam. Houbraken, too, refers to the biography in the second edition of the Schilder- boeck. The only additions he makes involve the exact da- te of van Mander's death and a few lines on his son, the painter Karel van Mander the Younger. Additionally, he publishes a poem Vondel had written in i658, "Op d'af- beeldinge van den onsterflijcken Heere, Karel van Man- der" (On the portrait of the immortal gentleman, Karel van Mander). Vondel was a friend of van Mander's grandson, Karel van Mander iII, painter at the royal

court in Denmark from i623 to i670. The latter had painted a portrait of Vondel in i657. Vondel's poem, "Sic itur ad astra," is an ode to the Schilder-boeck.'6

The painterJ.B. Descamps is the only eighteenth-cen- tury author who discusses van Mander's paintings as if on the basis of first-hand experience. He describes van Mander's painting in general in such terms as "rather good" though "ultimately a little mannered." He does not disclose which paintings he knew nor where he had seen them. The titles he cites are identical with those that appear in the i6i8 biography.'7

One of the pioneers of art history as a distinct area of scholarship, Gustav Friedrich Waagen, mentions van Mander in his Handbuch der deutschen und niederldn- dischen Malerschulen, published in i862 in Stuttgart, though he was not familiar with any of the actual works, and deals with van Mander casually as one of the repre- sentatives of the "unwholesome tendency" in art. Around the middle of the nineteenth century, Alfred Michiels was also at work on his Histoire de la peinture flamande. In a supplementary article, he reports that the only author to consult the original sources and archives before him was Descamps, a century earlier.'8

Michiels carried out his study even more thoroughly and proposed eight new attributions to van Mander. In the Church of St Martin in Courtrai he saw the Martyr- dom of St Catherine, signed and dated I582 (cat. nr. i9; fig. 2). '9 Four other paintings in the same church appear- ed to him, on the basis of stylistic comparison with the altarpiece, to be by van Mander as well, as were two works he came across in the Braunschweig and Dresden

14 See H.E. Knappert, Uit Vincent Laurensz. 'verzenboek, "Haer- lem; gedenkschrift uitgegeven tergelegenheid van het vijf- en twintig-jarig bestaan ", Haarlem I926, p. i66, and B. Sliggers, Dagelijckse aenteke- ninge van Vincent Laurensz. van der Vinne. Reisjournaal van een Haar- lems schilder I652 -I655, Haarlem I979.

15 These publications include Philips Angel, Lofder schilder-konst, Leiden I642; Cornelis de Bie, Het Gulden cabinet van den edel vry schil- der-const, Antwerp I66I-62, pp. 314-15; Samuel van Hoogstraeten, Inleyding tot de hooge schoole der schilderkonst, Rotterdam I678; Gerard de Lairesse, Hetgrootschilderboek, vol. I, Amsterdam I707, p. 8o.

i6 J. F. M. Sterck et al. (eds.), De werken van Vondel, i i vols., Am- sterdam I927-40, vol. 8, p. 6I3: "Zo stijgt men tot de sterren."

17 J. B. Descamps, La vie des peintresflamands, allemands et hollan- dois, vol. i, Paris 1753, pp. I94-99.

I8 A. Michiels, Histoire de la peintureflamande et hollandaise, 7 vols., Paris 1848-68, vol. 4, pp. 38-54, vol. 6, pp. 76-I14, and idem, "Karel van Mander, peintre, poete, historien," Revue Britannique I (1 869), pp. 455-75.

I9 Michiels, Histoire, cit. (note i8), vol. 6, p. 104, gave the painting an incorrect title on the basis of the inscription, calling it The martyrdom of St Porphisia. That inscription reads: "I1c ridders die in't gheloove stonde fijn/ met porphrio onthooft en gheworpe de honde zijn" (Two hundred knights who stood firm in the faith were beheaded with Por- phirius and cast to the dogs). The military commander Porphirius, whom St Catherine had converted, and his 200 soldiers were beheaded along with her. The altarpiece, which originally had two wings, was removed from the church in the seventeenth century. The central sec- tion, with The martyrdom of St Catherine, was replaced in I770; the wings have vanished. This temporary absence explains why Descamps does not mention the altarpiece in his Vie despeintresfilamands, cit. (note 17), nor in his Voyage pittoresque de la Flandre et du Brabant, Paris I 792.

20 This attribution by Michiels was convincingly refuted by E. Huys, "Carl van Mander, peintre, poete et historiographe I548- i6o6," Koninklijke Geschied- en Oudheidkundige Kring van Kortrijk. Handelingen I 5 (193 6), pp. 177-92.

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Karel van Mander as a painter 9

-~~~~~i

I.. ~~ ~~ ~~ ~~ ~~~ ~~~~~~~~~~~~~~~~~~~~~~... ......

2 Karel van Mander, The martyrdom of St Catharine, I 582. Courtrai, St-Maartenskerk

museums. These six pictures are, however, by no means attributable to van Mander.20 Finally, in van Mander's birthplace, Meulebeke, in the house he was presumed to have inhabited, Michiels found an Adoration ofthe Magi, which he dated to before 1574, the year van Mander left for Italy. The owner, a Mr Carpentier, was said to have later donated the panel to the local church, though it has disappeared since Michiels's sighting.?

In his description of the Martyrdom of St Catherine, Michiels justly remarks that van Mander alternates be- tween new (Italian) techniques and the old Flemish man- ner. The result he considered to be no more than average. Michiels attributes van Mander's mediocrity as a painter to his receptiveness to innovations in late sixteenth-cen- tury Italian art and the dangerous example of Bartho- lomeus Spranger.

In I 884, another Belgian art historian, Henri Hymans, translated and commented on the lives of the Nether- landish artists in the Schilder-boeck. He included the I 61 8 biography of van Mander as well, and was the first to analyze it critically.22 Hymans cited only three paint- ings which he deemed certain attributions: the Van Lin- schoten commemorative plaque in Haarlem, the Martyr- dom of St Catherine in Courtrai, and an Ecce homo in the Hopital de Notre-Dame in Ypres. Like the Martyrdom of St Catherine, the commemorative plaque published by Hymans was then and is now where it was said to be lo- cated in the i6i8 biography-in Haarlem Town Hall (cat. nr. 28; fig. 5). According to Hymans, the Ecce homo was largely a copy from an engraving of I 572 by Cornelis Cort after Etienne du Perac. Van Mander knew this print, and recounts that it was thought to be the work of Taddeo Zuccaro.23 Unfortunately, the picture in ques- tion has disappeared.

Although in comparison with the numerous faulty at- tributions proposed by Michiels, Hymans appears to have grasped van Mander's work better, his judgment of the painter does not differ from those of other nine- teenth-century authors. He too deplores van Mander's inability to distance himself from the pernicious Italian aesthetic.

Leopold Plettinck's work, Studien over het leven en de werken van Karel van Mander, published in Ghent in i886, is little more than a republication of the i6i8 biog- raphy in modem Dutch. The list of paintings assembled by Plettinck is a compilation of works that had been cited in the literature from i 6i 8 on.

At the beginning of the twentieth century, the Dutch art historian Hofstede de Groot gave substantial stimu- lus to the study of late-Mannerist painting. In the series of Quellenstudien zur Holliindischen Kunstgeschichte pub- lished under his direction, a volume by H. E. Greve ap- peared in I 903 consisting of documentary research on

2i This panel is also mentioned by C. Carton, Biographie de Karel van Mander, peintre et pote, Bruges I 844 (Receuil de chroniques, publit par la Sociit d'Emulation de Bruges), p. 24.

According to him, other works at Meulebeke were a self-portrait by van Mander, a Nativity, a StAmand, and various works which had been sent to Cologne (so Michiels evidently did not see them at Meulebeke, nor have they resurfaced).

22 H. Hymans, Le livre despeintres de Carel van Mander, Paris i884, pp. 4-17. Hymans was the first not to automatically adopt the term

"academy" from the well-known passage in the biography of i6i8 con- cerning the joint activity of van Mander, Goltzius en Cornelisz, but translated it as "un atelier pour l't&ude du modele vivant" (p. Io). See also H. Hymans, Pris de 7oo biographies d 'artistes belges, 2 vols., Brussels 1920, Vol. 2, pp. 223-28.

23 Karel van Mander, Het leven der moderne... Italiaensche schilders, fol. i i8r. See Aso E. Valentiner, Karel van Mander als Maler, Stras- bourg 1930, p. I20, and Not, op. cit. (note 4), p. 3I9. For the print see TIB, vol. 52, p. 99.

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MARJOLEIN LEESBERG

the Netherlandish lives in the Schilder-boeck.24 In the "Addenda" to his study, Greve published a list of paint- ings and drawings by van Mander as they were referred to in catalogues, sale catalogues, inventories and old col- lections. According to him, though, van Mander's survi- ving painted oeuvre consisted of just one piece "that can in fact be considered the work of van Mander": the Van Linschoten commemorative plaque in Haarlem. He also re- marked that the St Catherine in Courtrai had been attri- buted to van Mander by others; he had not seen it him- self.

Aside from publishing the Quellenstudien, Hofstede de Groot also worked on his renowned survey of seven- teenth-century Dutch painting.25 For these purposes, he was assisted by a number of young German art histo- rians who immersed themselves in Dutch art of around i6oo, among other things, resulting in a stream of publi- cations on late Mannerist art.26 One of them, by Elisa- beth Valentiner, is the only monograph of Karel van Mander as a painter, and was published in 1930.27

Valentiner assembled a catalogue of van Mander's paintings, drawings and prints, on the basis of which she was the first to attempt to sketch the development of his work and to clarify his relations with the art of his day.28 As far as the paintings are concerned, she catalo- gued 14 signed works as well as a number of dubious ca- ses and faulty attributions. Valentiner observed van Mander's "modest artistic potential" ("geringe kunstle- rische Kraft"), and concluded at the close of her book that his significance does not lie in his own Mannerist

art, but in his influence, shaped by his Flemish back- ground, on the genre and landscape painter David Vinckboons. In this way, van Mander supposedly hel- ped prepare the way for the emergent "realism" in Dutch art of the time.29

In I954, Helen Noe approached van Mander's painted oeuvre from a different point of view.30 Although his work as a painter is of secondary interest to her study, she devoted a chapter to "De invloed van de Italiaanse kunst op Carel van Mander's ontwikkeling als schilder en tekenaar" (The influence of Italian art on Karel van Mander's development as a painter and draftsman). In this chapter, two paintings by van Mander new to Valen- tiner's catalogue turn up-the Dance around the golden calf (cat. nr. 4; fig. 4) purchased by the Frans Hals Mu- seum in I952, and the Meeting ofjephthah and his daugh- ter attributed to van Mander (cat. nr. 6; fig. 3).31

As the title of Noe's chapter indicates, she is primarily interested in tracing the Italian influences in van Man- der's works, and in particular such "strikingly Italian ele- ments" as Roman ruins, Bassanesque shepherd figures, and so forth. In summary she writes, "that Italian paint- ing remained with van Mander throughout, though nev- er prevailed. He viewed it, as may be inferred from his Schilder-boeck, along with the art of antiquity, as a shi- ning example.... Nevertheless, the works of his compa- triots, with their own qualities and no less unique ta- lents, are on equal footing with the creations of foreign artists."32

Both Valentiner and No6, remarkably enough, consid-

24 H. E. Greve, De bronnen van Carel van Mander voor "Het leven der doorluchtighe nederlandtsche en hoogduytsche schilders", The Hague I903. Nr. 8 in this series is the German translation of the Grondt by R. Hoecker, Das Lehrgedicht des Karel van Mander, The Hague i9i6.

25 C. Hofstede de Groot, Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten Hollandischen Maler des XVII. Jahr- hunderts, I0 vols., Esslingen & Paris I907-28.

26 Such as the studies by Plietzsch on Vinckboons (i9i0), Wedekind on Cornelisz. van Haarlem (9 i I), Hirschmann on Goltzius (i9i6 and i919), Kauffmann on the relationship between Dutch Mannerist art and that of Fontainebleau and Italy (1923), Delbanco on Bloemaert (1928), Lindeman on Wtewael (I929), Valentiner on van Mander (1930), and Stechow on Cornelisz. van Haarlem (5935). Most of them were awarded doctorates for these studies at Leipzig, with Graf Georg Vitzthum as their supervisor.

27 Valentiner, op. cit. (note 23). 28 Valentiner, op. cit. (note 23), p. 3. She based herself on the over-

view of all the problems relating to late Dutch Mannerism ("die Ge- samtdarstellung aller den hollandischen Spat-manierismus betref- fenden Probleme") in the unpublished dissertation by W. Stechow,

Entwicklung und Wesen des hollindischen Manierismus, Gottingen I926. The most important findings of the latter study are given in W. Stechow, "Hans Kauffmann, der Manierismus in Holland und die Schule von Fontainebleau," Kritische Berichte zur kunstgeschichtlichen Literatur I (1927-28), pp. 54-64, and in idem, "Cornelis van Haarlem en de Hollandsche laat-manieristische schilderkunst," Elsevier's Geil- lustreerd Maandschrift 90 (1935), pp. 73-91.

29 Valentiner, op. cit. (note 23), p. 77. My research on van Mander's paintings began with a review and augmentation of Valentiner's study in my graduate thesis, Karel van Mander als schilder, Utrecht I985.

30 Noe, op. cit. (note 4). The subtitle of her study is: "Beschouwing- en en notities naar aanleiding van zijn 'Leven der dees-tijtsche door- luchtighe Italiaensche Schilders'."

31 Ibid., pp. 204, 206. 32 Ibid., p. 204: "...dat de Italiaanse schilderkunst Van Mander altijd

vergezeld, maar nimmer overheerst heeft. Hij beschouwde haar, gelijk wij dit ook uit zijn Schilderboek kunnen ervaren, met de antieke kunst, als een lichtend voorbeeld.... Doch naast deze grote scheppingen van buitenlandse kunstenaars stonden die van zijn landgenoten met hun eigen kwaliteiten en niet minder bijzondere gaven."

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3Attributed to Karel van Mander, The meeting offeph thah and his daughter. Sale London (Sotheby's), iq9 April 1972, nr. 2b

4 Karel van Mander, Theidance around the golden calf i 602 Haar l

4 trbtdt Karel van Mander, The dan e tn aroup~ha nd thhodncl, i s 60. aarl temFran Hals Mudo soteum sI ArlIg7,n

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12 MARJOLEIN LEESBERG

ered the most important aspects of van Mander's art to be a growing rejection of Mannerist stylistic principles, under Italian influence, and an interest in landscape new for Holland. According to the two authors, van Mander regarded the latter genre (both cite Bruegel as its source) as of comparable merit with Italian art, an attitude reflec- ted in the Grondt.

The emphasis on these aspects of van Mander's art appears to the present author to be conditioned by the desire to situate him within a continuity favored by the authors that binds late sixteenth-century art with that of the Golden Age. It would be some time, however, before realistically painted landscape was established as an inde- pendent genre-a development van Mander in no way anticipated. In his art as well as in the Grondt, landscape constituted a pictorial accessory, no more than the set- ting for human figures.33

During the last decades, significant contributions to the study of Karel van Mander have been made by E. K.J. Reznicek and Hessel Miedema.

Reznicek's study of Goltzius's drawings led him to engage in a similar study of van Mander's works, pre- viously attributed to the most divergent artists.34

Since the i960s, Hessel Miedema too has been wor- king on Karel van Mander. His massive project of anno- tating the Schilder-boeck began in I973 with the pub- lication of his commentary on the Grondt. Since then he has published a number of studies on the artist, primarily concentrating on his literary work, though in some cases directly or tangentially concerned with his painting.35

In his review of Miedema's book, Reznicek gathered the material he had collected over the course of several years relating to van Mander's painted oeuvre. Reznicek

cited I5 paintings, signed by or attributed to van Man- der, unknown to Valentiner. This 1975 publication is the point of departure for the present study, undertaken on his initiative and under his supervision36

Interest in late sixteenth-century Netherlandish art has grown considerably over the past years, and the painter Karel van Mander has figured in various recent art-historical studies.37 Most recently, Walter Melion devoted several pages to the subject in his attempt to pro- duce a new interpretation of the Schilder-boeck.38 Van Mander's paintings are taken to be exemplars of the "modes of pictorial organization" introduced in the Grondt. Melion observes a radical shift in van Mander's history paintings after 1585 with respect to the single known painting dating from before I585 the St Catha- rine in Courtrai (fig. 2). Whereas this picture was conceiv- ed according to Albertian and Vasarian precepts as a nar- rative, pictorial, Italian istoria, his historical works of the I590s (Melion proceeds, however, to discuss three paint- ings of after i6oo) manifest an alternative structure. That mode, whereby van Mander breaks with earlier theoretical notions, depends on the combination in a his- tory painting of all of the "categories" discussed by van Mander in the Schilder-boeck, all of the "variations," and is exemplified by the Dance around the golden ca/fin the Frans Hals Museum in Haarlem (cat. nr. 4; fig. 4), which is taken to reflect the artist's universality. The optical impression the painting makes is said to function as a metaphor for the content of the image. According to Me- lion, the artist is no longer concerned with conveying the narrative dimensions of the subject to the viewer, but rather with the art of viewing itself, seeing into the land- scape. Likewise, the aim of the Schilder-boeck is pre-

33 Miedema, op. cit. (note I), pp. 535-37. 34 E.KJ. Reznicek, Die Zeichnungen von Hendrick Goltzius, 2 vols.,

Utrecht I96I. Reznicek's book on van Mander's drawings is still await- ed. See his most recent publication on the subject, "Een en ander over Van Mander," Oud Holland 107 (1993), pp. 75-83.

35 Miedema, op. cit. (note i). On van Mander's paintings see H. Miedema and P.J.J. van Thiel, "De Grootmoedigheid van Scipio," Bulletin van het Riksmuseum 26 (1978), pp. 5 I-59; H. Miedema, "Een schilderij van Karel van Mander de Oude (1548-I606); een doopsge- zinde interpretatie," Doopsgezinde Bijdragen i6 (i990), pp. I 13-28.

36 E.K.J. Reznicek, "Het leerdicht van Karel van Mander en de acribie van Hessel Miedema," Oud Holland 89 (1975), pp. 11 2-13, no- te33.

37 Among them A. de Bosque, Mythologie en ManiFrisme in de Ne- derlanden, Antwerp i985, and J.G.C.A. Briels, Vlaamse schilders in de Noordelijke Nederlanden aan het begin van de Gouden Eeuw, Haarlem i987. In my view, though, the Preaching ofjohn the Baptist on the banks of thejordan reproduced by Briels, fig. 51, cannot be attributed to van Mander. J. L. McGee, Cornelis Corneliszoon van Haarlem (i562- i638): patrons,friends and Dutch humanists, Nieuwkoop i99i, accords van Mander a leading role as man of letters and inventor of images in the late sixteenth-century artistic milieu of Holland. See also the review of her book by T. van Bueren and M. Spies in Oud Holland io6 (i992), pp. 199- 205.

38 W. S. Melion, Shaping the Netherlandish canon: Karel van Man- der's "Schilder-boeck", Chicago i99i. See also the review by H. Miede- ma in Oud Holland 107 (I993), pp. I52-57.

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sumed to have been to furnish a context for the legitima- tion of the Dutch and Flemish landscape painters, from Patinir to van Coninxloo.39

As an additional result of the growing interest in Karel van Mander as a painter, his name is no longer associated with all manner of anonymous works. Whereas numer- ous paintings appeared on the art market in the I970S and '8os under van Mander's name, attributions are now becoming more accurate.4

Lost works resurface regularly as well. The art dealer Richard Feigen of New York was able to lay his hands on van Mander's Crossing ofthe river Jordan (cat. nr. 5; fig. 28), a work extensively documented in the i6i8 biogra- phy, where it is described as one of the artist's latest and largest paintings. Another fully signed and dated work, of Christ blessing the children (cat. nr. i6; fig. 41), has tur- ned up in Denmark, in the depot of the J. F. Willumsens Museum in Frederikssund.4'

Interest in the art of van Mander's generation is also evident in the acquisition policies of Dutch museums.

The Boymans-van Beuningen Museum in Rotterdam succeeded in acquiring the above-mentioned Crossing of the river Jordan in i989, increasing the number of paint- ings by van Mander in Dutch public collections to seven. Earlier, in I977, the Rijksmuseum in Amsterdam pur- chased The continence of Scipio (cat. nr. 23; fig. 26), and the Frans Hals Museum in Haarlem owns four van Man- ders, of which the latest, the Flood (cat. nr. 2; fig. i i) was added to the collection in 1974. The Van Linschoten com- memorative plaque (cat. nr. 28; fig. 5) remains on view in the town hall of the same city.4t

Alongside this interest in van Mander, research is be- ing conducted on artists of his circle, like Cornelis Ketel, Gerrit Pietersz. and Abraham Bloemaert. Anne Lowen- thal published her study on Joachim Wtewael in i986.43 The publication of Larry Nichols's dissertation on Golt- zius as a painter is expected shortly, as is Pieter van Thiel's study of Cornelis van Haarlem. The exhibition in the Rijksmuseum in Amsterdam, The dawn ofthe Gol- den Age, scheduled for December 1Q93, will address the

39 Melion, op. cit. (note 38), pp. I-I2. 40 For example, a Preaching ofj7ohn the Baptist which the dealer had

attributed to van Mander, proved after cleaning to bear the signature of Hans Jordaens; communication from the dealer, R. L. Feigen & Co., New York.

