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Slive, Seymour

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Seymour Slive

Dutch Painting, 1600–1800

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Author

Seymour Slive

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-23931

Bibliography

The bibliography is selective. For more comprehensive lists of the vast literature the reader should consult H. van Hall, Repertorium voor de geschiedenis der Nederlandsche schilder-en graveerkunst, 2 vols., The Hague, 1936–49 (up to 1946), Repertorium betreffende de Nederlands(ch)e monumenten van geschiedenis en kunst 1901–1960 (periodicals), 4 vols, The Hague, 1940–62, Repertorium van boekwerken betreffende de Nederlandse monumenten van geschiedenis en kunst (up to 1940), The Hague, 1950 (both the latter repertoria ed. by the Koninklijke Nederlandse Oudheidkundige Bond), and the Bibliography of the Netherlands Institute for Art History (1943–73/74).

The bibliography and notes supplement each other: numerous references only appear in the bibliography, and on the other hand, some studies are only cited in the notes.

I. GENERAL

A. GENERAL WORKS

NIJHOFF, W. Bibliographie van Noord-Nederlandsche plaatsbeschrijvingen tot het einde der 18de eeuw. The Hague, 1894. 2nd ed. revised by F. W. D. C. A. van Hattum. The Hague, 1953.

De Nederlands(ch)e monumenten van geschiedenis en kunst, ed. by the Rijkscommissie tot het Opmaken en Uitgeven van een Inventaris en eene Beschrijving der Nederlandsche Monumenten van Geschiedenis en Kunst. Utrecht, 1912- (in progress).

BARNOUW, A. J., and LANDHEER, B. (eds.). The Contribution of Holland to the Sciences. New York, 1943. Contains an essay by F. Lugt on Dutch art historians.

SCHMIDT-DEGENER, F. Verzamelde studies en essays, 1, Het blijvend beeld der Hollandse kunst. Amsterdam, 1949. Essays on aspects of Dutch art by a former director of the Rijksmuseum. Vol. 2 reprints the author’s articles on Rembrandt.

SITWELL, S. The Netherlands. 2nd ed. London-New York, 1952. A study of aspects of art, costume, and social life, with a personal appreciation of the achievement of late seventeenth- and eighteenth-century Dutch artists and craftsmen.

GELDER, H. E. VAN. Guide to Dutch Art. The Hague, 1952. Brief survey; appendices include a list of museums and maps of provinces and cities.

GELDER, H. E. VAN, DUVERGER, J., et al. Kunstgeschiedenis der Nederlanden van de middeleeuwen tot onze tijd. 3rd ed. 3 vols. Antwerp-Utrecht, 1954–6. Articles on Dutch and Flemish art from the Middle Ages to modern times.

TIMMERS, J. J. M. A History of Dutch Life and Art, trans. by M. F. Hedlund. Amsterdam-Brussels, 1959. General survey, profusely illustrated.

GELDER, J. G. VAN. ‘Two Aspects of the Dutch Baroque: Reason and Emotion’, De Artibus Opuscula XL: Essays in Honour of Erwin Panofsky. New York, 1961.

Kunstreisboek voor Nederland. 7th rev. ed. Amsterdam-Antwerp, 1977. Topography of art and architecture in the manner of Dehio and Monumentos españoles. Often revised and reprinted.

EMMENS, J. A., and LEVIE, S. H. ‘The History of Dutch Art History’, Criticism and Theory in the Arts, ed. R. Ginsberg. Paris, 1963, reprinted in J. A. Emmens, Kunsthistorische Opstellen, 2. Amsterdam, 1981.

HERWIJNEN, G. VAN. Bibliografie van de stedengeschiedenis van Nederland. Leiden, 1978.

Art in History, History in Art: Studies in seventeenth-century Dutch culture, eds. D. Freedberg and J. de Vries. Santa Monica, 1991.

B. HISTORICAL BACKGROUND

GEYL, P. Holland and Belgium. Their Common History and their Relations. Leiden, 1920.

BAASCH, E. Holldndische Wirtschaftsgeschichte. Jena, 1927.

GEYL, P. Geschiedenis van de Nederlandsche stam. 3 vols. Amsterdam, 1930–7. The author’s The Revolt of the Netherlands: 1555–1609, 2nd corrected impression. London, 1962; The Netherlands in the 17th Century. Part One: 1609–1648. Rev. ed. London, 1961; The Netherlands in the 17th Century. Part Two: 1648–1715. London, 1964, are based on the above work.

ROMEIN, J., and ROMEIN, A. De lage landen bij de zee. Geïllustreerde geschiedenis van het Nederlandsche volk van Duinkerken tot Delfzijl. Utrecht, 1934.

ROMEIN, J., and SCHAPER, W. B. De tachtigjarige oorlog: 1568–1648. Amsterdam, 1941.

POSTHUMUS, N. W. Nederlandsche prijsgeschiedenis. 2 vols. Leiden, 1943.

RENIER, G. J. The Dutch Nation. London, 1944.

BRUGMANS, H. Opkomst en bloei van Amsterdam. 2nd ed., revised by A. le Cusquino de Bussy and N. W. Posthumus. Amsterdam, 1944.

CLARK, G. N. The Seventeenth Century. 2nd ed. Oxford, 1947.

HUIZINGA, J. ‘Nederland’s beschaving in de zeventiende eeuw’, Verzamelde Werken, 2. Haarlem, 1948. A revised and enlarged version of the author’s Holländische Kultur des siebzehnten Jahrhunderts, Jena, 1932. Classic survey of the culture of the period. English translation in J. Huizinga, Dutch Civilization in the Seventeenth Century and Other Essays, trans. A. J. Pomerans, London, 1968; New York, 1969.

BARBOUR, v. Capitalism in Amsterdam in the Seventeenth Century (The Johns Hopkins University Studies in Historical and Political Science, ser. 67, no. 1). Baltimore, 1950.

SLIVE, S. ‘Notes on the Relationship of Protestantism to Seventeenth Century Dutch Painting’, A. Q., 19 (1956). Reprinted in Seventeenth Century Art in Flanders and Holland, The Garland Library of the History of Art, ed. H. W. Janson, 9. New York-London, 1976.

FREMANTLE, K. The Baroque Town Hall of Amsterdam. Utrecht, 1959. In addition to a detailed history of the building and its decoration, the volume includes an excellent survey of the culture that produced them.

DAVIES, D. W. A Primer of Dutch Seventeenth Century Overseas Trade. The Hague, 1961.

KOSSMANN, E. H. ‘The Dutch Republic’, New Cambridge Modern History, 5, The Ascendancy of France, 1648–88. Cambridge, 1961.

BOXER, C. R. The Dutch Sea-Borne Empire: 1600–1800. London, 1965.

HALEY, K. H. D. The Dutch in the Seventeenth Century. London, 1972.

PRICE, J. L. Culture and Society in the Dutch Republic during the 17th Century. London, 1974.

VRIES, J. DE. The Dutch Rural Economy in the Golden Age, 1500–1700. New Haven-London, 1974.

BURKE, P. Venice and Amsterdam. A Study of Seventeenth-Century Elites. London, 1974.

REGIN, D. Traders, Artists, Burghers. A Cultural History of Amsterdam in the 17th Century. Assen, 1976.

PARKER, G. The Dutch Revolt. London, 1977. A study that gives equal attention to events in Spain and the northern and southern Netherlands from 1549–1609.

Algemene geschiedenis der Nederlanden. 15 vols. Haarlem, 1977–83.

TAVERNE, E. R. M. In ‘t land van belofte: in de nieuwe stadt. Ideaal en werkelijkheid van de stadsuitleg in de Republiek 1580–1680. Maarssen, 1978.

BRIELS, J. C. De Zuidnederlandse emigratie 1572–1630. Haarlem, 1978.

William & Mary and Their House, exh. cat., The Pierpont Morgan Library, New York, 1979–80.

ISRAEL, J. I. The Dutch Republic and the Hispanic World: 1606–1661. Oxford, 1982. Valuable study of the second half of the Eighty Years’ War and its immediate aftermath.

KISTENMAKER, R., and GELDER, R. VAN. Amsterdam. The Golden Age. 1275–1795. New York, 1983.

SCHEPPER, H. DE. ‘Belgium Nostrum’ 1500–1650. Over integratie en disintegratie van het Nederland. Antwerp, 1987.

SPAANS, J. Haarlem na de Reformatie. Stedelijke cultuur en kerkelijk leven 1577–1620. The Hague, 1989.

ISRAEL, J. I. Dutch Primacy in World Trade: 1585–1740. Oxford, 1989.

ISRAEL, J. I. Empire and Entrepots. The Dutch, the Spanish Monarchy and the fews: 1585–1713. London-Ronceverte, West Virginia, 1990.

DUKE, A. Reformation and Revolt in the Low Countries. London-Ronceverte, West Virginia, 1990.

II. PAINTING

A. BIBLIOGRAPHIES

HALL, H. VAN. Repertorium voor de geschiedenis der Nederlandsche schilder- en graveerkunst. 2 vols. The Hague, 1935, 1949. The most comprehensive bibliography of Dutch painting and graphic arts from the twelfth century up to 1946.

Bibliography of the Netherlands Institute for Art History, 1. The Hague, 1943–73/74. With summaries and commentaries in English on Dutch and Flemish art (architecture excluded).

B. SOURCES AND EIGHTEENTH-CENTURY LITERATURE

MANDER, K. VAN. Het Schilder-Boeck. Haarlem, [1603-]1604; reprint, Utrecht, 1969. The 2nd ed., 1618, includes an anonymous biography of van Mander. This handbook for painters contains:

(a) ‘Den Grondt der Edel vry Schilder-Const . . .’
(b) ‘Het Leven der oude Antycke Doorluchtighe Schilders . . .’
(c) ‘Het Leven der Moderne/oft dees-tijtsche doorluchtighe Italiaensche Schilders’
(d) ‘Het Leven der Doorluchtighe Nederlandtsche en Hooghduytsche Schilders’
(e) ‘Uytleggingh Op den Metamorphosis Pub. Ovidii Nasonis’>
(f) ‘Uytbeeldinge der Figueren . . .’

H. Miedema, Karel van Mander. Den grondt . . . , 2 vols., Utrecht, 1973, includes the author’s translation into modern Dutch of the work and his valuable commentaries on its text; reviewed by E. K. J. Reznicek, O.H., 89 (1975). On the Grondt also see Miedema’s article in The Journal of the History of Ideas, 34 (1973). The entire Schilderboek has not been translated. The section on ‘Lives of the Netherlandish and German Painters’ has been edited and translated into French by H. Hymans, 2 vols, Paris, 1884–5; into German by H. Floerke, 2 vols, Munich-Leipzig, 1906; English (unreliable) by C. van de Wall, New York, 1936. R. Hoecker, Das Lehrgedicht des Karel van Mander (Quellenstudien zur holländischen Kunstgeschichte, 8), The Hague, 1915, is a German translation of ‘The Fundamentals of Painting’; also see O. Hirschmann, ‘Beitrag zu einer Kommentar von Karel van Manders “Grondt der Edel vry Schilderconst”,’ O.H., 33 (1915). H. Noë, Carel van Mander en Italie, The Hague, 1954, edits and transcribes the last chapters of van Mander’s lives of the Italian artists. H. E. Greve, De bronnen van Carel van Mander, The Hague, 1903, is an analysis of the sources. Also cf. R. Jacobsen, Carel van Mander (1548–1606), dichter en prozaschrijver, Rotterdam, 1906, and the following by H. Miedema: Kunst, kunstenaar en kunstwerk bij Karel van Mander: een analyse van zijn levensbeschrijvingen, Alphen aan de Rijn, 1981; Karel van Manders’ Leven der moderne, oft dees-tijtsche doorluchtighe Italiaensche schilders en hun bron, Alphen aan de Rijn, 1984. W.S. Melion, Shaping the Netherlandish Canon: Karel van Mander’s Schilder-Boeck, Chicago-London, 1991, argues that van Mander attempts to establish a new identity for Netherlandish art and did not work in the tradition of earlier Italian theorists.

HUYGENS, C. Fragment of an autobiography. MS. in the Royal Library, The Hague. J. A. Worp published the text in Bijdragen en Mededeelingen van het Historisch Genootschap, 18 (1897). Important references to painters active in the Netherlands c.1630. See J. A. Worp, ‘Constantijn Huygens over de schilders van zijn tijd’, O.H., 19 (1891); A. H. Kan, De jeugd van Constantijn Huygens door hemzelf beschreven, Rotterdam, 1946 (with an essay by G. Kamphuis, ‘Constantijn Huygens als kunstcriticus’); Mijn jeugd, trans. and commentary, C. L. Heegakkers, Amsterdam, 1987.

BUCHELL, A. VAN. Arnoldus Buchelius, ‘Res Pictoriae’ (Aanteekeningen over kunstenaars en kunstwerken) 1583–1639, ed. G. J. Hoogewerff and I. Q. van Regteren Altena. The Hague, 1928. Notes on artists and their work kept by an Utrecht jurist during the course of his travels in the Netherlands.

AMPZING, S. Beschrijvinge ende lof der stad Haerlem in Holland. Haarlem, 1628.

JUNIUS, F. De pictura veterum. Amsterdam, 1637; English translation by the author. On the Painting of the Ancients. London, 1638; Dutch translation, Middelburg, 1641.

Franciscus Junius, The Literature of Classical Art, 2 vols, eds E. K. Aldrich, P. Fehl, and R. Fehl. Berkeley, etc., 1991, is a critical ed. of The Painting of the Ancients (vol. 1) and an annotated English translation of Junius’s Catalogus Architectorium . . . (vol. 2).

ANGEL, P. Lof der schilder-konst. Leiden, 1642. An address in ‘Praise of Painting’. Cf. H. Miedema, ‘Philip Angel’s “Lof der schilderkonst”’, O.H., 103 (1989) for an exhaustive study of the author’s life and text; the latter mainly comprises stale generalizations.

ORLERS, J. J. Beschrijvinge der stad Leyden. Leiden, 1642.

NORGATE, EDWARD. Miniatura or The Art of Limning, ed. M. Hardie. Oxford, 1919. The edition, primarily based on a MS dateable to the late 1640s, includes recipes for painting various subjects and references to the achievement of Netherlandish artists.

PARIVAL, J. DE. Les délices de la Hollande. Leiden, 1651.

BIE, C. DE. Het gulden cabinet van de edele vry schilder-const. Antwerp, 1661. Reprint, Soest, 1971, with an introduction by G. Lemmens. The title page is dated 1661; the colophon is dated 1662.

MONCONYS, B. DE. Journal des voyages. 3 vols. Lyon, 1665–6.

FÉLIBIEN, A. Entretiens sur les vies et les ouvrages des plus excellents peintres . . . 5 vols. Paris, 1666–88.

BLEISWIJCK, D. VAN. Beschrijvinge der stadt Delft. 2 vols. Delft, 1667.

BISSCHOP, J. DE. Signorum Veterum Icones. The Hague, 1668–9.

BISSCHOP, J. DE. Paradigmata Graphices Variorum. The Hague, 1671. For a facsimile of both of de Bisschop’s volumes and a thorough analysis of their texts see J. G. van Gelder and I. Jost, Jan de Bisschop and his Icones and Paradigmata . . . , ed. K. Andrews, Doornspijk, 1985.

GOEREE, W. Inleyding tot de al-ghemeene teycken-konst. Middelburg, 1668.

GOEREE, W. Inleyding tot de practijck der al-gemeene schilder-konst . . . Middelburg, 1670. Reprint, Soest, 1974.

SANDRART, J. VON. Teutsche Academie. Nuremberg, 1675–9; Latin ed., 1683. A. R. Peltzer published an edition (Munich, 1925) with an introduction and extensive notes.

HOOGSTRATEN, S. VAN. Inleyding tot de hooge schoole der schilder-konst anders de zichtbaere werelt. Rotterdam, 1678. Reprint, Utrecht, 1969. A handbook for artists by a Rembrandt pupil. For a discussion of the volume see the essay by C. Brusati in De zichtbare werelt. Schilderkunst uit de Gouden Eeuw in Hollands oudste stad, exh. cat., Dordrecht, 1992–3. Also see HOOGSTRATEN under M. ARTISTS IN ALPHABETICAL SEQUENCE.

GOEREE, W. Natuurlyk en schilderkonstig ontwerp der mensch-kunde. Amsterdam, 1682. Reprint, Soest, 1974.

PILES, R. DE. Abregé de la vie des peintres. Paris, 1699.

LAIRESSE, G. DE. Grondlegginge ter teekenkonst. Amsterdam, 1701.

LAIRESSE, G. DE. Het groot schilderboek. Amsterdam, 1707. Reprint, Soest, 1969.

Lairesse’s handbooks were frequently translated and reprinted. For bibliographical references cf. J. J. M. Timmers, Gerard Lairesse, Amsterdam, 1942. Also see G. Kaufmann, ‘Studien zum groszen Malerbuch des Gerard Lairesse’, fahrbuch für Aesthetik und allgemeine Kunstwissenschaft, 3 (1955–7).

HOUBRAKEN, A. De groote schouwburgh der Nederlantsche konstschilders en schilderessen. 3 vols. Amsterdam, 1718–21; 2nd ed., The Hague, 1753. Indispensable. Principal source for the lives of numerous seventeenth-century Dutch and Flemish artists. The German translation by A. von Wurzbach (Vienna, 1880) emasculates this fundamental work by expurgating all passages the translator considered philosophical, anecdotal, didactic, or boring. A reprint edited by P. T. A. Swillens (3 vols, Maastricht, 1943–53) has handy indices; also reprinted, Amsterdam, 1976. See C. Hofstede de Groot, Arnold Houbraken und seine ‘Groote Schouburgh’, The Hague, 1893, for a reliable analysis of the text and Houbraken’s sources.

WEYERMAN, J. C. De levens-beschryvingen der Nederlandsche konst-schilders en konst-schilderessen. 4 vols. The Hague, 1729–69. The first volumes (1729) plagiarize Houbraken; the fourth (1769) contains original material. See also D. J. H. ter Horst, ‘De geschriften van Jan Campo Weyerman’, Hel Boek, 28 (1944), and T. J. Broos, Tussen zwaart en ultramarijn. De levens van schilders beschreven door Jacob Campo Weyerman (1677–1747). Amsterdam, 1990.

DEZALLIER D’ARGENVILLE, A. J., Abrégé de la vie des plus fameux peintres. 3 vols. Paris, 1745–52.

GOOL, J. VAN. De nieuwe schouburg der Nederlantsche kunstschilders en schilderessen. 2 vols. The Hague, 1750–1. Reprint, Soest, 1971. Biographies of eighteenth-century arists, a continuation of Houbraken’s Groote schouburgh. For a thorough analysis of the volumes see L. de Vries, Diamante gedenkzuilen en leerzaeme voorbeelden: Een bespreking van Johan van Goals ‘Nieuwe schouburg’, Groningen, 1990.

HOET, G. Catalogus of naamlyst van schilderyen. 2 vols. The Hague, 1752. Transcriptions of sale catalogues and collection inventories from 1684 to 1752. Continued by P. Terwesten. Catalogus of naamlyst van schilderyen. The Hague, 1770; the 3 vols reprinted, Soest, 1976.

DESCAMPS, J. D. La vie des peintres flamands et hollandais. 4 vols. Paris, 1753–63.

WAGENAAR, J. Amsterdam, in zijne opkomst, aanwas, geschiedenissen, voorregten, koophandel, gebouwen, kerkenstaat, schoolen, schutterije, gilden en regeringe. 4 vols. Amsterdam, 1760–88. Reprint, Alphen aan den Rijn-Amsterdam, 1971–2.

REYNOLDS, J. ‘A Journey to Flanders and Holland in the Year 1781’, The Literary Works of Sir Joshua Reynolds, vol. 2, ed. W. Beechy. London, 1890. Notes on pictures viewed in the Netherlands.

OBREEN, F. D. O. Archief voor Nederlandse kunstgeschiedenis. 7 vols. Rotterdam, 1877–90. Reprint, Soest, 1976. Collection of documents on painters, sculptors, printmakers, architects, and craftsmen.

BREDIUS, A. Künstler-Inventare: Urkunden zur Geschichte der holländischen Kunst des XVIten, XVIIten und XVIIIten fahrhunderts. 8 vols. The Hague, 1915–22. Artists’ inventories, documents on their lives, and collections.

NIJSTAD, A. Nederlandse schilders in publikaties vóór 1700: een register. The Hague, 1978.

C. LEXICA

EIJNDEN, R. VAN, and WILLIGEN, A. VAN DER. Geschiedenis der vaderlandsche schilderkunst sedert de helft der XVIII eeuw. 3 vols. Haarlem, 1816–20. Supplement, 1840.

IMMERZEEL, J., JR. De levens en werken der Hollandsche en Vlaamsche kunstschilders, beeldhouwers, graveurs en bouwmeesters. 3 vols. Amsterdam, 1842–3.

KRAMM, C. De levens en werken der Hollandsche en Vlaamsche kunstschilders. 6 vols. Amsterdam, 1857–64. Reprint, Amsterdam, 1974.

BLANC, C. Histoire des peintres de toutes les écoles depuis la Renaissance jusqu’a nos jours. Ecole hollandaise. 2 vols. Paris, 1867.

WURZBACH, A. VON. Niederländisches Künstler-Lexikon. 3 vols. Vienna-Leipzig, 1906–11. Although superseded in many respects by later publications, it still should be consulted. Helpful biographical references and lists of works including prints by and after artists. The author’s outspoken prejudices add to rather than detract from its readability.

THIEME, U., and BECKER, F. Allgemeines Lexikon der bildender Künste. 37 vols. Leipzig, 1907–50. Reprint, Zwickau, 1964. More authoritative than Wurzbach but like his lexicon also superseded in some entries by later publications.

WALLER, F. G. Biografisch woordenboek van noordnederlandsche graveurs. The Hague, 1938.

BERNT, W. Die niederländischen Maler des 17. Jahrhunderts. 3 vols. Munich, 1948; vol. 4 (supplement), 1962; 3rd rev. ed., 3 vols. Munich, 1969–70, 4th rev. ed., 5 vols. Munich, 1979, incorporates Bernt’s Die niederländischen Zeichner des 17. fahrhunderts. 2 vols. Munich, 1957–8. Valuable lexicon that includes large illustrations. A 3 vol. English ed. was published in London, 1970. The 4th German ed. includes works by 905 Dutch and Flemish artists.

HOLLSTEIN, F. W. H. Dutch and Flemish Etchings, Engravings and Woodcuts, 1 —. Amsterdam, n.d. (in progress). Alphabetically arranged list of works by Netherlandish graphic artists. Later volumes are more profusely illustrated than earlier ones.

SCHEEN, P. A. Lexicon Nederlandse beeldende kunstenaars: 1750–1880. The Hague, 1981.

GEALT, A. M. Painting of the Golden Age. A Biographical Dictionary of Seventeenth-Century European Painters. Westport, Connecticut, 1993.

D. SOCIAL AND ECONOMIC HISTORY

SCHOTEL, G. D. J. Het oudhollandse huisgezin. Haarlem, 1868.

SCHOTEL, G. D. J. Het maatschappelijk leven onzer vaderen in de zeventiende eeuw. Rotterdam, 1869. Both studies by Schotel are still useful.

MURRIS, R. La Hollande et les hollandais au XVIIe et au XVIIIe siècles vus par les français. Paris, 1925. Discussion of French travel literature with references to works of art. Well documented.

HAUSER, A. The Social History of Art. 2 vols. London, 1951. Reprint, 4 vols. London, 1962.

ZUMTHOR, P. Daily Life in Rembrandt’s Holland. Trans. from the French by S. W. Taylor. London, 1962. Useful survey of aspects of urban and rural life.

VRIES, J. DE. The Dutch Rural Economy in the Golden Age. New Haven, 1974.

MONTIAS, J. M. Artists and Artisans in Delft. A Socio-Economic Study of the Seventeenth Century. Princeton, 1982. Detailed, documented analysis of the milieu in which artists and artisans worked.

SCHAMA, S. The Embarrassment of Riches. An Interpretation of Dutch Culture in the Golden Age. New York, 1987. Cornucopian study of the relation of northern Netherlandish art to Dutch cultural values.

E. COSTUME

SCHOTEL, G. D. J. Bijdrage tot de geschiedenis der kerkelijke en wereldlijke kleding. The Hague, 1854.

THIENEN, F. VAN. Das Kostüm der Blütezeit Hollands: 1600–1660. Berlin, 1930. Still a standard work.

THIENEN, F. VAN. ‘Een en ander over de kleding van Nederlandsche boeren in de zeventiende eeuw’, Oudheidkundig Jaarboek, 1 (1932).

KINDEREN-BESIER, J. H. DER. Spelevaart der mode. Amsterdam, 1950.

THIENEN, F. VAN. The Great Age of Holland: 1600–60 (Costume of Western World Series). London, 1951. A brief survey.

LEVEY, S. M. Lace, a History. London, Victoria and Albert Museum, 1983.

WARDLE, p. ‘Needle and Bobbin in Seventeenth-Century Holland’, Bulletin of the Needle and Bobbin Club, 66 (1983).

MORTIER, B. M. DU. ‘De handschoen in de huwelijkssymboliek van de zeventiende eeuw’, Bulletin van het Rijksmuseum, 32 (1984).

WARDLE, P. ‘Embroidery Most Sumptuously Wrought: Dutch Embroidery Designs in the Metropolitan Museum of Art, New York’, Bulletin of the Needle and Bobbin Club, 69 (1986).

MORTIER, B. M. DU. ‘Costume in Frans Hals’, in Hals 1989–90.

F. ARTISTS’ TRAINING, GUILDS, AND SOCIAL POSITION

WILLIGEN, A. VAN DER. Les artistes de Harlem. Notices historiques avec un précis sur la Gilde de St. Luc. 2nd ed. Haarlem-The Hague, 1870. Reprint, Nieuwkoop, 1970. Documents on Haarlem artists and their training.

MULLER, FZ., S. Schilders-vereenigingen te Utrecht. Bescheiden uit het Gemeentearchief. Utrecht, 1880.

GRAM, J. De schildersconfrerie Pictura en hare academie van beeldende kunsten te’s Gravenhage: 1682–1882. Rotterdam, 1882. History of the oldest academy in Holland.

MARTIN, W. ‘The Life of a Dutch Artist in the Seventeenth Century’, B.M., 7 (1905); 8 (1905–6); 10 (1906–7); 11 (1907). Parts of the study are reprinted in Seventeenth Century Art in Flanders and Holland. The Garland Library of the History of Art, 9. New York, 1976.

HOOGEWERFF, G. J. ‘Nederlandsche schilders en scholing in the 17de eeuw’, Mededeelingen van het Nederlandsch Historisch Instituut te Rome, 9 (1929).

PEVSNER, N. Academies of Art Past and Present. Cambridge, 1940. Includes a section on Dutch guilds and academies.

OLDEWELT, W. F. H. Het St Lucasgilde (Amsterdamsche Archiefvondsten). Amsterdam, 1942.

HOOGEWERFF, G. J. De geschiedenis van de St Lucasgilden in Nederland. Amsterdam, 1947.

EMMENS, J. A., and LEMMENS, G. T. M. De schilder in zijn wereld. Van Jan van Eyck tot Van Gogh en Ensor, exh. cat., Delft-Antwerp, 1964–5.

EEGHEN, I. H. VAN. ‘Het Amsterdamse Sint Lucasgilde in de 17de eeuw’, Jaarboek Amstelodamum, 61 (1969).

TAVERNE, E. R. M. ‘Een Amsterdams Lucasfeest in 1618’, Simiolus, 4 (1970).

TAVERNE, E. R. M. ‘Salomon de Bray and the Reorganization of the Haarlem Guild of St. Luke in 1631’, Simiolus, 6 (1972–3).

MONTIAS, J. M. ‘The Guild of St. Luke in 17th-Century Delft and the Economic Status of Artists and Artisans’, Simiolus, 9 (1977).

BOLTEN, J. Het Noord-en Zuidnederlandse tekenboek, 1600–1750. Ter Aar, 1979. Valuable survey of drawing and model books published during the period with full bibliographical references. The author’s Method and Practices. Dutch and Flemish Drawing Books: 1600–1750, Landau, 1985, is a revised, expanded, well-illustrated trans. of the work.

MIEDEMA, H. De archiefbescheiden van het St Lukasgilde te Haarlem: 1497–1798. 2 vols. Alphen aan den Rijn, 1980. Full transcription of the guild’s existing records with commentary.

BRUYN, J. ‘Rembrandt’s workshop-function and production’, in C. Brown, et al., Rembrandt: The Master and His Workshop, exh. cat., Berlin-Amsterdam-London, 1991–2. In addition to a survey of the master’s workshop practice, includes observations on the training and working methods of artists of the period.

G. PATRONS, COLLECTING, AND THE ART TRADE

(Also see entries below under K. I. History, Huis ten Bosch, and under M. PLOOS VAN AMSTEL.)

[MARTYN, T.] The English Connoisseur: Containing an Account of Whatever is Curious in Painting, Sculpture &c. In the Palaces and Seats of the Nobility . . . of England. 2nd rev. ed. 2 vols. Dublin, 1767. Reprint, Farnborough, Hants., 1968.

WAAGEN, G. F. Treasures of Art in Great Britain. 3 vols. London, 1854; suppl. vol., 1857. Basic for the history of collecting in Britain.

BREDIUS, A. ‘De kunsthandel te Amsterdam in de XVIIde eeuw’, Amsterdamsch Jaarboekje (1891).

FLOERKE, H. Studien zur niederlündischen Kunst- und Kulturgeschichte, Die Formen des Kunsthandels, das Atelier und die Sammler in den Niederlanden von 15.-18. Fahrhundert. Munich-Leipzig, 1905. Reprint, Soest, 1972. Pioneer study that remains valuable.

HUDIG, F. W. Frederik Hendrik en de kunst van zijn tijd. Amsterdam, 1928.

LUGT, F. ‘Italiaansche kunstwerken in Nederlandsche verzamelingen van vroeger tijden’, O.H., 53 (1936).

LUGT, F. Repertoire des catalogues de ventes publiques intéressant l’art ou la curiosité. 4 vols. The Hague-Paris, 1938–87. Indispensable for its lists of sale catalogues published from 1600 to 1925. Includes data on the type and number of works offered and the present location of copies of the catalogues.

SLOTHOUWER, D. F. De paleizen van Frederik Hendrik. Leiden, n.d. [1945].

GELDER, J. G. VAN. ‘De opdrachten van de Oranjes aan Thomas Willeboirts Bosschaert en Gonzales Coques’, O.H., 64 (1949).

MAHON, D. ‘Notes on the “Dutch Gift” to Charles II’, B.M., 91 (1949); 92 (1950).

