A Bibliography Of Publications On Dutch And Flemish Paintings Of The Seventeenth Century

List of publications by Egbert Haverkamp-Begemann from the beginning of his career (1946) to 2013.

 

I. BOOKS

Willem Buytewech. Amsterdam: Menno Hertzberger, 1959.

Hercules Seghers. Art and Architecture in the Netherlands. Amsterdam: J. M. Meulenhoff, 1968.

Hercules Segers: The Complete Etchings. Introduction by K.G. Boon. With a supplement, Johannes Ruischer (by E.Trautscholdt).  Amsterdam: Scheltema and Holkema, 1973.

The Achilles Series. Corpus Rubenianum Ludwig Burchard 10. London: Phaidon, 1975.

Art and Autoradiography: Insights into the Genesis of Paintings by Rembrandt, Van Dyck, and Vermeer (co-author with Maryan Wynn Ainsworth, John Brealey, and Pieter Meyers). New York: The Metropolitan Museum of Art, 1982.

Rembrandt: The Nightwatch. Princeton, N.J.: Princeton University Press, 1982.

Rembrandt, The Holy Family, St. Petersburg. The Gerson Lectures 5. Groningen: Groningen Lectures Foundation, 1995.

 

II. CATALOGUES OF PERMANENT COLLECTIONS

Museum Boymans. Gids: Schilderkunst en Beeldhouwkunst. Rotterdam: Museum Boymans, 1951.

Museum Boymans. Vijf Eeuwen Tekenkunst. Rotterdam: Museum Boymans, 1957.

Drawings from the Clark Art Institute (co-author with Standish D. Lawder and Charles W. Talbot, Jr.). 2 vols. New Haven and London: Yale University Press, 1964.

European Drawings and Watercolors in the Yale University Art Gallery, 1500–1900 (co-author with Anne-Marie S. Logan). 2 vols. New Haven and London: Yale University Press, 1970.

“Flemish School.” In European Paintings in the Collection of the Worcester Art Museum (edited by Louisa Dresser), Worcester, Mass.: Worcester Art Museum 1974.

Wadsworth Atheneum. Paintings, Catalogue 1: The Netherlands and German-Speaking Countries, Fifteenth–Nineteenth Centuries (editor). Hartford, Conn.: Wadsworth Atheneum, 1978.

The Robert Lehman Collection, Vol. 2, Fifteenth- to Eighteenth-Century European Paintings: France, Central Europe, The Netherlands, Spain, and Great Britain (edited by Charles Sterling, with Maryan W. Ainsworth, Charles Talbot, Martha Wolff, Jonathan Brown, and John Hayes). New York: The Metropolitan Museum of Art, 1998.

The Robert Lehman Collection,Vol. 7, Fifteenth- to Eighteenth-Century European Drawings: Central Europe, The Netherlands, France, England (co-author with Mary Tavener Holmes, Fritz Koreny, Donald Posner, and Duncan Robinson). New York: The Metropolitan Museum of Art, 1999.

 

III. EXHIBITION CATALOGUES

Musée Boymans de Rotterdam: Dessins du XVe au XIXe siècle. Paris: Bibliothèque Nationale, and Rotterdam: Museum Boymans,1952.

Olieverfschetsen van Rubens. Rotterdam: Museum Boymans,1953.

Hercules Seghers. Rotterdam, Museum Boymans,1954.

Rembrandt: Tekeningen. Rotterdam: Museum Boymans, and Amsterdam: Rijksmuseum,1956.

Rembrandt Drawings from American Collections (co-author with Felice Stampfle). NewYork: The Pierpont Morgan Library, and Cambridge, Mass., Fogg Art Museum,1960.

Color in Prints: Catalogue of an Exhibition of European and American Color Prints from 1500 to the Present. New Haven, Conn.: Yale University Art Gallery, 1962–63.

Gabor Peterdi: Paintings, Drawings and Prints. New Haven, Conn.: Yale University Art Gallery, 1964.

Rembrandt after Three Hundred Years (co-author with Anne-Marie Logan). Chicago: Art Institute of Chicago, Minneapolis: Minneapolis Institute of Arts, and Detroit: Detroit Institute of Arts, 1969–70.

