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107 articles
Book Review
Private Collectors in Brussels, Antwerp and Ghent, ca.1780–1914: Between Public Relevance and Personal Pleasure
05/2025 | 1466 | 167
Pages: 522–3
related names
Reviewer:
Evans, Mark (Evans, Mark)
Subjects
places:
Reviewed Items
subjects:
Private Collectors in Brussels, Antwerp and Ghent, ca.1780–1914: Between Public Relevance and Personal Pleasure By Ulrike Müller. 376 pp. incl. 18 b. & w. + 128 col. ills. (Brepols, Turnhout, 2023), €150. ISBN 978–2–503–60619–4. | :
Illustrations
Attributed works:
4. Still life with chinoiseries, by James Ensor. 1906–09. Oil on canvas, 78.5 by 98.5 cm. (Royal Museum of Fine Arts, Antwerp; Bridgeman Images).
Article
A third self-portrait by Gillis Van Tilborgh
06/2023 | 1443 | 165
Pages: 584–589
related names
Author:
Cauteren, Katharina van (Cauteren, Katharina van)
Author:
Kelchtermans, Leen (Kelchtermans, Leen)
Subjects
dates:
places:
Illustrations
Attributed works:
1. Family portrait, here identified as Self-portrait with his family, by Gillis Van Tilborgh. c.1668–70. Oil on canvas, 81 by 171 cm. (Royal Museums of Fine Arts of Belgium, Brussels).
Attributed works:
2. Self-portrait in the studio, by Gillis Van Tilborgh. c.1645. Oil on panel, 10.8 by 8.9 cm. (National Gallery of Art, Washington).
Attributed works:
3. Detail of Fig.1, showing Gillis Van Tilborgh.
Attributed works:
4. Detail of Fig.5, showing Gillis Van Tilborgh.
Attributed works:
5. Twelve gentlemen in an interior, including a self-portrait of the artist as a connoisseur, by Gillis Van Tilborgh. c.1665. Oil on canvas, 137 by 208 cm. (The Phoebus Foundation, Antwerp).
Attributed works:
6. Peter Snayers, by Cornelis Van Caukercken after Daniel Van Heil. c.1649–61. Engraving, 23.4 by 19 cm. (From C. De Bie: Het Gulden Cabinet vande Edel Vry Schilder-Const, Lier 1661; The Phoebus Foundation, Antwerp).
Attributed works:
7. Detail of Fig.5, showing Peter Snayers.
Attributed works:
8. David II Teniers, by Lucas II Vorsterman after Pieter Thijs. 1659. Engraving, 34.9 by 24 cm. (Rijksmuseum, Amsterdam).
Attributed works:
9. Detail of Fig.5, showing David II Teniers.
Short Notice
Gustave Courbet in Brussels: two of his female sitters and their radical social and political circles
05/2021 | 1418 | 163
Pages: 444-447
related names
Author:
Marechal, Dominique (Marechal, Dominique)
Subjects
artists:
places:
Illustrations
Attributed works:
1. Albert Breyer, by Géruzet frères, Brussels. 1873–76. Photograph, 9.7 by 5.6 cm., mounted on card, 10.3 by 6.2 cm. (Private collection; courtesy Francis Sartorius).
Attributed works:
2. Plants, by Albert Breyer. 1839. Breyerotype. (From L. Roosens: ‘Albrecht Breyer, de eerste reflectografie en haar verdere ontwikkeling’, Photohistorisch Tijdschrift 12 (1989), p.88).
Attributed works:
3. Fanny Breyer-Van Bruyssel, by Gustave Courbet. 1858. Oil on canvas, 91.4 by 72.7 cm. (Metropolitan Museum of Art, New York).
Attributed works:
4. Laure Sanders-Janné, later Laure Fontaine-Janné, by Gustave Courbet. 1858. Oil on canvas, 92 by 75.5 cm. (Royal Museums of Fine Arts of Belgium, Brussels; photograph J. Geleyns).