THIEME, G. Kunsthandel in den Niederlanden im 17. Jahrhundert. Cologne, 1959.

BILLE, C. De tempel der kunst of het kabinet van den heer Braamcamp. Amsterdam, 1961. Thorough study of Braamcamp’s (1699–1771) impressive cabinet which gives a vivid picture of patronage and collecting in eighteenth-century Holland. Comprehensive English summary.

BRUYN, J., and MILLAR, O. ‘Notes on the Royal Collection—III: The Dutch Gift’ to Charles I’, B.M., 104 (1962).

GELDER, J. G. VAN. “Notes on the Royal Collection—IV: The “Dutch Gift” of 1610 to Henry, Prince of “Whalis”, and Some Other “Presents”, B.M., 105 (1963).

The Orange and the Rose: Holland and Britain in the Age of Observation, 1600–1750, exh. cat., Victoria and Albert Museum, London, 1964.

BRUYN KOPS, C. J. DE. ‘De Amsterdamse verzamelaar Jan Gildemeester Jansz’, Bulletin van het Rijksmuseum, 13 (1965).

SNOEP, D. P. ‘Honselaerdijk: restauraties op papier’, O.H., 84 (1969). A reconstruction of the architecture and decoration of Frederik Hendrik’s house, Honselaerdijk.

WEIJTENS, F. H. C. De Arundel-collectie. Commencement de la fin Amersfoort 1655. Utrecht, 1971.

DUVERGER, E. ‘Abraham van Diepenbeeck en Gonzales Coques aan het werk voor de stadhouder Frederik Hendrik, prins van Oranje’, Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen, 12 (1972).

DROSSAERS, S. W. A., and LUNSINGH SCHEURLEER, TH. H., Inventarissen van de inboedels van de Oranjes . . . 1567–1795, 1. The Hague, 1974.

BLANKERT, A. Kunst als regeringszaak in Amsterdam in de 17de eeuw. Rondom schilderijen van Ferdinand Bol, exh. cat., Royal Palace, Amsterdam, 1975.

LOGAN, A.-M. S. The “Cabinet” of the Brothers Gerard and Jan Reynst. Amsterdam-Oxford-New York, 1979.

William & Mary and Their House, exh. cat., Pierpont Morgan Library, New York, 1979.

Zo wijd de wereld strekt. Tentoonstelling naar aanleiding van de 3ooste sterfdag van Johan Maurits van Nassau-Siegen op 20 december 1979, exh. cat., Mauritshuis, The Hague, 1979.

BOOGAART, E. VAN DEN, et al. Johan Maurits van Nassau-Siegen. 1604–1679.

A Humanist Prince in Europe and Brazil. Essays on the Occasion of the Tercentenary of His Death. The Hague, 1979.

BROWN, J., and ELLIOTT, J. H. A Palace for a King: The Buen Retiro and the Court of Philip IV. New Haven-London, 1980. Includes a discussion of the landscapes ordered in Rome for Philip from Both, Swanevelt, et al.

SLIVE, S. ‘Dutch Pictures in the collection of Cardinal Silvio Valenti Gonzaga (1690–1756)’, Simiolus, 17 (1987).

VERROEN, T. L. J. ‘“Een verstandig ryk man”, de achttiende-eeuwse verzamelaar Adriaan Leonard van Heteren’, Leids Kunsthistorisch Jaarboek, 4 (1985), Delft, 1987.

BARGHAHN, B. VON. Philip IV and the ‘Golden House’ of the Buen Retiro (diss.). 2 vols. New York-London, 1986.

BROWN, J., and ELLIOTT, J. H. ‘The Marquis of Castel Rodrigo and the Landscape Paintings in the Buen Retiro’, B.M., 129 (1987).

WILLIAMS, J. L. Dutch Art and Scotland. A Reflection of Taste, exh. cat., National Gallery of Scotland, Edinburgh, 1992.

H. RELATIONS WITH FOREIGN COUNTRIES

(Also cf. entries under 1. 2. Caravaggisti and 1. 3. Italianate Painters and the Bentvueghels)

GERSON, H. Ausbreitung und Nachwirkung der holländische Malerei des 17. Jahrhunderts. Haarlem, 1942. New ed., intro. by B. W. Meijer, Amsterdam, 1983. The basic study, fully documented.

DACOSTA KAUFMANN, T. The School of Prague: Painting at the Court of Rudolf II. Chicago-London, 1988. Includes comprehensive discussions and catalogues of works by Dutch artists Rudolf collected and patronized (Roelandt Savery, Hans and Paul Vredeman de Vries, et al).

I. GENERAL HISTORY OF PAINTING

SMITH, J. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters. 9 vols. London, 1829–42. Valuable for the early provenance of Dutch pictures and of interest as the first catalogue raisonné of works of many of the principal Dutch painters. The basis for Hofstede de Groot’s monumental catalogue published in the following century.

NIEUWENHUYS, C. J. A Review of the Lives and Works of Some of the Most Eminent Painters. London. 1834. Includes Dutch artists. Lists current prices.

KUGLER, F. D. Handbuch der Geschichte der Malerei. 2 vols. Berlin, 1847. English trans. ‘by a lady’: Handbook of Painting, the German, Flemish, Dutch, Spanish and French Schools, ed. Sir E. Head. 2 vols. London, 1854.

BÜRGER, W. (Étienne Jos. Théoph. Thoré). Les Musées de Hollande, Amsterdam et La Haye. Paris, 1858. The author is best known for resuscitating Vermeer (G.B.A., 21, 1866) and Frans Hals (G.B.A., 24, 1868); he is equally penetrating in this study on Dutch pictures in the museums of Holland.

WAAGEN, G. F. Handbook of Painting. The German, Flemish and Dutch Schools. 2 vols. London, 1860. Based on Kugler, 1854.

FROMENTIN, E. Les Maitres d’autrefois Belgique-Hollande. Paris, 1876. Frequently translated and reprinted essay on fifteenth- and seventeenth-century Dutch and Flemish masters. The Masters of Past Time: Dutch and Flemish Painting from Van Eyck to Rembrandt, with an introduction and notes by H. Gerson, London, 1948, is a useful English edition. For a brilliant appraisal of Fromentin’s book cf. M. Schapiro, Partisan Review, 16 (1949); reprinted as the introduction to an English translation of the volume, Schocken Books, New York, 1963, and in Schapiro’s Theory and Philosophy of Art: Style, Artist and Society, New York, 1994.

HAVARD, H. L’Art et les artistes hollandais. 4 vols. Paris, 1879–81.

BODE, W. Studien zur Geschichte der holländischen Malerei. Braunschweig, 1883. A work which laid the foundation for subsequent important studies by the author as well as for those made by other specialists in the field.

BODE, W. Rembrandt und seine Zeitgenossen. Leipzig, 1906. Characterizations of the achievement of leading Dutch and Flemish Baroque painters. English translation and revised 2nd ed. (1907) by M. L. Clarke, Great Masters of Dutch and Flemish Painting, London-New York, 1909.

HOFSTEDE DE GROOT, C. Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts. 10 vols. Esslingen a N., 1907–28. English trans. of vols. 1–8 by E. G. Hawke, London, 1908–27. The English translation of vols. 1–8 was published in reduced format facsimile, 2 vols., Teaneck, New Jersey-Cambridge [England], 1976; vols. 9–10 of the German edition, which were not translated, were published in 1 vol. in the same way and year. Indispensable, although in need of revision and in some cases superseded by subsequent studies. Includes biographies and lists of pupils and followers as well as references to untraceable or unidentified works.

Vol. 1, Jan Steen, Gabriel Metsu, Gerard Dou, Pieter de Hooch, Carel Fabritius, Johannes Vermeer.
Vol. 2, Aelbert Cuyp, Philips Wouwerman.
Vol. 3, Frans Hals, Adriaen van Ostade, Isack van Ostade, Adriaen Brouwer.
Vol. 4, Jacob van Ruisdael, Meindert Hobbema, Adriaen van de Velde, Paulus Potter.
Vol. 5, Gerard ter Borch, Caspar Netscher, Godfried Schalcken, Pieter van Slingeland, Eglon Hendrik van der Neer.
Vol. 6, Rembrandt, Nicolaes Maes.
Vol. 7, Willem van de Velde (II), Johannes van de Cappelle, Ludolf Bakhuyzen, Aert van der Neer.
Vol. 8, Jan van Goyen, Jan van der Heyden, Johannes Wijnants.
Vol. 9, Johannes Hackaert, Nicolaes Berchem, Karel du Jardin, Jan Both, Adam Pijnacker.
Vol. 10, Frans van Mieris d.A., Willem van Mieris, Adriaen van der Werff, Rachel Ruysch, J. van Huysum.

JANTZEN, H. Niederländische Malerei im 17. Jahrhundert. Leipzig, 1912. Short survey, still useful for its clear exposition of stylistic changes.

BODE, W. VON. Die Meister der holländischen und vlämischen Malerschulen. Leipzig, 1917. A much expanded and partly reworked edition of the author’s Rembrandt und seine Zeitgenossen. The 8th ed., Leipzig, 1956, has helpful notes by E. Plietzsch.

MARTIN, W. Alt-holländische Bilder. Berlin, 1918. For the collector.

ROH, F. Holländische Malerei. Jena, 1921.

FRIEDLANDER, M. J. Die niederländische Malerei des 17. Jahrhunderts (Propylaen Kunstgeschichte, 12). Berlin, 1923.

DROST, W. Barockmalerei in den germanischen Ländern (Handbuch der Kunstwissenschaft). Wildpark-Potsdam, 1926.

MARTIN, W. De Hollandsche schilderkunst in de 17de eeuw. 2 vols. Amsterdam, 1935–6; 2nd ed. Amsterdam, 1942. These volumes (Frans Hals en zijn tijd and Rembrandt en zijn tijd), which offer a vast amount of material and extensive notes, retain their value.

GOLDSCHMIDT, A. ‘Style in Dutch Painting in the Seventeenth Century’, A.Q., 2 (1939).

BLOCH, V. ‘Die haarlemer Klassizisten’, O.H., 57 (1940).

REGTEREN ALTENA, I. Q. VAN. De Nederlandse geest in de schilderkunst. Zeist, 1941. Essay on the essential qualities of Dutch painting.

BOON, K. G. De schilders voor Rembrandt. De inleiding tot het bloeitijdperk. Antwerp, 1942. Useful short study of the transition from Late Mannerism to realism.

HUEBNER, F. M. Nederlandsche en Vlaamsche rococo-schilders. The Hague, 1943.

Cornelis Troost en zijn tijd, exh. cat., Museum Boymans, Rotterdam, 1946. Brief survey of the eighteenth century.

KNOEF, J. Tusschen rococo en romantiek. The Hague, 1948. Essays on Jurriaan Andriessen, Jan Ekels, Adriaan de Lelie, W. J. van Troostwijk, and others active around 1800.

STARING, A. ‘Haagsche hofschilders uit de 18de eeuw’, Kunsthistorische Verkenningen, 3 (1948).

FRIEDLANDER, M. J. Landscape, Portrait, Still-life; Their Origin and Development, trans. from the German ed. of 1947 by R. F. C. Hull. Oxford, 1949. Essays which include penetrating observations on the treatment of the various categories of painting by the great Dutch masters.

GERSON, H. De Nederlandse schilderkunst. 3 vols. Amsterdam, 1950–61. (Van Geertgen tot Frans Hals, vol. 1, 1950; Het tijdperk van Rembrandt en Vermeer, vol. 2, 1952; Voor en na Van Gogh, vol. 3, 1961.) Survey of six centuries of Dutch art by a leading authority.

KNUTTEL, G. WZN. De Nederlandse schilderkunst. van Van Eyck tot Van Gogh. 2nd ed. Amsterdam, 1950.

BENTSSON, Å., and OMBERG, H. ‘Structural Changes in Dutch Seventeenth Century Landscape, Still-life, Genre and Architecture Painting’, Figura, 1 (1951).

MARTIN, W. Dutch Painting of the Great Period: 1650–1697. Trans. from the Dutch by D. Horning. London, 1951. Less satisfactory than the author’s other contributions to the history of Dutch painting.

VIPPER, B. R. The Formation of Realism in Seventeenth Century Dutch Painting (in Russian). Moscow, 1957.

PLIETZSCH, E. ‘Randbemerkungen zur holländischen Malerei vom Ende des 17. Jahrhunderts’, Festschrift Friedrich Winkler. Berlin, 1959. An appreciation of late-seventeenth-century painters.

PLIETZSCH, E. Holländische und flämische Maler des XVII. Jahrhunderts. Leipzig, 1960. Written as a supplement to Bode’s Die Meister der Holländischen und vlämischen Malerschulen. Treats painters Bode did not discuss. Lacks documentation.

MACLAREN, N. The Dutch School. National Gallery Catalogues. London, 1960. Revised and expanded edition by C. Brown, London, 1991. MacLaren’s catalogue set the standard for subsequent museum catalogues of Dutch painting.

DEMETZ, P. ‘Defenses of Dutch Painting and the Theory of Realism’, Comparative Literature, 15 (1962).

BROCHHAGEN, E., and KNÜTTEL, B. Alte Pinakothek München. Katalog III. Holländische Malerei des 17. Jahrhunderts. Munich, 1967. Also see the museum’s 1983 catalogue of its exhibited paintings.

PAUW-DE VEEN, L. DE. De begrippen ‘schilder’, ‘schilderij’ en ‘schilderen’ in de zeventiende eeuw. Brussels, 1969.

BOL, L. J. Holländische Maler des 17. Jahrhunderts nahe den grossen Meistern: Landschaften und Stilleben. Braunschweig, 1969.

NASH, J. M. The Age of Rembrandt and Vermeer: Dutch Painting in the Seventeenth Century. London, 1972.

BLANKERT, A. Amsterdams Historisch Museum. Schilderijen daterend van voor 1800. Voorlopige catalogus. Amsterdam, 1975–9. Includes contributions by R. Ruurs.

Art in Seventeenth Century Holland. A Loan Exhibition, National Gallery, London, 1976.

THIEL, P. J. J. VAN, et al. All the Paintings of the Rijksmuseum in Amsterdam. Amsterdam-Maarssen, 1976; First Supplement. 1976–91. Amsterdam-The Hague, 1992.

WURFBAIN, M. L., et al. Geschildert tot Leyden anno 1626, exh. cat., Leiden, 1976–7. Painting in Leiden as Rembrandt begins to find his stride.

FUCHS, R. H. Dutch Painting. London-New York, 1978.

KAHR, M. M. Dutch Painting in the Seventeenth Century. New York, etc., 1978.

WRIGHT, C. Paintings in Dutch Museums. An Index of Oil Paintings in Public Collections in the Netherlands by Artists Born before 1870. London-Totowa-Amsterdam, 1980.

ACKLEY, C. S. Printmaking in the Age of Rembrandt, exh. cat., Boston-St Louis, 1980–1. Notable for its pithy discussions of prints by major and less well-known printmakers, many of whom were painters.

WALSH, J., JR., and SCHNEIDER, C. P. A Mirror of Nature. Dutch Paintings from the Collection of Mr and Mrs Edward William Carter, exh. cat., Los Angeles-Boston-New York, 1981–2; 2nd ed., Los Angeles, 1992–3.

WHITE, C. The Dutch Pictures in the Collection of Her Majesty the Queen. Cambridge, 1982. With a documented study of royal connections with Dutch art from the Tudors and early Stuarts to modern times.

BOL, L. J. ‘Goede onbekenden.’ Hedendaagse herkenning en waardering van verscholen, voorbijgezien en onderschat talent. Utrecht, 1982.

KUZNETSOV, Y., and LINNIK, I. Dutch Paintings in Soviet Museums. New York-Leningrad, 1982.

ALPERS, S. The Art of Describing: Dutch Art in the Seventeenth Century. Chicago, 1983. Includes perceptive observations on the relationship of the arts to the natural sciences and cartography; however, the author’s emphasis on the descriptive character of Dutch art is excessive and her claim that its foundation differs fundamentally from Italian art is questionable.

HOFRICHTER, F. F. Haarlem: the Seventeenth Century, exh. cat., Jean Voorhees Zimmerli Art Museum, New Brunswick, 1983.

HAAK, B. The Golden Age. Dutch Painters of the Seventeenth Century, trans, and ed. E. W. Treeman, New York, 1984. Comprehensive history arranged by periods (c.1600–25; 1625–50; 1650–80) with each period sub-divided into centres of activity (Amsterdam, Haarlem, Middelburg, Utrecht, etc.). Bibliography includes a section on urban history, cities, and towns.

The Royal Picture Gallery. Mauritshuis, ed. H. R. Hoetink. Amsterdam-New York, 1985.

POTTERTON, H. Dutch Seventeenth- and Eighteenth-Century Paintings in the National Gallery of Ireland. Dublin, 1986.

SUTTON, P. C. A Guide to Dutch Art in America. Grand Rapids-Kampen, 1986.

Op zoek naar de Gouden Eeuw. Nederlandse schilderkunst 1800–1850, eds. L. van Tilborgh and G. Jansen, exh. cat., Frans Hals Museum, Haarlem, 1986.

CHIARINI, M. Il secólo di Rembrandt. Pittura olandese del Seicento nelle Gallerie fiorentine, exh. cat., Pitti Palace, Florence, 1987.

BRIELS, J. Vlaamse schilders in de noordelijke Nederlanden in het begin van de Gouden Eeuw. Antwerp, 1987.

BIALOSTOCKI, J. ‘Mere Imitation of Nature or Symbolic Image of the World? Problems in the Interpretation of Dutch Painting of the XVIIth Century’, The Message of Images. Studies in the History of Art. Vienna, 1988.

SLUYTER, E. J., et al. Leidse fijnschilders. Van Gerrit Dou tot Frans van Mieris de Fonge. 1630–1760, exh. cat., Leiden, 1988.

HECHT, P. De Hollandse fijnschilders. Van Gerard Dou tot Adriaen van der Werff, exh. cat., Rijksmuseum, Amsterdam, 1989.

GASKELL, I. Seventeenth-Century Dutch and Flemish Painting. The Thyssen-Bornemisza Collection. London, 1989.

CHIARINI, M. I. dipinti olandesi del seicento e del settecento. Gallerie e musei statli di Firenze. Rome, 1989.

LE BIHAN, O. L’or et I’ombre. La peinture hollandaise du XVIIe et du XVIIIe siecles au Musée des Beaux-Arts de Bordeaux. Bordeaux, 1990.

JANSSEN, P. H. Schilders in Utrecht: 1600–1700. Utrecht, n.d. [c.1990].

BLANKERT, A. Museum Bredius. Catalogas van de schilderijen en de tekeningen. The Hague, 1991.

NIEMEIJER, J. W. Hollandse aquarellen uit de i8de eeuw in het Rijksprenten-kabinet, Rijksmuseum, Amsterdam, exh. cat., Fondation Custodia, Paris-Rijksmuseum, Amsterdam, 1990–1.

INGAMELLS, J. The Wallace Collection. Catalogue of Pictures. Vol. 4, Dutch and Flemish. London, 1992.

TRNEK, R. Die holldndischen Gemalde des 17. Jahrhunderts in der Gemäldegalerie der Akademie der bildenden Künste in Wien. Vienna, etc., 1992.

De zichtbaere werelt. Schilderkunst uit de Gouden Eeuw in Hollands oudste stad, ed. P. Marijnissen, exh. cat., Dordrechts Museum, Dordrecht, 1992–3. Catalogue of seventeenth-century Dordrecht painters; includes essays on its figure painters, S. van Hoogstraten as art theorist, and the city’s collectors.

LUIJTEN, G., SUCHTELEN, A. VAN, et al. Dawn of the Golden Age: 1580–1620, exh. cat., Rijksmuseum, Amsterdam, 1993–4. The encyclopaedic catalogue offers a mine of information on the arts of the period (architecture is excluded).

1. Mannerism

KAUFFMANN, H. ‘Der Manierismus in Holland und die Schule von Fontainebleau’, Fahrb. P.K., 44 (1923). See the critical review by W. Stechow, Kritische Berichte zur kunstgeschichtlichen Literatur, 1 (1927–8).

ANTAL, F. ‘Zum Problem des niederländischen Manierismus’, Kritische Berichte zur kunstgeschichtlichen Literatur, 2 (1928–9).

BAUMGART, F. ‘Zusammenhänge der niederländischen mit der italienischen Malerei in der zweiten Hálfte des 16. Jahrhunderts’, Marburger Jahrbuch für Kunstwissenschaft, 13 (1944).

REZNICEK, E. K. J. ‘Realism as a “Side Road or Byway” in Dutch Art’, Studies in Western Art, Acts of the Twentieth International Congress of the History of Art, 2, Princeton, 1963.

Dutch Mannerism: Apogee and Epilogue, exh. cat., Vassar College Art Gallery, Poughkeepsie, N.Y., 1970. Introduction by W. Stechow.

MIEDEMA, H. ‘On Mannerism and maniera’, Simiolus, 10, (1978–9).

2. Caravaggisti

VOSS, H. ‘Vermeer van Delft und die Utrechter Schule’, Monatshefte FUR Kunstwissenschaft, 5 (1912). Pioneer study that recognized the connection between the Utrecht school and Vermeer.

FOKKER, T. H. ‘Nederlandsche schilders in Zuid-Italié’, O.H., 46 (1929).

SCHNEIDER, A. VON. Caravaggio und die Niederlander. Marburg-Lahn, 1933. First monograph on the subject; reprint, Amsterdam, 1967.

LONGHI, R. Introduction to exhibition Catalogo Mostra del Caravaggio e dei Caravaggeschi. Milan, 1951.

GELDER, J. G. VAN. Introduction to exhibition Caravaggio en de Nederlanden. Utrecht-Antwerp, 1952.

NICOLSON, B. The International Caravaggesque Movement. List of Pictures by Caravaggio and His Followers throughout Europe from 1590 to 1650. Oxford, 1979. 2nd ed., revised and enlarged by L. Vertova, Torino, 1989.

BLANKERT, A., SLATKES, L., et al. Nieuw licht op de Gouden Eeuw. Hendrick ter Brugghen en tijdgenoten, exh. cat., Utrecht-Braunschweig, 1986–7. The proceedings of a symposium held in connection with the exhibition at Braunschweig was published by the Herzog Anton Ulrich-Museum (1988), ed. R. Kleesmann.

3. Italianate Painters and the Bentvueghels

BERTOLOTTI, A. Artisti belgi ed olandesi a Roma nei secoli XVI e XVII. Florence, 1880.

HOOGEWERFF, G. J. ‘De stichting van de Nederlandsche schildersbent te Rome’, Feest-bundel Dr Abraham Bredius. Amsterdam, 1915.

GERSTENBERG, K. Die ideale Landschaftsmalerei, Ihre Begründung und Vollendung in Rom. Halle, 1923.

HOOGEWERFF, G. J. Nederlandsche kunstenaars te Rome (1600–1725). Studien van het Nederlandsch Historisch Instituut te Rome, 3. The Hague, 1942. Collection of earlier articles published in the Mededeelingen of the Dutch Institute at Rome.

BRIGANTI, G. I Bamboccianti, exh. cat., Palazzo Massimo alle Colonne, Rome, 1950.

HOOGEWERFF, G. J. De Bentvueghels. The Hague, 1952.

Nederlanders te Rome, exh. cat., University Print Room, Leiden, 1954.

BRIGANTI, G. ‘Bamboccianti’, in Encyclopedia of World Art, 2. New York-Toronto-London, 1956.

Italy through Dutch Eyes. Dutch Seventeenth Century Landscape Artists in Italy, exh. cat., University of Michigan Museum of Art, Ann Arbor, 1964.

ZWOLLO, A. Hollandse en Vlaamse veduteschilders te Rome: 1675–1725. Assen, 1973. Important contribution with monographic chapters on the principal veduta painters; English summary.

TILANUS, J. L. L. Het graphische werk van drie Italianisanten: Jan Both, Nicolaes Berchem en Karel Dujardin (diss.). Ghent, 1975.

SCHOOR, H. VAN DE. ‘Bentvueghel signatures in Santa Costanza in Rome’, Mededelingen van het Nederlands Historisch Instituut te Rome, 38 (1976).

SALERNO, L. Pittori dipaesaggio del seicento a Roma. 3 vols, 1977–80. Bilingual text; English trans. C. Whitfield and C. Engass. Comprehensive, well-illustrated, and documented survey.

BLANKERT, A. Nederlandse ije eeuwse Italianiserende landschapschilders. Soest, 1978. Standard work. Revised ed. of catalogue of exhibition at Centraal Museum, Utrecht, 1965. Includes English introduction.

SCHLOSS, C. S. Travel, Trade, and Temptation. The Dutch Italianate Harbor Scene, 1640–1680. Ann Arbor, 1982.

BRIGANTI, G., TREZZANI, L., AND LAUREATI, L. The Bamboccianti, trans. R. E. Wolf. Rome, 1983.

LEVINE, D. A. The Art of the Bamboccianti (diss.). Princeton, 1984.

HARRIS, A. SUTHERLAND. Landscape Painting in Rome 1595–1675, exh. cat., R. L. Feigen, New York, 1985.

JANSEN, G., and LUIJTEN, G. Italianisanten en Bamboccianten. Het Italianiserend landschap en genre door Nederlandse kunstenaars uit de seventiende eeuw, exh. cat., Museum Boymans-van Beuningen, Rotterdam, 1988.

DUPARC, F. J., and GREIF, L. L. Italian Recollections: Dutch Painters of the Golden Age, exh. cat., Montreal Museum of Fine Arts, 1990.

I Bamboccianti: Niederlandische Malerrebellen im Rom des Barock, exh. cat., eds. D. A. Levine and E. Mai, Wallraf-Richartz-Museum, Cologne-Centraal Museum, Utrecht, 1991–2.

J. ICONOGRAPHY

TIETZE-CONRAT, E. ‘L’Allegorie dans la peinture classique hollandaise’, G.B.A., 17 (1928).

MÂLE, E. L’Art religieux apres le concile de Trente. Paris, 1932.

RUDOLPH, H. ‘ “Vanitas”: Die Bedeutung mittelalterlicher und humanistischer Bildinhalte in der niederlándischen Malerei des 17. Jahrhunderts’, Festschrift Wilhelm Pinder. Leipzig, 1938. Important paper that called attention to allegorical meanings in Dutch painting which were easily overlooked by modern observers.

KNIPPING, J. B. De iconografie van de Contra-Reformatie in de Nederlanden. 2 vols. Hilversum, 1939–40. English translation by the author: Iconography of the Counter Reformation in the Netherlands: Heaven on Earth. 2 vols. Nieuwkoop-Leiden, 1974.

PRAZ, M. Studies in Seventeenth-Century Imagery (Studies of the Warburg Institute, 3). 2 vols. London, 1939–47; 2nd ed., Rome, 1964. A study of emblem literature with extensive bibliography.

KAUFFMANN, H. ‘Die fünf Sinne in der niederländischen Malerei des 17. Jahrhunderts’, Kunstgeschichtliche Studien. Breslau, 1944.

WAAL, H. VAN DE. Decimal Index of the Art of the Low Countries: D.I.A.L. Published by the Rijksbureau voor Kunsthistorische Documentatie. The Hague, 1950-. A comprehensive iconographical index file of art in the Low Countries made up of coded postcard-size photography.

PIGLER, A. Barockthemen. Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18. Fahrhunderts. 2 vols. Budapest, 1956; 2nd ed. 3 vols, 1974. Lists subjects painted by Baroque artists with numerous references to Dutch painters.

HECKSCHER, W. S., and WIRTH, K.-A. ‘Emblem, Emblembuch’, Reallexikon zur deutschen Kunstgeschichte. Stuttgart, 1959. Exhaustive article which includes many references to Dutch art.

SLIVE, S. ‘Realism and Symbolism in Seventeenth Century Dutch Painting’, Daedalus, Journal of the American Academy of Arts and Sciences (Summer, 1962). Reprinted in Seventeenth Century Art in Flanders and Holland, The Garland Library of the History of Art. ed. H. W. Janson, 9. New York-London, 1976.

JONGH, E. DE. Zinne- en minnebeelden in de schilderkunst van de zeventiende eeuw, in the series Nederlands en Belgisch Kunstbezit uit Openbare Verzamelingen, 1967. A key study that demonstrated the hardiness of emblematic references in painting of the period.

HENKEL, α., and SCHONE, A. Emblemata, Handbuch zur Sinnbildkunst des XVI. und IXVII. Jahrhunderts. Stuttgart, 1967. Abridged ed. 1978.

LANDWEHR, J. Emblem Books in the Low Countries 1554–1949. A Bibliography. Utrecht, 1970.

JONGH, E. DE. ‘Realism en schijnrealism in de schilderkunst van de zeventiende eeuw’, in Rembrandt en zijn tijd, exh. cat., Musée des Beaux Arts, Brussels, 1971.

JONGH, E. DE. ‘Grape Symbolism in Paintings of the 16th and 17th Centuries’, Simiolus, 7 (1974).

FREEDBERG, D. ‘The Problem of Images in Northern Europe and Its Repercussions in the Netherlands’, Hafnia Copenhagen Papers in the History of Art (1976).

Wort und Bild in der niederländische Kunst und Literatur des 16. and 17. Jahrhunderts, eds. H. Vekeman and J. IMüller Hofstede. Erftstadt, 1984.

SLUIJTER, E. J. De ‘heydensche fabulen’ in de Noordnederlandse schilderkunst circa 1590–1670 (diss.). Leiden, 1986. An interpretation of depictions of narrative subjects from classical mythology.

SLUIJTER, E, J. ‘Belering en verhuiling? Enkele i7de eeuwse teksten over de schilderkonst en de iconologische bandering van Noordnederlands schilderijen uit deze periode’, De zeventiende eeuw, 4 (1988).

BEDAUX, J. B. The Reality of Symbols. Studies in the Iconology of Netherlandish Art 1400–1800. The Hague-Maarssen, 1990.

JONGH, E. DE. ‘De iconologische benadering van de zeventiende-eeuwse Nederlandse schilderkunst’, De Gouden Eeuw in perspectief. Het beeld van de Nederlandse zeventiende-eeuwse schilderkonst in later tijd, eds. F. Grijzenhout and H. van Veen. Nijmegen-Heerlen, 1992.

SCHULZE, S., et al. Leselust: Niederländische Malerei von Rembrandt bis Vermeer, exh. cat., Kunsthalle, Frankfurt, 1993. On the iconography of the book, reading, and writing in Dutch painting.

JONGH, E. DE. Kwesties van betekenis. Thema en motief in de Nederlandse schilderkunst van de zeventiende eeuw. Leiden, 1995. Includes a reprint of nine articles and an unpublished lecture.

