Metamorphosis: a portrait of a man holding gloves by the master of the 1540s
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Elektronisch Paper |
| Sprache: | Englisch |
| Veröffentlicht: |
2024
|
| Links: | https://doi.org/10.4000/127we |
| Abstract: | This Portrait of a man by the Master of the 1540s has known a remarkable history, both in terms of ownership and especially in its change of outlook, hence the title Metamorphosis. Since 1907 it has been part of a stylistically coherent group of portraits, given by Max J. Friedländer to the so-called Master of the 1540s in 1936. In this article I have tried to give a full account of the picture’s provenance history, the various restorations it underwent and the changes in its outlook which were the result of these restorations, making use of historical photographs as well as modern methods of examination, including infrared reflectography (IRR), X-radiography and Macro X-ray Fluorescence (MA-XRF). In addition the portrait is used as a tool to understand more of the artist’s working methods, including the possible use of detailed portrait drawings, a tool that must have been used by most active portrait painters at the time, although only drawings (and connected portrait paintings) by Hans Holbein the Younger and Jean Clouet have survived in such numbers that something useful can be said on the functions of both drawing and underdrawing. Finally, I have proposed an identification of the artist in question as Cornelis van Cleve, who was born in 1520 as the only son of Joos van Cleve. Together with Willem Key, Cornelis was probably trained in his father’s studio as a portrait painter. After his father passed away in 1540-41, the young Cornelis took over his father’s thriving studio. |
| Umfang: | 1 Online-Ressource Illustrationen |
| DOI: | 10.4000/127we |
Internformat
MARC
| LEADER | 00000naa a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV050130615 | ||
| 003 | DE-604 | ||
| 007 | cr|uuu---uuuuu | ||
| 008 | 250121s2024 xx a||| o|||| 00||| eng d | ||
| 024 | 7 | |a 10.4000/127we |2 doi | |
| 035 | |a (OCoLC)1492133574 | ||
| 035 | |a (DE-599)BVBBV050130615 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-Y3 |a DE-255 |a DE-Y7 |a DE-Y2 | ||
| 100 | 1 | |a Brink, Peter van den |d 1956- |e Verfasser |0 (DE-588)133466884 |4 aut | |
| 245 | 1 | 0 | |a Metamorphosis |b a portrait of a man holding gloves by the master of the 1540s |c Peter van den Brink |
| 264 | 1 | |c 2024 | |
| 300 | |a 1 Online-Ressource |b Illustrationen | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b c |2 rdamedia | ||
| 338 | |b cr |2 rdacarrier | ||
| 520 | 3 | |a This Portrait of a man by the Master of the 1540s has known a remarkable history, both in terms of ownership and especially in its change of outlook, hence the title Metamorphosis. Since 1907 it has been part of a stylistically coherent group of portraits, given by Max J. Friedländer to the so-called Master of the 1540s in 1936. In this article I have tried to give a full account of the picture’s provenance history, the various restorations it underwent and the changes in its outlook which were the result of these restorations, making use of historical photographs as well as modern methods of examination, including infrared reflectography (IRR), X-radiography and Macro X-ray Fluorescence (MA-XRF). In addition the portrait is used as a tool to understand more of the artist’s working methods, including the possible use of detailed portrait drawings, a tool that must have been used by most active portrait painters at the time, although only drawings (and connected portrait paintings) by Hans Holbein the Younger and Jean Clouet have survived in such numbers that something useful can be said on the functions of both drawing and underdrawing. Finally, I have proposed an identification of the artist in question as Cornelis van Cleve, who was born in 1520 as the only son of Joos van Cleve. Together with Willem Key, Cornelis was probably trained in his father’s studio as a portrait painter. After his father passed away in 1540-41, the young Cornelis took over his father’s thriving studio. | |
| 546 | |a Text englsich. Zusammenfassung englisch, französisch und niederländisch | ||
| 773 | 1 | 8 | |g volume:39 |g year:2024 |