Attributed works:
5. Gustave Courbet aged thirty-nine, by Gilbert Louis Radoux. 1858. Albumen silver print, 21.8 by 16.4 cm. (Private collection; from C. Joly, ed.: exh. cat. Courbet-Clergue, rencontre photographique, Ornans (Musée Courbet) 2016–17, p.27).
Article
The sitters in a family portrait by Rubens in the Staatliche Kunsthalle, Karlsruhe
09/2020 | 1410 | 162
Pages: 757-765
related names
Author:
Stighelen, Katlijne van der (Stighelen, Katlijne van der)
Subjects
dates:
places:
Illustrations
Attributed works:
1. Family portrait, here identified as Robert Staes, his wife, Anna Rindfleisch, and their son Albert, by Peter Paul Rubens. Here dated c.1610–11. Oil on canvas, 116 by 112.5 cm. (Staatliche Kunsthalle, Karlsruhe).
Attributed works:
10. Detail of Fig.1, showing one of the bracelets worn by Anna Rindfleisch.
Attributed works:
11. Detail of Allegory of sight, by Jan Brueghel the Elder and Peter Paul Rubens, showing jewellery. 1617. Oil on panel, 64.7 by 109.5 cm. (Museo Nacional del Prado, Madrid).
Attributed works:
2. Self-portrait with his wife, Isabella Brant, by Peter Paul Rubens. c.1609–10. Oil on canvas, mounted on panel, 178 by 136 cm. (Alte Pinakothek, Munich).
Attributed works:
3. Family portrait, here identified as Robert Staes, his wife, Anna Rindfleisch, and their son Albert, after Peter Paul Rubens. c.1610–25. Black chalk, pen and brown ink and pencil on parchment, 19.9 by 19.5 cm. (Museum Boijmans van Beuningen, Rotterdam).
Attributed works:
4. Jan Brueghel the Elder, his wife, Catharina van Marienberghe, and their children Elisabeth and Pieter, by Peter Paul Rubens. Here dated c.1613–14. Oil on panel, 124.5 by 94.5 cm. (Courtauld Gallery, London).
Attributed works:
6. Page from the album amicorum of Abraham Ortelius, showing the coat of arms of the Rindfleisch (Runtvleesch) family. 1583. Pen and ink and wash, 16 by 11 cm. (Pembroke College, Cambridge).
Attributed works:
7. Page from the album amicorum of Daniel Rindfleisch, showing the coat of arms of the Rindfleisch (Runtvleesch) family. 1591. Pen and ink and wash, 13.7 by 21.5 cm. (Bibliothèque nationale de France, Paris).
Attributed works:
8. Self-portrait with his wife, Helena Fourment, and their son, Frans, by Peter Paul Rubens. c.1634. Oil on canvas, 204 by 153.5 cm. (Metropolitan Museum of Art, New York).
Attributed works:
9. Detail of Fig.1, showing Albert Staes.
Short Notice
A miniature Netherlandish portable altarpiece rediscovered
07/2020 | 1408 | 162
Pages: 592-594
Subjects
dates:
Illustrations
Attributed works:
3. Portable altarpiece with the Adoration of the Magi. c.1520. Oak, lead, glass, tin, paint and gilding, 23.5 by 29.5 cm. (Victoria and Albert Museum, London).
Western art unattributed:
2. Portable altarpiece with Christ as the Man of Sorrows. c.1525–40. Oak, lead, glass, copper, paint and gilding, 23.3 by 29.5 by 6.5 cm. (Rijksmuseum, Amsterdam).
Western art unattributed:
Portable altarpiece with the Coronation of the Virgin. c.1520. Oak, lead, glass, tin, paint and gilding, 23.6 by 29.7 cm. (Caramoor Center for Music and Arts, Katonah NY).
Article
‘Madame de Brayer’ identified: Courbet and his Brussels portraits, 1856–58
09/2019 | 1398 | 161
Pages: 732-736
related names
Author:
Marechal, Dominique (Marechal, Dominique)
Subjects
artists:
dates:
places:
subjects:
Illustrations
Attributed works:
1. Portrait of Fanny Breyer, née Van Bruyssel, by Gustave Courbet. 1858. Oil on canvas, 91.4 by 72.7 cm. (Metropolitan Museum of Art, New York).