K. SUBJECT MATTER

I. History

(Also cf. B. HISTORICAL BACKGROUND, entry under FREMANTLE, and entries under j. ICONOGRAPHY)

MULLER, F. Beredeneerde beschrijving van Nederlandsche historieplaten, zin-neprenten en his tons che kaarten. Amsterdam, 1863–82. Reprint, Amsterdam, 1970.

GELDER, J. G. VAN. ‘De schilders van der OranjezaaP, N.K.F., 2 (1948–9). Publication of documents; identification of subjects and artists of the pictures in the Oranjezaal at Huis ten Bosch which was decorated as a memorial to Frederik Hendrik. Still indispensable.

WAAL, H. VAN DE. Drie eeuwen vaderlandsche geschied-uitbeelding, 1500–1800. Een iconologische studie. 2 vols. The Hague, 1952. Fundamental study of Dutch history painting with an important discussion of the commissions for Amsterdam’s town hall. Includes a full English summary.

DOHMANN, A. ‘Les évenements contemporains dans la peinture hollandaise du XVIIe siécle’ (trans. M. Camus), Revue d’Histoire Moderne et Contemporaine, 5 (1958).

BLANKERT, A. ‘Heraclitus en Democritus: in het bijzonder in de Nederlandse kunst van de i7de eeuw’, N.K.F., 18 (1967).

SNOEP, D. P. ‘Van Atlas tot last: aspecten van de betekenis van het Atlasmotief’, Simiolus, 2 (1967–8).

LANDWEHR, J. Splendid Ceremonies. State Entries and Royal Funerals in the Low Countries. 1515–1791. A Bibliography. Leiden, 1971.

SNOEP, D. P. Praal en propaganda. Triumfalia in de Noordelijke Nederlanden in de 16de en 17de eeuw. Alphen aan den Rijn, 1975.

BUCHBINDER-GREEN, B. J. The Painted Decorations of the Town Hall of Amsterdam. Ann Arbor-London, 1976.

BADER, A. The Bible through Dutch Eyes: From Genesis through the Apocrypha, exh. cat., Milwaukee Art Center, 1976.

PETER-RAUPP, H. Die Ikonographie des Oranjezaal, Hildesheim-New York, 1980.

BLANKERT, A., et al. Gods, Saints and Heroes. Dutch Painting in the Age of Rembrandt, exh. cat., Washington-Detroit, 1980–1. Pathbreaking exhibition that stressed the significance of history painting during the period.

BRENNINKMEYER-DE ROOIJ, B. ‘Notifies betreffende de decoratie van de Oranjezaal in Huis ten Bosch, uitgaande van H. Peter-Raupp, Die Ikonographie des Oranjezaal, Hildesheim/New York 1980’, O.H., 96 (1982).

Het Oude Testament in de schilderkunst van de Gouden Eeuw, ed. C. Tümpel, exh. cat., Joods Historisch Museum, Amsterdam, 1992.

BROOS, B. Intimacies and Intrigues. History Painting in the Mauritshuis. The Hague, 1993. Catalogue of a selection of the gallery’s history paintings that date from the fifteenth to the eighteenth century.

2. Literature and Theatre

(Also see entries below under M. MOEYAERT, QUAST, AND STEEN.)

GUDLAUGSSON, S. J. Ikonographische Studien über die hollandische Malerei und das Theater des 17. Fahrhunderts. Würzburg, 1938.

GUDLAUGSSON, S. J. ‘Bredero’s Lucelle door eenige zeventiende eeuwsche meesters uitgebeeld’, N. K. J., 1 (1947).

GUDLAUGSSON, S. J. ‘Representations of Granida in Dutch Seventeenth-Century Painting’, B.M., 90 (1948); ibid., 91 (1949).

BROM, G. Schilderkunst en literatuur in de 16e en 17e eeuw. Utrecht, 1957.

VEEN, P. A. F. VAN. De Soeticheydt des Buyten-Levens, vergheselschapt met de Boucken. Het hofdicht als tak van een georgische literatuur. The Hague, 1960.

BEENING, T. J. Het landschap in de Nederlandse letterkunde van de Renaissance. Nijmegen, 1963.

’t kan verkeren. Gerbrand Adriaensz. Bredero. 1585–1618, exh. cat., Amsterdam Historical Museum, 1968.

ALPERS, S. ‘Realism as a Comic Mode: Low-Life Painting Seen through Bredero’s Eyes’, Simiolus, 8 (1975–6).

Critical response by H. Miedama, Simiolus, 9 (1977); rebuttal by S. Alpers, Simiolus, 10 (1978–9).

GELDER, J. G. VAN. ‘Pastor Fido-voorstellingen in de Nederlandse kunst van de zeventiende eeuw’, O.H., 92 (1978).

KETTERING, A. The Dutch Arcadia. Pastoral Art and Its Audience in the Golden Age. Montclair, 1983. Standard work that offers a thorough treatment of sources and patronage.

3. Portraiture

MULLER, F. Beschrijvende catalogus van 7000 portretten van Nederlanders . . . Amsterdam, 1853. Reprint, Soest, 1972.

MEIJER, D. C., JR. ‘De Amsterdamsche schutters-stukken in en buiten het nieuwe Rijksmuseum’, O.H., 3 (1885); 4 (1886); 6 (1887); 7 (1888).

SOMEREN, J. F. VAN, ed. Beschrijvende catalogus van gegraveerde portretten van Nederlanders . . . Vervolg op Frederik Mullers catalogus van 7000 portretten van Nederlanders. 3 vols. Amsterdam, 1888–91.

MOES, E. Iconographia Batava; beredeneerde lijst van geschilderde en gebeeld-houwde portretten van Noord-Nederlanders in vorige eeuwen. 2 vols. Amsterdam, 1897–1905. A revised and enlarged MS copy is in the Rijksprentenkabinet, Rijksmuseum, Amsterdam.

RIEGL, A. ‘Das holländische Gruppenportrat’, Jahrbuch der Kunsthistorischen Sammlungen in Wien, 13 (1902). A basic work. It is not necessary to accept the author’s ideas about Dutch Kunstwollen, which he subdivides into an Amsterdam and a Haarlem Kunstwollen, to profit from his keen observations on the history of Dutch group portraits from Geertgen tot Sint Jans to Rembrandt. Reprint, Vienna, 1931, 2 vols., with notes by L. Münz.

DÜLBERG, F. Das holländische Porträt des XVII. Jahrhunderts. Leipzig, 1923.

VRIES, A. B. DE. Het Noord-Nederlandsch portret in de tweede helft van de 16e Eeuw. Amsterdam, 1934. Includes a survey of portraitists active C.1600.

STARING, A. Fransche kunstenaars en hun Hollandsche modellen, in de 18de en in den aanvang der 19de eeuw. The Hague, 1947. On the vogue for French portraitists.

EDWARDS, R. Early Conversation Pictures from the Middle Ages to about 1730. London, 1954. Includes Dutch examples.

STARING, A. De Hollanders thuis, gezelschap-stukken uit drie eeuwen. The Hague, 1956. On conversation pieces, with an essay in English.

HALL, H. VAN. Portretten van Nederlandsche beeldende kunstenaars. Amsterdam, 1963.

WASSENBERGH, A. De portretkunst in Friesland in de zeventiende eeuw. Lochem, 1967.

WISHNEVSKY, R. Studie zum ‘portrait historié’ in den Niederlanden (diss.). Munich, 1967.

HAAK. B. Regenten en regentessen, overleden en chirurgijns. Amsterdamse groeps-portretten van 1600 tot 1835, exh. cat., Amsterdam Historical Museum, 1972.

HINZ, B. ‘Studien zur Geschichte de Ehepaarbildnisses’, Marburger jahrbuch für Kunstwissenschaft, 19 (1974).

GERSON, H. Hollandse portretschilders van de zeventiende eeuw. Maarssen, 1975.

In het zadel. Het Nederlandse ruiterportret van 1550 tot 1900, exh. cat., Fries Museum, Leeuwarden-Noordbrabants Museum, ‘s-Hertogenbosch-Provinciaal Museum van Drenthe, Assen, 1979–80.

SMITH, D. R. Masks of Wedlock. Seventeenth-Century Dutch Marriage Portraiture. Ann Arbor, 1982.

RAUPP, H.-J. Untersuchungen zu Künstlerbildnis und Künstlerdarstellung in der Niederlanden im 17. Jahrhundert. Hildesheim-Zurich-New York, 1984.

JONGH. E. DE. Portretten van echt en trouw. Huwelijk en gezin in de Nederlandse kunst van de zeventiende eeuw, exh. cat., Frans Hals Museum, Haarlem, 1986.

CARASSO-KOK, M., LEVY-VAN HALM, J., et al. Schutters in Holland. Kracht en zenuwen van de stad, exh. cat., Frans Hals Museum, Haarlem, 1988.

BIESBOER, P. ‘The Burghers of Haarlem and their Portrait Painters’, in Hals 1989–90.

LANGEDIJK, K. Die Selbstbildnisse der holländischen and flämischen Kunstler in den Uffizien. Florence, 1992.

4. Genre

BURCKHARDT, J. ‘Über die niederländische Genremalerei’, Vorträge 1844–1887. Basel, 1919.

BRIEGER, L. Das Genrebild. Munich, 1922. Dutch artists are included in this general history of European genre painting.

BUDDE, I. Die Idylle in holländischen Barock. Cologne, 1929. See the critical review by W. Stechow, Kritische Berichte zur Kunstge-schichtlichen Literatur, 2 (1928–9).

MÜLLER, C. ‘De meesters van het Hollandsche binnenhuis’, Maandblad voor Beeldende Kunsten, 8 (1931).

WÜRTENBERGER, F. Das holländische Gesellschaftsbild. Schramberg im Schwarz-wald, 1937. Includes an account of the relation of the early realists to the Late Mannerists.

MULS, J. De boer in de kunst. Leuven, 1946. Brief account of the peasant in European art.

BAX, D. Skilders wat vertel. Oxford Unviersity Press, 1951. An inaugural lecture with observations on the connections between Bruegel’s followers and the early genre painters.

PLIETZSCH, E. ‘Randbemerkungen zur holländischen Interieurmalerei am Beginn des 17. Jahrhunderts’, Wallraf-Richartz-Jahrbuch, 18 (1956). Mainly on the artists in Hals’s circle (Dirk Hals, Buytewech, Leyster, Molenaer, Codde).

KEYSZELITZ, R. Der ‘Clavis interpretandi’ in der holländischen Malerei des 17. Jahrhunderts. Munich, 1957. Typewritten thesis on symbolism and allegories in Dutch genre painting.

JONGH, E. DE. ‘Erotica in vogelperspectief: De dubbelzinnigheid van een reeks 17de eeuwse genrevoorstellingen’, Simiolus, 3 (1968–9). On double meanings in some seventeenth-century Dutch genre paintings.

RENGER, K. Lockere Gesellschaft – Zur Ikonographie des Verlorenen Sohnes und von Wirtshausszenen in der niederlandischen Malerei. Berlin, 1970.

SNOEP-REITSMA, E. Verschuivende betekenissen van zeventiende-eeuwse Nederlandse genrevoorstellingen. Deventer, 1975.

JONGH, E. DE. ‘Pearls of Virtue and Pearls of Vice’, Simiolus, 8 (1975–6).

JONGH, E. DE, et al. Tot lering en vermaak. Betekenissen van Hollandse genrevoorstellingen uit de zeventiende eeuw, exh. cat., Rijksmusum, Amsterdam, 1976.

JONGH, E. DE, et al. Die Sprache der Bilder. Realitat und Bedeutung in der niederlandischen Malerei des 17. Jahrhunderts, exh. cat., Herzog Anton Ulrich-Museum, Braunschweig, 1978. Includes essays by L. Dittrich and K. Renger.

DURANTI, M. F. The Child in Seventeenth-Century Dutch Painting. Ann Arbor, 1983. Includes observations on portraiture and genre painting.

RAUPP, H.-J. ‘Aufsätze zu einer Theorie der Genremalerei in den Niederlanden im 17. Jahrhundert’, Zeitschrift für Kunstgeschichte, 26 (1983).

LIEDTKE, W. A. ‘Toward a History of Dutch Genre Painting’, De arte et libris, Festschrift Erasmus 1934–1984. Amsterdam, 1984.

BROWN, C. Scenes of Everyday Life. Dutch Genre Painting of the Seventeenth Century. London, 1984.

SUTTON, P., et al. Masters of Seventeenth-Century Dutch Genre Painting, exh. cat., Philadelphia-Berlin-London, 1984. Comprehensive coverage of the subject. The proceedings of a symposium held in connection with the exhibition at Berlin was published by the Staatliche Museen Preussischer Kulturbesitz (1987), eds. H. Bock and T. W. Gaehtgens, Jahrbuch Preussischer Kulturbesitz, Sonderband 4, 1987.

FRANITS, W. F. Paragons of Virtue: Women and Domesticity in Seventeenth-Century Dutch Art. New York, 1993.

5. Landscape

(Also see entries above under I. 3. Italianate Painters and the Bentvueghels.)

JONGH, J. DE. Het Hollandse landschap in ontstaan en wording. The Hague, 1903; German ed., 1905.

MICHEL, É. Les maitres du paysage. Paris, 1906.

PLIETZSCH, E. Die frankenthaler Künstlerkolonie und Gillis van Coninxloo. Leipzig, 1910. Reprint, Soest, 1972.

BLOK, I. ‘Teekeningen van Esaias van de Velde, Jan van Goyen en P. de Molyn’, Oude Kunst, 3 (1917–8).

ROH, F. Holländische Landschaftsmalerei des 17. Jahrhunderts. Leipzig, 1923.

GROSSE, R. Die Holländische Landschaft Kunst, 1600–1650. Berlin-Leipzig, 1925.

HAVELAAR, J. De Nederlandsche landschapkunst tot het einde der zeventiende eeuw. Amsterdam, 1931.

RACZYNSKI, J. A. Die flamische Landschaft vor Rubens. Frankfurt am Main, 1937. Study of the Late Mannerists in the southern Netherlands.

BENGTSSON, Å. Studies on the Rise of Realistic Landscape Painting in Holland: 1610–1625 (Figura, 3). Stockholm, 1952. Discussion of the prominent role played by Haarlem landscapists. Cf. critical review by J. G. van Gelder, B.M., 95 (1953), and the author’s response, ibid.

GOMBRICH, E. H. ‘Renaissance Artistic Theory and the Development of Landscape Painting’, G.B.A., 41 (1953). Reprinted in the author’s Norm and Form. Studies in the Art of the Renaissance, London, 1966. The way art theory helped to create a clientele for early landscapists.

GELDER, H. E. VAN. Holland by Dutch Artists in Paintings, Drawings, Woodcuts, Engravings and Etchings. Amsterdam, 1959. Pictorial survey of six centuries of Dutch landscape art with a brief introduction.

STECHOW, W. ‘Landscape Paintings in Dutch Seventeenth Century Interiors’, N. K. J., 11 (1960).

STECHOW, W. ‘The Winter Landscape in the History of Art’, Criticism, 2 (1960). Includes Dutch artists.

STECHOW, W. ‘Significant Dates on Some Seventeenth Century Landscape Paintings’, O.H., 75 (1960). Discussion of dated works by H. Avercamp, H. Swanevelt, A. Cuyp, A. Pijnacker. Also see the author’s ‘Über das Verhältnis zwischen Signatur und Chronologie bei einigen holländischen Künstlern des 17. Jahrhunderts’, in Festschrift Dr. H. C. Eduard Trautscholdt, Hamburg, 1965.

GERSON, H. Introduction to the catalogue of the exhibition Landschap in de Nederlanden 1550–1630. Breda-Ghent, 1961.

STECHOW, W. Dutch Landscape Painting of the Seventeenth Century. London, 1966. Revised ed. 1968. An indispensable typological study.

DATTENBERG, H. Niederrheinansichten Holländischer Künstler des 17. Jahrhunderts. Düsseldorf, 1967. Compendium of Dutch landscapists who made views of the Lower Rhine region.

HASSELT, C. VAN. Dessins de paysagistes hollandais du XVIIe siecle, de la collection particuliere conservée a I’Institut neerlandais de Paris. 2 vols., exh. cat., Bibliotheque Royale Albert ler, Brussels – Museum Boymans-van Beuningen, Rotterdam – Institut Neerlandais, Paris – Kunstmuseum, Bern, 1968–9. Exemplary entries that set the standard for subsequent Dutch drawing catalogues.

FRANZ, H. G. Niederlandische Landschaftsmalerei im Zeitalter des Manierismus. 2 vols. Graz, 1969.

LAMBERT, A. M. The Making of the Dutch Landscape: An Historical Geography of the Netherlands. London, 1971.

Het Hollandse 17de eeuwse landschap, exh. cat., De Lakenhal, Leiden, 1972.

GROOT, I. DE. Landschappen. Etsen van de Nederlandse meesters uit de zeventiende eeuw. Maarssen, 1979.

FREEDBERG, D. Dutch Landscape Prints of the Seventeenth Century. London, 1980. Best survey of the subject.

RAUPP, H.-J. ‘Zur Bedeutung von Thema und Symbol für die holländische Landschaftsmalerei des 17. Jahrhunderts’, Jahrbuch der Staatliche Kunstsammlungen in Baden-Würtemberg, 17 (1980).

HAVERKAMP-BEGEMANN, E., and CHONG, A. ‘Dutch landscape painting and its associations’, in The Royal Picture Gallery. Mauritshuis, ed. H. R. Hoetink. Amsterdam-New York, 1985.

BROWN, C., et al. Dutch Landscape. The Early Years, Haarlem and Amsterdam 1590–1660, exh. cat., National Gallery, London, 1986. Includes an English translation of van Mander’s section on landscape published in his Schilderboek, 1604.

SUTTON, P. C., et al. Masters of 17th-Century Landscape Painting, exh. cat., Amsterdam-Boston-Philadelphia, 1987. With a comprehensive survey by Sutton and essays by S. Schama, J. A. Bruyn, and A. Chong.

SCHAPELBOUMAN, M., and SCHATBORN, P. Land en water. Hollandse tekeningen uit de 17de eeuw in het Rijksprentenkabinet, exh. cat., Amsterdam, 1987.

SLIVE, S. ‘The Manor Kostverloren: Vicissitudes of a Seventeenth-Century Landscape Motif’, The Age of Rembrandt. Studies in Seventeenth-Century Dutch Painting. Papers in Art History from the Pennsylvania State University, eds. R. E. Fleischer and S. S. Munshower, 3 (1988).

DUPARC, F. J. Landscape in Perspective. Drawings by Rembrandt and His Contemporaries, exh. cat., Cambridge, Massachusetts-Montreal, 1988.

FALKENBURG, R. ‘De betekenis van de geschilderde Hollandse landschap van de zeventiende eeuw: een beschouwing naar inleiding van enkele interpretaties’, Theoretische Geschiedenis, 18 (1989).

FALKENBURG, R. ‘Landschapschilderkunst en doperse spiritualiteit in de 17de eeuw – een connectie?’, Doopgezinde Bijdragen, new series: 16 (1990).

VIGNAU-WILBERG, T. Das Land am Meer. Holländische Landschaft in 17. Jahrhundert, exh. cat., Munich-Bonn, 1993. Survey of the subject as treated by graphic artists; most examples from the Staatlichen Graphischen Sammlungen, Munich.

BAKKER, B., LEEFLANG, H., et al. Nederland naar’t leven: Landschappenprenten uit de Gouden Eeuw, exh. cat., Rembrandthuis, Amsterdam, 1993.

BIZANZ-PRAKKEN, M. Die Landschaft im Jahrhundert Rembrandts. Niederländische Zeichnungen des 17. Jahrhunderts aus der graph. Sammlungen Albertina, exh. cat., Vienna, 1993.

LEVESQUE, C. Journey through Landscape in Seventeenth-Century Holland. The Haarlem Print Series and Dutch Identity. University Park, Pennsylvania, 1994.

6. Animal Painting

(Also see entries below under M. LAER, VAN, and POTTER.)

Meesterlijk vee. Nederlandse veeschilders. 1600–1900, exh. cat., Dordrecht-Leeuwarden, 1988.

7. Marine

JANTZEN, H. ‘De ruimte in de Hollandsche zeeschildering’, Onze Kunst (1910).

WILLIS, F. C. Die Niederländische Marinemalerei. Leipzig, 1911.

PRESTON, L. Sea and River Painters of the Netherlands in the Seventeenth Century. London, 1937. Reprint, Leigh-on-Sea, 1980.

Maritieme geschiedenis der Nederlanden. Zeventiende eeuw, van 1585 tot ca. 1680, ed., L. M. Akveld, et al. Bussum, 1970.

BOL, L. J. Die Holländische Marinemaleri des 17. Jahrhunderts. Braunschweig, 1973.

GROOT, I. DE, and VORSTMAN, R. Zeilschepen prenten van de Nederlandse meesters de zestiende tot de negentiende eeuw. Maarssen-London, 1980.

GOEDDE, L. O. Tempest and Shipwreck in Dutch and Flemish Art. Convention, Rhetoric and Interpretation. University Park-London, 1989. The volume offers a rich discussion of the poetics of marine painting and an interpretation of its metaphorical and symbolic meanings as well as its relationship to treatment of the theme in scripture and literature.

KEYES, G. S., et al. Mirror of Empire. Dutch Marine Art of the Seventeenth Century, exh. cat., Minneapolis-Toledo-Los Angeles, 1990–1. With a historical survey, essays on cartography of the period, and marine pictures within Dutch paintings.

8. Architecture and Topographical Painting

(Also see Zwollo above, under II. 1. 3. Italianate Painters and the Bentvueghels.)

JANTZEN, H. Das Niederländische Architekturbild. Leipzig, 1910. Reprint, Braunschweig, 1979. A basic study, with a discussion of many lesser known architectural painters.

FRITZ, R. Das Stadt- und Strassenbild in der holländischen Malerei des 17. Jahrhunderts. Stuttgart, 1932.

Nederlandse architectuurschilders 1600–1900, exh. cat., Centraal Museum, Utrecht, 1953.

Opkomst en bloei van het Noordnederlandse stadsgezicht in de 17de eeuw. The Dutch Cityscape in the 17th Century and its Sources, exh. cat., Amsterdam Historical Museum-Art Gallery of Ontario, Toronto, 1977.

WHEELOCK, A. K., JR. Perspective, Optics and Delft Artists around 1650. New York-London, 1977.

Oost-Nederland model. Landschappen, stads- en dorpgezichten van de 17de-19de eeuw, exh. cat, Rijksmuseum Twenthe, Enschede, 1980.

LIEDTKE, W. A. Architectural Painting in Delft. Gerard Houckgeest, Hendrik van Vliet, Emanuel de Witte. Doornspijk, 1982. Standard work.

GILTAIJ, J., et al. Perspectives: Saenredam and the architectural painters of the 17th century, exh. cat., Museum Boymans-van Beuningen, Rotterdam, 1991.

9. Still Life

SJÖBLOM, A. Die koloristische Entwicklung des niederländischen Stillebens im 17. Jahrhunderts. Würzburg, 1917.

WARNER, R. Dutch and Flemish Flower and Fruit Painters of the XVIIth and XVIIIth Centuries. Amsterdam, 1928. 2d rev. ed. 1975.

ZARNOWSKA, E. La nature-morte hollandaise. Les principaux représentants, ses origines, son influence. Brussels-Maastricht, 1929.

VORENKAMP, A. P. A. Bijdrage tot de geschiedenis van het Hollandsche stilleven in de XVII eeuw. Leiden, 1933.

GELDER, J. G. VAN. ‘Van blompot en blomglas’, Elsevier’s geillustreerd maandschrift, 46 (1936). Pioneer essay on origins.

BADELT, E. Das Stilleben als bürgerliches Bildthema und seine Entwicklung von den Anfängen bis zur Gegenwart (diss.). Munich, 1938.

GELDER, J. E. VAN. W. C. Heda, A. van Beyeren, W. Kalf (Palet Serie). Amsterdam, 1941. Essays on three important masters.

VROOM, N. R. A. De schilders van het monochrome banketje. Amsterdam, 1945. The author’s A Modest Message as Intimated by the Painters of the ‘Monochrome Banketje’, 2 vols, Schiedam, 1980, is a revised, expanded English edition.

LUTTERVELT, R. VAN. Schilders van het stilleven. Naarden, 1947.

GELDER, J. G. VAN. Catalogue of the Collection of Dutch and Flemish Still-life Pictures, Ashmolean Museum. Oxford, 1950.

BERGSTRÖM, I. Dutch Still-life Painting in the Seventeenth Century. Trans. C. Hedstrom and G. Taylor. New York, 1956. A comprehensive study.

GOMBRICH, E. H. ‘Tradition and Expression in Western Still-life’, B.M., 103 (1961).

BERGSTORM, I., and WURFBAIN, M. L. Ijdelheid der ijdelheden. Hollandse vanitas-voorstellingen uit de zeventiende eeuw, exh. cat., De Lakenhal, Leiden, 1970. Stilleben in Europa, exh. cat., Münster-Baden-Baden, 1979. Encyclopaedic treatment of the subject with contributions by twenty-six authors.

JONGH, E. DE, et al. Still-Life in the Age of Rembrandt, exh. cat., City Art Gallery, Auckland, 1982.

SEGAL, S. A Flowery Past: A Survey of Dutch and Flemish Flower Painting from 1600 to the Present, exh. cat., Gallery de Boer, Amsterdam-Noordbrabants Museum, ‘s-Hertogenbosch, 1982.

MAYER-MEINTSCHEL., A., KUSNEZOW, J. I., and DANILOWA, I. J. Das Stilleben und sein Gegenstand, exh. cat., Dresden-Leningrad-Moscow, 1983–4.

SULLIVAN, S. A. The Dutch Gamepiece, Totowa-Montclair, 1984.

KUILE, O. TER. Seventeenth-century North Netherlandish Still Lifes. The Hague, 1985. Catalogue of the extensive holdings of the Rijksdienst Beeldende Kunst (Netherlands Office of the Fine Arts) with an introductory essay.

KURETSKY, S. DONAHUE. ‘Het schilderen van bloemen in de 17de eeuw’, in Flora & Pictura. Kunstschrift Openbaar Kunstbezit, 1987, no. 3.

SEGAL, S. A Prosperous Past. The Sumptuous Still Life in the Netherlands 1600–1700, exh. cat., Delft-Cambridge, Massachusetts-Fort Worth, 1988.

WHEELOCK, A. K., JR., et al. Still Lifes of the Golden Age. Northern European Paintings from the Heinz Family Collection, exh. cat., National Gallery of Art, Washington, 1989.

SEGAL, S. Flowers and Nature. Netherlandish Flower Painting of Four Centuries, exh. cat., Osaka-Tokyo-Sydney, 1990.

SCHAMA, S. ‘Perishable commodities: Dutch still-life painting and the “Empire of Things”, in Consumption and the World of Goods, eds. V. Brewer and R. Porter. London-New York, 1993.

L. TECHNICAL STUDIES

(Also cf. entries below under M: BROUWER, REMBRANDT; H. Technique and Technical Studies; VERMEER, 3. Special Studies.)

SAYRE, E. v., and LECHTMAN, H. N. ‘Neutron Activation Autoradiography of Oil Paintings’, Studies in Conservation, 13 (1968).

ASPEREN DE BOER, J. R. J. VAN. ‘An Introduction to the Scientific Examination of Paintings’, N. K. J., 26 (1975).

BRUYN, J. ‘Een onderzoek naar 17de-eeuwse schilderijformaten, voornamelijk in Noord-Nederland’, O.H., 93 (1979).

MIEDEMA, H. ‘Verder onderzoek naar zeventiende-eeuwse schilderijformaten in Noord-Nederland’, O.H., 95 (1981).

BAUCH, J., and EKSTEIN, D. ‘Woodbiological Investigations on Panels of Rembrandt Paintings’, Wood Science and Technology, 15 (1981).

AINSWORTH, M. W., et al. Art and Autoradiography. Insights into Paintings by Rembrandt, Van Dyck and Vermeer. New York, 1982.

KLEIN, P., et al. ‘New Findings for the Dendrochronological Dating of Panel Paintings of the 15th to 17th Century’, ICOM Committee for Restoration, 1 (1987).

BIJL, M. ‘ “The Meagre Company” and Frans Hals’s Working Method’, in Hals 1989–90.

GROEN, K., and HENDRIKS, E. ‘Frans Hals: a Technical Examination’, in Hals 1989–90.

M. ARTISTS IN ALPHABETICAL SEQUENCE

AELST, VAN

Bredius, A. ‘Archiefsprokkelingen. Enkele gegevens over Willem van Aelst’, O.H., 54 (1937).

AERTS

Jantzen, H. ‘Hendrick Aerts’, Monatshefte für Kunstwissenschaft, 6 (1913).

Daniëls, G. I. M. ‘Kerkgeschiedenis en politiek in het perspectief van Hendrick Aerts’, Antiek, 9 (1974–5).

ANDRIESSEN, CHRISTIAAN

Eeghen, I. H. van. In mijn journaal gezet, Amsterdam 1805–1808. Het getekende dagboek van Christiaan Andriessen. Alphen aan den Rijn, 1983.

ANGEL

Bol, L. J. ‘Philips Angel van Middelburg en Philips Angel van Leiden’, O.H., 64 (1949).

(Also see entries above under II. B. SOURCES AND EIGHTEENTH-CENTURY LITERATURE.)

ARENTSZ (CABEL)

Poensgen, G. ‘Arent Arentsz (genannt Cabel) und sein Verhaltnis zu Hendrik Avercamp’, O.H., 41 (1923–4).

Eeghen, I. H. van. ‘Meerhuizen of de Pauwentuin en Arent Arentsz, genaamd Cabel’, Maandblad Amstelodamum, 54 (1967).

Eeghen, I. H. van, ‘Nogmaals de Pauwentuin’, Maandblad Amstelodamum, 55 (1968).

ASSELYN

Steland-Stief, A. C. Jan Asselijn nach 1610 bis 1652. Amsterdam, 1971.

Steland, A. C. Die Zeichnungen des Jan Asselijn. Fridingen, 1989.

AVERCAMP

Welcker, C. J. Hendrik Avercamp 1585–1634, bijgenaamd ‘de Stomme van Campen’, en Barent Avercamp, 1612–1679. Zwolle, 1933. New edition, with œuvre catalogue revised by D. J. Hensbroek-van der Poel, Doornspijk, 1979.

BABUREN, VAN

Swillens, P. T. A. ‘De Schilder Theodorus (of Dirck?) van Baburen’, O.H., 48 (1931).

Gowing, L. ‘Light on Baburen and Vermeer’, B.M., 93 (1951).