41 The painter J. F. Willumsens bought the picture at a sale in Nice in i919. It is an excellent, if dirty, painting which is not mentioned by the biographer of i6i8. It is probably the panel that was auctioned in Brussels in 1779 (see Appendix). My attention was drawn to this paint-

ing by Ger Luijten, who had heard about it from Chris Fischer of the printroom in Copenhagen. See cat. nr. i 6, fig. 41.

42 Further works in the Netherlands are Moses striking waterfrom the rock, which is attributed to van Mander (cat. nr. 3; fig. i2), in a private collection, and Peasant company (cat. nr. 25; fig. i8) with C. Roelofsz in Amsterdam.

43 A.W. Lowenthal, Joachim Wtewael and Dutch Mannerism, Doornspijk i986.

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I4 MARJOLEIN LEESBERG

lacuna between Art before the Iconoclasm of I986 and the massive Rembrandt exhibition of I99I-92.

VAN MANDER AS A PAINTER: THE FORMATIVE YEARS

The i6i8 biographer describes at length the family of landed nobility into which van Mander was born in 1548 in Meulebeke, in Flanders. Following the stand- ard opening, typical of both Vasari and van Mander, de- scribing the child whose talents became evident at an ear- ly age, the biographer writes that Karel and his older brother Cornelis first attended the Latin School, where they received their basic education, and were later tu- tored at the home of their uncle in Ghent by a French schoolmaster. This French training prepared them for commercial careers.44 Because "little Karel" was una- ble, however, to leave off painting and "rhyming," his father finally decided to "apprentice him to an accomp- lished painter, so that he would more thoroughly under- stand art."45

That painter, van Mander's first master, was Lucas de Heere in Ghent, who also had other pupils of noble des- cent.46 The biographer records that van Mander was with de Heere for "a short time" only, most likely in I566-67, shortly before de Heere's departure for Eng- land in 1567. This would mean that van Mander, who was i8 in I 566, took up the study of painting relatively late; the usual age would have been about I3.

In his time, Lucas de Heere was a renowned painter and poet. Van Mander's account of his life reports that he was an early student of Frans Floris and had success- fully specialized in Floris's studio in the production of designs for the stained-glass and tapestry industries as well as in portraiture. In his life of Frans Floris, van

Mander recounts that as a student of de Heere he had himself profited daily from the presence of the side pan- els of an altarpiece painted by Floris that hung in de Heere's studio, "where they had been saved from the Iconoclasm."47 Too few of de Heere's paintings have survived to say much about his style.48

De Heere's best-known literary work appeared in 1565: Den hofen boomgaerd derpoesien, a volume contain- ing the earliest Netherlandish sonnets.49 He had also be- gun "to compose the lives of the painters in verse."50 Unquestionably, his most significant influence on van Mander was in this area, as an example of a successful painter-poet.

Van Mander's second period of study, in 1568-69, with Pieter Vlerick, was no doubt of greater importance for his training as a painter. Aside from what is recounted in van Mander's biography, nothing is known of this ar- tist, nor have any paintings by him been identified. Even in van Mander's day, these were "not very many,... and no longer or seldom seen."5' Interestingly enough, van Mander describes a large number of Vlerick's paintings in great detail and in higher terms of praise than those by de Heere. He praises the naturalism with which Vlerick represents Christ on the Cross as being "entirely differ- ent from the way he is generally portrayed by other painters."52 Vlerick was also apparently so gifted in ren- dering architecture "that I [van Mander] can say that I have never seen such images so finely painted."53

According to van Mander, Vlerick, like de Heere, is- sued from the Floris school; he studied withJacques Flo- ris, a brother of Frans, city glass-painter of Antwerp and painter. After his study, Vlerick travelled to Italy via France. In Venice he stayed with Tintoretto for a while,

44 See Miedema, op. cit. (note i), p. 630. 45 "Levensbericht," cit. (note 5), fol. Riijr: "...hem by een fray

Schilder-meester te besteden, opdat hy de const volcomender mocht bekomen."

46 W. Waterschoot, "Leven en betekenis van Lucas d'Heere," Ver- slagen en Mededelingen van de Koninklijke Academie voor Nederlandse Taal- en Letterkunde I974, pp. i6-I26. 47 Karel van Mander, Het leven der doorluchtighe Nederlandtsche en

Hooghduytsche schilders, fol. 24IV: "...daer sy voor den storm der beel- den waren bewaert."

48 A painting attributed to de Heere, The seven liberal arts in time of war (Turin, Pinacoteca Sabauda), was generally ascribed to Frans Flo- ris, see J. G. van Gelder, "'Fiamminghi e Italia' at Bruges, Venice and Rome," Burlington Magazine 93 (I95I), p. 327 (ill.). The only extant signed painting by de Heere is Solomon and the Queen ofSheba of I 559

(Ghent, Cathedral of St Bavo). It is probably de Heere's earliest paint- ing, and contains borrowings from an engraving of 1557 of the same subject by Coornhert after Frans Floris; see Waterschoot, op. cit. (no- te 46), p. 29; see TIB, vol. 55, p. 59.

49 J. Becker, "Zur niederlandischen Kunstliteratur des i6. Jahr- hunderts: Lucas de Heere," Simiolus 6 (1972-73), pp. 113-27.

50 Van Mander, op. cit. (note 47), fol. 255v. "...te beschrijve[n] in rijm het leven der schilders."

5I Ibid., fol. 252V: "...niet te veel..., en nergens meer, oft weynigh gesien."

52 Ibid., fol. 250v: "...heel anders als me[n] hem gemeenlijc siet van ander schilders gedaen."

53 Ibid., fol 25ir: "...dat ic wel mach segghen, noyt geen ghesien te hebben soo aerdich ghehandelt."

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"who took pleasure in him and his work, just as he did in the master's [Tintoretto's]."54 Van Mander does not specify the nature of Vlerick's activity in Tintoretto's studio. From Venice, Vlerick proceeded to Rome, Na- ples and Pozzuoli. In Rome he acquired the most diver- se techniques, among them fresco painting. In Tivoli, he worked as one of the Flemish assistants to Muziano on the decoration of the Villa d'Este, "where he executed the figures and narratives in Muziano's landscapes."55

Vlerick had apparently returned from Italy not long before van Mander became his student, and it was he who imparted to the young man his yearning for Italian and, in particular, Venetian art. The artists he recom- mended were-aside from Frans Floris-Veronese, Ti- tian, Tintoretto, Raphael and Correggio. Of the paint- ings van Mander saw being made, he says that "he [Vle- rick] still had the spirit and the inventions of Tintoretto in mind."56 Moreover, Vlerick appears to have inspired van Mander's interest in the painting of grotesques, a Roman art form that Vlerick practised in Tournai. La- ter, van Mander himself would work as a painter of gro- tesques in Italy; his interest in this mode is evident from the fact that he included everything in his lives of the Italian artists that Vasari had to say about this decorative art form.57

After completing his study, van Mander lived with his parents in Meulebeke for a few years, "where he devoted himself more to poetry and writing than to painting."58 In 1573, however, he left for Rome. As he would later relate in the Grondt, he was forced to bypass Venice, so highly praised by Vlerick, "for lack of time."59 Although he stayed in Florence on his way to and from Rome, he ultimately spent more than three years in Rome.6o

The extent to which van Mander borrows Vasari's

descriptions of places and works of art in his lives of the Italian artists provides an indication of which places he visited himself and remembered having seen.6' Like all other foreign artists in Rome, he concentrated his atten- tion on the art of antiquity and of the high Renaissance, many works of which were familiar to him through the prints that circulated in the north.

Whereas Michelangelo represented the absolute pin- nacle in art for Vasari, Raphael was the most admired artist when van Mander was in Rome. That van Mander was no exception to the rule is evident in the Schilder- boeck, where he concludes that Raphael equalled Michel- angelo in all respects excepting his representations of the nude. To this he adds, however, that "excellence in painting does not lie solely in making nudes. ,62

One of the two drawings that survive from van Man- der's stay in Italy is a copy of the putto to the left of Isaiah, painted by Raphael on a pillar in S. Agostino in Rome. 63 This very fresco is the only work not mentioned by Vasari that van Mander cites in his biography of Rap- hael.

Van Mander and his contemporaries were particularly taken by Raphael's Farnesina frescoes, and van Mander cites this villa at every possible juncture in the Schilder- boeck.64 The mythological images painted by Raphael and his students formed an important point of departure for the theme of feasts of the gods-a theme that would reach a particular high point among the artists of van Mander's circle in Holland at the end of the sixteenth and the beginning of the seventeenth centuries, under the influence of Spranger's Wedding feast of Cupid and Psyche (fig. 6), engraved by Goltzius in 1587.

Apart from Raphael, the younger generations greatly admired a number of his students and followers, namely

54 Ibid., fol. 250r: "...die aen hem en zijn dinghen goeden sin hadde, ghelijck hy oock aen des Meesters."

55 Ibid., fol. 2sov: "...alwaer hy in de landtschappen van Mutzia- no,... de beelden en historien maeckte."

56 Ibid., fol. 252r: "...hem noch Tinturetten gheest en inventien in't hooft laghen."

57 Miedema, op. cit. (note 3), p. 104. 58 "Levensbericht," cit. (note 5), fol. Riijr: "...alwaer hy hem meer

tot dichten, en beschrijven, als tot schildere[n] begaf." 59 Grondt, cit. (note I), ch. i, verse 75: "...om den tijdt besijden." 6o "Levensbericht," cit. (note 5), fol. Riijv. See also M. Vaes, "Le

sejour de Carel van Mander en Italie," Hommage d Dom Ursmer Berlie'-

res, Brussels I93I, pp. 213-44; Noe, op. cit. (note 4); and N. Dacos, Les peintres belges d Rome au XVIe siecle, Brussels & Rome I964.

6i Noe, op. cit. (note 4), pp. 43-I I; Miedema, op. cit. (note 3), pp. 92-95.

62 Van Mander, op. cit. (note 23), fol. i2ir: "...d'excellentie der schilderije niet en bestaet alleen in naeckten te maken."

63 Leiden, Printroom. The other drawing is a Flight into Egypt of 1576 (Dresden, Kupferstichkabinett); see C. Dittrich, "Karel van Mander: Unbekannte Zeichnungen im Kupferstich-Kabinett Dres- den," Dresdener Kunstblatter 5 (I985), pp. 130-37, fig. i. For both drawings see also Reznicek, cit. 1993 (note 34), with ills.

64 Miedema, op. cit. (note 3), p. 94.

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? 6 Hendrick Goltzius after Bartholomeus Spranger, The wedding feast of Cupid and Psyche, 1587, engraving. Amsterdam, Rijksprentenkabinet

Giulio Romano, Polidoro da Caravaggio and Perino del Vaga.65

Van Mander's exposure to the work of his Italian and Flemish contemporaries in Rome, however, would ulti- mately be of greater significance than his study of the art of antiquity and of the high Renaissance. As of the I 56os, Roman art was dominated by the Zuccari brothers. After the death of the more talented Taddeo in 1566, his com- missions were carried out by Federigo, who was respon- sible for numerous large decorative programs under Gregory ximi (1572-85) and Sixtus v (1585-90). At the time van Mander was in Rome, there were few artists who did not work for or under the influence of Zuccaro.

Van Mander became personally acquainted with va- rious students and followers of the Zuccari in Rome. These artists are discussed in the chapter, "Van ver- scheijden Italiaensche Schilders, die in mijnen tijdt te Room waren, tusschen Ao I 573 en 1577" (Of various Italian artists who were in Rome in my time, between 1573 and I577). The majority of them are virtually un- known today.

Van Mander observed these artists at work on large decorative programs, such as the Sala Ducale of the Va-

tican palace and the Oratorio del Gonfalone.66 Raffaelli- no da Reggio (1550-78), for one, worked on both projects and is discussed extensively by van Mander in this chapter of his lives of Italian artists. It is recounted that Raffaellino was highly admired by the young paint- ers, van Mander among them, and was dubbed "the se- cond Raphael." His style was closer to the original compositions of Taddeo than Federigo himself came. Van Mander refers to his art as "a lodestone for the eyes of the young painters, so alluring and attractive to fol- low,"6l and praises his coloring in the Grondt.f8 Art his- torians also refer to da Reggio in connection with the relationship between his small-scale work and the work of artists like Spranger, Cornelis van Haarlem and Bloem- aert. 6

In this context it is noteworthy that van Mander neg- lects to mention such artists as Giovanni de'Vecchi and Jacopo Zucchi, both of whose work is often related to that of the "Dutch Mannerists." Whereas these last cou- pled Italian influences with their own, northern back- ground, the reverse was true of the Italian artists. Zucchi, for example, adapted elements from Diirer and Lucas van Leyden, and was influenced by Stradanus, the

65 In Mantua, Frans Floris made drawings of the decorations by Giulio Romano in the Palazzo del Te, and in Rome of facade decora- tions by Polidoro, as Goltzius did. Rubens, too, made drawings after these masters.

66 A. Molfino, L'Oratorio del Gonfalone, Rome I964, p. I 5: "una 'epitome' veramente unica delle tendenze pittoriche di quelli anni"; L. Salerno, L. Spezzaferro and M. Tafuri, Via Giulia, Rome I973, p. 346: "il maggior monumento pittorico alla Controriforma in atto."

67 Van Mander, op. cit. (note 23), fol. 193r: "...eenen seyl-steen voor

alle ooghen der jonge schilders, soo treckende en aenlockende om nae te volghen."

68 Grondt, cit (note i), ch. I i., verse s2. 69 F. Antal, "Zum Problem des niederlindischen Manidrismus,"

Kritische Berichte 2 (1928-29), p. 229; F. Baumgart, "Zusammen- hange der niederlindischen mit der italkinischen Malerei in der 2. Hdlf- te des i6. Jahrhunderts, " Marburgerjahrbuchfir Kunstwissenschaft I3

(I944), p. 228.

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Fleming who worked with him in the Palazzo Vecchio in Florence.7? He is even said to have come into contact with Maarten de Vos during the latter's stay in Italy.7' Valentiner demonstrated that a number of mythological pictures by van Mander of the i58os were heavily in- fluenced by Zucchi for example, the engraving by Jac- ques de Gheyn ii of van Mander's Freeing ofAndromeda (fig. 7), and the anonymous engraving of the Rape of Eu- ropa, compared with an engraving by Thomassin after Zucchi's fresco of an Allegory of water (Rome, Palazzo di Firenze).

In Rome van Mander came into contact with other Flemish artists, among them the landscape painter Hans Soens and the engraver Cornelis Cort, whose prints after major Italian and Netherlandish masters played an important role in the development of late six- teenth-century painting in Holland. Van Mander's childhood friend from Ghent, the sculptor Hans Mont, a student of Giovanni da Bologna, also spent time in Rome. In all likelihood it was he who introduced van Mander to Bartholomeus Spranger.73

Van Mander's closest relation in Rome was with Spranger, whose lifelong friend he remained. It is thus not without reason that Spranger is the subject of the longest biography in van Mander's lives of the Nether- landish artists. The meeting of the two men is of great art-historical importance in connection with the rise of

so-called "Haarlem Mannerism." The drawings by Spranger that van Mander showed to Goltzius and Cor- nelisz. in Haarlem formed the point of departure for the further developments of this style in the later 1580S.74

While in Rome, both Spranger and van Mander were heavily influenced by Hans Speckaert from Brussels. Speckaert was active in Rome around I575 and died there in I 577. His surviving drawings betray the influen- ce of the Zuccari as well as Zucchi and Parmigianino, and his work corresponds perfectly with the eclectic style dominant in Rome in the I570S.71

Unfortunately, van Mander reveals nothing of his own activities in Italy in the Schilder-boeck. His biographer, however, recounts that "First Karel made several large pieces for a count in Terni, a small town in Italy, illustra- ting the history of the Paris massacre, with the admiral being cast from the window. He had a companion by the name of Mr. Caspar of Apulia, a pupil of Iacomo de Gratisco. Karel was always in the company of the Italian, making grotesques, and he painted many landscapes in

- En -

7 Jacques de Gheyn ii after Karel van Mander, Thefreeing of Andromeda, I588, engraving. Amsterdam, Rijksprentenkabinet

70 Antal, op. cit. (note 69), p. 222; Dacos, op. cit. (note 6o), pp. 58- 6i.

7I Dacos, op. cit. (note 6o), p. 54, note i. Frederik Sustris, the Flem- ish artist who worked under Vasari at the same time as Zucchi, was to evolve a parallel style in Bavaria, based on the same background as Zuc- chi, which as a result displays marked similarities with the art of the "late Mannerists" in Prague and the Netherlands; see Antal, op. cit. (note 69), pp. 224-26.

72 Valentiner, op. cit. (note 23), p. 2o and pp. iog-io, St. ioi and tOO (fig. 5) respectively; Hollstein, op. cit. (note 9), vol. 7, p. I87, nrs. 420 and 422. For a reproduction of the engraving after Zucchi's fresco see H. Voss, "Jacopo Zucchi, ein vergessener Meister der florentinisch- romischen Spatrenaissance," Zeitschrififtir Bildende Kunst 48 (1913), pp. I5I-62; esp. p. I52.

73 All three of them visited Nero's Domus Aurea, possibly together, and scratched their signatures in the walls; see N. Dacos, La dicouverte de la DomusAurea et laformation des grotesques d la Renaissance, London & Leiden i 969, p. 14 I.

74 K. Oberhuber, Die stilistische Entwicklung im Werk Bartholomdus Sprangers, Vienna I958, p. 209.

75 See E. Valentiner, "Hans Speckaert: ein Beitrag zur Kenntnis dei Niederlinder in Rom um I575," Stddel-Jahrbuch 7-8 (1932), pp. I63- 70; T. Gerszi, "Unbekannte Zeichnungen von Jan Speckaert," Oum Holland 83 (I968), pp. i6i-8o; and S. BEguin, "Pour Speckaert," Al- bum amicorum j. G. van Gelder, The Hague 1973, pp. 9-14.

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fresco for various cardinals, for it was an art in which he was well versed."76

That van Mander painted grotesques and landscapes comes as no surprise, as the majority of the Flemish ar- tists in the south were given this sort of work, partly be- cause the Italians were of the opinion that the northerners were incapable of painting figures, and also because northern artists were highly prized for their talent in executing such secondary details.77 The pala- ces and estates in which van Mander would have carried out such work are numerous, and it is impossible to dis- tinguish his hand in such programs.

The frescoes in Terni cited by the biographer were long assumed not to have survived.78 In I986, however, the Italian art historian Giovanna Sapori, in the course of her study of the decorations of the Palazzo Spada in Ter- ni, associated the fresco cycle in the "salone principale" of this palace with the passage cited in the biography of van Mander.79 The frescoes in what is presently the town hall of Terni in fact represent in three scenes the St Bar- tholomew's Eve massacre, the story of the murder of Ad- miral Gaspard de Coligny in Paris during the night of 23-24 August 1572 (fig. 8). These are without a doubt the frescoes referred to by van Mander's biographer. The others, also in three scenes, depict the battle against the Turks at Lepanto of 7 October I57I. All of the scenes

are near-literal copies of the frescoes of the same subjects painted by Vasari in I572-73 on commission for Pope Gregory xiii in the Sala Regia of the Vatican Palace, works van Mander cites in his biography of Vasari.So

Though Sapori does not hesitate to attribute the entire Palazzo Spada cycle to van Mander, there are grounds for doubting that a young, foreign artist should have re- ceived such a large commission, albeit largely a task of copying an existing work, so shortly after his arrival in Rome. It is more likely that he collaborated as one of an Italian artist's team. Moreover, would van Mander not have reported such an important project in the Schilder- boeck?8' He does write that he painted frescoes in the cemetery in Krems, Austria, on his way home. 8 He also recounts his collaboration on the triumphal arch for the entry of Rudolf ii in Vienna, on which he was invited to work by Spranger.83

In the autumn of I577 van Mander returned to Meu- lebeke, in possession of "a great many drawings made in Rome and elsewhere after numerous beautiful models," and began to paint.84 The biographer provides an exten- sive description of three paintings dating to this period that were lost shortly thereafter, "during the troubles and breaking of images."85 Those same disturbances compelled van Mander (who had married in the mean- time) and his family to take refuge in a cloister in Cour-

76 "Levensbericht," cit. (note 5), fol. Riijv: "Voor eerst heeft Karel te Terni, een stedeken in Italien, voor een Graef ghemaeckt eenige groote stucken, zynde de geschiedenisse van de moort van Parijs, daer den Admirael uyt de venster geworpe[n] wert. Hy hadde tot een gesel, genaemt Sr. Caspar uyt Puglia, discipel van Jacomo de Gratisco. Karel hielt hem altydt in't gheselschap vanden Italiaen, makende grootessen, daer in seer wel ervaren zynde, heeft hy voor verscheyde Cardinalen in Fresco gheschildert veel Lantschappen." Vaes, op. cit. (note 6o), pp. 234-35, identified this "Caspar of Puglia" as the Fleming, Caspar Heu- vick, of Oudenaerde, who had worked in Apulia and elsewhere; see Nod, op. cit. (note 4), p. 321.