| 773 | 0 | 8 | |t Bulletin / Institut Royal du Patrimoine Artistique = Bulletin / Koninklijk Instituut voor het Kunstpatrimonium |d Bruxelles, 2024 |g Band 39 (2024) |w (DE-604)BV048555481 |o (DE-600)3139392-5 |
| 856 | 4 | 0 | |q text/html |u https://doi.org/10.4000/127we |x Verlag |z kostenfrei |3 Volltext |
| 912 | |a ebook | ||
| 941 | |b 39 |j 2024 | ||
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-035467301 | |
Datensatz im Suchindex
| _version_ | 1823676115018842112 |
|---|---|
| adam_text | |
| any_adam_object | |
| article_link | (DE-604)BV048555481 |
| author | Brink, Peter van den 1956- |
| author_GND | (DE-588)133466884 |
| author_facet | Brink, Peter van den 1956- |
| author_role | aut |
| author_sort | Brink, Peter van den 1956- |
| author_variant | p v d b pvd pvdb |
| building | Verbundindex |
| bvnumber | BV050130615 |
| collection | ebook |
| ctrlnum | (OCoLC)1492133574 (DE-599)BVBBV050130615 |
| doi_str_mv | 10.4000/127we |
| format | Electronic Article |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>00000naa a2200000 c 4500</leader><controlfield tag="001">BV050130615</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="007">cr|uuu---uuuuu</controlfield><controlfield tag="008">250121s2024 xx a||| o|||| 00||| eng d</controlfield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.4000/127we</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1492133574</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV050130615</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-Y3</subfield><subfield code="a">DE-255</subfield><subfield code="a">DE-Y7</subfield><subfield code="a">DE-Y2</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Brink, Peter van den</subfield><subfield code="d">1956-</subfield><subfield code="e">Verfasser</subfield><subfield code="0">(DE-588)133466884</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Metamorphosis</subfield><subfield code="b">a portrait of a man holding gloves by the master of the 1540s</subfield><subfield code="c">Peter van den Brink</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="c">2024</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 Online-Ressource</subfield><subfield code="b">Illustrationen</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1="3" ind2=" "><subfield code="a">This Portrait of a man by the Master of the 1540s has known a remarkable history, both in terms of ownership and especially in its change of outlook, hence the title Metamorphosis. Since 1907 it has been part of a stylistically coherent group of portraits, given by Max J. Friedländer to the so-called Master of the 1540s in 1936. In this article I have tried to give a full account of the picture’s provenance history, the various restorations it underwent and the changes in its outlook which were the result of these restorations, making use of historical photographs as well as modern methods of examination, including infrared reflectography (IRR), X-radiography and Macro X-ray Fluorescence (MA-XRF). In addition the portrait is used as a tool to understand more of the artist’s working methods, including the possible use of detailed portrait drawings, a tool that must have been used by most active portrait painters at the time, although only drawings (and connected portrait paintings) by Hans Holbein the Younger and Jean Clouet have survived in such numbers that something useful can be said on the functions of both drawing and underdrawing. Finally, I have proposed an identification of the artist in question as Cornelis van Cleve, who was born in 1520 as the only son of Joos van Cleve. Together with Willem Key, Cornelis was probably trained in his father’s studio as a portrait painter. After his father passed away in 1540-41, the young Cornelis took over his father’s thriving studio.</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">Text englsich. Zusammenfassung englisch, französisch und niederländisch</subfield></datafield><datafield tag="773" ind1="1" ind2="8"><subfield code="g">volume:39</subfield><subfield code="g">year:2024</subfield></datafield><datafield tag="773" ind1="0" ind2="8"><subfield code="t">Bulletin / Institut Royal du Patrimoine Artistique = Bulletin / Koninklijk Instituut voor het Kunstpatrimonium</subfield><subfield code="d">Bruxelles, 2024</subfield><subfield code="g">Band 39 (2024)</subfield><subfield code="w">(DE-604)BV048555481</subfield><subfield code="o">(DE-600)3139392-5</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="q">text/html</subfield><subfield code="u">https://doi.org/10.4000/127we</subfield><subfield code="x">Verlag</subfield><subfield code="z">kostenfrei</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ebook</subfield></datafield><datafield tag="941" ind1=" " ind2=" "><subfield code="b">39</subfield><subfield code="j">2024</subfield></datafield><datafield tag="943" ind1="1" ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-035467301</subfield></datafield></record></collection> |