Slatkes, L. J. Dirck van Baburen. Utrecht, 1962. Monograph and handlist of authentic works. Cf. review by B. Nicolson, B.M., 104 (1962).

Slatkes, L. J. ‘Additions to Dirck van Baburen’, Album Amicorum J. G. van Gelder. The Hague, 1973.

BACKER

Bauch, K. Jacob Adriaensz Backer. Berlin, 1926. Pioneer study with œuvre catalogue.

Sumowski Gemälde. Vols. 1, 5, 6: ‘Jacob Adriaensz Backer’.

BAILLY

Bostrom, K. ‘David Bailly’s Stilleben’, Konsthistoriskt Tidskrift, 18 (1949).

Bruyn, J. ‘David Bailly, “fort bon peintre en pourtraicts et en vie coye”‘, O.H., 66 (1951).

Popper-Voskuil, N. ‘Self-portraiture and Vanitas Still-Life Painting in 17th-Century Holland in Reference to David Bailly’s Vanitas Oeuvre’, Pantheon, 31 (1973).

Baar, P. J. M. de. ‘Het overlijden van David Bailly’, O.H., 87 (1973).

Wurfbain, M. ‘David Bailly’s Vanitas of 1651’, in The Age of Rembrandt. Studies in Seventeenth-Century Dutch Paintings, eds. R. E. Fleischer and S. S. Munshower, Papers in Art History from Pennsylvania State University, 3 (1988).

BAKHUIZEN

HdG. Vol. 7, ‘Ludolf Bakhuysen’.

Broos, B., et al. Ludolf Bakhuizen. 1631–1708. Schryfmeester-teyckenaer- schilder, exh. cat., Rijksmuseum ‘Nederlands Scheepvaart Museum’, Amsterdam, 1985.

BAMBOCCIO see LAER, VAN

BEECK, VAN DER see TORRENTIUS

BEGA

Pearce, B. Cornelis Bega Etchings, exh. cat., Art Gallery of South Australia, Adelaide, 1977.

Begheyn, P. J. ‘Biografische gegevens betreffende de Haarlemse schilder Cornelis Bega (ca. 1632–1664) en zijn verwanten’, O.H., 93 (1979).

BERCHEM

HdG. Vol. 9, ‘Nicolaes Berchem’.

Sick, I. von. Nicolaes Berchem: ein Vorläufer des Rokoko. Cologne, 1930.

Schaar, E. ‘Berchem und Begeijn’, O.H., 69 (1954). On a close follower.

Schaar, E. Studien zu Nicolaes Berchem. Cologne, 1958.

Kuznetsov, Y. ‘Claes Berchem and his Works in the Hermitage’, in Iz istorii russkogo i zapadnoevropeiskogo iskusstva [Festschrift for V. N. Lasareff] (Russian text). Moscow, 1960.

Schatborn, P. ‘Figuurstudies van Nicolaes Berchem’, Bulletin van het Rijksmuseum, 22 (1974).

BERCKHEYDE, GERRIT and JOB

Stechow, W. ‘Job Berckheyde’s “Bakery Shop”’, Allen Memorial Art Museum Bulletin, 15 (1957).

Lawrence, C. Gerrit Adriaensz Berckheyde (1638–1698). Doornspijk, 1991.

BEYEREN, VAN

Blok, I. ‘Abraham van Beyeren’, Onze Kunst, 32 (1918).

Gelder, H. E. van. W. C. Heda, A. van Beyeren, W. Kalf (Palet Serie). Amsterdam, 1941.

BISSCHOP, DE

Gelder, J. G. van. ‘Jan de Bisschop 1628–1671’, O.H., 86 (1971).

Jellema, R. E., and Plomp, M. Episcopius: Jan de Bisschop (1628–1671), exh. cat., Het Rembrandthuis, Amsterdam, 1992.

Also see entries above under II. B. SOURCES AND EIGHTEENTH-CENTURY LITERATURE.

BLOEMAERT

Müller, C. ‘Abraham Bloemaert als Landschaftsmaler’, O.H., 44 (1927).

Delbanco, G. Der Maler Abraham Bloemaert. Strasbourg, 1928. Cf. reviews by F. Antal, Kritische Berichte zur kunstgeschichtliche Literatur, 2 (1928–9), and H. Kauffmann, O.H., 48 (1931).

Slatkin, R. Shoolman. ‘Abraham Bloemaert and François Boucher: Affinity and Relationship’, Master Drawings, 14 (1976).

Roethlisberger, M. G., and Bok, M. J. Abraham Bloemaert and His Sons. Paintings and Prints. 2 vols. Doornspijk, 1993. Exhaustive study by Roethlisberger of works by Abraham and his sons Hendrick, Cornelis, Frederick, and Adriaen. Biographies and documents by Bok.

BOL

Bredius, A. ‘Did Rembrandt Paint the Portrait of Elizabeth Bas?’, B.M., 20 (1911–22).

Bredius, A. ‘Self-portraits by Ferdinand Bol’, B.M., 42 (1923).

Schneider, H. ‘Ferdinand Bol als Monumentmaler im Amsterdamer Rathaus’, Jahrb. P.K., 47 (1926).

Blankert, A. Ferdinand Bol (1616–1680). Rembrandt’s Pupil. Doornspijk, 1982. Standard monograph and catalogue.

Sumowski Gemalde. Vols. 1, 5, 6: ‘Ferdinand Bol’.

BOR

Plietzsch, E. ‘Paulus Bor’, Jahrb. P.K., 32 (1916).

Bloch, V. ‘Zur Malerei des Paulus Bor’, O.H., 45 (1928).

Bloch, V. ‘Orlando’, O.H., 64 (1949). Cf. a note on this article by I. Q. van Regteren Altena, ibid.

Gudlaugsson, S. J. ‘Paulus Bor als portrettist’, in Miscellanea I.Q. van Regteren Altena. Amsterdam, 1969. Attribution of portraits formerly attributed to Jan de Bray to Paulus Bor.

Moltke, J. W. von. ‘Die Gemälde des Paulus Bor von Amersfoort’, Westfalen, 55 (1977).

BORCH, GERARD AND GESINA TER

HdG. Vol. 5, ‘Gerard ter Borch’.

Gudlaugsson, S. J. Gerard ter Borch. 2 vols. The Hague, 1959–60. Monograph with complete bibliography and exhaustive critical catalogue raisonné.

Vos., J. ‘Gesina ter Borch: schilderes, dichteres en model (1631–1690)’, Overijssel. Jaarboek voor cultuur en historie, 14 (1960).

Gerard ter Borch: Zwolle 1617-Deventer 1681, exh. cat., The Hague-Münster, 1974.

Kettering, A. M. Drawings from the ter Borch Estate. 2 vols. The Hague, 1988. Outstanding catalogue of more than 1000 sheets in the Prenten-kabinet, Rijksmuseum, by Gerard ter Borch, his father Gerard the Elder, his sister Gesina and brother Moses as well as other members of his family and circle; includes sketchbooks and a facsimile of Gesina’s poetry album.

BOSSCHAERT

Bol, L. J. The Bosschaert Dynasty. Leigh-on-Sea, 1960. Standard work on this family of painters. Also cf. the author’s articles in O.H., 70 (1955), 71 (1956), and Tableau, 3 (1980–1).

BOTH, ANDRIES and JAN

HdG. Vol. 9, ‘Jan Both’.

Bruyn, L. de. ‘Het geboorte jaar van Jan Both’, O.H., 67 (1952).

Stechow, W. ‘Jan Both and the Re-Evaluation of Dutch Italianate Landscape Painting’, Actes du XVIIme Congres International d’Histoire d I’Art. Amsterdam, 1952; The Hague, 1955. Also see W. Stechow, ‘Jan Both and Dutch Italianate Landscape Painting’, Magazine of Art, 46 (1953).

Waddingham, M. R. ‘Andries and Jan Both in France and Italy’, Paragone, 15 (1964).

Haverkamp-Begemann, E. ‘The Youthful Work of Andries Both: His Landscape Drawings’, Tribute to Wolfgang Stechow. New York, 1976.

Burke, J. D. Jan Both: Paintings, Drawings and Prints. New York-London, 1976.

BOURSSE

Plietzsch, E. ‘Jacobus Vrel und Esaias Boursse’, Zeitschrift für Kunstge-schichte, 3 (1949).

Briére-Misme, C. ‘Un “intimiste” hollandais Esaias Boursse, 1631 — 1672’, O.H., 69 (1954).

BRAMER

Wichmann, H. Leonaert Bramer. Leipzig, 1923.

Leonaert Bramers Zeichnungen zum Tyl Ulenspiegel, ed. E. W. Bredt. Leipzig, 1924.

Peer, A. J. J. M. van. ‘Rondom Jan Vermeer: III. Leonard Bramer, leermeester van Jan Vermeer?’, O.H., 74 (1959).

Hofrichter, F. F., et al. Leonaert Bramer. 1596–1674. A Painter of the Night, exh. cat., Haggerty Museum of Art, Marquette University, Milwaukee, 1992.

Plomp, M., et al. Leonaert Bramer, 1596–1674: Ingenious Painter and Draughtsman in Rome and Delft, exh. cat., Het Prinsenhof, Delft, 1994. Includes Plomp’s discussion of the artist’s extensive output as draughtsman (C.1300 sheets), and a summary of Wichmann’s painting catalogue and supplement to it.

BRAY, JAN and SALOMON DE

Moltke, J. W. von. ‘Jan de Bray’, Marburger Jahrbuch für Kunstwissenschaft, 11–12, (1938–9). Basic study with œuvre catalogue. For the attribution of portraits formerly ascribed to Jan de Bray to Paulus Bor, see the article by S. J. Gudlauggson cited under BOR above.

Moltke, J. W. von. ‘Salomon de Bray’, Marburger jahrbuch für Kunstwissenschaft, 11–12 (1938–9). Basic study with œuvre catalogue.

Bloch, V. ‘Haarlemer klassizisten’, O.H., 57 (1940). On S. de Bray, P. de Grebber, and R. J. van Blommendael.

Marel, A. van der. ‘De kunstschilders De Bray en hun familie’, De Nederlandsche Leeuw, 81 (1964).

Taverne, E. R. M. ‘Salomon de Bray’s ontwerp voor de drinkhoorn van Het Loffelijke Gilde van St. Hubert te Haarlem’, N. K. J., 23 (1972).

BREENBERGH

Stechow, W. ‘Bartholomeus Breenbergh, Landschafts- und Historien-maler’, Jahrb. P.K., 51 (1930).

Feinblatt, E. ‘Note on Paintings by Bartholomeus Breenbergh’, A.Q., 12 (1949).

Bautier, P. ‘Les peintres hollandais Poelenburg et Breenbergh ä Florence’, Etudes d’Art, 4, (1949).

Schaar, E. ‘Poelenburgh und Breenbergh in Italien und ein Bild Elsheimers’, Mitteilungen des Kunsthistorischen Instituís in Florenz, 9 (1959).

Roethlisberger, M. Bartholomeus Breenbergh, Handzeichnungen. Berlin, 1969.

Nalis, H. J. ‘Bartholomeus Breenbergh: aantekeningen over zijn leven en verwanten’, Vereeniging tot Beoefening van Overijsselsch Regt en Geschiedenis. Verslagen en Mededelingen, 87 (1972).

Rothlisberger, M. Bartholomeus Breenbergh: the Paintings. Berlin-New York, 1981.

Roethlisberger, M. ‘New Works by Bartholomeus Breenbergh’, O.H., 99 (1985).

BREKELENKAM

Lasius, A. Quiringh van Brekelenkam. Doornspijk, 1992.

BRONCHORST

Hoogewerff, G. J. ‘Jan Gerritsz en Jan Jansz van Bronchorst, schilders van Utrecht’, O.H., 74 (1959).

Judson, J. R. ‘Allegory of Dawn and Night’, Wadsworth Atheneum Bulletin (1966).

Döring, T. Studien zur Künstlerfamilie van Bronchorst. Alfter, 1993.

BROUWER

Unger, J. H. W. ‘A. Brouwer te Haarlem’, O.H., 2 (1884).

HdG. Vol. 3, ‘Adriaen Brouwer’.

Schmidt-Degener, F. Adriaen Brouwer et son evolution artistique. Brussels, 1908.

Bode, W. von. Adriaen Brouwer, sein Leben und seine Werke. Berlin, 1924.

Höhne, E. Adriaen Brouwer. Leipzig, 1960.

Knuttel, G. Adriaen Brouwer; the Master and his Work. Trans. J. G. Talma-Schilthuis and R. Wheaton. The Hague, 1962. Includes some unconvincing attributions.

Renger, K. Adriaen Brouwer und das Holländische Bauerngenre 1600–1660, exh. cat., Alte Pinakothek, Munich, 1986. Best up-to-date study. Includes a valuable analysis of the material structure of the artist’s paintings by H. von Sonnenburg.

BRUGGHEN, TER

Longhi, R. ‘Ter Brugghen e la parte nostra’, Vita Artística, 2 (1927). Early appreciation of the artist’s importance.

Baker, C. H. C. ‘Hendrick Terbrugghen and plein air’, B.M., 50 (1927).

Stechow, W. ‘Terbrugghen’s S. Sebastian’, B.M., 96 (1954).

Nicolson, B. Hendrick Terbrugghen. London, 1958. Keen appraisal of the artist’s achievement and richly documented critical catalogue of his œuvre. Comprehensive bibliography.

Longhi, R. ‘Terbrugghen e Valentin’, Paragone, 131 (1960).

Nicolson, B. ‘Second Thoughts about Terbrugghen’, B.M., 102 (1960).

Slatkes, L. J. Hendrik Terbrugghen in America, exh. cat., Dayton-Baltimore, 1965–6.

Thiel, P. J. J. van. ‘De aanbidding der koningen en ander vroeg werk van Hendrick ter Brugghen’, Bulletin van het Rijksmuseum, 19 (1971).

Nicolson, B. ‘Terbrugghen since 1960’, Album Amicorum J. G. van Gelder. The Hague, 1973.

Jongh, E. de. Een schilderij centraal. De slapende Mars van Hendrick ter Brugghen, exh. cat., Centraal Museum, Utrecht, 1980.

Also see entries above under I. 2. Caravaggisti.

BUYTEWECH

Goldschmidt, A. ‘Willem Buytewech’, Jahrb. P.K., 23 (1902). Pioneer study.

Martin, W. ‘Hoe schilderde Willem Buytewech?’, O.H., 34 (1916).

Martin, W. ‘W. Buytewech, Rembrandt en Frans Hals’, O.H., 42 (1925).

Poensgen, G. ‘Beiträge zur Kunst des Willem Buytewech’, Jahrb. P.K., 47 (1926).

Knuttel, G. ‘Willem Buytewech’, Mededeelingen van de Dienst voor Kunsten en Wetenschappen der Gemeente ‘s-Gravenhage, no. 4, 2 (1926–31).

Knuttel, G. ‘W. Buytewech: van manierisme tot naturalisme’, Mededeelingen van de Dienst voor Kunsten en Wetenschappen der Gemeente ‘s-Gravenhage, no. 5–6, 2 (1926–31).

Gelder, J. G. van. ‘De etsen van Willem Buytewech’, O.H., 48 (1931). For a revision of van Gelder’s catalogue cf. E. Haverkamp-Begemann, ‘The Etchings of Willem Buytewech’ in Prints, New York-Chicago-San Francisco, 1962.

Haverkamp-Begemann, E. Willem Buytewech. Amsterdam, 1959. Standard work with œuvre catalogue.

Kunstreich, J. S. Der ‘Geistreiche Willem’: Studien zu Willem Buytewech. Kiel, 1959. For a critique cf. Haverkamp-Begemann’s monograph cited above.

Willem Buytewech: 1591–1624, exh. cat., Rotterdam-Paris, 1974–5.

CABEL see ARENTSZ

CALRAET

Dalen, J. L. van. ‘De familie Van Calraet’, O.H., 42 (1925).

Bol, L. J. ‘“Goede onbekenden”, 2: Van Calraet en Susenier’, Tableau, 2 (1979–80).

CAMPEN, VAN

SWILLENS, P. T. A. Jacob van Campen. Schilder en bouwmeester. Assen, 1961. Standard monograph on his activity as architect and painter. Reprint, Arnhem, 1979.

CAPPELLE, VAN DE

Bredius, A. ‘De schilder Johannes van de Cappelle’, O.H., 10 (1892).

I IdG. Vol. 7, ‘Johannes van de Cappelle’.

Valentiner, W. R. ‘Jan van de Capelle’, A.Q., 4 (1941). Identification of Bredius-Gerson 254 as a portrait of van de Cappelle by Rembrandt is not convincing.

Russell, M. Jan van de Cappelle, 1624–1679. Leigh-on-Sea, 1975. Brings HdG’s catalogue up to date and adds new material.

CEULEN see JONSON VAN

CEULEN CLAESZ

Brunner-Bulst, M. Pieter Claesz. Der Hauptmeister des Haarlemer Stillebens im 17. Jahrhundert. Freren, 1989.

CODDE

Dozy, C. M. ‘Pieter Codde, de schilder en de dichter’, O.H., 2 (1884).

Bredius, A. ‘lets over Pieter Codde en Willem DUYSTER’, O.H., 6 (1888).

Brandt, P., Jr. ‘Notifies over het leven en werk van den Amsterdamschen schilder Pieter Codde’, Historia, 12 (1947).

Béguin, S. ‘Pieter Codde et Jacob Duck’, O.H., 67 (1952).

Also see entry below under DUYSTER.

CONINXLOO, VAN

Laes, A. ‘Gilles van Coninxloo, rénovateur du paysage flamand au XVIe siécle’, Annuaire des Musées Royaux des Beaux-Arts de Belgique, 2 (1939).

Franz, H. G. ‘De boslandschappen van Gillis van Coninxloo en hun voorbeelden’, Bulletin Museum Boymans-van Beuningen, 14 (1963).

COORTE

Bol, L. J. ‘Adriaen Coorte, stillevenschilder’, N. K. J., 4, (1952–3).

Bol, L. J. Adriaen Coorte: A Unique Late Seventeenth-Century Dutch Still-Life Painter. Assen, 1977.

CORNELISZ VAN HAARLEM

Stechow, W. ‘Cornelis van Haarlem en de Hollandsche laat-manieristiche schilderkunst’, Elsevier’s geïillustreerd maandschrift, 90 (1935). Pioneer paper on the history of Late Mannerism as well as Cornelis.

Bruyn, J. ‘Een keukenstuk van Cornelis Cornelisz van Haarlem’, O.H., 66 (1951).

Thiel, P. J. J. van. ‘Cornelis Cornelisz van Haarlem as a Draughtsman’, Master Drawings, 3 (1965).

Thiel, P. J. J. van. ‘Cornelis Cornelisz van Haarlem: his first ten years as a painter, 1582–1592’, Netherlandish Mannerism . . . a symposium in the Nationalmuseum Stockholm . . . ed. G. Cavalli-Björkman. Stockholm, 1985.

McGee, J. L. Cornelis Corneliszoon van Haarlem (1562–1638): patrons, friends and Dutch Humanists. Nieuwkoop, 1991.

Thiel, I. and P. van. ‘The Four Musketeers. An Attempt at an Identification of the First Militia Piece by Cornelis Cornelisz van Haarlem’, Shop Talk.

Studies in Honor of Seymour Slive. Cambridge, 1995 Identification of the militia men in the painting illustrated in fig. 32.

Briére-Misme, C. ‘De nouveau le maítre C.B.’, La Revue des Arts, 5 (1955).

CUYP, AELBERT and BENJAMIN

Michel, E. ‘Une famille d’artistes hollandais. Les Cuvp’, G. B. A., 7 (1892).

HdG. Vol. 2, ‘Aelbert Cuyp’.

Boström, K. ‘Benjamin Cuyp’, Konsthistorisk Tidskrift, 13 (1944).

Gelder, J. G. van, and Jost, I. ‘Vroeg contact van Aelbert Cuyp met Utrecht’, in Miscellanea I.Q. van Regieren Altena. Amsterdam, 1969.

Gelder, J. G. van, and Jost, I. ‘Doorzagen op Aelbert Cuyp’, N. K. J., 23 (1972).

Reiss, S. Aelbert Cuyp. New York-Boston, 1975. Brief introduction; summary catalogue.

Veerman, W., et. al. Aelbert Cuyp en zijn famille. Schilders te Dordrecht, exh. cat., Dordrechts Museum, Dordrecht, 1977.

Ember, I. ‘Rembrandtsche Elemente in den Werken Benjamin Cuyps’, Acta Historiae Artium, 24 (1978).

Ember, I. ‘Benjamin Gerritsz Cuyp (1612–1652)’, Acta Historiae Artium, 25 (1979); part II, ‘Benjamin Cuyp, der Genremaler’, Acta Historiae Artium, 26 (1980).

Sumowski Gemälde. Vols. 5, 6: ‘Benjamin Gerritsz Cuyp’.

Slive, S. ‘Saint Philip Baptizing the Ethiopian Eunuch by Aelbert Cuyp’, The Menil Collection. New York, 1987.

Chong, A. ‘New Dated Works from Aelbert Cuyp’s Early Career’, B.M., 133 (1991).

DELEN, VAN

Blade, T. T. The Paintings of Dirck van Delen (diss.). Ann Arbor, 1976.

DELFF

Franken Dz., D. L’Oeuvre de Willem Jacobszoon Delff. Amsterdam, 1872.

Riemsdijk, B. W. F. van. ‘De portretten van Jacob Willemsz Delf, en zijne drie zonen’, O.H., 12 (1894).

Haverkorn van Rijsewijk, P. ‘De kunstenaarsfamille Delff’, O.H., 18 (1900).

DIJCK, ABRAHAM VAN

Sumowski Gemälde. Vols. 1, 5: ‘Abraham van Dijck’.

DOOMER

Bredius, A. ‘Lambert Doomer (1622–1700)’, La Revue de l’Art Ancien et Moderne, 28 (1910).

Wortel, T. ‘Lambert Doomer te Alkmaar’, O.H., 46 (1929).

Hofstede de Groot, C., and Speiss, W. ‘Die Rheinlandschaften von Lambert Doomer’, Wallraf-Richartsz-Jahrbuch, 3–4 (1926–7); N.F. 1 (1930).

Schulz, W. Lambert Doomer 1624–1700. Leben und Werke (diss.). 2 vols. Berlin, 1972.

Schulz, W. Lambert Doomer. Sämtliche Zeichnungen. Berlin-New York, 1974.

Schulz, W. ‘Lambert Doomer als Maler’, O.H., 92 (1978).

Sumowski Gemälde. Vols. 1, 5, 6: ‘Lambert Doomer’.

DOU

Martin, W. Gerard Dou. Trans, from the Dutch ed. of 1901 by Clara Bell. London, 1902.

HdG. Vol. 1, ‘Gerard Dou’.

Martin, W. Gerard Dou (Klassiker der Kunst, 24), Stuttgart-Berlin, 1913. Still the standard work.

Snoep-Reitsma, E. ‘De waterzuchtige vrouw van Gerard Dou en de betekenis van de lampetkan’, in Album Amicorum J. G. van Gelder. The Hague, 1973.

Emmens, J. A. ‘Natuur, onderwijzing en oefening. Bij een drieluik van Gerrit Dou’, Kunsthistorische opstellen, 2. Amsterdam, 1981.

Sumowski Gemälde. Vols. 1, 5, 6: ‘Gerard Dou’.

Sluijter, E. J. De lof der schilderkonst. Over schilderijen van Gerrit Dou (1613–1675) en een traktaat van Philips Angel uit 1642. Hilversum, 1993.

DROST

Valentiner, W. R. ‘Willem Drost, Pupil of Rembrandt’, A.Q., 2 (1939).

Pont, D. ‘De composities “Ruth en Naomi” te Bremen en te Oxford. Toeschrijving aan Willem Drost’, O.H., 75 (1960).

Sumowski, W. ‘Beitrage zu Willem Drost’, Pantheon, 27 (1969).

Sumowski Gemälde. Vols. 1, 5, 6: ‘Willem Drost’.

DUBBELS

Middendorf, U. Hendrik Jacobsz Dubbels (1621–1707). Gemälde und Zeichnungen mit kritischem Oeuvrekatalog. Freren, 1989.

DUCK

Welu, J. A. ‘Card Players and Merrymakers: a Moral Lesson’, Worcester Art Museum Bulletin, 4 (1975).

Also see entries above under CODDE.

DUJARDIN see JARDIN, DU

DULLAERT

Ruys, H. J. A. ‘Heiman Dullaert (1636–1684)’, O.H., 31 (1913).

Putte, C. A. van. Heiman Dullaert. 2 vols. Groningen, 1978. Study of his painting and poetry.

Sumowski Gemälde. Vols. 1, 5, 6: ‘Heyman Dullaert’.

DUSART

Trautscholdt, E. ‘Beitrage zu Cornelis Dusart’, N. K. J., 17 (1966).

DUYSTER

Playter, C. B. Willem Duyster and Pieter Codde: The ‘Duystere Werelt’ of Dutch Genre Painting c.1625–35 (diss.). Cambridge, Massachusetts, 1972.

Also see entries above under CODDE.

ECKHOUT

Thomsen, T. Albert Eckhout, ein niederländischer Maler und sein Cönner Moritz der Brasilianer; ein Kulturbild aus dem 17. Jahrhundert. Copenhagen, 1938.

Gelder, H. E. van. ‘Twee Braziliaanse schildpadden door Albert Eckhout’, O.H., 75 (1960).

EECKHOUT, VAN DEN

Sumowski, W. ‘Gerbrand van den Eeckhout als Zeichner’, O.H., 77 (1962).

Sumowski Gemälde. Vols. 2, 5, 6: ‘Gerbrand van den Eeckhout’.

ELIASZ see PICKENOY

ELINGA

Hofstede de Groot, C. ‘De schilder Janssens-Elinga, een navolger van Pieter de Hooch’, O.H., 9 (1891).

Briére-Misme, C. ‘A Dutch Intimist, Pieter Janssens Elinga’, G.B.A. (1947. 1), (1947. 2), (1948. 1).

EVERDINGEN, ALLART and CAESAR VAN

Bruinvis, C. W. ‘De Van Everdingens’, O.H., 17 (1899).

Granberg, O. Allart van Everdingen. Stockholm, 1902.

Kalff, S. ‘Twee Alkmaarder schilders’, Elsevier’s geîllustreerd maandschrift, 53 (1922).

Bloch, V. ‘Pro Caesar Boetius van Everdingen’, O.H., 53 (1936).

Davies, A. I. Allart van Everdingen. New York-London, 1978.

FABRITIUS, BARENT

Pont, D. Barent Fabritius, 1624–1673. Utrecht, 1958. Monograph with œuvre catalogue and full bibliography.

Sumowski, W. ‘Zum Werk von Barend und Carel Fabritius’, Jahrbuch der Staatlichen Kunstsammlungen in Baden-Württemberg, 1 (1964).

Liedtke, W. A. ‘The Three “Parables” by Barent Fabritius with a Chronological List of His Paintings from 1660 Onward’, B.M., 119 (1977).

Sumowski Gemälde. Vols. 2, 5, 6: ‘Barend Fabritius’.

FABRITIUS, CAREL

HdG. Vol. 1, ‘Carel Fabritius’.

Wijnman, H. F. ‘De schilder Carel Fabritius’, O.H., 48 (1931). Paper on his life and work.

Valentiner, W. R. ‘Carel and Barent Fabritius’, The Art Bulletin, 14 (1992).

Schuurman, K. E. Carel Fabritius (Palet Serie). Amsterdam, 1947.

Wheelock, A. K. ‘Carel Fabritius: Perspective and Optics in Delft’, N. K. J., 24 (1973).

Liedtke, W. A. ‘The “View in Delft” by Carel Fabritius’, B.M., 118 (1976).

Brown, C. Carel Fabritius. Complete Edition with a Catalogue Raisonné. Oxford, 1981. Standard work.

Sumowski Gemälde. Vols. 2, 5: ‘Carel Fabritius’.

FLINCK

Scheltema, P. ‘Govert Flinck’, Aemstel’s Oudheid, 2 (1856).

Schneider, H. ‘Govert Flinck en Juriaen Ovens in het Stadhuis te Amsterdam’, O.H., 42 (1925).

Welcker, A. ‘G. Flinck’, O.H., 57 (1940).

Gelder, J. G. van. ‘Vroege werken van Govert Flinck’, Kunsthistorische Mededeelingen van het Rijksbureau voor Kunsthistorische Documentatie, 1 (1946).

Moltke, J. W. von. Govaert Flinck. Amsterdam, 1965.

Govaert Flinck, der Kleefsche Apelles, 1610–1660, exh. cat., Haus Koekkoek, Cleves, 1965.

Sumowski Gemälde. Vols. 2, 5, 6: ‘Govaert Flinck’.

GALEN, VAN

Plietzsch, E. ‘Das Gemälde “De Rechtspleging van Graaf Willem de Goede” von Nicolaes van Galen’, Mouseion. Cologne, 1960.

GEEST, VAN

Wassenbergh, A. ‘Wybrand Simonsz van Geest’ in De portretkunst in Friesland in de zeventiende eeuw. Lochem, 1967.

GELDER, DE

Lilienfeld, K. Arent de Gelder. The Hague, 1914. Monograph with œuvre catalogue.

Lilienfeld, K. ‘Neues über Leben und Werke Aert de Gelder’, Kunstchronik und Kunstmarkt, 30–1 (1918–9).

Sumowski Gemälde. Vols. 2, 5, 6: ‘Aert de Gelder’.

Moltke, J. W. von, et al. Arent de Gelder: Dordrecht 1645–1727, ed. K. L. Belkin. Doornspijk, 1994. Standard monograph and catalogue.

GHEYN 11, DE

Regteren Altena, I. Q. van. Jacques de Gheyn. An Introduction to the Study of his Drawings. Amsterdam, 1935.

Bergstrom, I. ‘De Gheyn as a Vanitas Painter’, O.H., 85 (1970).

Judson, J. R. The Drawings of Jacob de Gheyn II. New York, 1973.

Regteren Altena, I. Q. van. Jacques de Gheyn. Three Generations. 3 vols. The Hague-Boston-London, 1983. Standard study, with catalogues of works by Jacques I, Jacques II, and Jacques III.

GOLTZIUS

Hirschmann, O. Hendrick Goltzius als Maler 1600–1617. The Hague, 1916.

Hirschmann, O. Hendrick Goltzius (Meister der Graphik series). Leipzig, 1919. Study of the prints.

Reznicek E. K. J. ‘Het begin van Goltzius’ loopbaan als schilder’, O.H., 75 (1960).

Reznicek, E. K. J. Die Zeichnungen von Hendrick Goltzius. 2 vols. Utrecht, 1961. Indispensable monograph and catalogue of the drawings. Includes a discussion of the artistic scene in the Netherlands around 1600.