77 Van Mander notes this fact with some bitterness in the Grondt, cit. (note i), ch. I, verses 7I-72; see also Miedema, op. cit. (note I), pp. 406-I0. In his later painting one detects a recollection of grotesque art in the frame of the text of the Van Linschoten commemorative plaque (cat. nr. 28; fig. 5).

78 Vaes, op. cit. (note 6o), p. 223, and Noe, op. cit. (note 4), p. 3I, were unsuccessful in their detective work.

79 G. Sapori, "Van Mander e compagni in Umbria," Paragone 2I (1990), pp. 10-48; see that article, too, for the iconography and con- tract for the cycle. Working independently of her, E. K.J. Reznicek, "Karel van Mander as a fresco painter," The Hoogsteder-Naumann Mercury I0 (I989), pp. I 1-14, also attributed the frescoes to van Man- der. See also Reznicek, op. cit. (note 34).

8o Van Mander, op. cit. (note 23), fol. I84v.

8i He does mention Terni in his life of Gillis Coignet, who was working there in the 1550s, but gives no hint that he knew the town himself; see van Mander, op. cit. (note 47), fol. 262r.

82 The biographer of i6i8 reports that activity, but wrongly associa- tes it with Basel instead of Krems, and says that the subject was "the flight of Jacob" (fol. R4r). These frescoes are now lost. Hessel Miede- ma pointed out to me that the paintings on the facade of the so-called Goglhaus in Krems are attributed to van Mander by H. Kuhnel, see M. Koller, "Historische Fassadenmalereien in Osterreich," Osterreichische Zeitschrift fur Kunst und Denkmalpflege 46 (1992), pp. 58-6i. Accord- ing to Miedema this attribution is incorrect.

83 Van Mander, op. cit. (note 47), fol. 272r. Van Mander's detailed description is the only record of this triumphal arch.

84 "Levensbericht," cit. (note 5), fol. R4r: "...veel tekeninghen, soo te Romen, als elders, nae veel schoone dinghen ghedaen." There appear to be only two extant drawings from this period; see note 64 above.

85 Ibid., fols. R4r and v: "...met de beroerten des lants, en met de Kerckbrekinge." The paintings were an Adam and Eve, a Flood, and an epitaph for Franvois van Mander, his uncle, with the Resurrection and "artful borders" ("een Adam en Eva," "een onderganck des we- reldts" and "een Epithaphie voor FranVois vander Mandere,... een ver- rysingh van Christus" with "veel konstige omme-wercken." The description of the first two works suggests a synthesis of Italian and Flemish artistic principles in the sense of the so-called Flemish Roman- ism; see Valentiner, op. cit. (note 23), p. i6.

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20 MARJOLEIN LEESBERG

9 Bartholomeus Spranger, The martyrdom ofStjohn. Rome, S. Giovanni a Porta Latina

trai, where he received his first major commission in i58i. This work is the best-documented in the biogra- phy. Van Mander is reported to have been commission- ed by the tablecloth-weavers' guild to paint a triptych representing the life and death of their patroness, St Ca- therine of Alexandria, to be placed on their altar in St Maartenskerk. The agreed price was 25 Flemish pounds, part of which was paid in advance, "for which

he and his family had good use."86 The central panel is still in its original location in the church; the wings dis- appeared in the eighteenth century.87

The Martyrdom of St Catherine (cat. nr. I ; fig. 2) is a remarkable painting in the sense that its composition combines qualities of older Flemish and modern Italian art. A portion of the composition recalls a panel of the same subject painted nearly a century earlier by Jan Provost (Antwerp, Koninklijk Museum voor Schone Kunsten).8 It is not inconceivable that the patrons' des- ires played a role in this, a possibility that seems to gain confirmation in the biographer's description of the wings, which were divided into six squares showing the episodes of St Catherine's martyrdom.8' This archaic manner of working can reasonably be assumed to have been done in conformity with the patrons' wishes.

Aside from its references to Provost, the Martyrdom of St Catherine is heavily dependent on Flemish Romanist art, such as was practised in the circle of Frans Floris. Van Mander's addition of the corner figures in the fore- ground derives, however, from Italian art and, in par- ticular, from the circle of the Zuccari. Van Mander appears above all to have had a painting by Spranger in mind, the Martyrdom of St John (fig. q; Rome, S. Giovanni a Porta Latina), where comparable figures borrowed from the Zuccari occur. He had seen this work in Rome and describes it as "very well composed and painted."90 The symmetrical, decorative placement of light and dark areas in the Martyrdom of St Catherine is of Mannerist origin, as are a number of other details like the pointed beards and moustaches, the postures of the men on horseback, and the soldiers' Roman garb. On the whole these Italian elements are of secondary impor- tance, and the Martyrdom ofSt Catherine, in spite of van Mander's four-year stay in Italy, is typical of a painter trained in Flanders by masters of the Frans Floris school. The biographer's descriptions of the other works van Mander painted directly after his return from Italy are, as mentioned above, in keeping with this charac- terization.9'

86 "Levensbericht," cit. (note 5), fol. Sr: "...'t welck hem en de zyne wel te pas quam. "

87 The central section (the wings were evidently already missing) was sold at the end of the eighteenth century, but later returned to the church in the form of a donation. See the church accounts for 1768-75, Valentiner, op. cit. (note 23), p. 82.

88 De Bosque, op. cit. (note 37), p. 85, actually reproduced this

painting as the St Catherine by Karel van Mander. 89 See also Reznicek, op. cit. (note 34), p. i62. The patron, the dean

of the guild of tablecloth weavers, is perhaps portrayed on the extreme left, by the frame. It was formerly thought that this was a self-portrait.

go Van Mander, op. cit. (note 47), fol. 27 I r: "...seer wel gheordineert en geschildert."

9I See note 85.

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On account of the disturbances and an outbreak of the plague, van Mander and his family left for Bruges in 1582. From there they embarked for Holland, where van Mander established himself as a painter in Haarlem in 1583.

VAN MANDER IN HOLLAND Van Mander appears to have been a follower of the Mennonite faith as early as I583, and this in turn was one of the reasons he chose to live in Haarlem.92 Its renown as an artistic center may also have influenced the decision. Later van Mander would write of this in the Schilder-boeck: "Just as Si- cyon was renowned for painting among the Greeks, fol- lowed later by Rome and Florence among the Italians, so in Holland has the old and grand city of Haarlem been famous from ancient times, producing many fine practi- tioners of our art."93 It is also possible that he conscious- ly sought contact with Hendrick Goltzius, who had lived and worked in Haarlem since 1577.94 From his biogra- phy of Goltzius it appears that van Mander had already seen engravings by him in Bruges: "I recall seeing var- ious works of his in Bruges around the year I 58o, en- gravings after the drawings by Adriaen de Weerdt.... I particularly admired some depictions of the story of Lu- cretia, which he had invented and engraved himself."95

In any case he met Goltzius shortly after his arrival in Haarlem: "When I came to live in Haarlem in I583 I made his acquaintance, showing him various drawings by Spranger, which he greatly admired."96 The first en- gravings Goltzius made after these drawings by Spran- ger date from 1585.97 From I585 to I588 Spranger's style had a strong impact on Goltzius's own designs as well, which would ultimately become "more Spranger- esque than Spranger himself."98

Van Mander was registered as a master in the Guild of St Luke in Haarlem in i584.99 His breakthrough as a painter would have to wait until 1586, however, as can be inferred from a passage by Pieter Bor about the entry of the Earl of Leicester into Haarlem in I 586. According to Bor, van Mander participated in the decorative activi- ties for the entry, such that he "became known at this time, and in his inventions as well as his painting show- ed what he had in him,... and from then on was able to earn a very good living." Previously he had had to de- pend on income from "marking... sacks and packages and making signboards."'00

It is not inconceivable that Hendrick Goltzius, with whom van Mander was acquainted by this time, played a role in mediating this commission, given that he too must have been one of the artists involved in the prepara-

92 In the period 1580-84, more than half the newly registered mem- bers of the Reformed congregation in Haarlem were of Flemish origin; see J. G.C.A. Briels, De Zuidnederlandse immigratie I572-I630, Haar- lem 1978, p. 2I. The Mennonites formed a fairly large community in Haarlem, and consisted largely of immigrants from the Flemish cloth centres, where the sect had many followers; see J. Spaans, Haarlem na de Reformatie: stedeliyke cultuur en kerkelijk leven, I577-I620, The Ha- gue I989, pp. 97-101. Van Mander's family was also in the cloth trade, among them his brother Cornelis, who would have preferred Karel to help him with the linen business ("had liever gewilt dat hy hem inde lynwaet neeringh behulpich ware gheweest"), see "Levensbericht," cit. (note 5), fol. Riijr.

93 Van Mander, op. cit. (note 47), fol. 229r: "Ghelijck in de Schil- der-const plagh gheruchtigh wesen Sicyonien by den Griecke[n], en naemaels Florence[n] en Room by d'Italianen: also is in Hollandt van oudts tijdt oock vermaert gheweest d'oude heerlijcke stadt Haerlem, die veel goede gheesten in onse const heeft voortghebracht." See also T. van Bueren, "'de beste Schilders van het gantsche Nederlandt'; Karel van Mander en het Haarlemse cultuurbeleid i603-i606," Oud Holland 105 (1991), pp. 291-305, esp- p. 299- 94 See M. Leesberg, "Goltzius, Karel van Manders 'Mecenas

groot'," Nederlands Kunsthistorisch Jaarboek 42-43 (1991-92), pp. 413-26.

95 Van Mander, op. cit. (note 47), fol. 284r.: "My ghedenckt dat ick te Brugghe, ontrent t'Jaer I58o. heb ghesien van hem eenighe dinghen, van hem ghesneden nae de teyckeninge van Adriaen de Weerdt... beson-

der had ick groot behaghen in eenighe historikens van Lucretia, die hy selfs gheinventeert en gesneden hadde." On Goltzius's engravings after Adriaan de Weerdt, see I. M. Veldman, "Keulen als toevluchtsoord voor Nederlandse kunstenaars (I 567-i6i2)," Oud Holland 107 (1993),

p. 54, note 48. The series of four scenes from the Life of Lucretia were published in Antwerp by Philips Galle; see W.L. Strauss, Hendrick Goltzius i558-i6I7: the complete engravings and woodcuts, New York 1977, vol. I, nrs. I7-20, pp. 54-6I.

96 Van Mander, op. cit. (note 47), fol. 284r: "Doe ick Ao. 1583 te Haerlem quam woonen, maeckt ick met hem kennis, hem toonende eenighe teyckeningen van Spranger, daer hy grooten sin toe hadde."

97 A Fall ofman and a Holyfamily; see Strauss, op. cit. (note 95), vol. I, nr. 217, pp. 356-57, and nr. 219, pp. 360-6I. 98 Reznicek, op. cit. (note 34), p. 70. 99 H. Miedema, Archie/Jescheiden St. Lukasgilde te Haarlem, Haar-

lem I980, vol. 2, p. 1033. Ioo Pieter Christiaensz. Bor, Nederlantsche oorloghen, beroerten, ende

borgerlijcke oneenicheyden, 5 vols., Leiden & Amsterdam I621-35, vol. 3 (I626), bk. 25, fol. sRa: "...te deser tijdt bekent gheworden is, also hij so in inventien als schilderije, betoonde wat in hem was... soo dat hij van die tijt rijckelick conde zijn cost winnen.... met sacken ende packen... mercken, ende eenige uythangborden... maecken." This was first re- ported in modem times by H. van de Waal, "Nieuwe bijzonderheden over Carel van Manders Haarlemschen tijd," Oud Holland 54 (1937), pp. 2I-23.

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22 MARJOLEIN LEESBERG

Dw' a 4

io Karel van Mander, The conversion of St Paul, 1587, drawing. Gdafisk, Muzeum Narodowe

tions for the entry. According to Schrevelius, in fact, "the finest of all the artists" were summoned by the city council,'0' and it is known that Goltzius engraved a gold medal with the portrait of Leicester in I 586. 02 It is pos- sible that he introduced van Mander to the city council as an artist experienced in triumphal entries, for he had ear- lier collaborated with Spranger on the entry of Rudolf Ii to Vienna.

Whatever the case may be, Karel van Mander was an established artist in Haarlem as of 1586. His earliest da- ted work made in the city is a drawing of I 587, the Con- version of St Paul (fig. io; Gdansk, Stddtisches Mu- seum), the composition of which is derived from such grand models as Michelangelo and the Zuccari. The in- fluence of Spranger, via Goltzius's work, manifests itself in the figures' tension, the result of their unnatural pos- tures, and in typical Sprangerian elements such as the widely spread fingers and curiously elongated limbs.'03

It was probably the following year that van Mander, Goltzius and Cornelis van Haarlem started studying to-

- 00::V

ii Kae van- Madr hfodHale n asMsu

ioi Schrevelius, op. cit. (note 13), pp. 164-65: "...alle die van de Kunst waren de voornaamste."

xoa There is a print of the medal in the Amsterdam printroom; see also Leesberg, op. cit. (note 94), fig. 297. The medal itself is in the Bir- mingham Museum and Art Gallery; see C. Hartley, "Goltzius in gold," PrintQuarterly 8 (i99i), pp. 430-31, figs. 258-59.

103 Valentiner, op. cit. (note 23), p. i6, fig. 2; Not, op. cit. (note 4), pp. i85-86.

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Karel van Mander as a painter 23

gether in what is known to art history as the "Haarlem academy." This misleading term is derived from the much-discussed passage in van Mander's biography: "Soon afterwards Karel became acquainted with Golt- zius and Master Kornelis, and these three held and for- med an academy for studying from life. Karel showed them the Italian manner, which is seen to good effect in the Ovid of Goltzius."' 04 The older Karel van Mander appears to have played the leading role as theoretician. He referred his fellow artists to the importance of ma- king studies from life, to the compositions of Italian ar- tists such as Zuccaro, Titian and Baroccio, and to that inexhaustible source, the "painters' Bible," Ovid's Me- tamorphoses.

The importance van Mander attached to studies of vi- sible reality is evident enough from the later Schilder- boeck. Already in the first discussions of the so-called "Haarlem academy," working from life is assumed to mean drawing after the nude.'05 In that time, however, it was not common practice to draw from live nude mo- dels, nor do the three Haarlem artists appear to have done so themselves at such an early date.'06 At that time, the term "from life" ("nae 't leven"), in relation to the study of nude figures, more likely referred to the study of images of nude figures in the form of drawings after antique sculptures and copies in plaster, bronze and

wax. '07 From the inventory drawn up at the time of his death, Cornelis van Haarlem is known to have possessed a vast collection of models of this kind."i8

Goltzius's and Cornelis van Haarlem's quest for a more natural anatomical representation initially resulted in the so-called "muscleman style," characterized by ex- aggeratedly muscular and, compared with the elongated, thin Spranger ideal, stocky figures. A good example is provided by The dragon devouring the companions of Cad- mus, engraved by Goltzius in I588 after the painting by Cornelisz. (London, National Gallery). The inscription states that this engraving was the first result of a collabo- ration between Cornelis van Haarlem and Goltzius."'9

Van Mander never developed the muscular style so fully; he maintained the decorative figural ideal derived from Spranger longer than Cornelisz. and Goltzius did, as is evident for example in two circular mythological scenes of the Freeing ofAndromeda (fig. 7) and the Rape of Europa, engraved by Jacques de Gheyn in I588.110 The drawing of Diana and Actaeon (Bremen, Kunsthal- le) displays more natural anatomical features,"' as does the grisaille roundel of the Flood (cat. nr. 2; fig. I I).

Both works are undated but must have been made at roughly the same time; the figures' poses and the rock formations being eminently comparable. The much less elongated and to a degree even plump figures point to

io4 "Levensbericht," cit. (note 5), fol. Sijr: "...en quam korts daer nae aen kennisse van Goltsius, en Mr. Kornelis, hielden en maeckten onder haer dryen een Academie, om nae 't leven te studeeren, Karel wees haer de Italiaensche maniere, ghelijck't aen den Ovidius van Golt- zius wel te sien en te mercken is."

I05 0. Hirschmann, "Karel van Mander's Haarlemer Akademie," Monatshefte fur Kunstwissenschaft i i (i9i8), pp. 2I3-31. Also by Hy- mans, op. cit. (note 22).

io6 N. Pevsner, Academies of art, past and present, Cambridge I940, pp. 51-53 and 80-82. A different view is put forward in H. Miedema "Kunstschilders, gilde en academie," Oud Holland IOI (I987), p. I6, esp. note I28. It seems to me that Goltzius introduced this sort of study after his Italian journey in I591. The earliest known example of a drawing of a (female) nude model by Goltzius dates from 1594 (Prin- ceton, N.J., private collection). Drawings of this kind are found in Cor- nelis's oeuvre from the second half of the I590s. None are known by Karel van Mander; two drawings of a male (Amsterdam, Rijksprenten- kabinet) and a female nude (sale London, Christie's, i April I987, nr. I25) were done "from the imagination" and not from the live model.

I07 P.J.J. van Thiel, "Cornelis Cornelisz. van Haarlem as a draughtsman," Master Drawings 3 (I965), pp. 128 -29.

Io8 Ibid. In his address to the Guild of St Luke in Leiden, in I642, Philips Angel, op. cit. (note I5), pp. 52-53, spoke of "skinned plaster casts, by means of which you will acquire some knowledge of the nude" ("gevilde pleyster-beelden... waer door ghy eenigermate tot kennisse

van naecte komen suit"). The casts had been in the estates of Goltzius and Cornelisz; see E. R. M. Taverne, "Salomon de Bray and the reorganization of the Haarlem Guild of St Luke in i63I," Simiolus 6 (1972-73), p. 53.

IO9 The painting reproduced in P.J.J. van Thiel, "La rehabilitation du Manierisme hollandais; deux tableaux de Cornelis van Haarlem," Revue du Louvre 36-2 (i986), p. I 12, fig. 2. The print in Strauss, op. cit. (note 95), vol. 2, pp. 452-53, nr. 26i. The inscription reads: "Hasce artis primitias CC Pictor Invent., Simulque HGoltz. sculpt. D. Iacob Raewerdo Singulari Picturae alumno, et chalcographiae admiratori amicitiae ergo D.D. Ao I588" (Cornelis Cornelisz. the painter, as in- ventor, and Hendrick Goltzius as engraver dedicate these first fruits of their art out of friendship to MrJacob Rauwaert, the exceptional patron of painting and admirer of the graphic arts. Anno I588).

I IO Hollstein, op. cit. (note 9), vol. 7, nr. 422, and ibid., vol. 5, nr. 47 respectively. There are three drawn variants of the Rape of Europa: in Budapest (Szepmuveszeti Museum), Dittrich, op. cit. (note 63), fig. 4; Leiden (Prentenkabinet der Rijksuniversiteit), A. Welcker, "Karel van Mander als ontwerper voor zilversmeden," Oud Holland 68 (953), PP. 127-35, fig. 7; and Dresden (Kupferstichkabinett), Dittrich, op. cit. (note 63), fig. 3. The first two are signed, and dated I589. The print in Miedema, op. cit. (note I), fig. 38.

iii Reznicek, op. cit. (note 34), pp. i6i-63, fig. xviii, who dates the drawing ca. 1590-91 (P. i62).

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2 i

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12 Attributed to Karel van Mander, Moses striking waterfrom the rock. Netherlands, private collection

their having been executed shortly after the mythologi- cal pictures of I588-89-in 1589 or 1590. The painting of the Flood dates in any case to after I587, given the presence of van Mander's monogram, "KM", which he only began using in 1588."12 The circular format was in fashion in Haarlem at this time, as the Creation engraved by Jan Muller in I589 after Goltzius's drawings, and Goltzius's engraving of the same year after the four paintings of the Falling disgracers by Cornelis attest." I3

Although the slender, elegant figural ideal derived from Spranger had been relinquished in the meantime, the Flood is van Mander's most mannered painting. The figures' unnatural poses, the distended fingers of the man in the left foreground, the dark eye-sockets, and the decorative arrangement of dark and light areas are without exception typical Mannerist elements. Va-

rious figures in this Flood appear to refer back to van Mander's work of the preceding years."4

This painting may be the "deluge in grisaille" ("de- luvie van wit en swart") mentioned by the i6i8 biogra- pher, which was bought by the collector Rauwaert."I Following the passage about the academy, moreover, the biographer makes mention of "many pieces in grisail- le" painted by van Mander in this period. "6 One of these may be the brunaille attributed to van Mander, Moses striking waterfrom the rock (cat. nr. 3; fig. I2), which is stylistically related to the Flood.' ' 7The popularity of gri- saille painting in this period may have been associated with the introduction of the chiaroscuro woodcut by Goltzius. His earliest work in this medium is a Mary Magdalen datable between I585 and I588.118

Roughly contemporaneous with the quest for a more

112 He was still using the signature "C.V.Mandere fecit" when he made the drawing of the Conversion of St Paul in 1587 (fig. io), as on the St Catherine altarpiece (cat. nr. 19; fig. 2).

