Renaissance

Collected Opinions: Essays on Netherlandish Art in Honour of Alfred Bader

Collected Opinions: Essays on Netherlandish Art in Honour of Alfred Bader

296 pages, hardback, 280 x 225 mm, 140 illustrations
PRICE: £40.00
ISBN: 978 1 903470 35 0

 

Edited by Volker Manuth and Axel Rüger

 

"A very handsome addition to any art library" (Art Times)

"There is a wealth of information, scholarly insight, and sound reasoning in this work, which serves as both a tribute to one man and a contribution to art history." (Library Journal Reviews)

"With twently-two distinguished contributors, itemizing the contents of this handsome volume proves impossible within these limits ... A book that offers real scholarly contribution to art history. All in all it is a fine Festschrift, produced for a most accomplished and worthy recipient and entirely consistent with his own wide-ranging interests." (Sixteenth Century Journal)


The book presents a wide array of subject-matter, ranging from sixteenth-century Flemish altarpieces to the heroes of Dutch seventeenth-century Dutch painting such as Rembrandt, Gerrit Dou and Jacob van Ruisdael, as well as the works of lesser-known Dutch and Flemish – and two Italian – painters, draughtsmen and printmakers. Two very personal contributions come in the form of a pair of short stories by Astrid Tümpel and a portrait drawing of Alfred Bader by Charles Munch. Alfred Bader, who celebrated his eightieth birthday in 2004 and to whom the book is dedicated, is well-known for his passion for Rembrandt and the Rembrandt school, his own collection of Dutch art, and for his generosity towards learned institutions, notably at Milwaukee, Wisconsin, and at Kingston, Ontario.

Contributors to this album amicorum include colleagues and students encountered and befriended by Alfred Bader throughout his career as a collector and scholar. They are: Volker Manuth, University of Nijmegen; Axel Rüger, National Gallery, London; Ronni Baer, Museum of Fine Arts, Boston; Jonathan Bikker, Rijksmuseum, Amsterdam; Christopher Brown, Ashmolean Museum, Oxford; George S. Keyes, Detroit Institute of Arts; Rüdiger Klessmann, Augsburg; Walter Liedtke, Metropolitan Museum of Art, New York; Gregory Martin, Christie’s, London; David McTavish, Queen’s University, Kingston, Ontario; Pierre de la Ruffinière du Prey, Queen’s University, Kingston, Ontario; William W. Robinson, Fogg Art Museum, Cambridge, Mass. ; Jane Russell Cobbett, Queen’s University, Kingston, Ontario; Seymour Slive, Cambridge, Mass.; J. Douglas Stewart, Kingston, Ontario; Astrid Tümpel, Ahrensburg; Christian Tümpel, Ahrensburg; Arthur K. Wheelock, Jr, National Gallery of Art, Washington; Clovis Whitfield, Whitfield Fine Art, London; Marjorie E. Wieseman, Cincinnatu Museum of Art; David de Witt, Agnes Etherington Art Centre, Queen’s University, Kingston, Ontario; Martha Wolff, Art Institute of Chicago Includes list of publications by Alfred Bader.


The Olivetan Gradual: Its Place in 15th-century Lombard Manuscript Illumination

This illuminated manuscript, a gradual of large size which the whole congregation of monks could see and read as they sang in choir (just as they are shown doing in an illustration in the manuscript itself), was previously unknown to scholars and has only recently come to light. It was clearly produced for a monastery of the Olivetan order, a branch of the Benedictines with a particular reverence for the Virgin Mary – probably Santa Maria di Baggio near Milan. More

Prince Henry Revived: Image and Exemplarity in Early Modern England

There can be few examples of intensive fashioning and self-fashioning by a Renaissance figure more remarkable than Prince Henry (1594-1612). Two decades after the appearance of Roy Strong's revelatory Henry Prince of Wales and England's Lost Renaissance this collection of essays re-examines the extraordinary artistic and cultural response to Prince Henry and presents many new findings in the context of recent scholarship. More

Henry VIII Revealed: The Legacy of Holbein’s Portraits

The portly figure of Henry VIII depicted by Holbein may be very familiar, but this book reveals much more about the portrait, the sitter, the artist and his workshop. It gathers together and analyses the several copies and variants of Holbein’s Whitehall cartoon of Henry VIII, more than one of which is by the only significant painter immediately after Holbein in England, Hans Eworth. More