Strauss, W. L. Hendrik Goltzius, 1558–1617; the Complete Engravings and Woodcuts. 2 vols. New York, 1977.

Bialer, N. A. Chiaroscuro Woodcuts. Hendrik Goltzius (1558–1617) and His Time, exh. cat., Amsterdam-Cleveland, 1992–3.

Nichols, L. W. ‘The “Pen Works” of Hendrik Goltzius’, Philadelphia Museum of Art Bulletin, 88, nos. 373–4 (1993).

N. K. J., 42–3 (1991–2). The double volume is dedicated to Goltzius; includes documents, an exhaustive bibliography, and more than a dozen articles on aspects of his and his contemporaries’ work.

Reznicek, E. K. J., Goltzius Drawings Rediscovered 1962–1992. New York, 1993. Supplement to the author’s catalogue raisonné of 1961.

GOUDT

Reitlinger, H. S. ‘Hendrik, Count Goudt’, Print Collectors Quarterly, 8 (1921).

Weizsäcker, H. ‘Hendrick Goudt’, O.H., 45 (1928).

Hoek, D. ‘Biografische bijzonderheden over Hendrik Goudt (1583–1648)’, O.H., 85 (1970).

Also see K. Andrews, Adam Elsheimer: Paintings-Drawings-Prints. London, 1977, passim, for a discussion of Goudt’s seven prints after Elsheimer.

GOYEN, VAN

Bredius, A. ‘Jan Josephszoon van Goyen. Nieuwe bijdragen tot zijne biographie’, O.H., 14 (1896).

Lugt, F. Catalogue des œuvres de Jan van Goyen réunies par Fred. Muller & Cié au Musée Communal de la ville d’Amsterdam. Amsterdam, 1903. Pioneer work.

HdG. Vol. 8, ‘Jan van Goyen’.

Volhard, H. Die Grundtypen der Landschaftsbilder Jan van Goyens und ihre Entwicklung. Frankfurt a. M., 1927.

Gelder, J. G. van. ‘Pennetegringer af Jan van Goyen’, Kunstmusetts Aarsskrift, 24 (1937). Study of the early drawings.

Waal, H. van de. Jan van Goyen (Palet Serie). Amsterdam, 1941. Sensitive appraisal.

Beck, H.-U. ‘Jan van Goyens Handzeichnungen als Vorzeichnungen’, O.H., 72 (1957).

Beck, H.-U. Ein Skizzenbuch von Jan van Goyen. The Hague, 1961.

Dobrzycka, A. Jan van Goyen, Poznan, 1966.

Beck, H.-U. Jan van Goyen 1596–1656. Ein Oeuvreverzeichnis, vols. 1 & 2, Amsterdam, 1972; vol. 3, Doornspijk, 1987; vol. 4, Die Künstler urn Jan van Goyen, Doornspijk, 1991. Standard catalogue raisonné of the artist’s prodigious production as painter and draughtsman, and of works by the many landscapists in his circle.

GREBBER, PIETER DE

Bloch, V. ‘Haarlemer klassizisten’, O.H., 57 (1940).

Thiel, P. J. J. van. ‘De Grebbers regels van de kunst’, O.H., 80 (1965).

Dirkse, P. ‘Pieter de Grebber: Haarlems schilder tussen begijnen, kloppen en pastoors’, Jaarboek Haarlem (1978).

HAAGEN, VAN DER

Haggen, J. K. van der. De schilders van der Haagen en hun werk. Met catalogus van de schilderijen en teekeningen van Joris van der Haagen. Voorburg, 1932.

HACKAERT

HdG. Vol. 9, ‘Johannes Hackaert’.

Pfister, M. ‘Trasimenischer See oder Zürichsee? Zu einem Gemälde von Jan Hackaert im Rijksmuseum Amsterdam’, Bulletin van het Rijksmuseum, 20 (1972).

Solar, G. Jan Hackaert. Die schweizer Ansichten: 1653–1656. Zeichnungen eines niederländischen Malers als frühe Bilddokutnente der Alpenlandschaft. Zurich, 1981. Authoritative study of the Swiss views with fine facsimilies.

HALS, DIRCK

Bürger, W. [É. J. T. Thoré]. ‘Dirk Hals et les fils de Frans Hals’, G.B.A., 25(1868).

Bredius, A. ‘Archiefsprokkels betreffende Dirck Hals’, O.H., 41 (1923–4).

Schatborn, P. ‘Olieverfschetsen van Dirck Hals’, Bulletin van het Rijksmuseum, 21 (1973).

HALS, FRANS

1. Documents and Literary Sources

Thiel-Stroman, I. van. ‘The Frans Hals Documents: Written and Printed Sources, 1582–1679’, in Hals 1989–90. Transcription and commentary, with full bibliographical references, of all the known written documents and printed texts related to the artist and his family. Includes hitherto unpublished documents.

Houbraken, A. De groote schouburgh, 1. Amsterdam, 1718. The Dutch edition of Hals 1989–90 transcribes Houbraken’s biography. English, French, and German translations are in editions of the catalogue published in those languages.

2. Painting Catalogues

Moes, E. W. Frans Hals, sa vie et son œuvre. Brussels, 1909.

HdG. Vol. 3, ‘Frans Hals’.

Bode, W. von, and Binder, M. J. Frans Hals. 2 vols. Berlin, 1914.

Valentiner, W. R. Frans Hals (Klassiker der Kunst). 2nd ed. Berlin-Leipzig, 1923. Valentiner published additions to his corpus in Art in America, 16 (1928), 23 (1935).

Valentiner, W. R. Frans Hals Paintings in America. Westport, Connecticut, 1936.

Trivas, N. S. The Paintings of Frans Hals. New York, 1941.

Slive, S. Frans Hals. 3 vols. London-New York, 1970–4. Monograph and catalogue raisonné; includes a discussion of drawings variously attributed to Hals. The critical review by B. P. J. Broos (Simiolus, 10 [1978–9]) introduces new data and fresh observations.

Montagni, E. C. Tout I’œuvre peint de Frans Hals. Paris, 1976 (trans, by S. Darses of Italian ed., Milan, 1974).

Grimm, C. Frans Hals, Das Gesamtwerk. Stuttgart-Zurich, 1989. For comments on this volume see Chap. 4, Note 11 above.

3. Monographs and Studies

Bürger, W. [É. J. T. Thoré]. ‘Frans Hals’, G.B.A., 24 (1868). Pioneer study that helped establish Hals’s international reputation.

Bode, W. Frans Hals und seine Schule. Leipzig, 1871. Bode’s dissertation. Reprinted in Jahrbuch für Kunstwissenschaft, 4 (1871).

Bredius, A. ‘Heeft Frans Hals zijn vrouw geslagen?’, O.H., 39 (1921). Establishes that Frans Cornelisz Hals, a weaver, not Frans Fransz Hals, the painter, was asked to appear before the Haarlem authorities for cruelty to his wife.

Schmidt-Degener, F. Frans Hals. Amsterdam, 1924.

Dülberg, F. Frans Hals: ein Leben und ein Werk. Stuttgart, 1930.

Baard, H. P. Frans Hals, the Civic Guard Portrait Groups. Amsterdam-Antwerp, 1949. Translation of Dutch ed. of 1948.

Valkenburg, C. C. van. ‘De Haarlemse schuttersstukken I: Maaltijd van officieren van de Sint Jorisdoelen (Frans Hals, 1616). Identificatie der voorgestelde schuttersofficieren’, Haerlem Jaarboek 1958. Haarlem, 1959; ‘De Haarlemse schuttersstukken 4: Maaltijd van officieren van de Sint Jorisdoelen (Frans Hals, 1627); 5: Maaltijd van officieren van de Cluveniersdoelen (Frans Hals, 1627); 6: Officieren en onderofficieren van de Cluveniersdoelen (Frans Hals, 1633); 7: Officieren en onderofficieren van de Sint Jorisdoelen (Frans Hals, 1639)’, Haerlem Jaarboek 1961. Haarlem, 1962. Publication of documents identifying most of the officers in the group portraits Hals painted of Haarlem’s civic guards.

Linnik, I. ‘Newly Discovered Paintings by Frans Hals’, Iskusstvo, no. 10 (1959) (Russian text). Publication of Hals’s St Luke and St Matthew at Odessa. Also see Linnik’s note in Soobchenüa Gosudarstvennogo Ermitazha, 17 (1960) (Russian text).

Jongh, E. de, and Vinken, P. J. ‘Frans Hals als voortzetter van een emblematische traditie’, O.H., 76 (1961). On emblematic meanings in Hals’s Portrait of a Married Couple (Amsterdam).

Slive, S. ‘Frans Hals Studies’, O.H., 76 (1961).

1. Juvenalia; 2. St Luke and St Matthew at Odessa; 3. Jan Franszoon Hals.

Thiel, P. J. J. van. ‘Frans Hals portret van de leidse rederijkersnar Pieter Cornelisz. van der Morsch alias Piero (1543–1628)’, O.H., 76 (1961). On the iconography of the portrait of van der Morsch at Pittsburgh.

Frans Hals, exh. cat., Haarlem, 1962 (introd. H. P. Baard; cat. S. Slive).

Slive, S. Frans Hals: Das Festmahl der St. Georgs-Schützengilde, 1616. Stuttgart, 1962.

Slive, S. ‘On the Meaning of Frans Hals’ Malle Babbe’, B.M., 105 (1963).

Vinken P. J., and Jongh, E. de. ‘De boosaardigheid van Hals’ regenten en regentessen’, O.H., 78 (1963). A valuable history of the criticism of Hals’s late group portraits, but the authors’ argument that portraitists cannot portray even an aspect of a sitter’s character is not convincing.

Kauffmann, H. ‘Die Schützenbilder des Frans Hals’, in Walter Friedlaender zum go. Geburtstag. Berlin, 1965.

Grimm, C. ‘Frans Hals und seine ‘Schule”,’ Münchner Jahrbuch der bildenden Kunst, 22 (1971). For a review of the author’s effort to ascribe paintings to the ‘Fisherchildren Master’, Judith Leyster, Jan Hals, and Frans Hals the Younger see Slive 1970–4, 3, under cat. no. 155.

Grimm, C. Frans Hals. Entwicklung, Werkanalyse, Gesamtkatalog. Berlin, 1972. Includes a chronological list of works accepted by the author.

Boot, M. ‘Uber Willem van Heythuysen, seinen Nachlass und die symbolische Bedeutung des Porträts von Frans Hals in München’, Pantheon, 31 (1973).

Jowell, F. S. ‘Thoré-Bürger and the Revival of Frans Hals’, The Art Bulletin, 56 (1974).

Eeghen, I. H. van. ‘Pieter Codde en Frans Hals’, MaandbladAmstelodamum, 61 (1974). Includes a review of Slive 1970–4.

Grimm, C. ‘St Markus von Frans Hals’, Maltechnik/Restauro, 1 (1974). Publication and report of the restoration of Hals’s St Mark.

Baard, H. P. Frans Hals, trans. George Stuyk. New York-London, 1981.

Damsté, P. H. ‘De geschiedenis van het portret van Jaspar Schade door Frans Hals’, O.H., 99 (1985).

Hals 1989–90 (Slive, S., e! al., Frans Hals, exh. cat., Washington-London-Haarlem, 1989–90). Includes articles by P. Biesboer (Haarlem portraitists and their patrons), B. M. du Mortier (costume in Hals), F. Jowell (the rediscovery of Hals), K. Levy-van Halm (Hals as militiaman and painter), M. Bijl (‘The Meagre Company’ and Hals’s working method), K. Groen and E. Hendriks (report on technical examinations of Hals’s paintings), and I. van Thiel-Stroman’s compilation of the Hals documents.

Kohler, N., and Levy-van Halm, K. Frans Hals. Militia Pieces. Antwerp, 1990.

HANNEMAN

Kuile, O. ter. Adriaen Hanneman 1604–1671; een Haags portretschilder. Alphen aan den Rijn, 1976.

HEDA

Gelder, H. E. van. W. C. Heda, A. van Beyeren, W. Kalf (Palet Serie). Amsterdam, 1941.

HEEM, DE

Toman, H. ‘Uber die Malerfamilie De Heem’, Repertorium für Kunstwissenschaft, 11 (1888).

Bergstrom, I. ‘De Heem’s Painting of His First Dutch Period’, O.H., 71 (1956).

Mirimonde, A. P. de. ‘Musique et symbolisme chez Jan-Davidszoon de Heem, Cornelis-Janszoon et Jan II Janszoon de Heem’, Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen, 10 (1970).

Segal, S. Jan Davidsz de Heem en zijn kring, exh. cat., Utrecht-Braunschweig, 1991.

HELST, VAN DER

Gelder, J. J. de. Bartholomeus van der Heist. Rotterdam, 1921. Monograph with centre catalogue.

HELT STOCKADE, VAN

Moes, E. W. ‘Nicolaes van Helt Stocade’, Amsterdamsch jaarboekje (1902).

Demonts, L. ‘Nicolas van Helt Stockade. Nimêgue 1614, enterré à Amsterdam le 26 Nov. 1669’, Revue de I’Art Ancien, 68 (1935).

HEYDEN, VAN DER

Breen, J. C. ‘Jan van der Heyden’, Jaarboek van het genootschap Amstelodamum, 11 (1913).

Bode, W. von. ‘Jan van der Heyden’, Zeitschrift für bildende Kunst, 26 (1915)-

HdG. Vol. 8, ‘Jan van der Heyden’.

Jan van der Heyden, exh. cat., Amsterdam Historical Museum, Amsterdam, 1937.

Kleyn, A. R. ‘Jan van der Heyden’, Sibbe, 2 (1944).

Wagner, H. Jan van der Heyden: 1637–1712. Amsterdam-Haarlem, 1971. Monograph with œuvre catalogue.

Vries, L. at. Jan van der Heyden. Amsterdam, 1984.

HOBBEMA

Michel, E. Hobbema et les paysagistes de son temps en Hollande. Paris, 1890.

HdG. Vol. 4, ‘Meindert Hobbema’.

Bredius, A. ‘Uit Hobbema’s laatste levensjaren’, O.H., 28 (1910), also cf. 29 (1911); 33 (1915).

Rosenberg, J. ‘Hobbema’, Jahrb. P.K., 48 (1927).

Broulhiet, G. Meindert Hobbema. Paris, 1938. Many unconvincing attributions; see the critical review by K. E. Simon, Zeitschrift für Kunstgeschichte, 9 (1940). Remains useful for its numerous illustrations.

Gerson, H. ‘Een Hobbema van 1665’, Kunsthistorische Mededeelingen van het Rijksbureau voor Kunsthistorische Documentatie, 2 (1947). Relation of some landscapes to one dated 1665 (Zurich, Ruzicka Collection).

Stechow, W. ‘The Early Years of Hobbema’, A.Q., 22 (Spring 1959). Important study on the artist’s early development.

Imdahl, M. ‘Ein Beitrag zu Meindert Hobbemas Allee von Middelharnis’, Festschrift Kurt Badt. Berlin, 1961.

HONDECOETER, DE

Bredius, A. ‘De schilders Melchior de Hondecoeter en Johan le Ducq’, Archief voor Nederl. Kunstgeschiedenis, ed. F. D. O. Obreen, 5 (1882–3).

HONTHORST, VAN

Hoogewerff, G. J. Gherardo delle Notti. Rome, 1924.

Millar, O. ‘Charles I, Honthorst, and Van Dyck’, B.M., 96 (1954).

Reznicek, E. K. J. ‘Een vroeg portret van Gerard van Honthorst’, O.H., 70(1955).

Judson, J. R. Gerrit van Honthorst. A Discussion of His Position in Dutch Art. The Hague, 1959.

Braun, H. Gerard und Willem van Honthorst. Gottingen, 1966.

Reznicek, E. K. J. ‘Hont Horstiana’, N. K. J., 23 (1972).

Meyere, J. A. L. de. ‘Nieuwe gegevens over Gerard van Honthorst’s beschilderd plafond uit 1622’, Jaarboek Oud-Utrecht (1976).

HOOCH, DE

HdG. Vol. 1, ‘Pieter de Hooch’.

Baker, C. H. C. Pieter de Hooch. London, 1925.

Valentiner, W. R. ‘Pieter de Hooch’, Art in America, 15 (1927).

Valentiner, W. R. ‘Dutch Genre Painters in the Manner of de Hooch’, Art in America, 17 (1928).

Valentiner, W. R. Pieter de Hooch (Klassiker der Kunst). Stuttgart, 1929.

Thienen, F. van. Pieter de Hooch (Palet Serie). Amsterdam, 1945.

Sutton, P. C. Pieter de Hooch, Complete Edition. Ithaca-Oxford, 1980. Standard monograph and catalogue; includes a discussion of his followers.

HOOGHE, DE

Henkel, M. D. ‘Romeijn de Hooghe’, Maandblad voor beeldende Kunsten, 3 (1926).

Landwehr, J. Romeyn de Hooghe (1645–1708) as Book Illustrator; A Bibliography. Amsterdam, 1970.

Landwehr, J. Romeyn de Hooghe the Etcher. Leiden, 1972. Catalogue of prints other than book illustrations.

Wilson, W. H. The Art of Romeyn de Hooghe: An Atlas of European Late Baroque Culture (diss.). Cambridge, Massachusetts, 1974.

Wilson, W. H. ‘ “The Circumcision.” A Drawing by Romeyn de Hooghe’, Master Drawings, 13 (1975).

HOOGSTRATEN, VAN

Kronig, J. O. ‘Zwei Selbstbildnisse von Samuel van Hoogstraeten’, Kunstchronik, 25 (1914).

Valentiner, W. R. ‘Rembrandt and Samuel van Hoogstraeten’, Art in America, 18 (1930).

Richardson, E. P. ‘Samuel van Hoogstraeten and Carel Fabritius’, Art in America, 25 (1937). On their preoccupation with problems of perspective.

Sumowski Gemälde. Vols. 2, 5, 6: ‘Samuel van Hoogstraten’.

Abbing, M. R. De schilder en schrijver Samuel van Hoogstraten (1627–1678). Eigentijdse bronnen en oeuvre van gesigneerde schilderijen. Leiden, 1993.

Also see entries above under II. B. SOURCES AND EIGHTEENTH-CENTURY LITERATURE.

HORST

Bredius, A. ‘Gerrit Willemsz Horst’, O.H., 50 (1933).

Valentiner, W. R. ‘Zum Werk Gerrit Willemsz Horst’s’, O.H., 50 (1933).

Sumowski Gemälde. Vols. 2, 5, 6: ‘Gerrit Willemsz Horst’.

HOUCKGEEST

Blade, T. T. ‘Two Interior Views of the Old Church in Delft’ [G. Houckgeest and E. de Witte], Museum Studies, 6 (1971).

Vries, L. de. ‘Gerard Houckgeest’, Jahrbuch der Hamburger Kunstsammlungen, 20 (1975).

Wheelock, A. K., Jr. ‘Gerard Houckgeest and Emanuel de Witte: Architectural Painting in Delft around 1650’, Simiolus, 8 (1975–6).

HUYSUM, VAN

Schlie, F. ‘Sieben Briefe und eine Quittung von Jan van Huijsum’, O.H., 18 (1900).

HdG. Vol. 10, ‘Jan van Huysum’.

Grant, M. H. Jan van Huysum 1682–1749, including a catalogue raisonné of the artist’s fruit and flower paintings. Leigh-on-Sea, 1954.

White, C. The Flower Drawings of Jan van Huysum. Leigh-on-Sea, 1964.

JACOBSZ

Straat, H. L. ‘Lambert Jacobsz, schilder’, De Vrije Fries, 28 (1925).

Wijnman, H. F. ‘Nieuwe gegevens omtrent den schilder Lambert Jacobsz’, O.H., 47 (1930).

Halbertsma, M. ‘Lambert Jacobsz, een Amsterdammer in Leeuwarden’, De Vrije Fries, 52 (1972).

JARDIN, DU

HdG. Vol. 9, ‘Karel du Jardin’.

Marguery, H. ‘Les animaux dans l'œuvre de Karel Du Jardin’, Amateur, 4 (1925).

Knoef, J. ‘Het etswerk van Karel Du Jardin’, Elsevier’s geillustreerd maandschrift, 73 (1927).

Brochhagen, E. ‘Karel Dujardins spate Landschaften’, Bulletin Musées des Beaux Arts, 6 (1957).

Brochhagen, E. Karel Dujardin. Cologne, 1958.

JONGH, CLAUDE DE

Hayes, J. ‘Claude de Jongh’, B.M., 98 (1956).

Bok, M. J. ‘Claude de Jongh, “Painter Sorely Incapacitated in His Arms”,’ Hoogsteder-Naumann Mercury, 10 (1989).

JONGH, LUDOLF DE

Haverkorn van Rijsewijk, P. ‘Ludolf de Jongh’, O.H., 14 (1896).

Fleischer, R. E. ‘Ludolf de Jongh and the Early Work of Pieter de Hooch’, O.H., 92 (1978).

Fleischer, R. E. Ludolf de Jongh (1616–1679). Painter of Rotterdam. Doornspijk, 1989.

JONSON VAN CEULEN

Finberg, A. ’A Chronological List of Portraits by Cornelius Johnson or Jonson’, Walpole Society, 10 (1921–2).

JOUDERVILIE

Hofstede de Groot, C. ‘Isaac de Jouderville, leerling van Rembrandt?’, O.H., 17 (1899).

Wetering, E. van de. ‘Isaac Jouderville, a Pupil of Rembrandt’, in The Impact of a Genius. Rembrandt, his Pupils and Followers in the Seventeenth Century, exh. cat., K. & V. Waterman, Amsterdam-Groninger Museum, Groningen, 1983.

Sumowski Gemälde. Vols. 2, 5, 6: ‘Isaac de Jourdreville’.

KALF

Blok, I. ‘Willem Kalf’, Onze Kunst, 18 (1919).

Gelder, H. E. van. W. C. Heda, A. van Beyeren, W. Kalf (Palet Serie). Amsterdam, 1941.

Gelder, H. E. van. ‘Aanteekeningen over Willem Kalf en Cornelia Pluvier’, O.H., 59 (1942).

Luttervelt, R. van. ‘Aanteekeningen over de ontwikkeling van Willem Kalf, O.H., 60 (1943).

Grisebach, L. Willem Kalf 1619–1693. Berlin, 1974 Monograph and œuvre catalogue.

KEIL see KEILHAU

KEILHAU (also called MONSU BERNARDO)

Longhi, R. ‘Monsù Bernardo’, Critica d’Arte, 3 (1938).

Bloch, V. ‘ “Monsù Bernardo” in het Mauritshuis’, Maandblad voor beeldende Kunsten, 22 (1946).

Sumowski Gemalde. Vol. 3: ‘Bernhard Keil’.

Heimbürger, M. Bernardo Keilhau detto Monsü Bernardo. Rome, 1988. Monograph and catalogue; includes a transcription of Baldinucci’s lengthy biography of the artist published in 1728.

KESSEL, VAN

Davies, A. I. Jan van Kessel (1641–1680). Doornspijk, 1992. Monograph and detailed catalogue of paintings and drawings.

KETEL

Stechow, W. ‘Cornelis Ketels Einzelbildnisse’, Zeitschrift für bildende Kunst, 63 (1929–30).

Judson, J. R. ‘A New Insight into Cornelis Ketel’s Method of Portraiture’, Master Drawings, 1 (1963).

KEYSER, DE

Oldenbourg, R. Thomas de Keysers Tatigkeit als Maler. Leipzig, 1911.

Adams, A. Jensen. The Paintings of Thomas de Keyser (1596/97–1667). A Study of Portraiture in Seventeenth-Century Amsterdam (diss). 3 vols. Cambridge, Massachusetts, 1985.

KICK

Bredius, A., and Bode, W. von. ‘Der amsterdamer Genremaler Symon Kick’, Jahrb. P.K., 10 (1889).

KNÜPFER

Weizsäcker, H. ‘Nikolaus Knüpfer und Adam Elsheimer’, Repertorium für Kunstwissenschaft, 21 (1898).

Willnau, C. ‘Von Elsheimer’s Contento zu Knüpfer’s Contentement’, Zeitschrift für bildende Kunst, 65 (1931–2).

Brinkhuis, G. ‘Nieuwe gegevens over den kunstschilder Nicolaus Knupfer’, Jaarboekje van Oud Utrecht (1935).

Kuznetsov, Y. I. ‘Nikolaus Knüpfer’, Trudy Gosudarstvennogo Ermitazha, 8 (1964) (Russian text). Comprehensive study with œuvre catalogue. The author published a revised Dutch version in O.H., 88 (1974).

KOBELL

Obreen, F. D. O. ‘De Hollandsche tak der schildersfamilie Kobell’, Archief voor Nederl. Kunstgeschiedenis, 7 (1888–90).

KONINCK, PHILIPS

Falck, G. ‘Einige Bermerkungen über Philips Konincks Tatigkeit als Zeichner’, Festschrift fur Max J. Friedlaender. Leipzig, 1927.

Gerson, H. Philips Koninck. Berlin, 1936. Standard monograph with catalogue of paintings and drawings. Reprint, Berlin, 1980.

Thiel, P. J. J. van. ‘Philips Konincks vergezicht met hutten aan de weg’, Bulletin van het Rijksmuseum, 15 (1967).

Sumowski Gemälde. Vols. 3, 5, 6: ‘Philips Koninck’.

KONINCK, SALOMON

Sumowski Gemdlde. Vols. 3, 5, 6: ‘Salomon Koninck’.

LAER, VAN (BAMBOCCIO)

Hoogewerff, G. J. ‘Pieter van Laer en zijn vrienden’, O. H., 49 (1932), 50 1933).

Briganti, G. ‘Pieter van Laer e Michel Cerquozzi’, Proporzione, 3 (1950).

Janeck, A. Untersuchung über den holländischen Maler Pieter van Laer, genannt Bamboccio (diss.).Würzburg, 1968.

Blankert, A. ‘Over Pieter van Laer als dier- en landschapschilder’, O. H., 83 (1968).

Levine, D. A. ‘Pieter van Laer’s “Artists’s Tavern”: An Ironic Commentary on Art’, Holländische Genremalerei im 17. Jahrhundert, Symposium, Berlin, 1984, Jahrbuch Preussischer Kulturbesitz, Sonderband 4 (1987).

Also cf. entries above under II. 1. 3. Italianate Painters and the Bentvueghels.

LAIRESSE

Timmers, J. J. M. Gérard Lairesse. Vol. 1, Amsterdam, 1942. The subsequent volume of this useful work was not published.

Snoep, D. P. ‘Gerard Lairesse als plafond- en kamerschilder’, Bulletin van het Rijksmuseum, 18 (1970).

Roy, A. Gerard Lairesse. 1640–1711. Paris, 1992.

Also cf. entries above under II. B. SOURCES AND EIGHTEENTH-CENTURY LITERATURE.

LASTMAN

Freise, K. Pieter Lastman, sein Leben und seine Kunst. Leipzig, 1911.

Müller, C. ‘Studien zu Lastman und Rembrandt’, Jahrb. P. K., 50 (1929).

Rijckevorsel, J. L. A. A. M. van. ‘Lastmaniana’, O.H., 51 (1934).

Sjtsjerbatsjewa, M. ‘Pieter Lastman’s Gemalde in der Ermitage’, Musée Hermitage, 1 (1940); Russian text with a German summary.

Welcker, A. ‘Pieter Lastman als teekenaar van landschap en figuur’, O. H., 62 (1947).

Bauch, K. ‘Frühwerke Pieter Lastmans’, Münchener Jahrbuch der bildenden Kunst, 2 (1951).

Walicki, M. ‘Lastmaniana’, Biuletyn Historii Sztuki, 16 (1954).

Bauch, K. ‘Handzeichnungen Pieter Eastmans’, Münchener Jahrbuch der bildenden Kunst, 6 (1955).

Bauch, K. ‘Entwurf und Komposition bei Pieter Lastman’, Münchener Jahrbuch der bildenden Kunst, 6 (1955).

Wittrock, I. ‘Abraham’s Calling. A Motif in Some Paintings by Pieter Lastman and Claes Moeyaert’, Konsthistorisk Tidskrift, 43 (1974).

Dudok van Heel, S. A. C. ‘Waar woonde en werkte Pieter Lastman (1583–1633)?’, Maandblad Amstelodamum, 62 (1975).

Broos, B. P. J. ‘Rembrandt and Lastman’s Coriolanus: the History Piece in 17th Century Theory and Practice’, Simiolus, 8 (1975–6).

Tümpel, A. ‘“Ruth erklart Naomi die Treue” von Pieter Lastman. Zur Genese eines typischen Barockthemas’, Niederdeutsche Beitrage zur Kunstgeschichte, 17 (1978).

Tümpel, A., Schatborn, P., et al. Pieter Lastman, the Man who taught Rembrandt, exh. cat., Rembrandthuis, Amsterdam, 1991. Text in English and Dutch; with an extensive bibliography of earlier literature.

LEVECK

Sumowski Gemälde. Vols. 3, 5, 6: ‘Jacobus Levecq’.

LEYSTER

Hofstede de Groot, C. ‘Judith Leyster’, Jahrb. P.K., 14 (1893).

Bredius, A. ‘Een conflict tusschen Frans Hals en Judith Leyster’, O.H., 35 (1917).

Schneider, A. von. ‘Gerard Honthorst und Judith Leyster’, O.H., 40 (1922).

Harms, J. ‘Judith Leyster. Ihr Leben und ihr Werk’, O.H., 44 (1927). Publication of a dissertation in five articles which is to be used with caution.

Neurdenberg, E. ‘Judith Leyster’, O.H., 46 (1929).

Wijnman, H. F. ‘Het geboortejaar van Judith Leyster’, O.H., 49 (1932).

Hofrichter, F. F. Judith Leyster. A Woman Painter in Holland’s Golden Age. Doornspijk, 1989.

Welu, J. A., Biesboer, P., et al. Judith Leyster: A Dutch Master and Her World, exh. cat., Haarlem-Worcester, 1993. Includes biographies and essays on the artist and her Haarlem contemporaries; also has entries on a group of works traditionally given to Leyster which the organizers reject.

LIEVENS

Schneider, H. Jan Lievens, sein Leben und seine Werke. Haarlem, 1932. Reprinted, with a supplement by R. E. O. Ekkart, Amsterdam, 1973. Standard monograph with œuvre catalogue.

Simon, K. E. ‘Beiträge zur Malerei des Rembrandtkreises: I. Lievens und Ter Brugghen’, Zeitschrift für Kunstgeschichte, 5 (1936).

Gerson, H. ‘Twee vroege studies van Jan Lievens’, O.H., 69 (1954).