113 For the Creation see TIB, vOl. 4, pp. 475-8i, for the Disgracers, Strauss, op. cit. (note 95), vol 2, pp. 444-5i, and TIB, vol. 3, pp. 224- 27. Only one of these paintings has survived, the Fall of Ixion in the Boymans-van Beuningen Museum in Rotterdam.

114 The woman with the clasped hands, for instance, harks back to the Virgin in the anonymous engraving, The Adoration with Moses and prophets of I588, reproduced in Valentiner, op. cit. (note 23), fig. 3; the unnatural angle made by the legs of the man in the foreground to the river-god on the left of a drawing of Pan and Syrinx (Florence, Uffizi), dated ca. 1 588-89 by Valentiner, op. cit. (note 23), pp. 20, fig. 6, and to the nymph leaning on her elbow, like the man, in the Diana andActaeon

drawing (Bremen, Kunsthalle), see note i i I. Van Mander also used the position of the legs of the woman on the right in drawings of the Rape of Europa (Leiden, Budapest and Dresden); see note i i o. The figure seen from the back comes from the Farnesina fresco by Raphael, and passed by way of Spranger's Weddingfeast ofCupid and Psyche, which Goltzius engraved in 1587 (fig. 6), to the Haarlem Mannerists, who used it fre- quently in their work.

1 I5 "Levensbericht," cit. (note 5), fol. Sijr. i"6 Ibid. I I7 This panel was formerly thought to be by Goltzius; for the attri-

bution to van Mander see Reznicek, op. cit. (note 36), pp. I i2-13, note 33. Similar grisaille panels by Cornelisz. and Bloemaert are known, some of which were models for engravings.

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13 Hendrick Goltzius, TheJudgment ofMidas, 1590, engraving. Amsterdam Rijksprentenkabinet

natural anatomy, Goltzius in particular inclined to- wards the Italian maniera of artists like Zuccaro and Ba- rocci. This is what the i6i8 biographer seems to have been referring to when he speaks of "the Italian man- ner" that van Mander told his friends about. The "Ovid by Goltzius," said to exemplify this, is the series of illus- trations of Ovid's Metamorphoses begun by Goltzius in 1589. I}9 Although van Mander's adaptation of the Meta- morphoses appeared in I 604 as part of the Schilder-boeck, it is likely that he was already at work on his commentary at the time of the academy, and had brought it to his friends' attention. In their graphic work in particular, it is clear that all three of them were quite intensely preoc- cupied with the Metamorphoses at this time. One of the subjects Goltzius depicted at the time was the Judgment ofMidas of I 590 (fig. I 3). The Italian-inspired composi- tion, new for Holland, would seem to speak for the in- fluence of van Mander. It has frequently been pointed out that this judgment ofMidas is illustrative of the com- positional scheme that van Mander would later propaga- te as the ideal in the Grondt."'0

The "academy" seems to have come to an end with

Goltzius's departure for Italy in I59I. He had been plan- ning such a trip for years, and it is indeed possible that his contact with van Mander stimulated him to actually make it.

In Italy Goltzius filled his "Roman sketchbook" with, above all, drawings after antique sculpture and works by Michelangelo, Raphael and Polidoro da Caravaggio. He, too, came under the influence of the north Italian Renais- sance masters; van Mander names Correggio, Titian and Veronese. Goltzius assimilated these influences in his own work back in the Netherlands. Following his exam- ple, van Mander oriented himself more directly towards Italian art, as is clearly visible in his Annunciation, dated 1595 (cat. nr. 8; fig. 32). The source for this composition is Italian, and reverts to a format first deployed by Cor- reggio (Parma, Galleria Nazionale), that was conse- quently widely imitated, particularly in the circle around the Zuccari.'2' Compared with Goltzius's An- nunciation of 1594 likewise derived from Italian mo- dels in his series of Meisterstiche, van Mander's work is still much more strongly linked to the Mannerist idi- om, as shown by the unrealistic depiction of space, the

ixI8 See N. Bialler, Hendrick Goltzius and the Netherlandish chiaro- scuro woodcut, (unpublished dissertation, Yale University) 2 vols., New Haven i983, and idem, exhib. cat. Chiaroscuro woodcuts: Hendrick Goltzius (I558-i617) and his time, Amsterdam (Rijksprentenkabinet) 1992-93, pp. 87-90, cat. nr. 22.

I I 9 E. J. Sluij ter, "'Herscheppingen' in prenten van Hendrick Golt-

zius en zijn kring (I)," Delineavit et Sculpsit 4 (1990), pp. 1-23. The series, which was never completed, eventually ran to 52 prints; see TIB, cit. (note 9), vol. 3, pp. 313-38.

i2o See Leesberg, op. cit. (note 94), p. 417. i2i See C. Gould, The paintings of Correggio, London I976, p. 89,

fig. 94a.

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26 MARJOLEIN LEESBERG

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14 Karel van Mander, The adoration ofthe Magi. Hartford, The Wadsworth Atheneum

angel's flapping drapery, his long neck, and his head, too small in proportion.'22

Mannerist elements such as the complex architecture of ruins, the pointed beards and moustaches, and Jo- seph's and one of the Magi's dark eye-sockets, reminis- cent of Spranger, as well as Mary with her long neck and recessed chin make it likely that the undated Adoration of the Magi (cat. nr. 12; fig. 14) was painted around the same time, in the mid-I59os. The same characteristics also occur in the Adoration of the shepherds (cat. nr. 9; fig. 38), dated 1596.

A pinnacle of van Mander's rethinking of the masters of the Italian Renaissance, as inspired by Goltzius, is the painting Jesus in the temple of I598 (cat. nr. I4; fig. 40). The composition makes clear reference to Raphael's School of Athens (Vatican, Stanza della Segnatura). Van Mander was, however, 9ot up to the task of imbuing this painting with a monumental, Italian aspect. The small, almost peasant-like figures look displaced against the background of the classicist temple architecture, set in deep recession.

In the same year, I598, van Mander painted two pa-

i5 Karel van Mander, The adoration ofthe shepherds, I 598. New York, R. L. Feigen & Co.

i22 In the Meisterstiche, or Life of the Virgin (I593-94), Goltzius worked in the style of Barocci, Parmigianino and Bassano, and in two scenes he imitated the style and technique of Lucas van Leyden and Durer; see Strauss, op. cit. (note 95), vol. 2, pp. 574-87.

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nels of the Adoration of the shepherds. Both works are compositionally more convincing and more harmonious than the earlier painting of the same subject, and the Jesus in the temple.

The Adoration of the shepherds in the Frans Hals Mu- seum in Haarlem (cat. nr. I I; fig. 39) is above all charac- terized by its "intimate feeling and naivete,"'23 and the painting has more than once been associated with the nocturnes of Bassano.124 This seems less likely a case of direct influence than of affinity, given that van Mander combines Italian elements with the same northern Euro- pean intimacy that was so highly prized by northern Ita- lian artists like the Bassani. Compared with the paintings of I 595 and 1596 the figures are more realistic, though in some aspects not entirely free of Mannerist traits, such as the stylized posture and coiffures of the shepherds and the unnaturally elongated calves of the woman kneeling before the crib.

The large panel in New York (cat. nr. io; fig. I5) is also more intimate than the much smaller Adoration of the shepherds of I596, due to the nocturnal setting and the more peaceful composition in the foreground. This painting is one of van Mander's best works.

Here van Mander appears to have taken his inspiration from two quite divergent sources. The vertical format, the putti in the heavenly light above, and above all the motif of the small dog curled up in the foreground are all found in an Adoration of the shepherds by Vasari (Rome, Galleria Borghese). Compared with that paint- ing, van Mander's Adoration is, however, significantly more northern. Thus it is also reminiscent of similar sce- nes by Frans Floris, such as his last Adoration of the shep- herds (Antwerp, Koninklijk Museum voor Schone Kunsten), which van Mander certainly knew, and the engraving by Philips Galle after Frans Floris of I 564 of the same subject. The diagonal placement of the crib, the woman kneeling at the foot of it, the row of kneeling shepherds, and the standing shepherds behind them, as well as the large arches of the ruins in the background:

these elements are common to all these works.I25 In this picture, van Mander almost entirely relinquis-

hed the Mannerist idiom. In subtle ways attention is drawn to the Christ Child, by the pointing child and the woman looking upwards. Only the shepherd in the right foreground, in his mannered posture, looks the odd man out among the other figures.

From I 598 on, van Mander's production of paintings appears to have increased; more works dating to the years after i 598 are known than from the preceding two deca- des. Before this time he concentrated primarily on print designs, producing various large series.i26

The paintings of the period from around 1598 to van Mander's death in i6o6 form a relatively homogeneous group; no stylistic development can be traced. The ma- jority contain elements typical of van Mander, like the still vaguely Mannerist postures of stereotype figures, the recurring fantasy costumes, a frequently repeated mother-with-child motif, the foreground dogs, the amorphous architecture with an arch motif, and the pan- oramic landscape. The colorful palette is also character- istic of his late work.

The fact that van Mander also wrote his Schilder-boeck during this period does not seem to have been without consequences for his painting.'27 Van Mander and Golt- zius shared a special affinity for Lucas van Leyden, to whom van Mander dedicated his longest biography of a deceased Netherlandish painter.

Goltzius had already manifested his admiration for Lucas's work back in the I590s, in the Meisterstiche. Contemporaneous with his debut as a painter, which van Mander dates to i 6oo, he also seems to have develo- ped a strong interest in Lucas van Leyden's paintings. The Schilder-boeck records that in i602 he purchased The healing of the blind man of Jericho (St Petersburg, Hermitage) for a large sum; according to van Mander, this was the most beautiful of Lucas's known works. Goltzius also owned a glass painting by van Leyden, rep- resenting The dancing women receiving David, engraved

123 D.P. Snoep, "De aanbidding der herders," Openbaar Kunstbezit I2 (I968), p. 40.

I24 J.Q van Regteren Altena, "Carel van Mander," Elsevier's Geil- lustreerd Maandschrift 93 (I937), pp. 153-69, esp. p. I67; Noe, op. cit. (note 4), p. 199.

I25 For the painting by Vasari see H. Voss, Die Malerei der Spatre- naissance in Rom und Florenz, Berlin I920, p. 279, fig. 97; for the picture by Floris: C. van de Velde, "De Aanbidding der Herders van Frans

Floris," Jaarboek Koninklijk Museum voor Schone Kunsten Antwerpen, ig6i, pp. 59-73. For the print see TIB, cit. (note 9), vol. 56, p. I io.

i26 See Valentiner, op. cit. (note 23), pp. 98-I i9. 127 Miedema, op. cit. (note I), pp. 311-14, states that in 1596 or

1597 van Mander was busy writing about painting. Part of the Grondt was written in I597, and the writing process lasted until after i6oo. Van Mander continued working on the lives of the Netherlandish artists until shortly before the first edition of I 604.

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28 MARJOLEIN LEESBERG

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x6 Karel van Mander, Calvary in the snew, i sgg. England7 private collection

in i6oo by Jan Saenredam.I2S Additionally, Goltzius and van Mander prevented the Leiden city council from selling Lucas's Last judgment (Leiden, Lakenhal) to Emperor Rudolf l i.129

The colorful palette Karel van Mander made his own around i6oo may be taken as a sign of his having been inspired by Lucas van Leyden, though direct borrow- ings occur in various paintings as well. His dependence on the greatest master of the Dutch Renaissance is most evident in his Calvary in the snow, dated I 599 (cat. nr. I 8; fig. i6). Van Mander borrowed the composition, with figures arranged in groups along which the eye is led up- wards to the scene of the Crucifixion, from an engraving by Lucas van Leyden of 15I7 of the same subject. Van Mander cites this engraving in his biography of Lucas, calling it one of his finest works (fig. I7). 13 At least one

of the figures, the cripple, is taken directly from the print.

In the Dance around the golden calfof i602 (cat. nr. 4; fig. 4) as well, van Mander adopted various motifs from Lucas's version of the same subject (Amsterdam, Rijks- museum), which van Mander says he had seen in Am- sterdam in the Kalverstraat.'3' Among them are the two children in the foreground, the dance around the calf, centrally situated, and the scene showing Moses on the mountain in the background.

Another prominent figure in the Schilder-boeck is Pie- ter Bruegel. In their peasant scenes, the Flemish immi- grants in Holland continued a tradition whose most important representative had been Bruegel.'32 In van Mander's work, this genre recurs in his drawings, prints, paintings and poems.'33 The inspiration for van

x28 See R. Vos, Lucas van Leyden, Bussum- 1978, p. 2ii, fig. 145, and pp. 89-go, figs. I 32-34 (The healing of the blind man ofjericho).

i29 Ibid., pp. I i6-17, fig. 170. That Comelisz. was also interested in Lucas van Leyden emerges from his inventory of i 639. He owned many prints, almost one-third of which were by van Leyden. It is possible that this was due to van Mander's influence; see McGee, op. cit. (note 37), PP. 353-54.

130 Van Mander, op. cit. (note 47), fol. 2I2V.

131 Van Mander does not say in whose house, but it was probably in that of the book dealerJan Lossert, for according to a note of I 671 in the margin of a copy of the Schilder-boeck made by H. Houmes, a lawyer of Medemblik, the painting was then with someone called Woiutiers on the Herengracht in Amsterdam, who had acquired it from one Jasper Losschert (Jan Lossert); see Vos, op. cit. (note 128), p. I22, and fig. 179.

132 For this tradition, and van Mander's peasant scenes, see H.-J. Raupp, Bauernsatiren, Niederzier i986.

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17 Lucas van Leyden, Mount Calvary 1517, engraving. Amsterdam, Rjksprentenkabinet

Mander's Peasant kermis of i6oo (cat. nr. 26; fig. 43) was certainly the same "Peter the Droll" ("Pier den Drol"), as Bruegel is referred to in the Schilder-boeck.'34

Another painting in this genre worthy of comment is the earlier Peasant company of 1594 (cat. nr. 25; fig. i8). This image of drinking peasants, shepherds and monks seated around a table looks almost like an isolated detail of one of the larger peasant kermis scenes. At the begin- ning of the seventeenth century, the leading painter of such depictions derived from peasant kermises, such as the Peasant company and the Peasant dance, was to be David Vinckboons. Van Mander's painting of the Pea- sant company is related to his own Peasant kermis draw- ing of i59i (Paris, Ecole des Beaux-Arts), though compositionally and thematically it is closer to the presumably contemporary drawing from the series of

six Proverbs, The bagpipe must be full (fig. i9; Vienna, Albertina). Like the drawing, the painting may be an allegorical representation of gluttony or of excess, of gula-a motif not unfamiliar to Bruegel. The signifi- cance "in malo" of the peasants, shepherds and monks depicted in the painting could easily be related to such themes.

Peasant figures reminiscent of Bruegel also appear in the above-mentioned Calvary in the snow (fig. i6), where they occur in a noteworthy combination with groups of Jews, Pharisees and Roman soldiers. In parti- cular, the young boy in the middle foreground, reminis- cent of the angel in the Annunciation (fig. 32), contrasts sharply with the peasant child next to him.

Van Mander appears to have deployed the peasant genre independently of other immigrant artists, and not

133 The drawings are the Drunken peasant couple of I588 (Amster- dam, Rijksprentenkabinet), the Peasant kermis of 1591 (Paris, Ecole des Beaux Arts), and the Peasant kermis of 1592 (Amsterdam, Rijkspren- tenkabinet), and the engraving after it by Nicolaas Clock of i593. The poems comprise the inscriptions on these drawings and on the engrav- ing; see also H. Miedema, "Feestende boeren-lachende dorpers: bij twee recente aanwinsten van het Rijksprentenkabinet," Bulletin van hetRijksmuseum 29 (i98i), p. 203 (ill.). Even before his journey to Ita-

ly, van Mander wrote farces about amusing incidents involving peas- ants ("der leye sotte-kluyten van eenighe boerten vande boeren bedreven"), see "Levensbericht," cit. (note 5), fol. Riijv. The poem "Boere-klacht," which was published in Den Nederduytschen helicon (see note i64), cannot be counted as belonging to this genre; it is a la- ment by the gentleman-farmer and landed nobleman van Mander against the war, which had driven him from his beloved Flanders.

i34 Van Mander, op. cit. (note 47), fol. 233r.

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MARJOLEIN LEESBERG

19 Karel van Mander, The bagpipe must befull, drawing. Vienna, Graphische Sammlung Albertina

I8 Karel van Mander, Peasant company, 1594. Amsterdam, Roelofsz Gallery

in imitation of Hans Bol, referred to as "the first Flemish Bruegel-imitator in the north."'35 Van Mander describes Bol in the Schilder-boeck as a landscape and miniature painter, but cites no peasant painting by him, nor any by his stepson Frans Boels, nor by Roelant Savery, also known for his peasant scenes. It is more likely that the 1593 print by Nicolaas Clock after van Mander's Peasant kermis-which borrows a number of motifs from Bruegel's St George's kermis-influenced the younger Flemish artists in Holland. David Vinckboons's earliest kermis images, in particular, were unmistakably influen- ced by van Mander's peasant scenes.'36 Evidently van Mander knew the young, up-and-coming painter well, judging by the extensive biography he devotes to him. Writing in I604, van Mander knew almost all the paint- ings David Vinckboons had made up to then, and even the commissions he was working on.

Van Mander's admiration for Bruegel extended be- yond the latter's peasant imagery. In the Grondt he ex- presses his admiration for the way in which Bruegel had represented various expressions of emotions, such as ter-

135 Briels, op. cit. (note 37), p. 122. 136 Valentiner, op. cit. (note 23), pp. 74-77. 137 Grondt, cit. (note i), ch. 6, verse 54. Van Mander also describes

this work in the Nederlandse levens, cit. (note 47), fol. 233v.

30

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Karel van Mander as a painter 3 1

2o Karel van Mander, The massacre ofthe innocents, T6oo. St Petersburg, Hermitage

ror and sympathy, in his Massacre ofthe innocents (Vien- na, Kunsthistorisches Museum),'37 elements van Mander appears to have imitated in his own painting of the same subject of i6oo (cat. nr. i3; fig. 2o). He too di- vided his figures in groups, each of which represents a different aspect of the story, that appear to derive from Bruegel's painting: the group of despairing mothers, "swooning in distress" ("benout in flaute"), the group of cavalrymen and "murderous warriors," and the " sorrowful family" in the center imploring Herod's herald to spare their child's life.

In style and composition, van Mander's painting is, however, hardly comparable with Bruegel's. The figures are no Flemish peasant types, and only a few of the sol- diers, with their full breeches and plumed hats, smack of Bruegel. This type of soldier does not occur in other paintings by van Mander. The remaining figures are clo- ser to those in van Mander's Adorations. Nevertheless, his composition has more in common with Bruegel's Massacre of the innocents than with the somewhat older " compendia" of nudes in the large Massacres by Come- lis van Haarlem (Amsterdam, Rijksmuseum, and Haar- lem, Frans Hals Museum).

As a landscape painter, too, Bruegel plays an import- ant role in the Schilder-boeck. In the Grondt, van Mander praises "the well-colored and artful composition of the paintings and prints by Bruegel," compared with "ta- lented landscape painters of Italy," like Tintoretto, Ti- tian and Muziano.'38 The fact that van Mander devotes an entire chapter of the Grondt to the subject of land- scape is unique within sixteenth-century literature on the arts. This does not, however, mean that van Mander already considered landscape an independent genre, to be derived from one's natural surroundings. For him landscape remained the composed setting for history paintings.

A growing interest in landscape also emerges in van Mander's oeuvre of the second half of the i590s. In a couple of works the figures are of subordinate importan- ce to the landscape in which they are placed: the Arca- dian landscape of I596 (cat. nr. 22; fig. 2i) and the Disobedient prophet of i 599 (cat. nr. 7; fig. 37). The arri- val of Hans Bol and Gillis van Coninxloo in the northern Netherlands must have played a significant role here.

Hans Bol was registered as a citizen of Amsterdam in 1591, and died there in I 593. That Bol had contacts with the Haarlem artists may be inferred from the following statement by van Mander: "The portrait of Bol, almost an epitaph, has been published in print by Goltzius, and

138 Grondt, cit. (note i), ch. 8., verse 25: "de welverwigh" and "4constighe stellingh Der stucken, en printen van Brueghel."