| id | DE-604.BV050130615 |
| illustrated | Illustrated |
| indexdate | 2025-02-10T13:11:12Z |
| institution | BVB |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-035467301 |
| oclc_num | 1492133574 |
| open_access_boolean | 1 |
| owner | DE-Y3 DE-255 DE-Y7 DE-Y2 |
| owner_facet | DE-Y3 DE-255 DE-Y7 DE-Y2 |
| physical | 1 Online-Ressource Illustrationen |
| psigel | ebook |
| publishDate | 2024 |
| publishDateSearch | 2024 |
| publishDateSort | 2024 |
| record_format | marc |
| spelling | Brink, Peter van den 1956- Verfasser (DE-588)133466884 aut Metamorphosis a portrait of a man holding gloves by the master of the 1540s Peter van den Brink 2024 1 Online-Ressource Illustrationen txt rdacontent c rdamedia cr rdacarrier This Portrait of a man by the Master of the 1540s has known a remarkable history, both in terms of ownership and especially in its change of outlook, hence the title Metamorphosis. Since 1907 it has been part of a stylistically coherent group of portraits, given by Max J. Friedländer to the so-called Master of the 1540s in 1936. In this article I have tried to give a full account of the picture’s provenance history, the various restorations it underwent and the changes in its outlook which were the result of these restorations, making use of historical photographs as well as modern methods of examination, including infrared reflectography (IRR), X-radiography and Macro X-ray Fluorescence (MA-XRF). In addition the portrait is used as a tool to understand more of the artist’s working methods, including the possible use of detailed portrait drawings, a tool that must have been used by most active portrait painters at the time, although only drawings (and connected portrait paintings) by Hans Holbein the Younger and Jean Clouet have survived in such numbers that something useful can be said on the functions of both drawing and underdrawing. Finally, I have proposed an identification of the artist in question as Cornelis van Cleve, who was born in 1520 as the only son of Joos van Cleve. Together with Willem Key, Cornelis was probably trained in his father’s studio as a portrait painter. After his father passed away in 1540-41, the young Cornelis took over his father’s thriving studio. Text englsich. Zusammenfassung englisch, französisch und niederländisch volume:39 year:2024 Bulletin / Institut Royal du Patrimoine Artistique = Bulletin / Koninklijk Instituut voor het Kunstpatrimonium Bruxelles, 2024 Band 39 (2024) (DE-604)BV048555481 (DE-600)3139392-5 text/html https://doi.org/10.4000/127we Verlag kostenfrei Volltext |
| spellingShingle | Brink, Peter van den 1956- Metamorphosis a portrait of a man holding gloves by the master of the 1540s |
| title | Metamorphosis a portrait of a man holding gloves by the master of the 1540s |
| title_auth | Metamorphosis a portrait of a man holding gloves by the master of the 1540s |
| title_exact_search | Metamorphosis a portrait of a man holding gloves by the master of the 1540s |
| title_full | Metamorphosis a portrait of a man holding gloves by the master of the 1540s Peter van den Brink |
| title_fullStr | Metamorphosis a portrait of a man holding gloves by the master of the 1540s Peter van den Brink |
| title_full_unstemmed | Metamorphosis a portrait of a man holding gloves by the master of the 1540s Peter van den Brink |
| title_short | Metamorphosis |
| title_sort | metamorphosis a portrait of a man holding gloves by the master of the 1540s |
| title_sub | a portrait of a man holding gloves by the master of the 1540s |
| url | https://doi.org/10.4000/127we |
| work_keys_str_mv | AT brinkpetervanden metamorphosisaportraitofamanholdingglovesbythemasterofthe1540s |