Michalkowa, J. ‘Les tableaux de Jan Lievens dans les collections polonaises’, Biuletyn Historii Sztuki, 18 (1956).

Schendel, A. van. ‘Het portret van Constantijn Huygens door Jan Lievens’, Bulletin van het Rijksmuseum, 11 (1963).

Bauch, K. ‘I. Zum Werk des Jan Lievens’, Pantheon, 25 (1967), 160 ff.; 2, ibid., 259 ff.

Jan Lievens, ein Maler im Schatten Rembrandts, ed. R. Klessmann, exh. cat., Herzog Anton Ulrich-Museum, Braunschweig, 1979.

Sumowski Gemalde. Vols. 3, 5, 6: ‘Jan Lievens’.

Schatborn, P., and Ornstein-van Slooten, E. Jan Lievens 1607–1674. Prints and Drawings, exh. cat., Rembrandthuis, Amsterdam, 1988–9.

Also see entries below under RIJN, REMBRANDT VAN, 7. Special Studies, A. THE LEIDEN YEARS (1625–31).

LINGELBACH

Burger-Wegener, C. Johannes Lingelbach 1622–1674. Berlin, 1976.

Kren, T. J. ‘Johannes Lingelbach in Rome’, The J. Paul Getty Museum Journal, 10 (1982).

LISS

Steinbart, K. Johann Liss. Vienna, 1946.

Johann Liss, exh. cat., Augsburg-Cleveland Museum of Art, 1975–6.

LOO, VAN

Schneider, A. von. ‘Jacob van Loo’, Zeitschrift für bildende Kunst, 59 (1925–6).

Watering, W. L. van de. ‘On Jacob van Loo’s “Portrait of a Young Woman”,’ Minneapolis Institute Art Bulletin, 63 (1976–7).

LYS see LISS

MAES

Veth, G. H. ‘Aanteekeningen omtrent eenige Dordrechtsche schilders: 18. Nicolaes Maes’, O.H., 8 (1890).

HdG. Vol. 6, ‘Nicolaes Maes’.

Valentiner, W. R. ‘Early Drawings by Nicolaes Maes’, B.M., 43 (1923).

Bredius, A. ‘Bijdragen tot een biografie van Nicolaes Maes’, O.H., 41 (1923–4).

Valentiner, W. R. Nicolaes Maes. Stuttgart-Berlin-Leipzig, 1924.

Slive, S. ‘A Family Portrait by Nicolaes Maes’, Annual Report of the Fogg Art Museum 1957–1958 (1959). On a work datable c.1680.

Walsh, J., Jr. ‘The Earliest Dated Painting by Nicolaes Maes’, Metropolitan Museum Journal, 6 (1972).

Robinson, W. ‘ “The Sacrifice of Isaac”: an unpublished painting by Nicolaes Maes’, B.M., 126 (1984).

Sumowski Gemalde. Vols. 3, 5, 6: ‘Nicolaes Maes’.

Robinson, W. W. ‘The “Eavesdroppers” and Related Paintings by Nicolaes Maes’, Holländische Genremalerei im 17. Jahrhundert, Symposium, Berlin, 1984, Jahrbuch Preussischer Kulturbesitz, Sonderband 4 (1987).

Robinson, W. W. ‘Nicolaes Maes: Some Observations on His Early Portraits’, Rembrandt and His Pupils, Papers given at a Symposium in Nationalmuseum, Stockholm, 2–3 October 1992, ed. G. Cavalli-Björkman, Stockholm, 1993.

MAN, DE

Briére-Misme, C. ‘Un emule de Vermeer et de Pieter de Hooch: Cornelis de Man’, O.H., 52 (1935).

MANCADAN

Kronig, J. O. ‘De schilder Mancadan’, Onze Kunst, 18 (1910).

Heppner, A. ‘J. S. Mancadan’, O.H., 51 (1934).

Wassenbergh, A. ‘Landschappen van J. S. Mancadan’, Vereeniging Rembrandt (1952–3).

Boschma, C. ‘Nieuwe gegevens omtrent J. S. Mancadan’, O.H., 81 (1966).

MANDER, VAN

Valentiner, E. Karel van Mander als Maler. Strassburg, 1930.

Regteren Altena, I. Q. van. ‘Carel van Mander’, Elsevier’s geïillustreerd maandschrift, 93 (1937).

Waal, H. van de. ‘Nieuwe bijzonderheden over Carel van Mander’s Haarlemsche tijd’, O.H., 54 (1937).

Miedema, H. Karel van Mander (1548–1606). Het bio-bibliografisch materiaal. Amsterdam, 1972.

Also cf. entries above under II. B. SOURCES AND EIGHTEENTH-CENTURY LITERATURE.

MEER, JOHANNES VAN DER, see VERMEER I (VAN HAARLEM), JAN

METSU

Kronig, J. O. ‘Gabriel Metsu’, La Revue de l’Art Ancien et Moderne, 25 (1909).

HdG. Vol. 1, ‘Gabriel Metsu’.

Plietzsch, E. ‘Gabriel Metsu’, Pantheon, 17 (1936).

Gils, J. B. F. van. ‘De Stockholmer “Smidse” van Gabriel Metsu’, O.H., 60 (1943).On the picture as an illustration of a proverb.

Regteren Altena, I. Q. van. ‘Gabriel Metsu as Draughtsman’, Master Drawings, 1 (1963).

Gabriel Metsu, exh. cat., De Lakenhal, Leiden, 1966.

Gudlaugsson, S. J. ‘Kanttekeningen bij de ontwikkeling van Metsu’, O.H., 83 (1968).

Schneede, U. M. ‘Gabriel Metsu und der holländische Realismus’, O.H., 83 (1968).

Robinson, F. W. Gabriel Metsu (1629–1667). A Study of His Place in Dutch Genre Painting of the Golden Age. New York, 1974.

MIEL

Kren, T. Jan Miel (1598–1664), a Flemish Painter in Rome. 3 vols. Ann Arbor, 1980.

MIEREVELD

Havard, H. Michiel van Mierevelt et son gendre. Paris, 1892.

MIERIS THE ELDER, FRANS VAN

HdG. Vol. 10, ‘Frans van Mieris’.

Naumann, O. ‘Frans van Mieris as a Draughtsman’, Master Drawings, 16 (1978).

Naumann, O. Frans van Mieris (1635–1681) the Elder. 2 vols. Doornspijk, 1981. Standard monograph and œuvre catalogue.

MIERIS, WILLEM VAN

HdG. Vol. 10, ‘Willem van Mieris’.

MIGNON

Kraemer-Noble, M. Abraham Mignon, 1640–79. Leigh-on Sea, 1973.

MITJENS

Kuile, O. ter. ‘Daniel Mijtens, “His Majesty’s Picture-Drawer”,’ N. K. J., 20 (1969).

MOEYAERT

Thiel, P. J. J. van. ‘Moeyaert and Bredero: a Curious Case of Dutch Theatre as Depicted in Art’, Simiolus, 6 (1972–3).

Tümpel, A. ‘Claes Cornelisz Moeyaert. Katalog der Gemalde’, O.H., 88 (1974).

Dudok van Heel, S. A. C. ‘De schilder Claes Moeyaert en zijn familie’, Jaarboek Amstelodamum, 68 (1976).

MOLENAER

Bode, W. von, and Bredius, A. ‘Der haarlemer Maler Johannes Molenaer in Amsterdam’, Jahrb. P.K., 11 (1890).

Bredius, A. ‘Jan Miense Molenaer. Nieuwe gegevens omtrent zijn leven en zijn werk’, O.H., 26 (1908).

Thiel, P. J. J. van. ‘Marriage Symbolism in a Musical Party by Jan Miense Molenaer’, Simiolus, 2 (1967–8).

Hinz, B. ‘Das Familienbildnis des J. M. Molenaer in Haarlem. Aspekte zur Ambivalenz der Porträtfunktion’, Städel-Jahrbuch, n.s. 4 (1973).

MOLYN

Granberg, O. Pieter de Molijn och Spåren af hans Konst. Stockholm, 1883.

Granberg, O. ‘Pieter de Molyn und seine Kunst’, Zeitschrift für bildende Kunst, 19 (1884).

MOREELSE

Jonge, C. H. de. Paulus Moreelse portret- en genreschilder te Utrecht, 1571–1638. Assen, 1938. Monograph with œuvre catalogue.

MUSSCHER, VAN

Thiel, P. J. J. van. ‘Michiel van Musscher’s vroegste werk naar aanleiding van zijn portret van het echtpaar Comans’, Bulletin van het Rijksmuseum, 17 (1969).

Thiel, P. J. J. van. ‘Andermaal Michiel van Musscher: zijn zelfportretten’, Bulletin van het Rijksmuseum, 22 (1974).

NEER, AERT VAN DER

Bredius, A. ‘Aernout (Aert) van der Neer’, O.H., 18 (1900), 28 (1910), 39 (1921).

HdG. Vol. 7, ‘Aert van der Neer’.

Kauffmann, H. ‘Die Farbenkunst von Aert van der Neer’, Festschrift Adolf Goldschmidt. Leipzig, 1923.

Seifertová-Korecká, H. ‘Das Genrebild des Aert van der Neer in Liberec’, O.H., 77 (1962).

Bachmann, F. Die Landschaften des Aert van der Neer. Neustadt an der Aisch, 1966.

Bachmann, F. ‘Die Herkunft der Frühwerke des Aert van der Neer’, O.H., 89 (1975).

Bachmann, F. Aert van der Neer. Bremen, 1982.

NEER, EGLON HENDRIK VAN DER

HdG. Vol. 5, ‘Eglon Hendrik van der Neer’.

NETSCHER

Bredius, A. ‘Een en ander over Casper Netscher’, O.H., 5 (1887).

HdG. Vol. 5, ‘Caspar Netscher’.

NOOMS (called ZEEMAN)

Knoef, J. ‘Reinier Nooms (1623–1667 of ‘68)’, Elsevier’s geïllustreerd maandschrift, 29 (1919).

OCHTERVELT

Valentiner, W. R. ‘Jacob Ochtervelt’, Art in America, 12 (1923–4).

Plietzsch, E. ‘Jacob Ochtervelt’, Pantheon, 20 (1937).

Kuretsky, S. Donahue. The Paintings of Jacob Ochtervelt (1634–1682). Oxford, 1979. Standard monograph with catalogue raisonné.

OEVER, TEN

Plietzsch, E. ‘Hendrick ten Oever’, Pantheon, 29 (1942).

Verbeek, J., and Schotman, J. W. Hendrick ten Oever. Een vergeten Over-ijssels meester uit de zeventiende eeuw. Zwolle, 1957.

OOSTERWIJCK

Bosboom-Toussaint, A. L. C. De bloemenschilderes Maria van Oosterwijck. Leiden, 1862.

Bredius, A. ‘Archiefsprokkelingen. Een en ander over Maria van Ooster-wyck, “vermaert Konstschilderesse”,’ O.H., 52 (1935).

Lindenburg, R. ‘Maria van Oosterwyck (1630–1693)’, Delftse vrouwen van vroeger door Delftse vrouwen van nu. Delft, 1975.

OS, VAN

Mitchell, P. Jan van Os: 1744–1808. Leigh-on-Sea, 1968.

OSTADE, ADRIAEN and ISACK VAN

Gaedertz, R. Adriaen van Ostade. Sein Leben und seine Kunst. Lübeck, 1869.

HdG. Vol. 3, ‘Adriaen van Ostade’.

HdG. Vol. 3, ‘Isack van Ostade’.

Rovinski, D., and Tchétchouline, N. L’Oeuvre gravé d’Adrien van Ostade. St Petersburg, 1912. Catalogue raisonné which later students have revised. Valuable for its 221 untouched phototypes of successive states of the etchings.

Bode, W. von. ‘Die beiden Ostade’, Zeitschrift für bildende Kunst, 27 (1916).

Trautscholdt, E. ‘Notes on Adriaen van Ostade’, B.M., 54 (1929).

Godefroy, L. L’Oeuvre gravé de Adriaen van Ostade. Paris, 1930.

Glück C. ‘Ein vlämischer Kopist Adriaen van Ostades’ (Victorijns)’, O.H., 49 (1932).

Scheyer, E. ‘Portraits of the Brothers van Ostade’, A.Q., 2 (1939).

Kuznetsov, Y. Catalogue of Adriaen van Ostade Exhibition held at the Hermitage (in Russian). Leningrad, 1960. First-rate introduction and critical catalogue.

Klessmann, R. ‘Die Anfänge des Bauerninterieurs bei den Brüdern Ostade’, Jahrbuch der Berliner Museen, 2 (1960).

Haak, B. ‘Adriaen van Ostade, landschap met oude eik’, Bulletin van het Rijksmuseum, 12 (1964).

Schnackenburg, B. ‘Die Anfänge des Bauerninterieurs bei Adriaen van Ostade’, O.H., 85 (1970).

Schnackenburg, B. Adriaen van Ostade. Isack van Ostade. Zeichnungen und Aquarelle. 2 vols. Hamburg, 1981. Standard monograph and catalogue raisonné.

Vogel, G. H. Adriaen van Ostade. Leipzig, 1989.

OVENS

Schmidt, H. Jürgen Ovens. Sein Leben und seine Werke. Kiel, 1922.

Schlüter-Göttsche, G. Jürgen Ovens. Ein schleswig-holsteinischer Barockmaler. Heide in Holstein, 1978.

Sumowski Gemälde. Vols. 3, 5, 6: ‘Jürgen Ovens’.

PAUDISS

Sumowski Gemälde. Vol. 4, 6: ‘Christoph Paudiss’.

PEETERS

Decoteau, P. H. Clara Peeters (1594-ca. 1640) and the Development of Still-Life Painting in Northern Europe. Lingen, 1992.

PICKENOY

Six, J. ‘Nicolaes Eliasz Pickenoy’, O.H., 4 (1886).

PLOOS VAN AMSTEL

Alten, F. von. Cornelis Ploos van Amstel. Kunstliebhaber und Kupferstecher. Leipzig, 1874.

Huffel, N. G. Cornelis Ploos van Amstel en zijne medewerkers en tijdgenooten. Utrecht, 1921.

Bye, A. E. ‘Ploos van Amstel’, Print Collectors’ Quarterly, 13 (1926).

Laurentius, T., Niemeijer, J. W., and Ploos van Amstel, G. Cornelis Ploos van Amstel, 1726–1798. Kunstverzamelaar en prentuitgever. Assen, 1980.

Ploos van Amstel, G. Portret van een koopman en uitvinder: Cornelis Ploos van Amstel. Assen, 1980.

PLUYM, VAN DER

Kronig, J. O. ‘Carel van der Pluijm. A Little Known Follower of Rembrandt’, B.M., 26 (1914–15).

Bredius, A. ‘Karel van der Pluym, neef en leerling van Rembrandt’, O.H., 48 (1931)

Sumowski Gemälde. Vol. 4: ‘Karel van der Pluym’.

POEL, VAN DER

Goldschmidt, A. ‘Egbert van der Poel und Adriaen van der Poel’, O.H., 40 (1922).

POELENBURGH

Frimmel, T. von. ‘Cornelis Poelenburg und seine Nachfolger’, Studien und Skizzen zur Gemäldekunde, 1 (1913–15); 2 (1915 – 16); 4 (1918–19); Neue Blätter für Gemäldekunde, 1 (1922–3).

Bautier, P. ‘Les peintres hollandais Poelenburg et Breenberg à Florence’, Etudes d’Art, 4 (1949).

Schaar, E. ‘Poelenburgh und Breenbergh in Italien und ein Bild Elsheimers’, Mitteilungen des Kunsthistorischen Institutes in Florenz, 9 (1959).

Chiarini, M. ‘Ipotesi sugli inizi di Cornelis van Poelenburgh’, N. K. J., 23 (1972).

Sluijter-Seijfert, N. C. Cornelis van Poelenburch (ca.1593–1667). Haarlem, 1984.

Chong. A. ‘The Drawings of Cornelius van Poelenburch’, Master Drawings, 25 (1987).

PORCELLIS

Bredius, A. ‘Johannes Porcellis, zijn leven, zijn werken’, O.H., 23 (1905).

Walsh, J., Jr. ‘The Dutch Marine Painters Jan and Julius Porcellis’ 1. ‘Jan’s Early Career’, B.M., 116 (1974); 2. ‘Jan’s Maturity and “de jonge Porcellis”,’ ibid.

Duverger, E. ‘Nadere gegevens over de Antwerpse periode van Jan Porcellis’, Jaarboek van het Koninklijk Museum voor Schone Kunsten Antwerpen, 16 (1976).

POST, FRANS

Smith, R. C, Jr. ‘The Brazilian Landscapes of Frans Post’, A.Q, 1 (1938).

Sousa-Leão, J. de. ‘Frans Post in Brazil’, B.M., 80 (1942).

Benisovich, M. ‘History of the “Tenture des Indes”,’ B.M., 83 (1943). On the tapestries made for Louis XIV.

Larsen, E. Frans Post. Amsterdam-Rio de Janeiro, 1962. The author’s thesis that Post’s pictorial effects were achieved by the use of a mechanical contraption is not convincing.

Sousa Leão, J. de. Frans Post 1612–1680. Amsterdam, 1973.

POST, PIETER

Blok, G. A. C. ‘Pieter Post, 1608–1669; der Baumeister der Prinzen von Oranien und des Fürsten Johann Moritz von Nassau-Siegen’, Siegerland. Blätter des Vereins für Heimatkunde und Heimatschutz im Siegerland samt Nachbargebieten (1936–7).

Gudlaugsson, S. J. ‘Aanvullingen omtrent Pieter Post’s werkzaamheid als schilder’, O.H., 69 (1954).

POT

Bredius, A., and Haverkorn van Rijsewijk, P. ‘Hendrick Gerritsz Pot’, O.H, 5 (1887).

POTTER

Westrheene, T. van. Paulus Potter, sa vie et ses oeuvres. The Hague, 1867. Michel, É. Paul Potter. Paris, 1907.

HdG. Vol. 4, ‘Paulus Potter’.

Arps-Aubert, R. von. Die Entwicklung des reinen Tierbildes in der Kunst Paulus Potter. Halle, 1932.

Borenius, T. ‘Paulus Potter’, B.M., 81 (1942).

Walsh, A. L. Paulus Potter: His Works and Their Meaning (diss.). Columbia University, New York, 1985. Includes documents and an account of the career of Paulus’s father Pieter Symonsz Potter.

PYNACKER

HdG. Vol. 9, ‘Adam Pijnacker’.

Harwood, L. B. Adam Pynacker (c.1620–1673). Doornspijk, 1988. Monograph and oeuvre catalogue.

PYNAS, JACOB and JAN

Bauch, K. ‘Die Gemálde des Jan Pynas’, O.H., 52 (1935).

Bauch, K. ‘Die Zeichnungen des Jan Pynas’, O.H., 52 (1935).

Bauch, K. ‘Die Gemálde des Jakob Pynas’, O.H., 53 (1936).

Bauch, K. ‘Handzeichnungen des Jakob Pynas’, O.H., 54 (1937).

Oehler, L. ‘Zu einigen Bildern aus Elsheimers Umkreis’, Stddel-Jahrbuch, n.s. 1 (1967).

QUAST

Bredius, A. ‘Pieter Jansz Quast’, O.H., 20 (1902).

Stanton Hirst, B. A. The Influence of the Theatre on the Works of Pieter Jansz Quast (diss.). Madison, Wisconsin, 1978.

RAVESTEYN

Bredius, A., and Moes, E. W. ‘De schilderfamilie Ravesteyn’, O.H., 9 (1891); 10 (1892).

RENESSE, VAN

Hammen Nicz, J. van der. ‘Constantijn Daniel van Renesse (1626–1680)’, Taxandria, 17 (1910).

Sumowski Gemälde. Vol. 4, 6: ‘Constantijn Daniel van Renesse’.

RIJCKHALS

Bredius, A. ‘De schilder François Ryckhals’, O.H., 35 (1917).

Bol, L. J. ‘ “Goede onbekenden” III: F. Ryckhals en omgeving’, Tableau, 2 (1979–80).

RIJN, REMBRANDT VAN

1. Bibliography

Hall, H. van. Repertorium voor de geschiedenis der Nederlandsche schilder- en graveerkunst. 2 vols. The Hague, 1935–49.

Benesch, O. Rembrandt, Werk und Forschung. Vienna, 1935.

Bibliography of the Netherlands Institute for Art History, 1. The Hague, 1943–73/74.

2. Documents and Printed Sources

Hofstede de Groot, C. Die Urkunden über Rembrandt (1575–1721). The Hague, 1906. Still indispensable.

Strauss, W. I., Meulen, M. van der, et al. The Rembrandt Documents. New York, 1979. Includes no document that postdates Rembrandt’s burial, 8 October 1669; see the critical review by B. P. J. Broos, Simiolus, 12 (1981–2).

3. Painting Catalogues

Smith, J. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, 7, Rembrandt van Rhyn. London, 1836. The first comprehensive catalogue of Rembrandt’s paintings.

Bode, W. von, and Hofstede de Groot, C. The Complete Work of Rembrandt. 8 vols. Paris, 1897–1906.

HdG. Vol. 6, ‘Rembrandt’.

Valentiner, W. R. Rembrandt (Klassiker der Kunst). 3rd ed. Stuttgart-Berlin, 1908.

Valentiner, W. R. Rembrandt, Wiedergefundene Gemälde (1910–22) (Klassiker der Kunst). 2nd ed. Berlin-Leipzig, 1922.

Valentiner, W. R. Rembrandt Paintings in America. New York, 1932.

Bredius, A. The Paintings of Rembrandt. New York, 1935. 3rd ed. revised by H. Gerson, London-New York, 1969.

Bauch, K. Rembrandt Gemälde. Berlin, 1966.

Vries, A. B. de, et al. Rembrandt in the Mauritshuis. Alphen aan den Rijn, 1978. Catalogue of the gallery’s paintings by and attributed to the artist.

Bruyn, J., Haak, B., Levie, S. H., Thiel, P. J. J, van, and Wetering, E. van der. A Corpus of Rembrandt Paintings. The Hague-Boston-London, 1 (1982); 2 (1986); 3 (1989) [in progress]. Although specialists do not endorse all of the authors’ conclusions, the three vols. published to date, which cover the years from 1625 to 1642, are indispensable; they offer the most exhaustive study by far of all aspects of paintings traditionally attributed to the artist.

4. Etching Catalogues

Gersaint, E.-F. Catalogue raisonné de toutes les pièces qui forment l’oeuvre de Rembrandt. . . Paris, 1751. First printed catalogue. English trans., London, 1752.

Bartsch, A. Catalogue raisonné de toutes les estampes qui forment l’oeuvre de Rembrandt et ceux de ses principaux imitateurs. Vienna, 1797.

Rovinski, D. L ’Oeuvre gravé de Rembrandt. 4 vols. St Petersburg, 1890. Includes 1000 unretouched phototypes of different states of the etchings.

Hind, A. M. A Catalogue of Rembrandt’s Etchings Chronologically Arranged and Completely Illustrated. 2nd ed. 2 vols. London, 1923; reprint, New York, 1967.

Münz, L. Rembrandt’s Etchings. Reproductions of the Whole Original Etched Work. 2 vols. London, 1952.

Boon, K. G. The Complete Etchings of Rembrandt. London-New York, 1963.

Biörklund, G., with the assistance of Barnard, O. H. Rembrandt’s Etchings True and False. Stockholm-London-Paris, 1955; 2nd rev. ed., Stockholm-New York, 1968.

White, C., and Boon, K. G. Rembrandt’s Etchings: An Illustrated Critical Catalogue. 2 vols. Amsterdam-London-New York, 1969. The catalogue also appears as vols. 18, 19 in Hollstein’s Dutch and Flemish Etchings, Engravings and Woodcuts, Amsterdam, 1969.

5. Drawing Catalogues

Hofstede de Groot, C. Die Handzeichnungen Rembrandts. Haarlem, 1906. Not illustrated.

Valentiner, W. R. Die Handzeichnungen Rembrandts (Klassiker der Kunst). 2 vols. Stuttgart-New York, 1925–34. Not complete. Landscapes, figure studies, nudes not published. Contains discussions of pupils’ works.

Benesch, O. The Drawings of Rembrandt, A Critical and Chronological Catalogue. 6 vols. London, 1954–7. 2nd ed., enlarged and edited by E. Benesch. 6 vols. London-New York, 1973. A monumental corpus with a comprehensive bibliography. Includes drawings attributed to Rembrandt and copies. Connoisseurs have rightly questioned some of the attributions; nevertheless it remains the foundation for study of the artist’s drawings.

Slive, S. Drawings of Rembrandt, With a Selection of Drawings by his Pupils and Followers. 2 vols. New York, 1965; frequently reprinted. A newly edited publication based on the facsimile series of 550 drawings edited by F. Lippmann, C. Hofstede de Groot, et al. London-Berlin, 1888–1911.

Broos, B. Oude tekeningen in het bezit van de Gemeentemusea van Amsterdam, waaronder de collectie Fodor. Deel 3. Rembrandt en tekenaars uit zijn omgeving. Amsterdam, 1981.

Schatborn, P. Catalogue of Dutch and Flemish Drawings in the Rijksmuseum. IV: Drawings by Rembrandt, his anonymous pupils and followers. The Hague, 1985.

Giltaij, J. The Drawings by Rembrandt and his School in the Museum Boymans-van Beuningen. Rotterdam, 1988.

Starcky, E. Rembrandt et son école, exh. cat., Louvre, Paris, 1988–9.

Royalton-Kisch, M. Drawings by Rembrandt and his Circle in the British Museum, exh. cat., British Museum, London, 1992.

6. Monographs

Koloff, E. ‘Rembrandt’s Leben und Werke, nach neuen Actenstücken und Gesichtspunkten geschildert’, Raumers Historisches Taschenbuch, 5 (1854). Reprinted (ed. C. Tümpel) in Deutsches Bibel-Archiv, Abhandlungen und Vorträge, 4. Hamburg, 1971.

Vosmaer, C. Rembrandt Harmensz van Rijn, ses précurseurs et ses années d’apprentissage. The Hague, 1863.

Vosmaer, C. Rembrandt Harmensz van Rijn, sa vie et ses oeuvres. The Hague, 1868.

Michel, É. Rembrandt, sa vie, son oeuvre et son temps. Paris, 1893.

Veth, J. Rembrandts Leben und Kunst. Leipzig, 1908.

Neumann, C. Rembrandt. 2 vols. 4th ed. Munich, 1924.

Weisbach, W. Rembrandt. Berlin, 1926.

Hind, A. M. Rembrandt. Cambridge, Massachusetts, 1932.

Gelder, H. E. van. Rembrandt (Palet Serie). Amsterdam, 1946.

Rosenberg, J. Rembrandt. 2 vols. Cambridge, Massachusetts, 1948; 2nd rev. ed., London, 1964. Includes a concordance of the principal catalogues of Rembrandt’s paintings with an indication of the author’s opinion on authenticity.

White, C. Rembrandt and his World. London-New York, 1964. Excellent short study of the artist’s life, his friends, and his patrons. Also see the Dutch translation by J. M. Komter with extensive additional notes by H. F. Wijnman, The Hague, 1964. The author’s Rembrandt, London, 1984, is a rev. ed. which includes a discussion of the master’s art.

Gerson, H. Rembrandt Paintings. Amsterdam, 1968.

Haak, B. Rembrandt, His Life, His Work, His Time. New York, 1969.

Kitson, M. Rembrandt. London, 1969.

White, C. Rembrandt as an Etcher, a Study of the Artist at Work. 2 vols. London, 1969. The best study of the artist’s activity as an etcher.

Fuchs, R. H. Rembrandt in Amsterdam. Trans. P. Wardle and A. Griffiths. New York, 1969.

Schwartz, G. Rembrandt: His Life, His Paintings. Middlesex-New York, 1985.

Tümpel, C. Rembrandt: Mythos und Methode. Kónigstein im Taunus, 1986. With contributions by A. Tümpel.

Alpers, S. Rembrandt’s Enterprise. The Studio and the Market. Chicago, 1988.

Chapman, H. P. Rembrandt’s Self-Portraits: A Study in Seventeenth-Century Identity. Princeton, 1990. Includes a comprehensive bibliography of earlier literature on the subject.

Bal, M. Reading ‘Rembrandt’. Beyond the Word-Image Opposition. Cambridge etc., 1991.

7. Special Studies

A. THE LEIDEN YEARS (1625–31)

Fraenger, W. Der junge Rembrandt. Heidelberg, 1920. Includes a discussion of van Vliet’s relation to Rembrandt.

Müller-Hofstede, C. ‘Studien zu Lastman und Rembrant’, Jahrb. P. K., 50 (1929).

Bauch, K. Die Kunst des jungen Rembrandt. Heidelberg, 1933.

Martin, W. ‘Uit Rembrandts leidsche jaren’, Jaarboek van de Maatschappij der Nederlandsche Letterkunde te Leiden (1936–7).

Bauch, K. ‘Rembrandt und Lievens’, Wallraf-Richartz-Jahrbuch, 11 (1939). Important study of the early drawings.

Slive, S. ‘Art Historians and Art Critics, 2. Huygens on Rembrandt’, B.M., 94 (1952).

Münz, L. ‘Rembrandt’s Bild von Mutter und Vater’, Jahrbuch der kunsthistorischen Sammlungen in Wien, 50 (1953).

Gelder, H. E. van. ‘Constantijn Huygens en Rembrandt’, O.H., 74 (1959).

Bauch, K. Der frühe Rembrandt und seine Zeit. Studien zur geschichtlichen Bedeutung seines Frühstils. Berlin, 1969.

Gerson, H. ‘La Lapidation de Saint Etienne peinte par Rembrandt en 1625’, Bulletin des Musées et Monuments Lyonnais, 3, no. 4 (1962). Publication of the signed and dated picture of 1625 at Lyon.

Slive, S. ‘The Young Rembrandt’, Allen Memorial Art Museum Bulletin, Oberlin, Ohio, 20 (1963). Reprinted in Seventeenth Century Art in Flanders and Holland. The Garland Library of the History of Art, 9, New York-London, 1976.

Slive, S. ‘Rembrandt’s “Self-portrait in a Studio”,’ B.M., 106 (1964). Suggests that the small Boston Self-portrait of c.1629 (Bredius-Gerson 419; Rembrandt Corpus, 1, no. A18) is a fragment and offers a reconstruction.

Stechow, W. ‘Some Observations on Rembrandt and Lastman’, O.H., 84 (1969).

Vogelaar, C, et al. Rembrandt (& Lievens in Leiden, exh. cat., De Lakenhal, Leiden, 1991–2. Includes essays on the artists’ works and their relationship; text in English and Dutch.