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Zi Karel van Mander, Arcadian landscape, 1596. Munich, Wittelsbacher Ausgleichfonds

is very lifelike and extremely well done."'39 van Mander praises his landscapes, and above all a painting that he had seen at his cousin's, Jan van Mander in Ghent. Hans Bol introduced a type of landscape in the north of Holland that had been developed by Matthijs Cock and Bruegel under the influence of Titian: an asymmetrical landscape with a cluster of trees at one side, cropped by the frame above and a steep mass of rocks on the other side, with an undulating surface between them, compo- sed of small rises.'40 It is precisely this type of terrain that structures van Mander's Arcadian landscape.'4'

Gillis van Coninxloo arrived in Amsterdam in around I 595 after a stay of I o years in Frankenthal. Van Mander must have been in close touch with him. He is very well- informed about Coninxloo's life and work, and even painted the figures in his Landscape with the judgment of Midas (cat. nr. 20; fig. 34). It is unclear how this was ac- tually done. The painting is one of Coninxloo's earliest landscapes, presumably painted in Frankenthal. On the basis of comparison with other paintings by van Mander from the period i6oo-o2 it seems likely that he painted

the scene with the Judgment of Midas at roughly this time over a pre-existing scene in the landscape, possibly at the request of the owner or of Coninxloo himself. '42

The landscape in van Mander's painting of the Land- scape with John the Baptist preaching and baptizing (cat. nr. I 5; fig. 22), signed and dated I 597, may also be by Coninxloo. The fact that the figures are clearly painted in and that the signature is very lightly painted-featu- res that do not occur in any other painting by van Man- der-support this assumption. In its composition and coloring, the landscape is closely related to Coninxloo's work of the period 1595-98.

In the period that followed, and under the influence of Bol and his pupil Roelant Savery, Coninxloo's land- scapes tended more and more to the sylvan. This was influential on the landscape in van Mander's Disobedient prophet of 1599 (cat. nr. 7; fig. 37). The mass of rocks has given way to a group of trees, and the figures occupy a much more natural and more subordinate place in the composition. The progression from the foreground into depth is also more natural, mediated by a meandering

139 Van Mander, op. cit. (note 47), fol. 26ov: "Het conterfeytsel van Bol comt (genoech als een epitaphium) uyt in print van Golzio, seer wel ghelijckende, en uytnemende wel ghedaen." See Strauss, op. cit. (note 95), vol. a, pp. 572-73. The portrait was dedicated to Frans Boels, Bol's stepson.

i4o H. G. Franz, Niederldndische Landschaftsmalerei im Zeitalter des Manierismus, Graz i9q6, p. i82.

141 On this painting, and the connection between its subject and van Mander's translation of the Eclogues and the Georgiscs, see Leesberg, op. cit. (note 94), pp. 420-22, fig. 302.

i42 Ibid., p. 420.

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.. .x1tn: .E~ .... . .:~~~~~~~~~~~~~~ ~ ~ ~ ~ ~ ~ ~~ ~~~~~~~~~ ~ ...... ...g .: E~~~~~~~ ~ ~~~~~~~~ ...........

z2 Karel van Mander, Landscape withz0ohn the Baptistpreaching and baptizing, I 597. Hannover, Landesgalerie

path peopled by increasingly small figures. Van Mander retains, however, the relatively high horizon and the view onto a panorama-like landscape in the back- ground. '43

The move within Coninxloo's work towards the later, denser forest landscape (one of the earliest examples da- tes to I 598),'44 does not appear to have been followed by van Mander. He does, though, write in his biography of Coninxloo: "To be brief, and to give my opinion about his artful works, I know at this time of no finer maker of landscapes and behold, in Holland his manner is begin- ning to be followed widely."'45

Other painted landscapes by van Mander are un- known; that he painted more than these two, however, is borne out by seventeenth-century inventories, in which many "landscapes" by van Mander appear (see Appendix).

In a number of paintings of ca. i 6oo of subjects in which nudes figure, van Mander, like Cornelis van Haar- lem, displays a close affinity with the art of Spranger. The explanation for this lies in the nature of the subjects represented; their eroto-allegorical tendencies corres-

pond to what was fashionable at the court of Rudolf ii in Prague. As court painter, Spranger, a specialist in these kinds of subjects, had elaborated on the maniera stem- ming from Italy, along with other painters such as Hans von Aachen andJoseph Heintz, and the sculptor Adriaen

146 de Vries. In van Mander, this occurs in his The depravity of mankind before the flood (cat. nr. I), Amor omnibus idem (Love is equal for all; cat. nr. 24), and The feast of Venus (cat. nr. 2I).

Reference to the subject of The depravity of mankind before theflood (fig. 23) is made in the deep background, where the ark is being built, while the foreground is ani- mated by celebrating nudes. This theme was first repre- sented in a comparable manner by Dirck Barendsz., engraved by Jan Sadeler around I580. It would later be a favorite subject of Cornelisz. and his student Gerrit Pietersz. Sweelinck, where the edifying aspect of the theme is often hardly detectable.'47

The squatting man with a moustache in the right fore- ground of van Mander's painting is strongly reminiscent of a similar figure in the print after Barendsz. The others recall the work of Spranger. The couple at the left, in

143 I only know this painting from the poor illustration in Valenti- ner, op. cit. (note 23), p. 84, fig. 39, and she too had not seen it herself.

i44 Franz, op. cit. (note 140), pp. 280, fig. 435. 145 Van Mander, op. cit. (note 47), fol. 268r: "Want om cort te ma-

ken en mijn meeninghe van zijn constighe wercken te segghen, soo weet ick dees tijt geen beter landtschapmaker: en sie, dat in Hollandt zijn

handelinghe seer begint naeghevolght te worden." i46 T. DaCosta Kaufmann, The school of Prague: painting at the

court of Rudolf II, Chicago & London i988; exhib. cat. Prag um i6oo, Essen (Villa Hugel) i988.

i47 W. Stechow, "Lusus laetitiaeque modus," Art Quarterly 35 (1972), pp. i65-75.

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23 Karel van Mander, The depravity ofmankind before theflood, i6oo. Frankfurt, Stidelsches Kunstinstitut

particular, relate to a series of paintings by Spranger da- ting to the early I590S, in all of which a divine couple figures largely in the foreground, as in the I 590 Sine Ce- rere et Baccho friget Venus (Vienna, Kunsthistorisches Museum). This work circulated in the Netherlands in the form of a print by Jan Muller."48 The large female figure seen from behind appeared frequently from the time of Goltzius's 1587 engraving of the Wedding feast of Cupid and Psyche after Spranger (fig. 6) in this type of scene by artists from both Haarlem and Utrecht (Bloemaert and Wtewael).

Various iconographic references in van Mander's painting recur in his Wtbeeldinge derfigueren. The signif- icance of the emblems and symbols van Mander assem- bled on the verso of the copper plate with The depravity ofmankind before theflood may be traced in this text. Van Mander describes the same image in general terms as an example of a "hieroglyph;" according to his description,

24 Karel van Mander, The circular course of the world (verso of fig. 23). Frankfurt, StAdelsches Kunstinstitut

it would in this case represent "the circular course of the World" (Het rondt beloop der Weerelt; fig. 24).'49

The Feast of Venus dated i6o2 (cat. nr. 2i; fig. 25) and the Amor omnibus idem (cat. nr. 24; fig. 35) are closely related to one another, stylistically as well as in terms of their mythological-allegorical subject matter. According to the i6i8 biographer, both works were made on com- mission for the jewellerJan van Wely. They later entered the collection of Rudolf II (see Appendix). It would the- refore appear that the undated Amor omnibus idem was also painted in or around i6o2. The subject of the first picture is not entirely clear. Van Mander's biographer describes it as a "bathing room."'?50 Indeed a few of the figures are undressing, and the declining steps in the foreground appear to lead down to a bathing pool. "Garden of Love" or "Feast of Venus" seem at present to be the most appropriate titles.'5' Although the paint- ing is reminiscent of Spranger, his characteristic, exagge-

x48 See TIB, cit. (note 9), vol. 4, p. 507. i49 For this composition see Miedema, "Een schilderij," cit. (note

35).

150 "Levensbericht," cit. (note 5), fol. Sijv: "bad-stove." 151 I. Linnik, "The Garden of Love by Carel van Mander," Reports

of the Hermitage 24 ( I963), pp. I 9 - 2 1.

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25 Karel van Mander, Thefeast of Venus, 1602. St Petersburg, Hermitage

ratedly mannered style has been avoided in the majority of the figures. The more static postures are more closely related to Cornelisz's work of the same period.

The same is true of the figures in Amor omnibus idem. The title of this painting is taken from the i6 i8 biogra- phy; it is a citation from Virgil's Georgics, which van Mander translated in I597.152

These three "Rudolfine" paintings are reminiscent of the work of Jacopo Zucchi (154i-89), for example, his three Ovidian ages (Florence, Uffizi). He popularized the small-figure painting, often on a copper support, a type that reached its apogee around i6oo in the work of Spranger and his colleagues in Prague, and in Haarlem and Utrecht.'53

In a number of large paintings Karel van Mander painted from around i6oo, one and the same compositio- nal scheme recurs again and again. It is this program that van Mander describes in the Grondt as ideal. He recom-

mends, first, filling the lateral areas of the composition with robust foreground figures, architecture, or other staging elements, and keeping the center open, whereby the scene represented there will gain in "welstand," or good appearance. The figures in the central foreground should be shown seated or reclining, thus ensuring visual access to the background, where there are smaller figures and a landscape in the distance. The background must be well painted in fact, the Italians even em- ployed Netherlanders to this end. Finally, he recom- mends arranging the figures in groups, standing or lying down as well as seated, as the Italians also did. 154

The principles of this format stem from Rome, and in particular from the Zuccari, who were in the habit of lo- cating the actual subject of the image in the center and containing the whole by means of large foreground figur- es in the corners. A number of elements appear, however, to be of Venetian rather than Romano-Florentine deriva-

152 For a detailed discussion of the subject of this panel see P. Preiss, "Allegorie des Triumphs der Liebe von Karel van Mander in der Schlossgalerie in Duchov (Dux)," Umin(21 (I973), pp. 369-93.

153 See also above, p. 17, and notes 70 and 7I. 154 Grondt, cit. (note i), ch. 5, verses I 1-55.

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tion. Van Mander names Tintoretto, for one, as an exam- ple of the arrangement of figures in groups. It is noteworthy that the earliest instance of van Mander's proposed scheme occurs in Goltzius's work: the large Judgment ofMidas of I 590 (fig. I 3).

The painting of The meeting ofjephthah and his daugh- ter attributed to van Mander (cat. nr. 6; fig. 3) appears to be the earliest example of his ideal compositional scheme among his own works. The style of the painting is so cha- racteristic that it is undoubtedly by van Mander. More- over, the biographer cites "a piece with Jephthah, very fine."'55 The composition is illustrative of the passage cited from the Grondt. Both corners are filled with "prominent foreground figures" which are masked near the frame by some overgrowth and a draped cloth, in accordance with van Mander's remarks on the unseemli- ness of allowing figures to be cropped by the frame, "unless a piece of ground is placed before them, whe- ther of stone or some other material."'56 These figures function as repoussoirs for the scene in the middle, where the actual subject is represented: Jephthah approaches, riding from the right, and meets his doomed daughter in the center of the scene.

Van Mander developed his theory further in a compo- sition of i6oo, The continence of Scipio (cat. nr. 23; fig. 26). On the verso of this work, which is on copper, is an allegory of the motto Natura docet in grisaille (fig. 27). '57

On the right and left, the Scipio picture is framed by a row of trees, before which groups of figures are placed, "standing, lying down, or seated," in such a way that it is indeed possible to see "several miles into the distance" above them. A scene described in the Grondt also appears in the background: "Here a terrible battle will take place; elsewhere a multitude will flee in the distance." The hor- ses that have fallen over each other literally illustrate the phrase: "in the foreground horses and riders will fall over each other." Beyond there appears "a view or vista, ...

with smaller background figures and views into the dis- tance in the landscape, where the gaze can proceed."'58

Van Mander applied his "ideal" compositional scheme in other paintings, such as the Dance around the golden calf (cat. nr. 4; fig. 4) and the Feast of Venus (cat. nr. 21; fig. 25), both dated i602.

In order to complete his magnum opus, the Schilder- boeck, van Mander left Haarlem in i603 for Sevenber- gen house in Heemskerck,'59 and then moved to Amster- dam in i604. It is not clear why he left Haarlem. Much later, in i686, the guild servant Raphael Adamsz. van Hessel was to write, in the New Year's wish for the St Luke's Guild of Haarlem: "What the reason for this was? He told it to all: Haarlem was home to Art, but Am- sterdam to Money."i6o

The last known painting by van Mander dates from i605. It is one of the three pictures that the biographer describes in detail: "the piece that shows the children of Israel passing over the Jordan,... one of his last and lar- gest works."'6' This Crossing of the riverJordan (cat. nr. 5; fig. 28) was a marriage portrait commissioned by the Amsterdam wine merchant Isaac van Gerwen and his wife Duyfje Roch, whose family, according to the bio- grapher, still owned the work in i6i8. The patrons are portrayed on the right. Van Mander included himself as one of the bearers of the ark of the covenant, "sickly, but nevertheless a good likeness."162

The composition and style of this picture are still in conformity with the works described above. Fore- ground figures appear at right and left, among them the recurrent motif of a mother and child. The actual sub- ject, Joshua pointing, appears in the middleground. There is the division of the figures into groups, the justi- fied cropping of the two figures in the lefthand corner; and the panoramic landscape, here split in two by a group of trees in the center, forming a traditional, Flem- ish type of landscape.

155 "Levensbericht," cit. (note 5), fol. Sijr: "een stuck van Iephtah, seer net."

I56 Grondt, cit. (note i), ch. 5, verse 24: "dat eenen Grondt daer vooren come, het sy van steemen Oft soo yet anders."

I57 Van Thiel and Miedema, op. cit. (note 35). I58 Grondt, cit. (note I), ch. 5, verse I5: "Hier in Bataille sullen

vreeslijck horten Eenen hoop in't verschieten elders zijn vluchtich. Voor aen sullen over malcander storten Peerden en Ruyters." Ibid., verse I2: "een insien oft doorsien.... Met cleynder achter-beelden, en verschieten Van Landt-schap, daer t'ghesicht in heeft te ploeghen." Melion, op. cit. (note 38), p. 8, detects sexual implications in this pas-

sage, which apparently invites one to engage in "optical penetration." I59 Miedema, op. cit. (note I), pp. 328-29. Nothing is known about

van Mander's relationship with the people living in this house. I6o Miedema, op. cit. (note 99), vol. I, p. 309: "Wat d'oorsaeck hier

van was? Hy heeft het rondt vertelt: Te Haerlem is de Konst, maer t'Amsterdam het Gelt."

i6i "Levensbericht," cit. (note 5), fol. Sijv: "...het stuck daer de kinderen van Israel door de jordane gaen,... een van zyn leste, en groot- ste stucken."

I62 Ibid.: "...sieckelijck, dan niet temin, wel gelijckende."

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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~. .. ..........

2.6 Karel van Mander, The continence of Sciplo, i 6oo. Amsterdam, Rij ksmuseum

i g vg~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~iE ., 5 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~.... ..

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:27 Karel van Mander, Natura docet (verso of fig. 26). Amsterdam, Rijksmuseumn

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38 MARJOLEIN LEESBERG

To a certain extent van Mander reverts in this painting to Jan van Scorel, who according to him brought with him "from Italy the essentials of the best manner or form of our arts."'63 His Crossing of the river Jordan, cited by van Mander in the Schilder-boeck, survives in the form of a colossal print of I 547 by Cornelis Bos (fig. 29).

VAN MANDER 'S WORLD The milieu in which van Man- der circulated was primarily that of the rhetoricians. He played an important role as a source of inspiration and initiator, for example in the production of Den Neder- duytschen Helicon, a volume of occasional poetry in com- memoration of the "golden year" of i600.164 The participants belonged for the most part to the circle of Flemish rhetoricians' societies like "De Orangie Lely" in Leiden and "De Witte Angieren" in Haarlem.'65

Van Mander himself was a member of the latter cham- ber, and may have played a role in its foundation in 1592.166 He designed its insignia, with the motto "In liefde ghetrouwe," which was engraved by Jacob Ma- tham in i602 (fig. 30). He also painted this insignia in I596, as well as that for the older chamber of rhetoric, "De Pellicaen" ("Trou moet blijcken"), both of which are lost, though the bill for the last survives.'67 For the young chamber in Haarlem, "De Wijngaertrancken" whose motto was "Liefde boven al," van Mander drew the insignia with a poem and a dedication, also engraved by Jacob Matham, in i6oo (fig. 3').

Van Mander later became a member of the old Am- sterdam chamber, "Den Eglentier" ("In liefde bloey- ende"), along with Cornelis Ketel, Jacques Razet, Gi-

deon Fallet and Hendrik Laurensz. Spieghel. The many names and mottoes with which the panegy-

rics in the Schilder-boeck, the Epitaphs, and poems in Den Nederduytschen Helicon are signed give some idea of van Mander's circle of acquaintances. Miedema has characterized it as follows: "a circle of relatively well- developed literati; no learned philosophers, but men whose education ensured a humanist basis."'68

Although van Mander's literary work displays unmis- takable philosophical inclinations, he appears to have ca- red little for the great thinkers of his time. He hardly mentions Coornhert, who was after all Goltzius's tea- cher and lived in Haarlem until I588. Justus Lipsius, resident of Leiden as of I593, appears nowhere in van Mander's work. Only Spieghel wrote for the Den Neder- duytschen Helicon and as such, as a rhetorician, may be associated with him.

Most of the men to whom van Mander dedicated the various volumes of the Schilder-boeck and other publica- tions appear to belong to an entirely different group, and are for the most part patrons and well-to-do admirers.

One of his first and most important patrons was Jacob Rauwaert, who died in I 597, an Amsterdam estate agent, art collector and dealer, who himself had painted as a student of Maarten van Heemskerck. Rauwaert was in close contact with the artists of the "Haarlem acade- my."'69 According to the biographer of i6i8, he bought van Mander's first works painted in Haarlem, "a deluge in grisaille," and "various histories, circular in sha- pe."'70 This "deluge" may be the roundel now in the Frans Hals Museum in Haarlem (cat. nr. 2; fig. i i). Rau- waert subsequently gave van Mander numerous com-

i63 Van Mander, op. cit. (note 47), fol. 234r: "...uyt Italien het we- sen van de beste wijse oft ghestalt onser consten."

I64 Den Nederduytschen Helicon, eygentlijck wesende der maetdickt beminders lust-toneel, Haarlem (Passchier van Westbusch) i6io. See al- so H. Miedema and M. Spies, Karel van Mander (1548-I606): de Kerck der Deucht, Amsterdam I973.

I65 J. te Winkel, "Den Nederduytschen Helicon van i6Io," Tyd- schrift voorNederlandsche Taal- en Letterkunde I8 (I899), pp. 24I-67.

A66 J. C. G. A. Briels, "'Reyn Geneucht': Zuidnederlandse kamers van rhetorica in Noordnederland 1585-i630," Bijdragen totde Geschie- denis 57 (974), pp. 3-89, esp. pp. 28-3I-

167 H. Miedema, "Karel van Mander, het leven van Hendrick Golt- Zius (I 558-I6I7) met parafrase en commentaar," Nederlands Kunsthis- torisch Jaarboek 42-43 (1991-92), pp. 12-76, esp. p. 68, note i6. Miedema states that van Mander painted the insignias for these cham- bers on the occasion of a lottery for the benefit of the almshouse in Lei-

den, and that they won first and second prize respectively; see Bor, op. cit. (note Ioo), vol. 5, bk. 33, fol. 34v. The bill is Haarlem City Ar- chives, Ingekomen Stukken I58i-i6io nr. 7, 13 April 1596, appendix fol. Iv.

i68 Miedema, op. cit. (note I), p. 304. I69 For Rauwaert as a pupil see van Mander, op. cit. (note 47), fols.

246v and 247r. He seems to have been on particularly close terms with Cornelisz. van Haarlem; see McGee, op. cit. (note 37), p. 84. According to H. Floerke, Studien zur niederlandischen Kunstgeschichte, Munich I905, p. i66, van Mander had met Rauwaert in Bruges as early as 1582. It is true that there was an associate of Hubrecht Goltzius called Jacques Rauwaert who lived in Bruges, but he died in I 568, and is not the same person as the Rauwaert who had been living in Amsterdam since I572, according to van Mander, op. cit. (note 47), fol. 247r.

I70 "Levensbericht," cit. (note 5), fol. Sijr: "een deluvie van wit en swart," and "eenighe Historytjes in ronde forme."

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29 Cornelis Bos after Jan van Scorel, The crossing ofthe riverjo rdan, I 547. Amsterdam, Rij ksprentenkabinet

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30 Jacob Matham after Karel van Mander, Device ofthe Flemish chamber of rhetoric, 'De Witte Angieren, 'in Haarlem, engraving. Amsterdam? Rijksprentenkabinet

31 Jacob Matham after Karel van Mander, Device of the 'Wijngaertrancken chamber of rhetoric in Haarlem, engraving. Amsterdama Rijksprentenkabinet

missions, among them a Passion in i2 scenes and a peasant kermis.'71 In I588, Goltzius and Cornelisz. dedi- cated their first collaborative product to their friend Rau- waert, namely Goltzius's engraving after Cornelisz's painting, The dragon devouring the companions of Cad- mus (London, National Gallery).'72 Rauwaert's collec- tion of paintings, sold by his son Claes in i6I2,

contained iq works by Karel van Mander. As they are not further specified, it is impossible to determine which works these were (see Appendix).