Attributed works:
2. Gustave Courbet, by Gilbert Louis Radoux. 1858. Photograph, reproduced in O. Chevalier: ‘Hetzel et Courbet’, Les Amis de Gustave Courbet, Bulletin 15 (1955), p.20.
Attributed works:
3. Portrait of J.A. Van Laethem, by Gustave Courbet. c.1856. Oil on canvas, 52 by 49 cm. (Private collection; photograph courtesy Doyle Auctioneers & Appraisers).
Attributed works:
4. Portrait of Laure Janné, by Gustave Courbet. 1856–57. Oil on canvas, 92 by 75.5 cm. (Royal Museums of Fine Arts of Belgium, Brussels; © RMFAB, Brussels; photograph J. Geleyns – Art Photography).
Attributed works:
5. Portrait of Miss Jacquet, by Gustave Courbet. 1857. Oil on canvas, 81 by 65 cm. (Private collection; photograph courtesy Sotheby’s, Inc. © 2014).
Exhibition Review
Bernard van Orley: Brussels and the Renaissance Centre for Fine Arts (BOZAR), Brussels
06/2019 | 1395 | 161
Pages: 499-502
related names
Reviewer:
Campbell, Lorne (Campbell, Lorne; C., L.)
Subjects
dates:
museums and institutions:
places:
styles:
Illustrations
Attributed works:
7. Attack on the French camp and the flight of the civilians, one of the tapestries of the Battle of Pavia series, designed by Bernard van Orley and woven in the workshop of Willem Dermoyen. 1525–31. Wool, silk and preciousmetal wrapped threads, 440 by 818 cm., 7–8 warp threads per cm. (Museo e Real Bosco di Capodimonte, Naples; exh. Centre for Fine Arts, Brussels).
Attributed works:
8. Head of a dog, fragment of a tapestry cartoon, from the workshop of Bernard van Orley. c.1525–31. Bodycolour heightened with white (partly oxidised) on paper, silhouetted, 17.1 by 17.9 cm. (British Museum, London).
Attributed works:
9. Execution of St John the Baptist, by Bernard van Orley. c.1510. Panel, 64.5 by 74.2 cm (Private collection; exh. Centre for Fine Arts, Brussels).
Article
Benavides’s ‘Scipio’ ensemble and collaborative entrepreneurial action in Brussels tapestry around 1660
02/2019 | 1391 | 161
Pages: 112-119
related names
Author:
Brosens, Koenraad (Brosens, Koenraad)
Author:
Slegten, Astrid (Slegten, Astrid)
Subjects
dates:
places:
Illustrations
Attributed works:
1. Detail of Fig.3.
Attributed works:
2. A table showing all the known extant tapestries of the Benavides Deeds and triumph of Scipio series.
Attributed works:
3. Conference between Scipio and Hannibal before the Battle of Zama, from the Deeds and triumph of Scipio series, by the Van Leefdael, Van der Strecken, Reydams and Leyniers consortium. 1660–61. Wool, silk, and gold- and silver-wrapped thread, 471 by 842 cm. (Fondation Toms Pauli, Lausanne).
Attributed works:
4. Sol from the Deeds and triumph of Scipio series, by the Van Leefdael, Van der Strecken, Reydams and Leyniers consortium. 1662. Wool and silk, 180 by 147 cm. (Fondation Toms Pauli, Lausanne).
Attributed works:
5. The continence of Scipio from the Deeds and triumph of Scipio series, by the Van Leefdael, Van der Strecken, Reydams and Leyniers consortium. 1660–61. Wool, silk, and gold- and silver-wrapped thread, 471 by 557 cm. (Fondation Toms Pauli, Lausanne).
Attributed works:
6. Capture of the camp and mercy for the vanquished from the Deeds and triumph of Scipio series, by the Van Leefdael, Van der Strecken, Reydams and Leyniers consortium. 1660–61. Wool, silk, and gold- and silver-wrapped thread, 481 by 794 cm. (Fondation Toms Pauli, Lausanne).