B. FIRST AMSTERDAM PERIOD (1632–9)

Kauffmann, H. ‘Rembrandt und die Humanisten vom Muiderkring’, Jahrb. P. K., 41 (1920).

Six, J. ‘La Famosa Accademia di Eeulenborg’, Jaarboek der Koninklijke Akademie van Wetenschappen te Amsterdam (1925–6).

Bloch, E. M. ‘Rembrandt and the Lopez Collection’, G.B.A., 29 (1946).

Wijnman, H. F. ‘Rembrandt en Hendrik Uylenburgh te Amsterdam’, Maandblad Amstelodamum, 43 (1956).

Heckscher, W. S. Rembrandt’s Anatomy of Dr Nicolaas Tulp. An Iconological Study. New York, 1958.

Haussherr, R. ‘Zur Menetekel-Inschrift auf Rembrandts Belsazarbild’, O.H., 78 (1963). Notes that the cryptic Aramaic inscription on the picture of c.1635 in London (Bredius-Gerson 497; Rembrandt Corpus, 3, no. A110) corresponds to its form in rabbi Menasseh ben Israel’s De termino vitae, Amsterdam, 1639. His find establishes that the painter had contact with the rabbi before his book was published.

Bergström, I. ‘Rembrandt’s Double Portrait of Himself and Saskia at the Dresden Gallery’, N. K. J., 17 (1966). On the relation of the work to representations of the Prodigal Son.

Kuznetzow, J. I. ‘Nieuws over Rembrandts Danae’, O.H., 82 (1967).

Kuznetsov, Y. I. Rembrandt’s ‘Danae’: The Enigma of Its Creation (Russian text); English and French summaries. Leningrad, 1970.

Manuth, V. Ikonografische Studien zu den Historien des Alten Testaments bei Rembrandt und seiner frühen Amsterdamer Schule (diss.). Berlin, 1987. Includes a catalogue of Jan Victors’s biblical paintings.

C. THE MIDDLE PERIOD (1640–7)

Emmens, J. A. ‘Ay Rembrandt, maal Cornelis stem’, N. K. J., 7 (1956). Analysis of Vondel’s lines on Rembrandt’s portrait of Anslo. Reprinted in J. A. Emmens, Kunsthistorische Opstelling, 1, Amsterdam, 1981.

Haverkamp-Begemann, E. Rembrandt: The Night Watch. Princeton, 1982. Comprehensive study of the painting; includes an extensive bibliography of earlier literature.

Kemp, W. Rembrandt. Die Heilige Familie, oder die Kunst, einen Vorhang zu lüften. Frankfurt a. M., 1986. On the Holy Family at Kassel (Bredius-Gerson 572).

Brown, C., et al. Rembrandt’s ‘Girl at a Window’, exh. cat., Dulwich Picture Gallery, London, 1993. Study of Bredius-Gerson 368 and related works.

D. THE MATURE PERIOD (1648–69)

Eisler, M. Der alte Rembrandt. Vienna, 1927.

Münz, L. ‘Rembrandts Alterstil und die Barockklassik’, Jahrbuch der kunsthistorischen Sammlungen in Wien, 9 (1935).

Regteren Altena, I. Q. van. ‘Retouches aan ons Rembrandtbeeld, I: De zoogenaamde voorstudie voor de Anatomische Les van Dr Deyman’, O.H., 65 (1950). Establishes that Benesch 1175 is a drawing made to show the anatomy lesson in its architectural setting.

Benesch, O. ‘Worldly and Religious Portraits in Rembrandt’s Late Work’, A.Q., 19 (1956).

Blankert, A. ‘Rembrandt, Zeuxis and Ideal Beauty’, in Album Amicorum J. G. van Gelder. The Hague, 1973. Interpretation of the self-portrait at Cologne (Bredius-Gerson 61) as the artist in the guise of Zeuxis.

Haussherr, R. Rembrandts Jacobssegen. Überlegungen zur Deutung des Gemäldes in der Kasseler Galerie. Opladen, 1976.

Carroll, M. D. ‘Rembrandt as a Meditational Printmaker’, The Art Bulletin, 63 (1982). Perceptive analyses of the Ecce Homo (Bartsch 76) and Three Crosses (Bartsch 78).

i. Commissions for Don Antonio Ruffo

Ruffo, V. ‘Galleria Ruffo nel secolo XVII in Messina’, Bollettino d’Arte, 10 (1916). Documents concerning Rembrandt’s connection with his Sicilian patron.

Hoogewerff, G. ‘Rembrandt en een italiaansche Maecenas’, O.H., 35

Rosenberg, J. ‘Rembrandt and Guercino’, A.Q., 7 (1944). Publication of Guercino’s preparatory drawing for a companion piece to Aristotle Contemplating the Bust of Homer.

Einem, H. von. ‘Rembrandt und Homer’, Wallraf-Richartz-Jahrbuch, 14 (1952).

Held, J. S. Rembrandt’s ‘Aristotle’ and Other Rembrandt Studies. Princeton, 1969. Rev. and expanded ed., Princeton, 1991. Includes essays on the ‘Polish’ Rider, Juno, Rembrandt and the book of Tobit, and the myth of the Night Watch.

ii. The Polish Rider

Held, J. ‘Rembrandt’s “Polish” Rider’, The Art Bulletin, 26 (1944). Reprinted in the author’s Rembrandt’s ‘Aristotle’ and Other Rembrandt Studies, rev. ed., Princeton, 1991.

Ciechanowiecki, A. ‘Notes on the Ownership of Rembrandt’s “Polish Rider”‘, The Art Bulletin, 42 (1960).

Białostocki, J. ‘Rembrandt’s “Eques Polonus”,’ O.H., 84 (1969).

iii. Commissions for the Town Hall

Schneider, H. ‘Govert Flinck en Juriaen Ovens in het Stadhuis te Amsterdam’, O.H., 42 (1925).

Heppner, A. ‘“Moses zeigt die Gesetztafeln” bei Rembrandt und Bol‘, O.H., 52 (1935).

Konsthistorisk Tidskrift, nos. 1 and 2, 25 (1956). Special issue: ‘Rembrandt’s Claudius Civilis’. With important contributions by H. van de Waal, A. van Schendel. C. Müller-Hofstede, L. Münz, C. Nordenfalk, I. H. van Eeghen, and C. Bille.

Nordenfalk, C. The Batavians Oath of Allegiance. Rembrandt’s only Monumental Painting. Stockholm, 1982. With an extensive bibliography.

iv. The Syndics

Waal, H. van de. ‘De Staalmeesters en hun legende’, O.H., 71 (1956). Translated in the author’s Steps Towards Rembrandt, Amsterdam-London, 1974.

Eeghen, I. H. van. ‘De Staalmeesters’, O.H., 73 (1958). Identification of the syndics.

E. BIBLICAL SUBJECTS

Stechow, W. ‘Rembrandts Darstellungen der Kreuzabnahme’, Jahrb. P.K., 50 (1929).

Stechow, W. ‘Rembrandt’s Darstellungen des Emmausmahles’, Zeitschrift für Kunstgeschichte, 3 (1934).

Haman, R. ‘Hagars Abscheid bei Rembrandt und im Rembrandt-Kreise’, Marburger Jahrbuch für Kunstwissenschaft, 8–9 (1936).

Waal, H. van de. ‘Hagar en de Woestijn door Rembrandt en zijn school’, N. K. J., 1 (1947). Translated in the author’s Steps towards Rembrandt, Amsterdam-London, 1974.

Rotermund, H. M. ‘Rembrandts Bibel’, N. K. J., 5 (1953–4).

Visser’t Hooft, W. A. Rembrandt and the Gospel. London, 1957.

Bruyn, J. Rembrandt’s keuze van Bijbelse onderwerpen. Utrecht, 1959.

Slive, S. ‘An Unpublished “Head of Christ” by Rembrandt’, The Art Bulletin, 47 (1965).

Tümpel, C. ‘Ikonographische Beitrage zu Rembrandt’, Jahrbuch der Hamburger Kunstsammlungen, 13 (1968); part 2, ibid., 16 (1971).

Tümpel, C. ‘Studien zur Ikonographie der Historien Rembrandts’, N. K. J., 20 (1969). Fundamental for the interpretation of the iconography of the artist’s biblical pictures.

Waal, H. van de. ‘Rembrandt and the Feast of Purim’, O.H., 84 (1969). Reprinted in the author’s Steps Towards Rembrandt, Amsterdam-London, 1974.

Tümpel, C., and Tümpel, A. Rembrandt legt die Bibel aus, exh. cat., Kupferstichkabinett, Staatliche Museen, Berlin, 1970.

Halewood, W. H. Six Subjects of Reformation Art: A Preface to Rembrandt. Toronto, 1982.

Carstensen, H. T. Empiric als Bildsprache. Uberlegungen zum Judischen Einfluss auf Rembrandts Kunst. Hamburg, 1993.

Halewood, W. H. ‘Rembrandt’s Low Diction’, O.H., 107 (1993).

F. RELATION TO ANCIENT AND RENAISSANCE ART

Saxl, F. ‘Rembrandt und Italien,’ O.H., 41 (1923–4).

Stechow, W. ‘The Myth of Philemon and Baucis’, Journal of the Warburg and Courtauld Institutes, 4 (1940–1).

Keiser, W. ‘Über Rembrandts Verhältnis zur Antike’, Zeitschrift für Kunstgeschichte, 10 (1941–2).

Stechow, W. ‘Rembrandt and Titian’, A.Q., 5 (1942).

Bramsen, H. ‘The Classicism of Rembrandt’s “Bathsheba”,’ B.M., 92 (1950).

Rosenberg, J. ‘Rembrandt and Mantegna’, A.Q., 19 (1956).

Saxl, F. ‘Rembrandt and Classical Antiquity’, Lectures. London, 1957.

Kraft, K. ‘Der behelmte Alexander der Grosse’, Jahrbuch für Numismatik und Geldgeschichte, 15 (1965).

Clark, K. Rembrandt and the Italian Renaissance. New York, 1968.

Jongh, E. de. ‘The Spur of Wit: Rembrandt’s Response to an Italian Challenge’, Delta. A Review of Arts, Life and Thought in the Netherlands, 12 (1969).

White, C. ‘A Rembrandt Copy after a Titian Landscape’, Master Drawings, 13 (1975).

G. LANDSCAPE

Lugt, F. Mit Rembrandt in Amsterdam. Berlin, 1920; Dutch ed., 1915. Identification of the sites of Rembrandt’s etchings and drawings.

Schneider, C. P., et al. Rembrandt’s Landscapes: Drawings and Prints, exh. cat., National Gallery of Art, Washington, 1990.

Schneider, C. P. Rembrandt’s Landscapes. New Haven-London, 1990.

H. TECHNIQUE AND TECHNICAL STUDIES

Laurie, A. P. The Brushwork of Rembrandt and his School. London, 1932.

Rosenberg, J. ‘Rembrandt’s Technical Means and their Stylistic Significance’, Technical Studies in the Field of the Fine Arts, 8 (1940).

Schendel, A. van. ‘De schimmen van de Staalmeesters, Een röntgenologisch onderzoek’, O.H., 71 (1956). Publication of X-rays.

Hours, M. ‘Rembrandt: observations et presentation de radiographics exécutées d’aprés les portraits et compositions du Musée du Louvre’, Bulletin du Laboratoire du Musée du Louvre, 6 (1961).

Froentjes, W. ‘Schilderde Rembrandt op goud’, O.H., 84 (1969).

Sonnenburg, H. F. von. ‘Rembrandts “Segen Jacobs”,’ Maltechnik/Restauro (1978).

Wetering, E. van de. ‘Painting Materials and Working Methods’ in Rembrandt Corpus, 1, 1982.

Wetering, E. van de. ‘The Canvas Support’ in Rembrandt Corpus, 2, 1986.

Bomford, D., et al. Art in the Making. Rembrandt, exh. cat., National Gallery, London, 1988–9.

I. OTHER SPECIALIZED STUDIES

Neumann, C. Aus der Werkstatt Rembrandts. Heidelberg, 1918.

Ricci, C. Rembrandt in Italia, Milan, 1918.

Charrington, J. A Catalogue of the Mezzotints after, or said to be after, Rembrandt. Cambridge, 1923.

Schmidt-Degener, F. Rembrandt und der holländische Barock. Leipzig, 1928.

Rijckevorsel, J. L. A. A. M. van. Rembrandt en de Traditie. Rotterdam, 1932.

Landsberger, F. Rembrandt, the Jews and the Bible. Trans. F. N. Gerson. Philadelphia, 1946.

Scholte, J. H. Rembrandt en Vondel. The Hague, 1946.

Schmidt-Degener, F. Rembrandt und der holländische Barock, 2. Amsterdam, 1950. Collected essays.

Slive, S. ‘Rembrandt and his Contemporary Critics’, Journal of the History of Ideas, 14 (1953).

Slive, S. Rembrandt and his Critics: 1630–1730. The Hague, 1953. Reprint, New York, 1988. Appraisal of sources. The publisher of the 1988 reprint neither sought nor obtained the author’s permission for its publication; hence it appears without a new introduction or revisions that take account of subsequent research.

Gelder, J. G. van. ‘Rembrandt en de zeventiende eeuw’, De Gids (1956).

Valentiner, W. R. Rembrandt and Spinoza. London, 1957.

Białostocki, J. ‘Ikonographische Forschungen zu Rembrandts Werk’, Münchener Jahrbuch der bildenden Kunst, 8 (1957).

Michalkowa, J., and Białostocki, J. Rembrandt w oczach wsólczesnych. Warsaw, 1957. Translation of seventeenth- and early eighteenth-century sources into Polish. With a commentary.

Frey, D. ‘Das Fragmentarische als das Wandelbare bei Rembrandt’, Das Unvollendente ais künstlerische Form. A symposium ed. by J. A. Schmoll gen. Eisenwerth. Bern-Munich, 1959.

Heiland, S., and Lüdecke, H. Rembrandt und die Nachwelt. Leipzig, 1960.

Scheller, R. W. ‘Rembrandt’s reputatie van Houbraken tot Scheltema’, N. K. J., 12 (1961).

Gerson, H. Seven Letters by Rembrandt. Transcription by I. H. van Eeghen, trans. Y. D. Ovink. The Hague, 1961. Rembrandt’s correspondence with Constantijn Huygens regarding the Passion series commissioned by Frederik Hendrik.

Bauch, K. ‘Iconographische Stil’, in the author’s Studien zur Kunstgeschichte. Berlin, 1967.

Robinson, F. W. ‘Rembrandt’s Influence in Eighteenth-Century Venice’, N. K. J., 18 (1967).

Emmens, J. A. Rembrandt en de regels van de kunst. Utrecht, 1968. Reprint, Amsterdam, 1979. On the development of theories held by seventeenth-century classicistic art critics and their estimate of the artist. Includes an English summary.

Helsdingen, H. W. van. ‘Enkele opmerkingen over het Franse zeventiende-eeuwse Rembrandt-beeld’, O.H., 84 (1969).

Scheller, R. W. ‘Rembrandt en de encyclopedische verzameling’, O.H., 84 (1969).

Waal, H. van de. ‘Rembrandt at Vondel’s Tragedy “Gijsbrecht van Aemstel”, in Miscellanea I.Q. van Regteren Altena. Amsterdam, 1969. Reprinted in the author’s Steps Towards Rembrandt, Amsterdam-London, 1974.

Rembrandt after Three Hundred Years. An Exhibition of Rembrandt and His Followers, Chicago-Minneapolis-Detroit, 1969–70. Painting entries by J. R. Judson; drawing entries by E. Haverkamp-Begemann and A.-M. Logan.

Benesch, O. Collected Writings. Volume 1. Rembrandt, ed. E. Benesch. London, 1970.

Białostocki, J. ‘Rembrandt and Posterity’, N. K. J., 23 (1972).

Filedt Kok, J. P. Rembrandt Etchings & Drawings in the Rembrandt House. Maarssen, 1972.

Rembrandt After Three Hundred Years: A Symposium - Rembrandt and His Followers. Chicago, 1973. Publication of a symposium held at The Art Institute of Chicago in 1969. Includes papers by J. G. van Gelder, H. Gerson, J. Bruyn, J. S. Held, J. Bialostocki, H. F. von Sonnenburg, J. Rosenberg, J. A. Emmens, C. J. White.

Neue Beiträge zur Rembrandt-Forschung, ed. O. von Simson and J. Kelch. Berlin, 1973. Publication of a symposium held at Berlin in 1969. Papers by J. Rosenberg, E. Haverkamp-Begemann, R. H. Fuchs, W. Sumowski, J. S. Held, J. Bialostocki, C. Tümpel, J. Q. van Regteren Altena, J. G. van Gelder, H. Gerson, R. W. Scheller, et al.

The Pre-Rembrandtists, exh. cat., Ε. B. Crocker Art Gallery, Sacramento, California, 1974. Introduction and catalogue by A. Tümpel; iconographic essay by C. Tümpel.

Waal, H. van de. Steps Toward Rembrandt; Collected Articles: 1937–1972. Amsterdam-London, 1974. Includes articles on the artist’s biblical and historical subjects, and portraiture.

Broos, B. J. P. Index to the Formal Sources of Rembrandt’s Art, Maarssen, 1977.

White, C., et al. Rembrandt in Eighteenth-Century England. New Haven, 1983.

Meijer, B. W. Rembrandt nel Seicento toscano. Florence, 1983.

Kelch, J., et al. Bilder im Blickpunkt. Der Mann mit dem Goldhelm. Berlin, 1986. Published by the Gemäldegalerie in conjunction with the Rathgen-Forschungslabor SMPK and the Hahn-Meitner Institute for Atomic Research; presents the case that the Man with the Golden Helmet (Bredius-Gerson 128) is not by Rembrandt.

Brown, C., Kelch, J., and Thiel, P. van, et al. Rembrandt: the Master and his Workshop. Paintings, exh. cat., Berlin-Amsterdam-London, 1991–2. Includes entries on paintings by the artist and members of his circle; also essays on his life, workshop, technique, the results of technical analysis, and a survey of Rembrandt criticism.

Bevers, H., Schatborn, P., and Welzel, B. Rembrandt: the Master and his Workshop. Drawings and Etchings, exh. cat., Berlin-Amsterdam-London, 1991–2.

8. Pupils and Followers

Rovinski, D. L ‘Oeuvre gravé des éléves de Rembrandt et des maîtres qui ont gravé dans son goût. St Petersburg, 1894. Includes 478 unretouched phototypes of the prints.

Hofstede de Groot, C. ‘Rembrandt’s onderwijs aan zijne leerlingen’, Feest-bundel Dr Abraham Bredius. Amsterdam, 1915.

Falck, G. ‘Über einige von Rembrandt übergegangene Schülerzeichnungen’, Jahrb. P.K., 54 (1924).

Münz, L. ‘Rembrandts Korrekturen von Schülerzeichnungen nach 1650, oder Rembrandts bewusste Lehre von der Affektgestaltung von Figur und Raum’, Jahrbuch der kunsthistorischen Sammlungen in Wien, 9 (1935).

Isarlov, G. ‘Rembrandt et son entourage’, La Renaissance (July-September, 1936).

Münz, L. ‘Maes, Aert de Gelder, Barent Fabritius und Rembrandt’, Die Graphischen Künste, N.F. 2 (1937).

Wessem, J. N. van. Rembrandt als leermeester, exh. cat., De Lakenhal, Leiden, 1956.

Gerson, H. ‘Probleme der Rembrandtschule’, Kunstchronik, 10 (1957).

Gerson, H. ‘Rembrandt en de schilderkunst in Haarlem’ in Miscellanea I. Q van Regteren Altena. Amsterdam, 1969.

Rembrandt and His Pupils, exh. cat., Montreal-Toronto, 1969. Catalogue entries by D. G. Carter.

Haverkamp-Begemann, E. ‘Rembrandt as a Teacher’, Actes du XXIIe Congrés Internationale d’histoire de l’art, 2, Budapest, 1972.

Sumowski, W. Drawings of the Rembrandt School. 10 vols. New York, 1979– (in progress).

Sumowski, W. Gemalde der Rembrandt-Schüler, 6 vols. Landau-Pfalz, 1983.

The Impact of a Genius. Rembrandt, His Pupils and Followers in the Seventeenth Century, exh. cat., K. & V. Waterman, Amsterdam-Groninger Museum, Groningen, 1983. B. Broos’s contribution to the catalogue distinguishes between artists who should be classified as pupils and those who were followers as well as charts documented pupils, those cited in early sources, artists first mentioned by Houbraken (1718–21), and those who make an appearance as members of Rembrandt’s circle in literature published during the following centuries. The catalogue also includes contributions by A. Blankert, G. Jansen, W. van de Watering and E. van de Wetering.

Schatborn, P., and Ornstein-van Slooten, E. Bij Rembrandt in de Leer/Rembrandt as Teacher, exh. cat., Rembrandthuis, Amsterdam, 1984–5.

The Hoogsteder Exhibition of Rembrandt’s Academy. The Hague, 1992. Catalogue of paintings by Rembrandt’s pupils with essays by P.-H. Janssen and W. Sumowski; entries on the paintings by the former.

Also see entries above to M. ARTISTS IN ALPHABETICAL SEQUENCE passim and RIJN, REMBRANDT VAN: 7. 1. OTHER SPECIALIZED STUDIES.

RIJN, TITUS VAN

Welcker, A. ‘Titus van Rijn als Teekenaar’, O.H., 55 (1938).

Sumowski Drawings. Vol. 9, ‘Titus van Rijn’.

RING, DE

Moes, E. W. ‘Pieter de Ring’, O.H., 6 (1888).

Kinder, T. T. ‘Pieter de Ring, a Still-Life Painter in Seventeenth-Century Holland’, Indiana University Art Museum, 2 (1979).

ROESTRATEN

Kuile, O. ter. ‘Een Hollands stilleven door Pieter van Roestraeten in 1696 to Londen geschilderd’, Antiek, 4 (1969–70).

Shaw, L. B. ‘Pieter van Roestraeten and the English “vanitas”,’ B.M., 132 (1990).

ROGHMAN, ROELANT

Wyck, H. W. M., Kloek, W. T., et al. De kasteeltekening van Roelant Roghman. 2 vols., Alphen aan den Rijn, 1989–90.

Sumowski Gemälde. Vol. 4, ‘Roelant Roghman’.

ROUSSEAUX

Bredius, A. ‘Le Peintre Jacques de Rousseaux’, G.B.A., 5 (1922).

Sumowski Gemälde. Vol. 4, ‘Jacques des Rousseaux’.

RUISDAEL, ISAACK VAN

Wurzbach, A. von. ‘Der Meister Izack van Ruisdael’, Zeitschrift für bildende Kunst, 12 (1877).

Simon, K. E. ‘Isaack van Ruisdael’, B.M., 67 (1935).

Giltaij, J. ‘The problem of Isaack van Ruisdael (1599–1677)’, B.M., 134 (1992).

Slive, S, ‘A newly discovered Isaack van Ruisdael in Philadelphis’, B.M., 139 (1997).

RUISDAEL, JACOB VAN

1. Documents

Wijnman, H. F. ‘Hst leven der Ruysdaels’, O.H., 49 (1932), pp. 49–69, 173–81, 258–75. Articles documenting the life of the artist and his family.

2. Catalogues

HdG. Vol. 4, ‘Jacob van Ruisdael’.

Rosenberg, J. Jacob van Ruisdael. Berlin, 1928. Monograph includes a catalogue of the paintings and pioneer list of the drawings.

Giltay, J. ‘De tekeningen van Jacob van Ruisdael’, O.H., 94 (1980). Catalogue raisonné of the drawings and discussion of their character and history. Also catalogues sheets attributable to Hobbema.

Slive, S. ‘Etchings’, in Jacob van Ruisdael, exh. cat., The Hague-Cambridge, Massachusetts, 1981–2. Includes references to earlier literature on the artist’s thirteen prints.

3. Monographs and Special Studies

Riegl, A. ‘Jacob van Ruysdael’, Die Graphischen Künste, 35 (1902); reprinted in Gesammelte Aufsätze, ed. K. M. Swoboda. Vienna, 1928.

Rosenberg, J. ‘ “The Jewish Cemetery” by Jacob van Ruisdael’, Art in America, 14 (1926). Publication of the versions in Detroit and Dresden.

Zwarts, J. ‘Het motief van Jacob van Ruisdael “Jodenkerkhof”,’ Oudheid-kundig Jaarboek, 8 (1928). Unconvincing attempt to date versions of the Jewish Cemetery to the late 1670s.

Simon, K. E. Jacob van Ruisdael, eine Darstellung seiner Entwicklung. Berlin, 1930. Reprint, with additions and corrections of a dissertation published in 1927.

Gerson, H. ‘The Development of Ruisdael’, B.M., 65 (1934).

Simon, K. E. ‘ “Doctor” Jacob van Ruisdael’, B.M., 67 (1935).

Simon, K. E. ‘Wann hat Ruisdael die Bilder des Judenfriedhofs gemalt?’, Festschrift fur Adolph Goldschmidt. Berlin, 1935.

Rosenau, H. ‘The Dates of Jacob van Ruisdael’s “Jewish Cemeteries”‘, O.H., 63 (1958). Dates the drawings related to the pictures before 1674 and unconvincingly places the paintings later.

Wiegand, W. Ruisdael-Studien. Ein Versuch zur Ikonologie der Landschaftmalerei (diss.). Hamburg, 1961.

Kouznetsov, I. ‘Sur le symbolisme dans les paysages de Jacob van Ruisdael’, Bulletin du Musée Nationale de Varsovie, 14 (1973).

Fuchs, R. H. ‘Over het landschap. Een verslag naar aanleiding van Jacob van Ruisdael, “Het Korenveld”’, Tijdschrift voor Geschiedenis, 86 (1973). On the semiotics of the landscapes with special reference to The Grain Field at Rotterdam.

Slive, S. ‘Notes on Three Drawings by Jacob van Ruisdael’ in Album Amicorum J. G. van Gelder. The Hague, 1973.

Burke, J. D. ‘Ruisdael and his Haarlempjes’, M, A Quarterly Review of the Montreal Museum of Fine Arts, 6 (1974).

Vega, L. A. Het Beth Haim van Ouderkerk: beelden van een Portugees-Joodse begraafplaats. The Beth Haim of Ouderkerk aan de Amstel: Images of a Portuguese Jewish Cemetery in Holland. Assen, 1975.

Kauffmann, H. ‘Jacob van Ruisdael, “Die Mühle von Wijk bei Duurstede”,’ Festschrift für Otto von Simson zum 65. Geburtstag. Frankfurt, 1977.

Scheyer, E. ‘The Iconography of Jacob van Ruisdael’s Cemetery’, Bulletin of the Detroit Institute of Arts, 55 (1977).

Slive, S. Jacob van Ruisdael, exh. cat., The Hague-Cambridge, Massachusetts, 1981–2.

Slive, S. ‘Additions to Jacob van Ruisdael’, B.M., 133 (1991).

Slive, S. ‘Jacob van Ruisdael’s variation on a theme by Rubens at Bilbao’, O.H., III (1997).

RUISSCHER

Welcker, A. ‘Johannes Ruyscher’, O.H., 49 (1932); 50 (1933); 51 (1934); 57 (1940).

Trautscholdt, E. ‘Johannes Ruisscher alias Jonge Hercules: Die Radierungen’, suppl. in E. Haverkamp-Begemann, Hercules Segers. Amsterdam-The Hague, 1973.

RUYSCH

HdG. Vol. 10, ‘Rachel Ruysch’.

Grant, M. H. Rachel Ruysch. Leigh-on-Sea, 1956.

Šíp, J. ‘Notities bij het stilleven van Rachel Ruysch’, N. K. J., 19 (1968).

RUYSDAEL, SALOMON VAN

Stechow, W. Salomon van Ruysdael. Berlin, 1938. 2nd revised and enlarged edition, Berlin, 1975. Standard work, with catalogue raisonné.

Niemeijer, J. W. ‘Het topografisch element in enkele riviergezichten van Salomon van Ruysdael nader beschouwd’, O.H., 74 (1959).

Scholtens, H. J. J. ‘Salomon van Ruysdael in de contreien van Holland’s landengte’, O.H., 77 (1962).

SAENREDAM

Regteren Altena, I. Q. van. ‘Saenredam Archaeolog’, O.H., 48 (1931).

Swillens, P. T. A. Pieter Jansz. Saenredam. Amsterdam, 1935. Reprint, Soest, 1970. Pioneer monograph and catalogue.

Catalogue Raisonné of the Works by Pieter Jansz. Saenredam. Utrecht, 1961. Published on the occasion of an exhibition at the Centraal Museum, Utrecht. Includes essays by P. T. A. Swillens and I. Q. van Regteren Altena.

Schwartz, G. ‘Saenredam, Huygens and the Utrecht Bull’, Simiolus, 1 (1966–7).

Liedtke, W. A. ‘Saenredam’s Space’, O.H., 86 (1971).

Liedtke, W. A. ‘The New Church in Haarlem Series: Saenredam’s Sketching Style in Relation to Perspective’, Simiolus, 8 (1975–6).

Ruurs, R. ‘Saenredam: constructies’, O.H., 96 (1982).

Kemp, M. ‘Simon Stevin and Pieter Saenredam: a study of mathematics and vision in Dutch science and art’, The Art Bulletin, 68 (1986).

Ruurs, R. Saenredam. The Art of Perspective. Amsterdam, etc., 1987.

Schwartz, G., and Bok, M. J. Pieter Saenredam. The Painter and His Time. New York [1990]. Standard monograph and catalogue.

SAFTLEVEN, CORNELIS

Schulz, W. Cornelis Saftleven 1607–1681. Leben und Werke. Mit einem kritischen Katalog der Gemälde und Zeichnungen. Berlin-New York, 1978.

SAFTLEVEN, HERMAN

Nieuwstraten, J. ‘De ontwikkeling van Herman Saftlevens kunst tot 1650. Spiegel van stromingen in de Nederlandse landschapschilderkunst’, N. K. J., 16 (1965).

Klinge-Gross, M. ‘Herman Saftleven als Zeichner und Maler bäuerlicher Interieurs. Zur Entstehung des südholländischen Bildtyps mit Stilleben aus ländischem Hausrat und Gerät’, Wallraf-Richartz-Jahrbuch, 38 (1976).

Schulz, W. Herman Saftleven 1609–1685. Leben und Werke. Mit einem kritischen Katalog der Gemalde und Zeichnungen. Berlin-New York, 1982.

SANDRART

Klemm, C. Joachim von Sandrart. Kunst-Werke und Lebenslauf. Berlin, 1986.

Also see above under II. B. SOURCES AND EIGHTEENTH-CENTURY LITERATURE.

SAVERY

Erasmus, K. Roelant Savery, sein Leven und seine Werke. Halle, 1908.