Van Mander dedicated the Grondt to Melchior Wijnt- gis, art collector and at the time master of the Zeeland Mint. He speaks in very friendly terms in the dedication of "Melchior, my Maecenas or, to put it better, Apol- lo."'}73 In the course of the Schilder-boeck van Mander regularly cites paintings he had seen in Wijntgis's collec- tion.

Of paintings by van Mander in Wijntgis's possession, the biographer mentions only a carrying of the Cross. 174 From the inventory drawn up in i6i8, however, it ap- pears that Wijntgis also owned an Adoration of the Magi (a very important work judging by its estimated value), discussed earlier in relation to Peter Hogerbeets's pane- gyric.

The "Lives of the classical painters" was dedicated to Jacques Razet, notary and clerk in Amsterdam, where he was also Cornelis Ketel's neighbor. Razet, too, was an art collector and, according to the biographer's list, owned various paintings by van Mander (see Appendix). Addi- tionally, prints were made for him, which he dissemina- ted as publisher, among them the Freeing ofAndromeda (fig. 7) and the Return from the flight into Egypt by Jac- ques de Gheyn ii after Karel van Mander. 75 His contact with van Mander was determined not only by his being a maecenas but as a fellow rhetorician as well; like van Mander, he was a member of the Amsterdam Eglentier

171 Ibid.: "de passie in twaelf stucken" and "een boere kermis." 172 See note ioq. 173 Grondt, cit. (note I), fol. 3r: "Meichior, mijnen Mecoenas, oft om

beter seggen, Apollo." I74 "Levensbericht," cit. (note 5), fol. Sijr: "een kruys-draginghe." 175 H. Miedema, Karel van Mander: Het leven der oude antijcke

doorluchtighe schilders, Amsterdam 1977, pp. 14-I6. See J.P. Filedt Kok, "Jacques de Gheyn ii: engraver, designer and publisher," Print Quarterly 7 (1990), pp. 248-381, 370-96, nrs. 378, 422, figs. 150, '54. There is an anonymous painted copy of this Return from theflight into Egypt at Bob Jones University, Greenville, South Carolina, see the Ca- talogue of the art collection, vol. 2, Greenville I962, p. 277, nr. i6i.

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chamber, and he is mentioned in various poems in Den Nederduytschen Helicon. Van Mander calls him "my es- pecially good friend" and indeed appears to have been close to him. According to the biographer, Razet was present at van Mander's death bed, and recited the "In manus tuas Domine commendo."'76 He also later paid van Mander's widow's outstanding rent.'77

The three above-mentioned connoisseurs appear to have been van Mander's most important patrons. The biography and the seventeenth-century inventories, however, give the impression that many other art dea- lers and collectors had one or more of van Mander's works in their collections (see Appendix). Fellow paint- ers owned works by him as well.'78

From the city council of Haarlem van Mander only received commissions to paint a commemorative tablet on the occasion of the donation of a whale's jaw by Jan Huygensz. van Linschoten to the city of Haarlem in 1595. The jawbone as well as the tablet are still located in the Gravenzaal of Haarlem Town Hall (cat. nr. 28; fig. 5). In i603, the year when van Mander left for Heemskerck, the council commissioned the best paint- ers in the city to paint one work each of a subject of their own choosing, "as a commemoration of their art." Those painters were Goltzius, Cornelisz. and Hendrik Vroom. This worthy intention was never, however, realized.'79

Finally, it is possible to deduce from other sources who van Mander's closest friends were. First among them was Jacques Razet, mentioned above. A second Amster- dam rhetorician who was friendly with van Mander was Gideon Fallet, originally from Mechelen. Like Razet, he was a notary and, from 1587, town clerk. Van Mander dedicated his Wtlegghingh to him, as well as a sonnet fol- lowing his translation of Virgil's Eclogues and Georgics. In the latter van Mander calls him "swift-versed Fallet" ("vloeydichtsche Fallet"), but nothing survives of his poetry. From Spieghel's Twe-spraeck van de Nederduyt-

sche letterconst ( 584) it is clear that Fallet played an im- portant role in the Amsterdam chamber; this puristic dialogue is conducted by Gideon (Fallet) and Roemer (Visscher), as uncle and nephew. In a sonnet in the Heli- con, Ketel boasts of a 30-year loyal friendship with Fallet, and also cites his close acquaintance with van Mander.

The artist Cornelis Ketel was himself one of van Man- der's best friends. Ketel (1548-i6i6) is now known pri- marily as a portrait painter. In his Schilder-boeck, however, van Mander speaks above all of Ketel's com- plex allegorical compositions, for which he wrote expli- catory poems.I'8 It is not surprising, then, that he dedicated his own "iconological handbook," the Wtbeel- dinge der figueren, to "Mr Cornelis Ketel, painter and poet." For van Mander, Ketel represented the ideal art- ist.'8' As poets, too, they were kindred spirits. The poem printed in Den Nederduytschen Helicon, "De kerck der Deucht" (The church of virtue) is dedicated "To my good friend, the artful Mr C. Ketel."I82 The same poem gives an indication of their mutual friendship with Razet and Goltzius. Ketel responded to van Mander's offering with "Dry Danck Klinck-dichten" (Three sonnets of gratitude) in the same volume. The Helicon also con- tains two poems in which Ketel wishes their mutual friend Goltzius a speedy recovery.

The melancholic Hendrick Goltzius was friendly with van Mander from the time of his move to Haarlem, as is evident from the conclusion of van Mander's biography of Goltzius, where he writes of "having had amicable relations and acquaintance for more than 20 years with my friend Goltzius, the great lover of art."'83 Schreve- lius, too, mentions this friendship in i648: "He [van Mander] was intimate with H. Goltzius, who loved him greatly, for his experience in painting and his skill."'84 The above-cited poems from the Helicon confirm this. That van Mander was obliged to Goltzius is borne out by the sonnet dedicated to him in van Mander's transla-

176 "Levensbericht," cit. (note 5), fol. Siijv. 177 1. H. van Eeghen, "Het sterfhuis van Carel van Mander," Amste-

lodamum 63 (1976), pp. I24-25. 178 The inventory made of Cornelisz. van Haarlem's estate after his

death lists, in addition to 76 of his own paintings, i 8 works by other artists, seven of them by van Mander; see A. Bredius, Kiinstler-inven- tare, The Hague I915-22, vol. 7, p. 77. See also the Appendix below, under i639.

179 Van Bueren, op. cit. (note 93), pp. 293 -94. i8o B.A. Heezen-Stoll, "Cornelis Ketel, uytnemende schilder, van der

Goude ": een iconografische studie van ztJn "historien ", Delft i987. I8i Ibid., p. i. I82 Miedema and Spies, op. cit. (note I64): "Aen constriicken, mij-

nen goeden vriendt, Mr. C. Ketel." I83 Van Mander, op. cit. (note 47), fol. 287r: "...te hebben gehadt

meer als twintigh Jaer met mijnen vriendt, den heel Const-liefdigen Goltzio, vriendlijcken omgangh en kennis."

I84 Schrevelius, op. cit. (note 13), p. 375: "Hy heeft zeer gemeen- zaam geleeft met H. Goltzius; die veel van hem hield, om de ervaarend- heid van de schilderkunst, en zyne vaardigheid."

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42 MARJOLEIN LEESBERG

32 Karel van Mander, The Annunciation, 1595. Haarlem, Frans Hals Museum

33 KarelvanMander, TheAnnunczaton, 1595s, underdrawing (infrared reflectogram by J R J van Asperen de Boer). Haarlemt Frans Hals Museum

tion of Virgil's Eclogues and Georgics, where he calls Goltzius "my great Maecenas."'85

It is remarkable that van Mander does not appear to have been close friends with Cornelis van Haarlem, al- though they worked together in the "academy" for a time during the late 158os. In the Schilder-boeck van Mander speaks of Cornelis's painting appreciatively, though he engages in no personal commentary, as he does in the biography of Goltzius.

Van Mander's lifelong friendship with Bartholomeus Spranger, who worked in Prague, has already been dis- cussed. They probably corresponded a great deal; the information about art at the court of Rudolf ii that van Mander provides in the Schilder-boeck appears primari- ly to have come from Spranger. In i602 Spranger visited Holland, where he was heartily welcomed in Haarlem and feted with a "Table play or comedy, in praise of painting" by the old chamber of rhetoric. Perhaps van Mander's most personal statement in the Schilder-boeck

185 See Leesberg, op. cit. (note 94), esp. p. 424, note i.

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concerns Spranger: "His company was sweet to us, his departure bitter."'86

In conclusion it may be stated that van Mander hono- red his greatest admirers and relations with dedications in his Schilder-boeck. He paid homage to his most belov- ed artist colleagues, and the artists he considered most important, by devoting the most attention to them in his text.

VAN MANDER 'S PAINTINGS IN THE CONTEXT OF LATE

SIXTEENTH-CENTURY ART From the foregoing it may be concluded that Karel van Mander was a mediocre painter. He remained dependent on a mannered formal vocabulary and theory. The impact of his interest in Ve- nice, which he never visited, remained so marginal in his painting that its influence would not be discernible were it not for the references made in the Grondt. Compared with the impact of Goltzius's Italian journey on his work, van Mander's four-year stay in Italy was of little signifi- cance for his painting. In terms of technique too, he ad- hered to traditional means. He continued to paint on panel, and the use of colored grounds, with which his contemporaries experimented in imitation of Venetian art, appears to have passed him by.' 87 How he built up a composition is unclear; not a single preparatory drawing or study for a painting survives. The only painting of which infrared reflectograms have been made, the An- nunciation (cat. nr. 8; fig. 32), manifests a lovely, fairly sketchy underdrawing, which suggests that van Mander drew his subjects directly on the panel in dark chalk, without the use of cartoons or squaring (fig. 33). In the final painting he hardly deviated from the underdraw- ing. 88 This too was a common practice in Dutch paint- ing from around 1520on.I89

As a "pictor doctus" van Mander was at most influen-

tial in matters iconographical. In the late I58os he played a prominent role in the "Haarlem academy" as inventor and source of inspiration. The sudden upsurge, from around I590, of scenes from Ovid's Metamorphoses in Dutch art was certainly in large part due to him.'90 He seems to have acquired his interest in this theme in Italy and to have introduced it to Holland. Apparently Golt- zius initiated his large Metamorphoses series of I 589-90 on van Mander's instigation. It is possible that van Man- der was already at work on his Wtlegghingh op den Meta- morphosis-a moralizing didactic explication of Ovid's narratives, written to inspire painters and for moral edi- fication-at this time, although it only appeared in i604 with the Schilder-boeck. In this sense, Goltzius's prints and van Mander's text complemented each other.'9'

The sole surviving painted scene from the Metamor- phoses by van Mander, the Judgment of Midas (cat. nr. 20; fig. 34) incorporated in a landscape by Coninxloo, is also the earliest known representation of this story in Dutch painting.'92 The next artist to paint a Judgment of Midas was, to the best of my knowledge, Lastman. Thereafter, in the period i620-40, among the circle of Rembrandt's predecessors, the subject came to enjoy a certain popularity. The same is true of the Old Tes- tament scene of The meeting of 7ephthah and his daughter (cat. nr. 6; fig. 3). Van Mander was the first to depict only the encounter and not, as had previously been common, the sacrifice of the daughter, or a combination of meeting and sacrifice. True to his Mennonite convictions, van Mander adhered strictly to the biblical account, which mentions but does not describe the sacrifice. Lastman was the first to follow suit in the seventeenth century. 93 A third favored subject of the pre-Rembrandtists, of whom Lastman was the leading artist in the period i6i0-30, had also already been painted by van Man-

i86 Van Mander, op. cit. (note 47), fol. 274r: "Sijn geselschap was ons soet, en zijn afscheyt smertich."

i87 H. Miedema and B. Meijer, "The introduction of coloured ground in painting and its influence on stylistic development, with par- ticular respect to sixteenth-century Netherlandish art," Storia dell'Arte 35 (1979), pp. 79-98. Cornelis van Haarlem had been painting from 1587 on large canvases with a dark ground. P.JJ. van Thiel, "Cornelis Cornelisz. van Haarlem: his first ten years as a painter," in G. Cavalli- Bjorkman (ed.), Netherlandish Mannerism, Stockholm i985, pp. 73-84, has suggested that he may have learned this from van Mander, but it could equally have been from Dirck Barendsz. or Anthonie Block- landt, both of whom were familiar with the north Italian technique.

i88 With thanks to J. R.J. van Asperen de Boer, who made the infra- red reflectograms in 1976. His investigation of the Crossing of the river

Jordan (cat. nr. 5; fig. 28) has not revealed any underdrawing. i89 J.R.J. van Asperen de Boer, M. Faries and J.P. Filedt Kok,

"Schildertechniek en atelierpraktijk in de zestiende eeuwse Noordne- derlandse kunst," exhib. cat. Kunst voor de beeldenstorm, Amsterdam (Rijksmuseum) i986, pp. 85-I05.

I90 E.J. Sluijter, De "Heydensche Fabulen" in de Noordnederlandse schilderkunst, circa I590-i670, The Hague i986.

i9I Sluijter, op. cit. (note i I9), p. i9. 192 Leesberg, op. cit. (note 94), p. 4i6-20. I93 The Old Testament story of Joseph's Dream was also first

depicted by van Mander, in a drawing, and only became popular in the s7th century; see Reznicek, "Een en ander," cit. (note 34), p. 82 (ill. of the drawing on the art market).

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44 MARJOLEIN LEESBERG

~~~~~~~~~~~~~~~~~. . . . .......EE *

.K . ... ......

.E .i. ..- *R .- E.... . i-iMS*i .-giAEii. i. :t!

34 Gillis van Coninxloo, Landscape with thej udgment ofMidas, I 588, figures attributed to Karel van Mander. Dresden, Gemaldegalerie

der-the Homeric story of Odysseus with Circe. Van Mander's painting does not survive but was, according to his inventory of i639, in the possession of Cornelis van Haarlem, where it is listed as "Ulysses's compan- ions being changed into pigs by K. van Mander" (see Appendix). Coornhert had translated the Odyssey into Dutch in I56i, in an edition that was reprinted in 1593, 1598, i6o5, and I6o7.'94 Van Mander himself made a translation of the first i2 books of the Iliad before I 598, although it was not published until i6" I.

It is entirely possible that Lastman knew van Mander's paintings. Various connections may be traced between the two artists. In the Schilder-boeck van Mander cites Lastman as a pupil of Gerrit Pietersz. (Sweelinck) who, in turn, was the "first Disciple" of Cornelisz. van Haar- lem. Van Mander also knew that Lastman was in Italy in i604.'95 Contact between the two artists potentially via Gerrit Pietersz., is not inconceivable. Moreover, Last- man was the brother-in-law of van Mander's pupil Frangois Venant.

In his Arcadian landscape (cat. nr. 22; fig. 2i), van Mander appears to have introduced the pastoral to Dutch painting.'96 The subject relates to van Mander's translation, published in i597, of Virgil's Eclogues and Georgics.'97 Van Mander's allegorical mythological image, Amor omnibus idem (cat. nr. 24; fig. 35), was also inspired by the Georgics. It is a quotation that was depic- ted extremely rarely, and occurs neither as the motto of

5,~~~~~T

35 Karel van Mander, Amor omnibus idem. Duchcov, Wallenstein Collection

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Karel van Mander as a painter 45

- ~~~~~~~~~~~~~~~~~~~~~~~~~, \

... .. ..

ris IVb "

36 Karel van Mander, The deceit of Ixion, i605, drawing. Paris, Musee du Louvre

painted allegories nor as an emblem. In van Mander's day it corresponded most closely to the Christian motto of the Wijngaertrancken chamber of rhetoric in Haar- lem: "Liefde boven al." In style and composition, as much as in its unusual erotic theme, the Amor omnibus idem is related to van Mander's last known drawing, of I 605, of the Deceit ofIxion (fig. 36).

Finally, van Mander may have been "the first to have made the battle possible as a subject for painting."'98 Van Mander was familiar with the theme from Italy and not only discussed it in the Grondt, but depicted it him- self The biographer describes in detail a painting of

i6o2, in the collection ofJan Fonteyn, showing "a battle between Hannibal and the younger Scipio, in which the fighting and skirmishing is very fierce. "'99 The painting no longer appears in the sources after i6i8, and is pre- sumed lost.

Van Mander had numerous pupils, of whom a few are known by name. The biographer lists these as Jacques de Mosscher, Jacob Martensz., Cornelis Enghelsen (Ver- spronck), Evert Krynsz. van der Maes, Hendrick Ger- ritsz. Oost-Indien, Fransois Venant, Frans Hals, and his sons Karel and Apelles.0" Van Mander would no doubt have been surprised to learn that his student

i94 H. Bonger, Leven en werk van D. V. Coornhert, Amsterdam 1978. I95 Van Mander, op. cit. (note 47), fol. 293v: "fnu [I604] in Italien

was." i96 A. McNeil Kettering, The Batavian Arcadia: pastoral themes in

seventeenth-century Dutch art, unpublished dissertation, University of California (Berkeley) 1974.

197 P. Virgilius Maro, "Bucolica en Georgica, dat is, Ossen-stal en Landt-werck. Nu eerst In rijm-dicht vertaelt, " door K v.Mander, Haar- lem & Amsterdam 1 597. Bialler, op. cit. (note i i 8), pp. I 56-72, cat. nrs. 35-48, attributes the designs for the woodcuts in this anthology to Golt- zius. See also Leesberg, op. cit. (note 94), p. 420-22.

198 Briels, op. cit. (note 37), p. I65. 199 "Levensbericht," cit. (note 5), fol. Sijv: "...slach tusschen Han-

nibal en Scipio de jonghe, waer in seer hittich ghevochten en ghescher- mutselt wert."

2zo "Levensbericht," cit. (note 5), fol. Siijr. Karel van Mander the Younger worked mainly as a tapestry designer for Francois Spierincx in Delft. After his death in i623, his widow settled in Copenhagen, where their son Karel in later became court painter. For references to the lite- rature see Miedema, op. cit. (note 6), pp. 6-7. The only two mentions of Apelles van Mander as a painter are in a poem by A. Schepens in the anthology of epitaphs for van Mander, op. cit. (note io), nr. 9: "[Apelles] met constich hant-gemael, als volgend' oock sijn vader" (with artful painting, following his father) and from a deed of 6 Novem- ber i 627 drawn up in Haarlem, in G.T. van Ysselsteyn, Geschiedenis der tapijtwevergien in de noordelijke Nederlanden, Leiden 1936, nr. 442.

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46 MARJOLEIN LEESBERG

Frans Hals was to become Holland's most famous por- trait painter, a brilliant exception in this "by-way of the arts" ("sijd-wegh der consten").

In conclusion it may be stated that van Mander neither followed the typical development of the Dutch school nor laid the groundwork for it, unlike Goltzius. He re- mained essentially a Flemish painter. The only parallels that can be drawn from his work are with other Flemish painters in Holland such as Coninxloo, Bol and Vinck- boons. It is remarkable that van Mander's history paint- ings still have most in common with the paintings of a number of young painters in Flanders like Hans Jor- daens, Frans Francken ii, Hendrick van Balen, Frederik

van Valckenborch, Hendrick de Clerck and Otto van Veen.

Thus we return to the starting-point of this article: van Mander's greatest significance for painting lay and lies in his literary work. His Schilder-boeck, the main aim of which was to perpetuate the fame of painters, especially the Netherlandish, had an important effect on the self- confidence of seventeenth-century Dutch artists. In i6o6 it was "with a [poet's] wreath on his head," that he was buried in the Oude Kerk in Amsterdam, "with a great procession and ceremony, accompanied by more than 300 people."20'

DORDRECHT

201 "Levensbericht," cit. (note 5), fol. Sijv: "...met een krans om 'thooft," and "met een groote stacy en sleep, van meer als driehondert man verselschapt." Jacques de Gheyn ii made a drawing of him on his deathbed, with a harp laid on his breast (Frankfurt, Stadelsches Kunst- institut). On I2 October 1936, a memorial tablet was placed on the site

of his grave on the initiative of A. F. Mirande and the directors of the Wereldbibliotheek publishing house; see A.F. Mirande and G. S. Overdiep, Het Schilder-boek van Carel van Mander, Amsterdam I936, fig. ix. After it was unveiled, J. Q van Regteren Altena delivered an address, op. cit. note 124.

Catalogue of paintings by Karel van Mander

References to the literature are restricted to publications dealing specifically with van Mander's paintings. Men- tions in secondary literature have been omitted.

My information on the provenance of the paintings is so limited that I felt it not worth including.

The following works are referred to by the author's name only: M. Leesberg, "Goltzius, Karel van Manders 'Mecenas groot'," Nederlands Kunsthistorisch Jaarboek 42-43 (I99I-92), pp. 4I3-26. H. Miedema, "Een schilderij van Karel van Mander de Oude (I548-i606); een doopsgezinde interpretatie," Doopsgezinde Bijdragen I 6 (I 990), pp. II 3-28. H. Noc, Carel van Mander en Italie, The Hague I954. E. K.J. Reznicek, "Het leerdicht van Karel van Mander en de acribie van Hessel Miedema," Oud Holland 89 (I975), pp. 102-28.