Exhibition Review
Theodoor van Loon: A Caravaggist Painter Between Rome and Brussels. Centre for Fine Arts, Brussels (BOZAR)
01/2019 | 1390 | 161
Pages: 65-67
related names
Reviewer:
Papi, Gianni (Papi, Gianni)
Subjects
dates:
media:
museums and institutions:
places:
Illustrations
Attributed works:
10. David triumphant, by Theodor van Loon. 1607–09. Canvas, 168.5 by 122 cm. (Private collection; exh. Centre for Fine Arts, Brussels).
Attributed works:
11. Christ and the woman taken in adultery, here attributed to Bartolomeo Manfredi. 1619–20. Canvas, 120 by 184.5 cm. (Royal Museums of Fine Arts of Belgium, Brussels; exh. Centre for Fine Arts, Brussels).
Attributed works:
12. St Elizabeth of Hungary, by Theodor van Loon. 1613–15. Canvas, 207 by 143 cm. (Monastery of the Discalced Carmelites, Brussels; exh. Centre for Fine Arts, Brussels).
Article
The Art of Conservation XV. The conservation history of the Ghent Altarpiece
09/2018 | 1386 | 160
Pages: 754-765
related names
Author:
Dubois, Hélène (Dubois, Hélène)
Subjects
collectors and dealers:
Illustrations
Attributed works:
1. The adoration of the Mystic Lamb, by Hubert and Jan van Eyck. Completed by 1432. Panel, shown open, 375 by 514 cm. Before restora- tion. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
2. Diagram showing the extent of mid-sixteenth century overpaint on the outside wings of the polyptych. (©KIK-IRPA, Brussels).
Attributed works:
3. Detail of Fig.4, showing Joos Vijd’s right eye after varnish removal. The pink scumbles around the eyes, which cover the original eyelashes, are typical of the mid-sixteenth-century overpainting campaign. (©KIKIRPA, Brussels).
Attributed works:
4. The adoration of the Mystic Lamb, by Hubert and Jan van Eyck. Completed by 1432. Panel, shown closed, 375 by 257 cm. Photographed after restoration. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
5. Detail of Fig.4, showing Elisabeth Borluut’s drapery before the removal of varnish and overpaint. (Cathedral of St Bavo, Ghent).
Attributed works:
6. Fig.5 after the removal of overpaint and restoration. (Cathedral of St Bavo, Ghent; © lukasweb.be – Art in Flanders vzw).
Attributed works:
7. The Virgin Annunciate and Angel musicians (recto and verso of the same panel), by Hubert and Jan van Eyck. Photographs taken in Berlin before the restoration of 1894. Original hinges are present on the left side of the frame of the Virgin’s panel. Metal reinforcements were added to the extremities of the crossbar. Later, wrought metal hinged braces were attached by large screws fitted through the frame and visible on the front of the Angels panel. (Deutsches Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg).
Attributed works:
8. The prophet Micah, detail of Fig.4, shown in the frame designed by Karl Friedrich Schinkel with a hatch covering the inscription beneath the prophet. Photograph, before 1878. (RKD, Netherlands Institute for Art History, M.J. Friedländer Archive, The Hague).
Attributed works:
9. The Ghent Altarpiece as installed in the Vijd chapel between 1865 and 1920. It comprises Eyckian central panels, Lagye’s fur-clothed Adam and Eve and Coxcie’s copies of the other shutters. Photograph, c.1910–13. (© Stadsarchief, Ghent).
Western art unattributed:
10. Jef Van der Veken in his studio in Brussels. Photograph, before 1929. (RKD, Netherlands Institute for Art History, Jef Van der Veken Archive, The Hague).
Western art unattributed:
11. Albert Philipott applies wax to the surface of Eve in order to consolidate the paint layers. Photograph, 1951. (© KIK-IRPA, Brussels).
Western art unattributed:
12. Albert Philipott removes the overpainted clouds around the dove in The Adoration of the Lamb. Photograph, 1951. (© KIK-IRPA, Brussels).
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