Białostocki, J. ‘Les bétes et les humains de Roelant Savery’, Bulletin Koninklijke Musea voor Schone Kunsten, Brussels, no. 7 (1958).

Spicer, J. A. ‘The “Naer het leven” Drawings: by Pieter Bruegel or Roelandt Savery?’, Master Drawings, 8 (1970). Conclusive demonstration that a group of drawings traditionally attributed to Bruegel is in fact by Savery.

Franz, H. G. ‘Zum Werk des Roeland Savery’, Jahrbuch des Kunsthistorischen Institutes der Universität Graz, 15–16 (1979–80).

Spicer-Durham, J. A. The Drawings of Roelandt Savery (diss.). Yale University, 1979; ibid, Ann Arbor, 1986.

Müllenmeister, K. J. Roelant Savery 1576–1639. Hofmaler Kaiser Rudolf II . . . Freren, 1988.

SCHALCKEN

HdG. Vol. 5, ‘G. Schalcken’.

Hecht, P. ‘Candlelight and Dirty Fingers, or Royal Virtue in Disguise: Some Thoughts on Weyerman and Godfried Schalcken’, Simiolus, 11 (1980).

Beherman, T. Godfried Schalcken (1643–1706). Paris, 1988. Monograph with œuvre catalogue.

SCHELLINKS

Vries, A. D. de. ‘Willem Schellinks, schilder, teekenaar, etser, dichter’, O.H., 1 (1883).

Berg, H. M. van den. ‘Willem Schellinks en Lambert Doomer in Frankrijk’, Oudheidkundig Jaarboek, 11 (1942).

SCHOOTEN, VAN

Gammelbo, P. ‘Floris Gerritsz. van Schooten’, N. K. J., 17 (1966).

SCHOUMAN

Roever, N. de. ‘Aert Schouman volgens zijne aanteekenboekjes’, O.H., 6 (1888).

Bol, L. J. Introduction to catalogue Aart Schouman. Dordrechts Museum, 1960.

Bol, L. J. Aart Schouman (1710–1792). Ingenious Painter and Draughtsman. Doornspijk, 1991.

SEGERS

Bode, W. von. ‘Der Maler Hercules Seghers’, Jahrb. P.K., 24 (1903).

Springer, J. Die Radierungen des Herkules Seghers. 3 vols. Berlin, 1910–12. Catalogue and sixty-six facsimilies.

Pfister, K. Herkules Seghers. Munich, 1921.

Fraenger, W. Die Radierungen des Hercules Seghers. Erlenbach-Zürich, 1922.

Trautscholdt, E. ‘Der Maler Herkules Seghers’, Pantheon, 25 (1940).

Knuttel Wzn., G. Hercules Seghers (Palet Serie). Amsterdam, 1941.

Collins, L. C. Hercules Seghers. Chicago, 1953.

Haverkamp-Begemann, E. Hercules Seghers, exh. cat., Museum Boymans, Rotterdam, 1954.

Regteren Altena, I. Q. van. ‘Hercules Seghers en de topographie’, Rijksmuseum Bulletin, 3 (1955).

Trautscholdt, E. ‘Neues Bemühen um Hercules Seghers’, Imprimatur, 12 (1955).

Leusden, W. van. The Etchings of Hercules Seghers and the Problem of his Graphic Technique. Trans. St John Nixon. Utrecht, 1961.

Haverkamp-Begemann, E. Hercules Seghers. Amsterdam, 1968.

Haverkamp-Begemann, E. Hercules Segers: The Complete Etchings. Amsterdam, 1973. Standard catalogue raisonné. Includes facsimile reproductions and a supplement on J. Ruischer by E. Trautscholdt.

Rowlands, J. Hercules Segers. New York-Amsterdam, 1979.

SLINGELAND, VAN

HdG. Vol. 5, ‘Pieter van Slingeland’.

SORGH

Schneemann, L. Henrick Martensz Sorgh. A Painter of Rotterdam. With a Catalogue Raisonné (diss.). Ann Arbor, 1982.

STEEN

Westrheene Wz, T. van. Jan Steen. Etude sur Part en Holland. The Hague, 1856.

Marius, G. H. Jan Steen. Amsterdam, 1906.

HdG. Vol. 1, ‘Jan Steen’.

Antal, F. ‘Concerning Some Jan Steen Pictures in America’, Art in America, 13 (1925).

Schmidt-Degener, F., and Gelder, H. E. van. Jan Steen. Trans. G. J. Renter. London, 1927.

Hofstede de Groot, C. ‘Jan Steen and his Master Nicholaes Knupfers’, Art in America, 16 (1927–8).

Stechow, W. ‘Bemerkungen zu Jan Steens künstlerischer Entwicklung’, Zeitschrift für bildende Kunst, 62 (1928–9).

Gils, J. B. F. van. ‘Jan Steen en de rederijkers’, O.H., 52 (1935).

Martin, W. ‘Jan Steen as Landscape Painter’, B.M., 67 (1935).

Jonge, C. H. Jan Steen (Palet Serie). Amsterdam, 1939.

Heppner, A. ‘The Popular Theatre of the Rederijkers in the Work of Jan Steen and His Contemporaries’, Journal of the Warburg and Courtauld Institutes, 3 (1939–40).

Simon, K. E. ‘Jan Steen und Utrecht’, Pantheon, 26 (1940).

Regteren Altena, I. Q. van. ‘Hoe teekende Jan Steen?’, O.H., 60 (1943).

Gudlaugsson, S. J. De komedianten bij Jan Steen en zijn tijdgenooten. The Hague, 1945. English trans., The Comedians in the Work of Jan Steen and his Contemporaries, Soest, 1970.

Gerson, H. ‘Landschappen van Jan Steen’, Kunsthistorische Mededeelingen van het Rijksbureau voor kunsthistorische Documentatie, 3 (1948).

Bijleveld, W. J. J. C. Om den Hoenderhoef door Jan Steen. Leiden, 1950.

Groot, C. W. de. Jan Steen in woord en beeld. Utrecht-Nijmegen, 1952.

Martin, W. Jan Steen. Amsterdam, 1954.

Kuznetsov, Y. ‘The Paintings by Jan Steen in the Hermitage’, Yearbook of the Institute for the History of Art (Moscow), (Russian text) 1958.

Domela, P. N. H. Jan Steen, exh. cat., Mauritshuis, The Hague, 1958–9.

Criegern, A. von. Ikonografische Studien zu den frohlichen Gesellschaft Jan Steens. Tübingen, 1971.

Stechow, W. ‘Jan Steen’s Representations of the Marriage in Cana’, N. K. J., 23 (1972).

Vries, L. de. ‘Achttiende- en negentiende-eeuwse auteurs over Jan Steen’, O.H., 87 (1973).

Vries, L. de. Jan Steen. Amsterdam, 1976.

Kirschenbaum, B. D. The Religious and Historical Paintings of Jan Steen. New York-Montclair, 1977.

Vries, L. de. Jan Steen ‘de klucht-schilder’ (diss.). Groningen, 1977.

Braun, K. Alle tot nu toe bekende schlderijen van Jan Steen. Rotterdam, 1980.

Sutton, P. C. ‘The Life and Art of Jan Steen’, Bulletin, Philadelphia Museum of Art, 78 (1982–3).

Chapman, H. Perry, et al., Jan Steen Painter and Story Teller, exh. cat., National Gallery of Art, Washington-Rijksmuseum, Amsterdam, 1996–7.

STEENWIJCK

Bredius, A. ‘De Schilders Pieter en Harmen Steenwijck’, O.H., 8 (1890).

Koozin, K. The Vanitas Still Lives of Harmen Steenwyk. Metamorphic Realism. Lewiston, New York, etc., 1990.

SWANENBURGH, VAN

Michel, É. ‘Jacob Swanenburch, le premier maitre de Rembrandt’, La Chronique des Arts et de la Curiosité (1905).

Frimmel, T. von. ‘Das signierte Werk des Jacob Isaaksz van Swanenburgh in der Galerie zu Kopenhagen; Der Jacob Isaaksz van Swanenburgh in der Augsburger Galerie’, Blätter für Gemäldekunde, 2 (1906).

SWANEVELT, VAN

Henkel, M. D. von. ‘Swaneveld und Piranesi in Goethescher Beleuchtung’, Zeitschrift für bildende Kunst, 58 (1924–5).

Waddington, M. R. ‘Herman van Swanevelt in Rome’, Paragone, 121 (1960).

Bodart, D. ‘La biografia di Herman van Swanevelt scritta da Giovanni Battista Passeri’, Storia dell‘Arte, 12 (1971).

Blume, A. C. ‘Herman van Swanevelt and his Prints’, O.H., 108 (1994).

SWEERTS

Martin, W. ‘Michiel Sweerts als schilder. Proeve van een biografié en een catalogus van zijn schilderijen’, O.H., 25 (1907). The first attempt to establish Sweerts’s æuvre.

Stechow, W. ‘Some Portraits by Michiel Sweerts’, A.Q., 14 (1951).

Kultzen, R. Michael Sweerts en tijdgenoten, exh. cat., Rotterdam-Rome, 1958.

Bloch, V. Michael Sweerts. The Hague, 1968. Perceptive essay with a note on the artist’s relation to foreign missions by J. Guennou.

Horster, M. ‘Antikenkenntnis in Michael Sweerts’ “Romischem Ringkampf”,’ Jahrbuch der Staatlichen Kunstsammlungen in Baden-Wurttemberg, II (1974).

Kultzen, R. ‘Michiel Sweerts als Lernender und Lehrer’, Münchner Jahrbuch der bildenden Kunst, 33 (1982).

Kultzen, R. Michael Sweerts. Brussels, 1618–Goa, 1664, Doorspijk, 1996.

TEMPEL, VAN DEN

Wijnman, H. F. ‘De schilder Abraham van den Tempel’, in Uit de kring van Rembrandt en Vondel. Amsterdam, 1959.

TENGNAGEL

Schneider, H. ‘Der Maler Jan Tengnagel’, O.H., 39 (1921).

TERBORCH see BORCH, TER

TERBRUGGHEN see BRUGGHEN, TER

TORRENTIUS

Bredius, A. Johannes Sijmonsz Torrentius. The Hague, 1909.

Rehorst, A. J. Torrentius. Rotterdam, 1939.

Herbert, Z. Still Life with a Bridle. Trans. J. and B. Carpenter. New York, 1991. Collection of essays by the Polish poet that includes one on Torrentius’s tondo.

TROOST

Huell, A. ver. Cornelis Troost. Arnhem, 1873.

Knoef, J. Cornelis Troost (Palet Serie). Amsterdam, 1947.

Niemeijer, J. W. Cornelius Troost: 1696–1750. Assen, 1973. Authoritative monograph and catalogue.

Buijsen, E., and Niemeijer, J. W. Cornelis Troost and the Theatre of His Time. Plays of the 18th Century, exh. cat., Mauritshuis, The Hague, 1993.

TROOSTWIJK, VAN

Vries, J. de. ‘lets over den kunstschilder Wouter Joannes van Trootswijck’, Vaderlandsche letteroefeningen, 2 (1815).

Knoef, J. ‘W. J. van Troostwijk’, Elsevier’s geillustreerd maandschrift, 78 (1929).

UYL, DEN

Bredius, A. ‘Jan Jansz Uyl (een nalezing)’, O.H., 35 (1917); ibid, 38 (1920).

Boer, P. de. ‘Jan Jansz den Uyl’, O.H., 57 (1940).

UYTTENBROECK

Weisner, U. ‘Die Gemälde des Moyses van Uyttenbroeck’, O.H., 79 (1964).

VALCKERT, VAN DEN

Hudig, F. W. ‘Werner van den Valckert’, O.H., 54 (1937).

Taverne, E. R. M. ‘Een Amsterdams Lucasfeest in 1618’, Simiolus, 4 (1970).

Thiel, P. J. J. van. ‘Werner Jacobsz van den Valckert’, O.H., 97 (1983).

VANVITELLI see WITTEL

VELDE, VAN DE VELDE

Bradley, W. A. ‘The Van de Veldes’, Print Collectors’ Quarterly, 7 (1917).

Michel, E. Les van de Velde. Paris, 1892.

Manteuffel, K. Z. von. Die Künstler Familie van de Velde. Bielefeld-Leipzig, 1927.

VELDE, ADRIAEN VAN DE

Michel, É. ‘Adrien van de Velde’, L’Art, Revue Mensuelle, 53 (1892).

Bode, W. ‘Adriaen van de Velde’, Die graphischen Künste, 19 (1906).

HdG. Vol. 4, ‘Adriaen van de Velde’.

Gelder, J. G. van. ‘Adriaen van de Velde, Christus aan het Kruis’, Kunsthistorische Mededeelingen van het Rijksbureau voor kunsthistorische Documentatie, 1 (1946).

Schatborn, P. ‘ “De Hut” van Adriaen van de Velde’, Bulletin van het Rijksmuseum, 23 (1975).

Robinson, W. W. ‘Preparatory Drawings by Adriaen van de Velde’, Master Drawings, 17 (1979).

Robinson, W. W. ‘Some Studies of Nude Models by Adriaen van de Velde’, Donum Amicorum, Essays in Honour of Per Bjurström. Stockholm, 1993.

VELDE, ESAIAS VAN DE

Poensgen, G. Der Landschaftstil des Esaias van de Velde. Freiburg, 1924.

Stechow, W. ‘Esaias van de Velde and the Beginnings of Dutch Landscape Painting’, N. K. J., 1 (1947).

Keyes, G. S. Esaias van den Velde (1587–1630). Doornspijk, 1984. Authoritative monograph and catalogue of the painted and graphic œuvre.

VELDE, JAN VAN DE

Gelder, J. G. van. Jan van de Velde, 1593–1641, teekenaar-schilder. The Hague, 1933. Standard monograph and catalogue. Addenda by the author in O.H., 70 (1955).

VELDE, WILLEM and WILLEM II VAN DE

HdG. Vol. 7, ‘W. van de Velde II’.

Baard, H. P. Willem van de Velde de Oude, Willem van de Velde de Jonge (Palet Serie). Amsterdam, 1942.

Robinson, M. S. Van de Velde Drawings . . . in the National Maritime Museum. 2 vols. Cambridge, 1958–74.

Weber, R. E. J. ‘Willem van de Velde de Oude als topograaf van onze zeegaten’, O.H., 90 (1976).

Weber, R. E. J. ‘The Artistic Relationship between the Ship Draughtsman Willem van de Velde the Elder and His Son the Marine Painter in the Year 1664’, Master Drawings, 17 (1979).

Robinson, M. S. The Willem van de Velde Drawings in the Boymans-van Beuningen Museum Rotterdam. 3 vols. Rotterdam, 1979.

Cordingly, D., et al. The Art of the Van de Veldes. Paintings and Drawings by the Great Dutch Marine Artists and Their English Followers, exh. cat., National Maritime Museum, London, 1982.

Robinson, M. S. Van de Velde. A Catalogue of the Paintings of the Elder and Younger van de Velde. 2 vols. Greenwich, 1990.

VENNE, VAN DE

Franken Dz., D. Adriaen van de Venne. Amsterdam, 1878.

Knuttel, G. Das Gemälde des Seelenfischfangs von Adriaen Pietersz van de Venne. The Hague, 1917.

Bol, L. J. ‘Een middelburgse Brueghel groep. VIII. Adriaen Pietersz van de Venne, schilder en teyckenaer: A. Middelburgse periode c. 1614–1625; B. Haagse periode 1625–1662’, O.H., 73 (1958).

Bol, L. J. Adriaen van de Venne. Painter and Draughtsman. Doornspijk, 1989.

Royalton-Kisch, M. Adriaen van de Venne’s Album in the Department of Prints and Drawings in the British Museum. London, 1988. Publication of an album of more than 100 drawings that includes a comprehensive study of the artist’s life and work.

VERELST

Lewis, F. Simon Pietersz Verelst. The God of Flowers. 1644–1721. Leigh-on-Sea, 1979.

VERMEER, JOHANNES (JAN)

1. Documents and Sources

Montias, J. M. Vermeer and His Milieu. A Web of Social History. Princeton, 1989. Includes summaries and bibliographical references to more than 450 documents related to the Vermeer family from 1596 to 1749.

2. Catalogues and monographs

Bürger, W. (Étienne Jos. Théoph. Thoré). Van der Meer de Delft. Paris, 1866. Reprint of the articles (G.B.A., 21, 1866) which established the artist’s œuvre. Although not all of the author’s attributions are acceptable today, the study remains a basic account. A modern reprint is available in A. Blum, Vermeer et Thoré Bürger, Geneva, 1945.

HdG. Vol. 1, ‘Johannes Vermeer’.

Plietzsch, E. Vermeer van Delft. Leipzig, 1911.

Lazarev, V. N. Vermeer (in Russian). Moscow, 1933.

Hale, P. L. Vermeer. New ed. completed and prepared for the press by F. W. Coburn and R. F. Hale. London, 1937.

Thienen, F. W. S. van. Vermeer (Palet Serie). Amsterdam, 1939.

Vries, A. B. de. Jan Vermeer van Delft. 2nd ed. London-New York, 1948.

Swillens, P. T. A. Johannes Vermeer. Utrecht, 1950.

Gowing, L. Vermeer. London, 1952. New ed. New York-Evanston, 1970.

Tout Vermeer de Delft, ed. A. Malraux. Paris, 1952. Text includes ‘Pages sur Vermeer par Marcel Proust’. The chronology based on identification of members of the artist’s family is unsuccessful.

Bloch, V. Tutta la pittura di Vermeer di Delft. Milan, 1954.

Goldscheider, L. Jan Vermeer. London, 1958.

Blankert, A., with contributions by R. Ruurs and W. L. van de Watering. Johannes Vermeer van Delft: 1632–1675. Utrecht-Antwerp, 1975. Monograph and catalogue of the paintings. Vermeer of Delft, Oxford, 1978, is an English translation of the volume.

Snow, E. A Study of Vermeer. Berkeley, 1979; revised and enlarged ed., Berkeley, 1993.

Wheelock, A. K., Jr. Jan Vermeer. New York-London, 1981.

Blankert, A., et al. Vermeer. New York, 1988. Includes the catalogue raisonné Blankert and his colleagues published in 1975 and an essay by J. W. Montias on the Vermeer family.

Nash, J. Vermeer. London, 1991.

Arasse, D. Vermeer. Faith in Painting. Trans. T. Grabar. Princeton, 1993.

Wheelock, A. K. Jr. Vermeer and the Art of Painting, New Haven and London, 1995.

Johannes Vermeer, exh. cat., ed. A. K. Wheelock Jr., National Gallery of Art, Washington-Mauritshuis, The Hague, 1995–6.

3. Special Studies

Voss, H. ‘Vermeer van Delft und die Utrechter Schule’, Monatshefte für Kunstwissenschaft, 5 (1912).

Barnouw, A. J. ‘Vermeers zogenaamd Novum Testamentum’, O.H., 32 (1914).

Gelder, J. G. van. ‘Een teekening van Carel Fabritius en een teekening van Johannes Vermeer’, O.H., 48 (1931).

Heppner, A. ‘Vermeer - seine kunstlerische Herkunft und Ausstrahlung’, Pantheon, 16 (1935).

Huyghe, R. ‘Vermeer et Proust’, L’Amour de l’Art (1936).

Bredius, A. ‘A New Vermeer: Christ and the Disciples at Emmaus’, B.M., 71 (1937). Publication of the notorious Vermeer forgery by Han van Meegeren as an authentic work. For a discussion of van Meegeren’s falsifications see P. B. Coremans, Van Meegeren’s Faked Vermeers and De Hoochs: A Scientific Examination. Trans. A. Hardy and C. Hutt. Amsterdam, 1949.

Hulten, K. G. ‘Zu Vermeers Atelierbild’, Konsthistorisk Tidskrift, 18 (1949).

Gelder, J. G. van. De Schilderkunst van Jan Vermeer. With a commentary by J. A. Emmens. Utrecht, 1958. A more convincing interpretation of the Allegory of Painting at Vienna than the one offered by H. Sedlmayr, ‘Der Ruhm der Malkunst Jan Vermeer “De schilderconst”, Festschrift für Hans Jantzen, Berlin, 1951, or C. de Tolnay, ‘L’Atelier de Vermeer’, G.B.A. (April 1953). Also cf. K. Badt, Modell und Maler von Jan Vermeer. Probleme de Interpretation; eine Streitschrift gegen Hans Sedlmayr, Cologne, 1961.

Seymour, C., Jr. ‘Dark Chamber and Light-Filled Room: Vermeer and the Camera Obscura’, Art Bulletin, 46 (1964).

Kühn, H. ‘A Study of the Pigments Used by Jan Vermeer’, Report and Studies in the History of Art, National Gallery of Art (Washington), 2 (1968).

Slive, S. ‘Een dronke slapende meyd aan een tafel’, in Festschrift Ulrich Middeldorf. Berlin, 1968.

Fink, D. A. ‘Vermeer’s Use of the Camera Obscura - a Comparative Study’, The Art Bulletin, 53 (1971).

Kahr, M. M. ‘Vermeer’s Girl Asleep, A Moral Emblem’, Metropolitan Museum Journal, 6 (1972).

Welu, J. A. ‘Vermeer: His Cartographic Sources’, The Art Bulletin, 57 (1975).

Welu, J. A. Vermeer and Cartography (diss.), Boston University, 1977, University Microfilms International, Ann Arbor, 1977.

Wheelock, A. K., Jr. ‘Zur Technik zweier Bilder, die Vermeer zugeschrieben sind’, Maltechnik/Restauro, 84 (1978).

Seth, L. ‘Vermeer och van Veens Amorum Emblemata’, Konsthistorisk Tidskrift, 49 (1980).

VERMEER I (VAN HAARLEM), JAN

Linfert, C. ‘Eine Landschaft des Haarlemer Vermeer im Wallraf-Richartz-Museum zu Köln’, Kunstchronik, 53 (1929–30).

VERSPRONCK

Kalff, S. ‘Een Haarlemsch portretschilder uit de Gouden Eeuw’, De Nieuwe Gids, 34 (1918).

Ekkart, R. E. O. Johannes Cornelisz. Verspronck; leven en werken van een Haarlems portretschilder uit de 17 de eeuw, exh. cat., Frans Hals Museum, Haarlem, 1979. This exhibition catalogue does double duty as the authoritative monograph and catalogue raisonné of the artist’s work.

VICTORS

Zafran, E. ‘Jan Victors and the Bible’, Israel Museum News, 12 (1977).

Miller, D. Jan Victors, 1619–1676 (diss.). 2 vols. University of Delaware, 1985.

Sumowski Gemälde. Vol. 4, 6: ‘Jan Victors’.

Also see above under RIJN, REMBRANDT VAN: 7. B. Manuth, V.

VINCKBOONS

Coninckx, H. ‘David Vinckboons, peintre, et son oeuvre et la famille de ce nom’, Annales de l’Académie Royale d’Archéologie de Belgique, 59 (1907).

Held, J. S. ‘Notes on David Vinckboons’, O.H., 66 (1951).

Goossens, K. David Vinckboons. Antwerp, 1954. Reprint, Soest, 1977. See review by S. Slive, The Art Bulletin, 39 (1957).

Goossens, K. ‘Nog meer over David Vinckboons’, Jaarboek van het Koninklijk Museum voor Schone Kunsten Anwerpen, 6 (1966).

VINNE, VINCENT LAURENSZ VAN DER

Dagelijkse aentekeninge van Vincent Laurensz van der Vinne. Reisjournaal van een Haarlems schilder 1652–1655, ed. S. Sliggers, Jr. Haarlem, 1979.

VISSCHER

Simon, M. Claes Jansz Visscher (diss). Freiburg im Breisgau, 1958.

VLIEGER, DE

Haverkorn van Rijsewijk, P. ‘Simon Jacobsz de Vlieger’, O.H., 9 (1891); II (1893).

Heppner, A. ‘Simon de Vlieger und der “Pseudo-Van de Venne”,’ O.H., 47 (1930).

Kelch, J. Simon de Vlieger als Marinemaler (diss.). Berlin, 1971.

VLIET, VAN

Bober, H. Jan van Vliet’s Book of Crafts and Trades: With a Reappraisal of His Etchings. Albany, New York, 1981.

Royalton-Kisch, M. ‘Over Rembrandt en van Vliet’, De Kroniek van het Rembrandthuis, 36 (1984).

VOORT, VAN DER

Six, J. ‘Cornelis van der Voort. Een eerste poging tot het terugvinden van zijn werk als portretschilder’, O.H., 5 (1887); also cf. ibid, 19 (1911); 36 (1918).

VOSMAER

Donahue, S. ‘Daniel Vosmaer’, Vassar Journal of Undergraduate Studies, 19 (1964).

VREDEMAN VRIES, HANS and PAUL

Schneede, U. M. ‘Interieurs von Hans und Paul Vredeman’, N. K. J., 18 (1967).

Ballegeer, J. P. C. M. ‘Enkele voorbeelden van de invloed van Hans en Paulus Vredeman de Vries op de architectuurschilders in de Neder-landen gedurende de XVIe en XVIIe eeuw’, Gentse Bijdragen tot de Kunstgeschiedenis en de Oudheidkunde, 20 (1967).

Ehrman, J. ‘Hans Vredeman de Vries (Leeuwarden 1527-Anvers 1606), G.B.A., 121 (1979).

VREL

Valentiner, W. R. ‘Paintings by Pieter de Hooch and Jacobus Vrel’, Bulletin of the Detroit Institute of Arts, 9 (1927–8).

Briére-Misme, C. ‘Un Intimiste hollandais: Jacob Vrel’, Revue de LArt Ancien et Moderne, 68 (1935).

Régnier, G. ‘Jacob Vrel, un Vermeer du Pauvre’, G.B.A., 110 (1968).

VROOM, CORNELIS

Rosenberg, J. ‘Cornelis Hendricksz Vroom’, Jahrb. P.K., 49 (1928).

Keyes, G. S. Cornelis Vroom: Marine and Landscape Artist. 2 vols. Alphen aan den Rijn, 1975. See review by P. Biesboer, Simiolus, 10 (1978–9).

VROOM, HENDRICK CORNELISZ

Russell, M. Visions of the Sea. Hendrick C. Vroom and the Origins of Dutch Marine Painting. Leiden, 1983. Standard monograph (without œuvre catalogue). The chapter on ‘Mundus Mare – The vanitas seascape’ offers an excellent, brief survey of marine symbolism.

WEENIX, JAN and JAN BAPTIST

Stechow, W. ‘Jan Baptist Weenix’, A.Q., 11 (1948).

Stechow, W. ‘A Wall Paneling by Jan Weenix’, Allen Memorial Art Museum Bulletin, 27 (1969).

Ginnings, R. J. The Art of Jan Baptist Weenix and Jan Weenix (diss.). University of Delaware, 1970.

Schloss, C. S. ‘The Early Italianate Genre Paintings by Jan Weenix’, O.H., 97 (1982).

WERFF, VAN DER

HdG. Vol. 10, ‘Adriaen van der Werff’.

Plietzsch, E. ‘Adriaen van der Werff’, A.Q., 14 (1951).

Adriaen van der Werff (1659–1722). Hofmaler des Kurfürsten Johann Wilhelm von der Pfalz, exh. cat., Alte Pinakothek, Munich, 1972.

Snoep. D. P., and Thiels, C. Adriaen van der Werff. Kralingen 1659–1722 Rotterdam, exh. cat., Historisch Museum, Rotterdam, 1973.

Becker, J. ‘“Dieses emblematische Stuck stellet die Erziehung der Jugend vor”. Zu Adriaen van der Werff. München, Alte Pinakothek, Inv. Nr. 250’, O.H., 90 (1976).

Gaehtgens, B. Adriaen van der Werff 1659–1722. Munich, 1987. Standard monograph and catalogue raisonné; includes a transcription of contemporary documents.

WET, DE

Chudzikowski, A. ‘Les elements Rembrandtesques dans l’œuvre de Jacob de Wet’, Biuletyn Historii Sztuki, 18 (1956).

Sumowski Gemälde. Vol. 4, 6: ‘Jacob Willemsz de Wet’.

WIERINGEN, VAN

Keyes, G. S. ‘Cornelis Claesz van Wieringen’, O.H., 93 (1979).

WIJK

Schnackenburg, B. ‘Die Anfänge von Thomas Adriaensz Wyck (1620–1677) als Zeichner und Maler’, O.H., 106 (1992).

WIJNANTS

Bredius, A. ‘Een en ander over Jan Wijnants’, O.H., 29 (1911).

HdG. Vol. 8, ‘Johannes Wijnants’.

WIT, DE

Staring, A. Jacob de Wit. Amsterdam, 1958. Standard monograph.

Huisken, J., and Lammertse, F., Jacob de Wit: de Amsteltitiaan. Jacob de Wit: the Titian of the Amstel, exh. cat., Royal Palace, Amsterdam, 1986.

WITTE, DE

Richardson, E. P. ‘De Witte and the Imaginative Nature of Dutch Art’, A.Q, 1 (1938).

Manke, I. Emanuel de Witte 1617–1692. Amsterdam, 1963. Comprehensive monograph and œuvre catalogue. The author published a supplement to her catalogue in Pantheon, 30 (1972).

WITTEL, VAN

Briganti, G. Gaspar van Wittel et l’origine delle veduta settecentesca. Rome, 1966.

Zwollo, A. ‘Caspar van Wittel (1653–1736)’, in the author’s Hollandse en Vlaamse veduteschilders to Rome 1675–1725. Assen, 1973. The chapter offers the best survey of the artist’s work and achievement.

Witztum, W. Drawings by Gaspar van Wittel (1652/53–1736) from Neapolitan Collections, exh. cat., National Gallery of Canada, Ottawa, 1977.

WOUWERMAN

HdG. Vol. 2, ‘Philips Wouwerman’.

Duparc, F. J. ‘Philips Wouwerman, 1619–1668’, O.H., 107 (1993).

WTEWAEL

Lindeman, C. M. A. A. Joachim Anthonisz. Wtewael. Utrecht, 1929. See sharply critical reviews by F. Antal, Kritische Berichte, 2 (1928–9), and W. Stechow, Kunstchronik, 63 (1929–30).

McGrath, E. ‘A Netherlandish History by Joachim Wtewael’, Journal of the Warburg and Courtauld Institutes, 38 (1975).

Helliesen, S. ‘Thronus Justitiae, A Series of Pictures of Justice by Joachim Wtewael’, O.H., 91 (1977).

Lowenthal, A. W. Joachim Wtewael and Dutch Mannerism. Doornspijk, 1986. Standard monograph and catalogue; includes a catalogue of paintings by Peter, Joachim’s son.

ZEEMAN see NOOMS

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