E. Valentiner, Karel van Mander als Maler, Strasbourg I930.

RELIGIOUS SUBJECTS

Old Testament

i. The depravity of mankind before the flood (Sicut autum erat in diebus Noe) (fig. 23)

Verso: The circular course ofthe world (hieroglyph) (fig. 24)

Copper, 35 X 25 cm, signed and dated "KM i6oo" Frankfurt, Stadelsches Kunstinstitut Lit.: Reznicek, pp. I I2-I3, note 33, fig. 4; Miedema.

The children with the bird and the man with the chain represent lewdness and earthly bondage respectively; see van Mander, Wtbeeldinge der figueren, bk. 2, fol. I3ir: "De Mossche," and fol. I34r: "De Ketten."

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2. Theflood (fig. I I)

Panel, 0 35,5/36 cm, signed ".KM." Haarlem, Frans Hals Museum Lit.: Valentiner, p. 137, note 47; Reznicek, pp. II2-13, note 33, fig. 8.

3. Moses striking waterfrom the rock (fig. i2)

Panel, 4I x 77 cm. Netherlands, private collection Lit.: Reznicek, pp. 112-13, note 33, figs. io and i i.

4. The dance around the golden calf (fig. 4)

Canvas, 98 X 213.5 cm, signed and dated "KM i602" Haarlem, Frans Hals Museum Lit.: Nob, p. 204; Reznicek, pp. I I2-13, note 33.

The large dog in the foreground derives from Goltzius's print of I 597, Frederik de Vries and Goltzius 's dog.

5. The crossing ofthe riverjordan (fig. 28)

Panel, io6 x i84.5 cm, signed and dated "K Mander

Rotterdam, Boymans-van Beuningen Museum Lit.: G. Jansen, Vereniging Rembrandt, Nationaal Fonds Kunstbehoud, ]aarverslag (i989), p. 30.

According to van Mander's biographer, the original frame bore the following verse:

Elck Christen hier ter werelt seer bestreden, Komt noch op 't lest in 't rijck vol vreuchden soet, Maer den Iordaen, de doodt moet zijn gheleden, Want 't is den wech voor alle vlees te treden, Den vyant lest diemen verwinnen moet, Gheluckt dees reys maer wel, so ist al goet.

(Every Christian, sore tormented here on earth, Comes at last to the kingdom of sweet joys. But the Jordan, death, must first be crossed, For this is the way all flesh must go, The last adversary that man must vanquish. If the journey succeeds, then all is well.)

6. The meeting ofjephthah and his daughter (fig. 3)

Panel, 60.5 x i i8 cm. England, private collection (sale Sotheby's, London, i9 April 1972, nr. 26) Lit.: Nob, pp. 206-07; Reznicek, pp. II2-13, note 33.

7. The disobedient prophet (fig. 37)

Panel, 77 x I05 cm, signed and dated "KM i599" Whereabouts unknown; sale Bukowski (Stockholm), 25

September I929, nr. 44 Lit.: Valentiner, p. 84 (G.12), fig. 39. According to Valentiner, the original frame bore the in- scription: "Koninghe . 13. Cap. I. Vs. Hoe den Man Godts nae Betel raisde en van den leev verslonden Wyert" (Kings I3:1. How the man of God journeyed to Beth-el and was devoured by the lion).

New Testament

8. The Annunciation (fig. 32)

Panel, 0 39,5/40,5 cm, signed and dated "KMander fecit I595" Haarlem, Frans Hals Museum Lit.: Valentiner, pp. 78-79 (G. I), fig. i9; Noe, p. i96.

A drawing of the same subject by van Mander dated I593 (Amsterdam, Rijksprentenkabinet) is closely related to this painting, but is not a preliminary study.

9. The adoration ofthe shepherds (fig. 38)

Panel, 32 x 17 cm (rounded at the top), signed and dated "KM 1596" Prague, Nairodni Gallery Lit.: Reznicek, pp. II2-13, note 33; catalogue Ndrodn( Galerie v Praze, Prague I984, pp. 120-2I (with color ill.).

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48 MARJOLEIN LEESBERG

-------

. ..... EN

.. ... - -----

37 Karel van Mander, The disobedient prophet, 1599. Sale Stockholm (Bukowski), 25 September 1929, nr.44

io. The adoration ofthe shepherds (fig. I 5)

Panel, 77.5 x 62.2 cm, signed and dated "KM I598" New York, R. L. Feigen & Co.

The little dog bears a striking resemblance to the one in the drawing Goltzius 's dog, by Goltzius; see E. K.J. Rez- nicek, Die Zeichnungen von Hendrick Goltzius, 2 vols., Utrecht i961 ,vol. i, cat. nr. K4I3, vol. 2, fig. A 297.

I i. The adoration ofthe shepherds (fig. 39)

Panel, 36 x 46.5 cm, signed and dated KM I 598 Haarlem, Frans Hals Museum Lit.: Noe, pp. 175, I98-200, fig. 52; D.P. Snoep, "De aanbidding der herders," Openbaar Kunstbezit I2 (i968), p. 40.

Van Mander took the bagpipe player from a print by Cornelis Cort after Marco Pino da Siena; see J. C.J. Bie- rens de Haan, L'oeuvre grave de Cornelis Cort, graveur hollandais I533-I578, The Hague 1948, p. I5.

1 2. The adoration of the Magi (fig. 14)

Panel, 33.5 x 42.7 cm, signed ".KM.F." Hartford (U.S.A.), The Wadsworth Atheneum, Ella Gallup Sumner and Mary Catlin Sumner Collection Lit.: Reznicek, pp. II2-13, note 33.

%SIn

38 Karel van Mander, The adoration ofthe shepherds, 1 59 6. Prague, Narodni Gallery

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Karel van Mander as a painter 49

....1-

39 Karel van Mander, The adoration ofthe shepherds, I 598. Haarlem, Frans Hals Museum

13. The massacre ofthe innocents (fig. 20)

Panel, 77 x 170 cm, signed and dated "KMander Fe i6oo" St Petersburg, Hermitage Lit.: Valentiner, p. 79 (G.3), fig. 27.

14. Jesus in the temple (fig. 40)

Panel, 95 x 66 cm, signed and dated "KM I598" Vienna, Kunsthistorisches Museum Lit.: Valentiner, pp. 79-80 (G.4), fig. 24; Not, pp. i99- 200, fig. 53.

15. Landscape withJohn the Baptist preaching and baptiz- ing (fig. 22)

Panel, 77 x io6 cm, signed and dated "KM I597" Hannover, Landesgalerie Lit.: Valentiner, pp. 83-84 (G. I I), fig. 38; Noe, pp. 20I- 02.

'6. Christ blessing the children (fig. 41)

Panel, 47.5 x 39.1 cm, signed and dated "KM I6oo" Frederikssund, J. F. Willumsens Museum

A drawing of the same subject of 1599 (Dusseldorf, Kunstmuseum, Kupferstichkabinett) has a totally dif- ferent composition.

'7. The carrying ofthe Cross (fig. 42)

Panel, 38 x 55 cm. Vienna, private collection; sale Dorotheum (Vienna), i9 March i968, nr. 74 Lit.: Reznicek, pp. I I2-13, note 33, fig. 3.

The attribution, by Georges Marlier, R. Eigenberger and Hermann Voss (I968), appears incontrovertible. The panel is typical of van Mander's style, and could per- haps be dated around i6o5. The palette is comparable with the Crossing ofthe river_7ordan (cat. nr. 5)

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50 MARJOLEIN LEESBERG

i8. Calvary in the snow (fig. I6)

Panel, 67 x 117.5 cm, signed and dated "KMander I 599" Bury Saint Edmunds (England), private collection Lit.: E.KJ. Reznicek, "Der Kalvarienberg im Schnee," Propyicen Kunstgeschichte 8 (1970), pp. 20i-02, nr. 87; Reznicek, pp. II 2-I 3, note 3 3.

19. The martyrdom ofSt Catherine (fig. 2)

Panel, i65 x i65 cm, signed and dated "C.v.mandere in- ventor fecit anno DM 1582"

Courtrai, St-Maartenskerk Lit.: Valentiner, pp. 8i-82 (G.7), fig. I; Noe, pp. I80-82, fig. 47; H. Gellynck, "Karel van Mander (0548-I606), 'Marteldood van de H. Catharina'," Openbaar Kunstbe- zit Vlaanderen (i966), pp. 2a-2b.

MYTHOLOGICAL, ALLEGORICAL AND HISTORICAL

SUBJECTS

20. Landscape with the judgment ofMidas (fig. 34), Gillis van Coninxloo, I588 (landscape), Karel van Mander (figures)

Panel, I20 X 204 cm. Dresden, Gemaldegalerie Lit.: Reznicek, pp. I 12-13, note 33, fig. 6; Leesberg, pp. 4I6-20, fig. 30I.

21. Thefeast of Venus (fig. 25)

Canvas (transferred from panel), 45 x 71 cm, signed and dated "KM I602" St Petersburg, Hermitage Lit.: I. Linnik, "The Garden of Love by Carel van Man- der," Reports of the Hermitage 24 (I963); Reznicek, pp. II2-13, note 33, fig. 9; I. Linnik, Dutch paintings in Soviet museums, Leningrad I982, pp. 21-22 (with color ill.).

22. Arcadian landscape (fig. 2I)

Panel, 77 x 114.5 cm, signed and dated "KM I596" Munich, Wittelsbacher Ausgleichfonds Lit.: Valentiner, p. 83 (G.IO), fig. 37; Noe, p. I79; Lees- berg, pp.420-22, fig. 302.

23. The continence ofScipio (fig. 26) Verso: Natura docet (allegorical scene) (fig. 27)

Copper, 44 X 79 cm, signed and dated "i6 KM oo" Amsterdam, Rijksmuseum Lit.: Valentiner, p. 82 (G.8), fig. 40; H. Miedema and P.Jj. van Thiel, "De Grootmoedigheid van Scipio," Bulletin van het Rijksmuseum 26 (I978), pp. 5I-59.

24. Amor omnibus idem (fig. 35)

Panel, 73 x 52 cm, signed "KM" Duchcov (Czechia), Wallenstein Collection Lit.: P. Preiss, "Allegorie des Triumphs der Liebe von Karel van Mander in der Schlossgalerie in Duchov (Dux)," Umen 3I (I973), pp. 369-93; Reznicek, p. iIo, note 27, and pp. I I2-I3, note 33, fig. 7.

GENRE SCENES

25. Peasant company (fig. i8)

Panel, 33.5 x 42.3 cm, signed and dated "KM 1594" Amsterdam, Roelofsz Gallery

26. Peasant kermis (fig. 43)

Panel, 49 x 77 cm, signed and dated "KM i6oo" St Petersburg, Hermitage Lit.: Valentiner, p. 82 (G.9), fig. 3o; Linnik, Dutch paint- ings in Soviet museums, pp. 23-24 (with color ill.).

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40 Karel van Mander, fesus in the temple, 1598. Vienna, Kunsthistorisches Museum

41 Karel van Mander, Christ blessing the children i 6oo. Frederikssund, J. F. Willumsens Museum

> .e rE!*!:."~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~............ .....

. ... .. ...

.. ..F' .a t ......_

42 Attributed to Karel van Mander, The carrying ofthe Cross. Sale Vienna (Dorotheum), iq March i968, nr. 74

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52 MARJOLEIN LEESBERG

7~~

41- Karel van Mander, Peasant kermis, i 6oo. St Petersburg, Hermitage

PORTRAITS

27. Portrait ofan unknown man (fig. 44)

Panel, 90 x 76 cm, signed and dated "KMander I592" Vienna, Kunsthistorisches Museum Lit.: Valentiner, p. 85 (G. 14).

The only other portrait known by van Mander is a drawing of Peter Hogerbeets that was engraved by Jan Saenredam (see note 9). The artist considered "making likenesses from life a by-way of the arts," which one did solely to earn a living; see the lives of the Netherlandish artists, fol. 28ir.

MISCELLANEOUS

28. Van Linschoten commemorative plaque (fig. 5)

Panel, 79 x I93 cm, signed and dated "I 596 KM" Haarlem, Town Hall Lit.: Valentiner, pp. 84-85 (G.13).

44 Karel van Mander, Portrait ofan unknown man, 1592. Vienna, Kunsthistorisches Museum

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DOUBTFUL AND ERRONEOUS ATTRIBUTIONS

Last supper

Panel, I25 x i90 cm, signed and dated "KM i602" Berlin, Spik Gallery Lit.: Valentiner, p. 8o (G.5), fig. 41.

Despite the monogram, the style of this painting is so unlike that of van Mander's other work that I doubt the accuracy of the attribution. The dimensions, too, are most unusual.

It may be a copy after the work of another artist. Ac- cording to Valentiner, it contains the portraits of people known to van Mander, Coornhert and Goltzius among them. In his biography of Cornelis Ketel, van Mander described a painting of The twelve apostles with Christ

incorporating the portraits of various artists and connois- seurs, including Hendrick de Keyser.

St Paul raising Eutychus in Troas

Canvas, 5I X 98 cm, signed and dated "K V Mander F i6oi" Buckeburg, Furst Philipp-Ernst zu Schaumburg-Lippe Lit.: Valentiner, pp. 8o-8i (G.6).

This is a painted copy of an anonymous print after Stradanus (Hollstein, vol. 7, p. 78, nr. 23i), and al- though the signature looks authentic, it seems highly improbable that van Mander would have made such a copy in the highdays of his own career as an independ- ent artist.

Appendix

Paintings by Karel van Mander mentioned in seventeenth and eight- eenth-century inventories, auctions and catalogues (attributions be- come extremely unreliable after i8oo)

The main sources for the following data are: F. D. 0. Obreen, Archief voor Nederlandsche kunstgeschiedenis, 7 vols., Rotterdam i877-90 H. E. Greve, De bronnen van Carel van Mander, The Hague 1903 A. Bredius, Kunstler-Inventare, 8 vols., The Hague I915-22 The cards written by Dr Hofstede de Groot, Netherlands Institute for Art History (RKD), The Hague The Bredius archives, RKD, The Hague The Provenance Index of the Getty Art History Information Program, material compiled by Marten Jan Bok

Hessel Miedema provided me with the information from the latter two sources, together with other information assembled by himself on men- tions of van Mander's paintings, for which I would like to express my gratitude. Any other sources are also listed.

Prices are given in guilders, stuivers and cents.

I6o6 Inventory taken in the house of the late Hans Bouwer, art collec- tor, Amsterdam; Obreen, vol. 6, p. 45:

"Twee rondekens, het eene den armen duyvel, het andere een land- schap: i6,-" (Two roundels, one of the poor devil, the other a landscape).

i612 Estate inventory of Jean Nicquet, merchant and art collector, Amsterdam, the paintings valued by Cornelis van de Voort, portrait painter, and Jan Basse; Bredius, vol. 2, p. 394:

2. "Een stuck van Caerle van Manderen: 20,-" (A painting by Karel van Mander)

2I. "Een stuck van Carel van Manderen, wesende Pauli bekee- ringe: 25,-" (A piece by Karel van Mander, being the Con- version of St Paul)

24. "Een Winterken van Carel van Manderen: 12,-" (A small winter landscape by Karel van Mander)

25. "Noch een van dito van Manderen: 40,-" (Another of the same by van Mander)

34. "Een stuck lantschap van Carel van Manderen: 12,-" (A landscape painting by Karel van Mander).

I6I2 Sale of paintings by Crispijn Colijn, painter and art dealer, for the purposes of lodging his children's share of his wife's estate with the Chamber of Orphans; Bredius, vol. 3, p. 1072:

ii8. "I principael van Carel van Mander: 3:50:0" (An original work by Karel van Mander; bought by Cornelis Oulandt van Cuelen, living in Warmoesstraat)

i89. "I rontgen van Carel van Mander (Claes Jansz. Lichthart): I :8:o" (A roundel by Karel van Mander).

I6I2 Estate of Jacob Rauwaert, art dealer, Amsterdam; Bredius, vol. 5, p. 1734:

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54 MARJOLEIN LEESBERG

10. "I stuck KM: i6:5,-" (A piece by Karel van Mander; bought by Pieter Conings)

6. "I brant KM (Andries Pitte achter d'Oude Kerk): 24:5,-" (A fire by Karel van Mander)

7. "I stuck KM (Pieter Conings): 45:0,-" 52. " I stuck KM (Floris van Dalen): I i:o,-" 13. "I stuck KM (Barent Thonise): 36:o,-" 46. "2 stuck KM (eroen Gaillart de Jonge in de Hammetges):

26:o,-" 58. ii rontgen KM (Willem van Wely): I5:0,-" (A roundel by

Karel van Mander) 54. "i van KM (Philips Soet): io:o,-" (A work by Karel van

Mander) i9. " I brant KM (Corn. Boissens): 4:5,-" 5. "I van KM (Ph.s Soet): 15: IO"

41. "I tronje KM (GovertJansz.): Io:Io" (A head by Karel van Mander)

22. "I stuck KM (Abr. de Ligne in de vergulde fackel): i6:o,-" 27. " I stuck KM (Arent Jacobsz): 7: I 5,-" 53. "I stuck KM (ArentJacobsz): 12:5,-"

"4 getyden per KM (Arnout Cobbout): 75:o,-" (Four seasons by Karel van Mander)

32. "I rontgen KM (Hans van Solt deJonge): I3:0,-" IoI. I stuckge KM (Van Solt): 7:I0,-" 58. "I rontgen KM (Conincksloo deJonge): io:o,-"

"( I ront KM (Pr. Pitte): 17:0,-. " 1612 Estate of Jacques Verbeek, Amsterdam; Bredius archive, box I6IO-I9, file I612:

"de predicatie van joannes van Karel van Mander" (The Preaching ofJohn the Baptist by Karel van Mander) "noch een predicatie van Johannes van Carel van Mander" (An- other Preaching ofJohn the Baptist by Karel van Mander) "4een schildery van'tJock van de Romeinen van Carel van Mander" (A painting of the yoke of the Romans by Karel van Mander).

I613 Sales ledgers of the Amsterdam Chamber of Orphans, 27 March I6I3; Obreen, vol. 6, p. 45:

"Predicatie: 35-IO" (A Preaching) I613 Jacques Verbeek sale, Amsterdam, I April I613; Obreen, vol. 6, p. 45:

"een stuck: 70,-" (A painting) "een stuck: 40,-" "een stuck: 13-1O."

I613 Inventory of Charles de Croy, Duke of Aarschot, in Beaumont Castle; A. Pinchart, Archives des arts, sciences et lettres, vol. I, p. i6i, nr. 22; see also Hymans, Le livre des peintres de Carel van Mander, Paris I884, p. I3:

"...une peincture sur bois, d'environ vij pied de longuerie et iiij de hault avecq sa molure d'escrignerie, faicte par Cartose (en cartou- che), peinct de noir, doree et feuillage d'or, contenant l'histoire de la femme paillarde condampnee par lesJuifz, protegee et deffendue de la lapidation par Notre-Seigneur, representee par plusieurs per- sonnaiges, somtueuse ediffices et palais; de la main de K. V. Man- der" (A painting on panel, approximately 7 feet in width and 4 feet in height, with its carved frame, made in cartouche, painted in black, gilt and gold leaf, of the story of the adulterous woman con- demned by the Jews, protected and defended from stoning by Our Lord, with several figures, sumptuous buildings and a palace, by Karel van Mander).

I613 Estate inventory of Hans van Uffelen, merchant and collector of Amsterdam, and also a painter; Bredius, vol. 2, p. 439:

20. "Noch een cleyn lantschapken van Caerel van Manderen met een witte binnenlijste" (Another small landscape by Karel van Mander, with a white inner frame) 74. "Noch een rondeken van Carel van Manderen" (Another roun- del by Karel van Mander).

I614 Sales ledgers of Amsterdam Chamber of Orphans; Obreen, vol. 6, p.46:

"schildery: 41" (Painting). I614 Sale of paintings belonging to Cornelis van der Voort, painter, Amsterdam; Bredius, vol. 3, p. 1 177:

"Bataille van Carel Vermander: 221:0:" (A battle scene by Karel van Mander; bought by Jan Fonteyn).

I6I8 Inventory of Melchior Wyntgis, Brussels; H. Hymans, "Mel- chior Wyntgis," DeDietsche Warande 2 (I889), pp. I52-58, 268-77:

"een drie Coninghen vol figuren met rotze, ruyne landschap, oly- verw geschildert by Caerel Van Mandere: 250 g." (The Magi, with rocks, a landscape with ruins, painted in oils by Karel van Mander) "een drieconinghen Caerle Van Maender: 42 g." (The Magi by Karel van Mander).

I6I8 The I6i8 biography, fol. Sijr-v: paintings executed for or in the collections of: Rauwert "een deluvie van wit en swart" (A flood,

grisaille) "een passie in twaelf stucken" (A Passion in 12 paintings) "een Boere kermis" (A peasant kermis)

Razet "een Johannis Predicatie" (A Preaching of John the Baptist) "twee karsnachten" (Two Nativities) "een Boerekermis" (A peasant kermis) "een Cruycinghe Christi" (A Crucifixion)

Kolderman "een distructie van een Predicatie" (A disruption of a sermon) "een stuck daer door 't Jock ghekropen werdt" (A painting in which the people are crawling under the yoke)

Jan Mathijsz. Ban "een Davidt en Abigail" (David and Abigail)

Albert (Simonsz.?) "een stuck van Jephtah" (A painting of Jephthah)

Melchior Wyntgis "een kruys-draginghe" (A Carrying of the Cross)

Kors Reyers "een cruys-draginghe" "drie koninghen" (The Magi) "daerJacob de Huys-goden begraeft" (Jacob burying the household gods)

Willem Bartjens "een Landschap vol wel ghestelde Boomen met Boerehuysen/ de Beeldekens zijn Chris- tus met Zijne apostelen/ reynighende de neghen melaetsche" (A landscape with well ordered trees and peasant cottages; the figures are Christ and his apostles cleansing the nine lepers) "een Marije beeldeken/ met eenJoseph" (A figure of the Virgin, with a Joseph)

Jan de Witte "een doopsel" (A Baptism) "Paulus bekeeringhe" (The conversion of St Paul)

Lord of Assendelft "Paulus bekeeringhe" Barth. Claesz. "een stuck van den rijckenJongelingh"

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(A painting of the rich young man) Klaas Fred. Roch "een stuck, waer de kinderen van Israel door

deJordane gaen" (A painting of the children of Israel crossing the Jordan)

Jan Hendrik Zoop "daer de kinderen Israel om het opgherechte kalf dansen" (The children of Israel dancing around the raised calf)

Jan Fonteyn "de slach tusschen Hannibal en Scipio" (The battle between Hannibal and Scipio)

Jan van Wely "een bad-stove" (A bathing room) "Amor omnibus idem" (Love is equal for all)

Willem (van Wely?) "een val van Babel" (Fall of the Tower of Babel) "verscheyden Bloempotten van wilde Bloemen" (Divers vases with wild flowers)

Louys Peris "daer de kinderen van Israel hun besondichde in t'hoereren met de dochteren der Moabyten" (The children of Israel sinning by whoring with the daughters of the Moabites).

I62i Sales ledgers of the Amsterdam Chamber of Orphans, 12 May I621; Obreen, vol. 6, p. 46:

"een ruyne: I2-10" (A ruin). I62I Estate sale of Gerrit Govertsen Souburch, former alderman of Gouda, in Warmoesstraat, Amsterdam, 5 November I621; Amster- dam City Archives, veiling Weeskamer nr. 948; Getty, inv. nr. 289, record 205/7595:

"een lantschap van Carel Vermander: I I.25" (A landscape by Karel van Mander; bought by Pr. de Coninck).

i62I Inventory of Rudolf ii in Prague; H. Zimmermann, "Das Inven- tar der Prager Schatz- und Kunstkammer vom 6. Dezember I621," Jarhbuch derkunsthistorischen Sammlungen desAllerhdchsten Kaiserhau- ses 25 (1905), nr. I942I:

"Ein Triumph vom Cupido vom Carl von Mander (Orig)" (A triumph of Cupid by Karel van Mander, original) "Eine Landschaft mit viel nackenden weibern von Carl von Man- dern (Orig.)" (A landscape with numerous naked women by Karel van Mander, original).

I62I Inventory ofJan Pietersz. van Gils, painter, Delft, 2I December I622; J.G.C.A. Briels, De Zuidnederlandse immigratie in Amsterdam en Haarlem omstreeks I572-I650, Utrecht I976, p. i96, note 290:

"Venus." 1621 Seen by Arent van Buchel at the house of Theodoor Schrevelius in Haarlem; G.J. Hoogewerff and J. Q van Regteren Altena (eds.), Ar- noldus Buchelius, "Res pictoriae": aanteekeningen over kunstenaars en kunstwerken voorkomende in zijn diarium, The Hague I928, p. 49:

"Iuditium Paridis KM" (Judgment of Paris by Karel van Mander). I622 Sale by Jan Pietersz. van Gils, painter and bailiff, Delft, 5 March I622; transferred to his father-in-law, Abram van Neck, to pay off a debt; Bredius, vol. 5, p. I75I:

"een crusifix gedaen by den ouden Karel Vermander, gepryseert voor ij c ghulden" (A Crucifixion by Karel van Mander the Elder, valued at 200 guilders) "een gesneden nootboomen houte spiegel met een dexsel by den ouden Karel Vermander gedaen met een roode saeye tent voor xij gld." (A carved walnut mirror with a cover by Karel van Mander the Elder, with a red serge tent, for I 2 guilders) "twee geschilderde gordinen met een schoorsteencleet gedaen by den ouden Vermander" (Two painted curtains with a mantel- cloth by the elder van Mander).

I622 Ledgers of the Amsterdam Chamber of Orphans; Obreen, vol. 6, p.46:

"schilderytje van cruysdrager: 20-I0" (A small painting of the Car- rying of the Cross).

I624 Estate inventory of Hans Rombouts, on Herengracht in Amster- dam (widower of Susanna Nicquet, Jean Nicquet's daughter; the col- lection overlaps Jean Nicquet's as regards paintings by van Mander and Frans Francken the Younger) 5 August I624; Amsterdam City Archives 746, fols. 1025f; Getty, inv. nr. 200, record i i8/435I:

"noch een stuck schildery no.i2 wesende 't principael van Carel van Mander" (Another painting, nr. I2, an original by Karel van Mander).

I629 Estate of Barent Teunisz., landscape painter, Delft; Bredius, vol. I, p. 288:

"2 stuckjens van Karel Vermanderen" (Two small paintings by Karel van Mander).

I630 Estate inventory of Nicolaes Wassenaer, wine merchant, Amster- dam, I August I630; Amsterdam City Archives 858; Getty, inv. nr. 260, record 176/4326:

"een rond schilerytje gedaen by Karel Vermander" (A circular painting by Karel van Mander).

I631 Will of Cornelis Cornelisz. van Haarlem, painter, Haarlem, be- queathed to "his good friend" Cornelisz. Claesz. van Wieringen; Bre- dius, vol. 7, p. 93:

"een stuck schilderye wesende een Crucifix gemaect by Mr. Carel Vermander" (A painting of the Crucifixion by Karel van Mander).

I633 A specification of the belongings of WillemJansz., provision mer- chant, Amsterdam, 28 September I633; Amsterdam City Archives 568, fols. 695f; Getty, inv. nr. 277, record I93/7078:

"een klein lantschapgen van Carel Vermander" (A small landscape by Karel van Mander).

I637 Valuation of the estate ofJan Arentsz. van Naerden, Amsterdam, by Lucas Lucasz. and Hendrick Ulenborch, painters; Bredius, vol. 3, p. I232:

42. "een lantschapge van Carel v. Mander: i8,-" (A landscape by Karel van Mander).

I638 Wager between Lenaert Schaap of Dordrecht and Jasper van El- der of Delft, i8 May I638; Bredius archive:

"Schaap had nu recht op een stuck schilderije van een boerekermis met gecke beelden, sijnde een principael geschildert by Mr. Carel Vermander ofte ses ponden gr. vlaems aen gelt. de notaris Spoors te Delft wordt gemachtigd. Not. Coplaer, Dordrecht" (Schaap now had the right to a painting of a peasant kermis with droll figures, an original work by Karel van Mander, or to six Flemish pounds groot in money. Notary Spoors of Delft is authorized. Notary Co- plaer, Dordrecht).

I639 Estate of Cornelis Cornelisz. van Haarlem, painter, Haarlem, I March I639; Bredius, vol. 7, p. 77:

I. "Het wel geordineerde kruis van Karel Vermander" (The well-composed Crucifixion by Karel van Mander)

6. "Een vrouken aen de put van Karel Vermander" (A woman at the well by Karel van Mander)

7. "Den Jongen Tobias van Karel Vermander" (The young To- bias by Karel van Mander)

8. "Verandering in varkens Ulissus geselle van K. Vermander" (Ulysses's companions being transformed into swine, by Ka- rel van Mander)

I2. "Een lantschapke van Karel Vermander" (A small landscape by Karel van Mander)

I6. "2 rondekens, winter en somer, van K. Vermander" (Two roundels, Winter and Summer, by Karel van Mander).

I639 Inventory of AdriaenJacobsz. van Noort, merchant, Amsterdam; Getty, verbal communication of J.M Montias (from M.J. Bok); Am-

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sterdam City Archives, notary Hoogeboom, Notarial Archive 840, (film 567), 8-I-I639:

"Jacob en Esau" "de blinde ziener" (The blind seer) "de drie koningen" (The Magi) "de predekingeJohannis" (The Preaching ofJohn the Baptist).

I640 Inventory of Jan Orlers; exhib. cat. Geschildert tot Leyden anno I626, Leiden (Lakenhal) 1976-77, p. 17:

"Een Rondeken geschildert by Carel van Manderen: I gl." (A roundel by Karel van Mander).

I64I Estate inventory of Michiel Jansen van Mierevelt, painter, Delft, 27 June I641; A. Bredius, "Michiel Jansz van Mierevelt: eene nale- zing," Oud Holland 26 (Igo8), p. I5:

"Een deel boertgens van Carel Vermander: 30-0-0" (A group of peasants by Karel van Mander).

I64I Estate sale of Michiel Jansen van Mierevelt, painter, Delft, 27 September I64I; ibid., p. 5:

"Rebecca, op doek" (Rebecca, on canvas) I646 Bequest ofJan Hendricksz. Braber, Haarlem, I5 December I646; Bredius archive:

"Jan Hendricksz. Braber legateert drye cleijne stuckgens van Carel van Mander, de geboorte, cruyssingh en hemelvaert Cristi. Tekent Barbar. Not. N. van Bosvelt, Haarlem" Uan Hendricksz. Braber bequeaths three small paintings by Karel van Mander, the Nativi- ty, the Crucifixion and the Ascension of Christ. Signs Barbar. No- tary N. van Bosvelt, Haarlem).

1648 Inventory of (Annetge) Gerrits, widow of Hendrick Beuckelaer, Amsterdam, 4 August I648; Amsterdam City Archives I004; Getty, inv. nr. 250, record I67:

"een achtkant stuckge schildery van Maria ende 't kindeken Jesus door Carel van Mander" (A small octagonal painting of the Virgin and Child by Karel van Mander).

I648 Theodorus Schrevelius, Harlemias, Haarlem I648, p. 375: "Daar is noch van hem een Stuk in wezen in ons Huis, het Oordeel van Paris,..." (Also by him, in our house, is theJudgment of Paris).

1654 Sale of the chattels and paintings of Frans Hals, painter, Haarlem, to settle a debt of 200 guilders with his baker, Jan Ykess; A. van der Willigen, Les artistes de Haarlem, Haarlem I870, p. 145; see also Hy- mans, Le livre des peintres de Carel van Mander, Paris I 884, p. I3:

"een doek van Vermander, Prediking van Johannes de Doper" (A canvas by van Mander, the Preaching ofJohn the Baptist).

i655 In the possession of Matheus Bloem, painter, Amsterdam; Bre- dius, vol, 2, p. 641:

"een rontge van Karel van Mander: 7 1/2" (A roundel by Karel van Mander) "Abrahams offer van Karel v. Mander: 7 I /2" (Abraham's sacrifice by Karel van Mander).

I66o Inventory of Barent Lumden, 7 January i66o; Greve, p. 285, re- ferring to Oud Holland 3 (I885), p. 226:

"Noch een Mars en Veenus van Carel van Mander, met een zwarte lijst" (Another Mars and Venus, by Karel van Mander, with a black frame).

1662 Inventory of Johan Chrisosthomus de Backer, "in syn leven Choordeecken van Eyndhoven" (late dean of Eindhoven), The Hague, 17 April I662; Obreen, vol. 5, p. 296:

24. "nogh een stuch synde een Andromida, geschildert by Carel Vermander, 12-0-0" (Another painting, of Andromeda, painted by Karel van Mander; bought by Phil. Lissant)

25. "nogh een stuch synde een Hemelvaert Christi vande selve (Phil. Lissant): 20-I0" (Another painting, of the Ascension of Christ, by the same)

26. "nogh een stuch synde een slapende Venus geschildert byde selve (Bronsvelt): 3-5-0" (Another painting, a sleeping Ve- nus, by the same)

53. "nogh een stuck synde een lantschappie met een ront vergult lyssie geschildert by Carel Vermander Uuffr. de Bye): 3-0-0" (Another painting, a small landscape with a circular gilt frame, painted by Karel van Mander)

58. "nogh een stuck synde een St. Teunis Temptaci geschildert byden selve (Aitsma): 3-0-0" (Another painting, a Tempta- tion of St Anthony, painted by the same)

86. "nogh een stuck synde een Avontmael geschildert by Carel Vermander (no. 58) Uuffr. de Bye)" (Another painting, the Last Supper, painted by Karel van Mander)

103. "nogh een stuck synde een Chruysing geschildert by Carel Vermander: 4-0-0" (Another picture, a Crucifixion, painted by Karel van Mander)

io6. "nogh een stuck synde een Lantschappie van Carel Verman- der (Bronsvelt): 2-I0-0" (Another painting, a small landsca- pe by Karel van Mander)

I Io. "nogh een stuck synde een offer vande 3 coningen geschildert by Carel Vermander (Gootske): 4-10-0" (Another painting, an offering of the Magi, painted by Karel van Mander)

125. "nogh een stuck synde een Lantschap met Elias geschildert by Carel Vermander (Disponteyn): 12-0-0" (Another paint- ing, a landscape with Elias, painted by Karel van Mander)

140. "nogh een stuck synde een heylig Bath geschildert by Carel Vermander (Bosch): 4-5-0" (Another painting, a baptism, painted by Karel van Mander)

158. "een Christus en" (A Christ and) 159. "een L. vrouw: 4-5-0" (a Virgin Mary; both to Lissant) I 62. "nogh 2 stucken synde twee lantschappies geschildert by Ca-

rel Vermander: 2-8-o" (A further two paintings, two small landscapes painted by Karel van Mander)

I63. "nogh een stuckie synde een Lantschappie geschildert by Ca- rel Vermander" (Another painting, a small landscape painted by Karel van Mander)

i86. "nogh een stuck synde een Saringa geschildert by Carel Ver- mander (Bronsvelt): i6-io-o" (Another painting, a Saringa painted by Karel van Mander) "nogh een ront lantschappie van Carel Vermander" (Another small, circular landscape by Karel van Mander).

1664 Death inventory of Pieter van der Gracht, lawyer, Amsterdam, i i July I664; Amsterdam City Archives I857, fols. i8if. and 248; Getty, inv. nr. 238, record 155/5529:

"een karsnachtje van Carel Vermander met een vergulde gesneen lyst: io gld" (A Nativity by Karel van Mander, with a gilt, carved frame).

i668 Inventory of Vincent Laurensz. van der Vinne, painter, Haarlem, drawn up on the occasion of his wife's death; Bredius, vol. 4, p. I259:

23. "Carel Vermander." 669 Inventory of Turpijn, Amsterdam; communication of H. Miede-

ma: "een Carsnachtje" (A Nativity).

1670 Inventory of Corn. Dircksz. Kool, Amsterdam, July I670 and May I682; Oud Holland 28 (I9I0), p. 9:

"Een Acteon van Carel van Mander: 6,-" (An Actaeon by Karel van Mander).

I674 Bankruptcy inventory of Gerard Uylenburgh, painter and art dealer, Amsterdam; Bredius, vol. 5, p. I670:

i I I. "een cruysie van Carel verMander" (A Crucifixion by Karel van Mander)

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Page 54: Karel van Mander as a Painter

Karel van Mander as a painter 57

I68o Estate inventory of Joris van Hasselt, surgeon, Amsterdam; Bre- dius, vol. 3, p. I009:

"Een valckenjacht van Karel van Mander" (Falconing, by Karel van Mander)

i686 Estate inventory of Catharina Deyl, widow of Nicolaes Rosen- dael, history painter, Amsterdam; Bredius, vol. 2, p. 544:

I00. "een [tronie?] van Carel van Mander" (A [head?] by Karel van Mander).

I687 Estate inventory of Barbara Carel, widow of Jeronimus Ranst, Amsterdam, I July i687; Amsterdam City Archives, Notarial Archive 2645 (film 2669), ff. 37-I i6; Getty inv. nr. 99, record I00/412:

"van Carel Vermander Dafne en Apollo: i:i6:" (By Karel van Mander, a Daphne and Apollo).

I693 Paintings owned by Johannes van Werckhoven, goldsmith, Lei- den; Bredius, vol. 2, p. 635:

"De doop Christi door C. van Mander" (The Baptism of Christ by Karel van Mander).

I698 Inventory sale of Johannes van Werckhoven, Amsterdam, iI April i698; Greve, p. 286; Hoet, vol. I, p. 43:

"I7: De dooping van Christus van Karel Vermander: 8,-" (The Baptism of Christ by Karel van Mander).

I702 Estate inventory of Vincent Laurensz. van der Vinne, painter, Haarlem; Bredius, vol. 4, p. 126i:

"Een Rontstuckje van van Mander" (A roundel by van Mander). 1703 Division of the estate among the heirs of Paulo van Uchelen, Am- sterdam, I 5 August 1703; Amsterdam City Archives, Notarial Archive 6455, ff. I48I-1504; Getty inv. nr. 398, record 399/I209:

"Een kersnaght van Carel Vermander: 20:-:-" (A Nativity by Karel van Mander).

172I Hornes sale, 24July 1721, The Hague; Greve, p. 287: 9: "De Besnijdenisse door Carel Vermander" (The Circumcision

by Karel van Mander) I0: "De Offerhande der drie Koningen: 21, " (The Magi's offer-

ing; sold together). I724 George Bruyn sale, i6 March 1724, Amsterdam; Greve, p. 286:

95: "Een kruysiging Christi, door C. van Mander. Op steen ge- schildert: 21,I5" (A Crucifixion by Karel van Mander. Paint- ed on stone).

1734 Willem Six sale, I2 May 1734, Amsterdam; Greve, p. 287: 219: "Ecce Homo, door K. Vermander: 7,-."

1742 Jan de Gise sale, 30 August 1742, Bonn; Greve, p. 287: 20: "Een Bijbelsche Historie door Carel van Mander, I v. x I v. 7 d.: 47,-" (A biblical history by Karel van Mander, I foot by I foot 7 inches).

1743 Seger Tierens sale, 23 July I743, The Hague; Greve, p. 287: 328: "De ontmoeting van Ezau en Jacob. Zeer vol Figuuren door

Carel Vermander. 2 v. x 4 v. 4 d.: 20, " (The meeting of Esau and Jacob, with many figures, by Karel van Mander, 2 feet by 4 feet 4 inches).

I748 Pieter van Buytens sale, 29 October 1748, Delft; Greve, p. 287: 98: "Een Bijbelsche Historie van David en Abigail, door Karel van

Mander: 3, " (A biblical history of David and Abigail, by Karel van Mander).

1749 Sale Is July 1749, The Hague: 4: "De kruisiging Christi. Vol werk fraay en uitvoerig geschildert,

door Karel van Mander, I7 x 15 d.: i8o,-" (The Crucifixion. With many figures and scenes, painted finely and in detail by Karel van Mander).

1775 Sale Brussels (auJardin St. George), i6 October 1775; Catalogue de tableaux, p. I63:

8: "Kruisdraging, h. 3 voet 2 duim, b. 4 voet 7" (Carrying of the Cross, 3 feet 2 inches in height, 4 feet 7 inches wide)

1776 Catalogue of Gallerie Salzthalen I776; Hofstede de Groot card, RKD:

Nr. I 82 of the second gallery: "Jephtah kommt mit einem groszen Heere von hinten durch das Geburge von der Schlacht, mit den Ammonitern, nach Mitzpa zuruck. Seine Tochter kommt ihm mit Pauken und Reigen aus der Stadt entgegen. Auf Holz, i Fusz 6 Zoll breit, i Fusz i Zoll hoch" (Jephthah, in the background, returning to Mitzpeh through the mountains with a large army after doing battle with the Ammonites. His daughter comes out from the city to meet him with timbrels and dances. On panel, i foot 6 inches wide, I foot i inch high).

1779 Sale Brussels (Chevalier de Verhulst), i6 August I779; Catalogue de tableaux, p. I63:

27: "Laat de Kinderen tot mij komen. h. I voet 6 duim, b. I voet, 3 d." (Suffer the little children to come unto me. i foot 6 inches high, I foot 3 inches wide).

1786 G. Copius sale, 2I March I786, The Hague; Greve, p. 287: 152: "Suzanna met de boeven bij een Fontein, door K. van Man-

der (i 6o6). Op doek, 44 x 6o: i. i o" (Susanna with the scoun- drels by a fountain, by Karel van Mander [i 6o6]. On canvas).

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