“Jan van Goyen in the Corcoran: Exemplars of Dutch Naturalism.” In The William A. Clark Collection (An exhibition marking the 50th anniversary of the installation of the Clark Collection at the Corcoran Gallery of Art), 51–59. Washington, D.C.: Corcoran Gallery of Art, 1978.

Creative Copies: Interpretative Drawings from Michelangelo to Picasso (co-author with Carolyn Logan). New York: The Drawings Center, 1988.

“Reality and Symbolism in Dutch Painting.” In Dutch and Flemish Paintings from New York Private Collections (consulting curator, catalogue by Ann Jensen Adams), 9–10. New York: National Academy of Design, 1988.

“The Beauty of Holland: Aelbert Cuyp as Landscape Draftsman.” In Aelbert Cuyp (edited by Arthur K. Wheelock, Jr.), 75–85. Washington, D.C.: National Gallery of Art; London: National Gallery; and Amsterdam: Rijksmuseum, 2001–02.

 

IV. ARTICLES AND NOTES

“Nogmaals: De Nachtwacht.” De Groene Amsterdammer 71 (August 30,1947):7.

“Vroege tekeningen van Breitner en Van Gogh.” Bulletin Museum Boymans 1, no.4 (1950): 58–61.

“Een vroege tekening van Adriaen van Ostade.”Bulletin Museum Boymans 2, no.1 (1951):7–11.

“Toulouse-Lautrec, getekend door zichzelf.” Bulletin Museum Boymans 2,no.2 (1951):33–36.

“Een Noord-Nederlandse Primitief’.” Bulletin Museum Boymans 2, no.3 (1951):51–57.

“Een tekening van Claes Jansz Visscher.” Bulletin Museum Boymans 3 (1952):72–75.

“Enige Brugse werken in Spanje uit de omgeving van Gerard David en Ambrosius Benson.” Mededelingen van het Rijksbureau voor Kunsthistorische Documentatie 6 / Oud Holland 67(1952): 237–41.

“Juan de Flandes y los Reyes Catolicos.” Archivo Español de Arte 25 (1952):237–47.

“Een Aanwinst bij een aanwinst.” Bulletin Museum Boymans 4, no.1(1953):9–11.

“Twee tekeningen van Goltzius.” Bulletin Museum Boymans 4, no.3 (1953):67–72.

“Een landschap van Hercules Seghers.” Vereeniging Rembrandt…, Verslag over de jaren 1952 en 1953 (1954):44–45.

“Rubens schetsen.” Bulletin Museum Boymans 5, no.1(1954):2–22.

“Aanwinsten: Drie tekeningen van Albrecht Durer.” Bulletin Museum Boymans 6, no.3 (1955):82–89.

“De Meester van de Godelieve-Legende, een Brugs schilder uit het einde van de XVe eeuw.” Miscellanea Erwin Panofsky. Special issue, Bulletin des Musees Royaux des Beaux-Arts (Brussels) 4 (1955): 185–98.

“Een getekend portret door Jan Comelis Vermeyen.” Bulletin Museum Boymans 6, no.1(1955):29–32.

“Dessins de Pisanello à Cezanne (Collection Koenigs, Musee Boymans).” Art et Style 23 (1956).

“Album bladen met getekende landschappen van Fra Bartolommeo.” Nieuwe Rotterdamse Courant 281(Wekelijks bijvoegsel, no.48; November 30,1957):1.

“De Kroning van Maria door Rubens.” Bulletin Museum Boymans 8, no.3(1957):82–90.

“Een onbekend werk van de Meester van de Hl.Sebastiaan (Josse Lieferinxe?).” Bulletin des Musees Royaux des Beaux-Arts (Brussels) 7(1958): 18–28.

“The Etchings of Willem Buytewech.” In Prints:Thirteen Illustrated Essays on the Art of the Print, selected by Carl Zigrosser ,55–81. New York: Holt, Rinehart & Winston, 1962.

“Pauwels Franck — alias Paolo Fiammingo — als tekenaar.” Bulletin van het Rijksmuseum, Amsterdam 10, nos. 2/3 (1962): 68–75.

“Rembrandt’s So-Called Portrait of Anna Wymer as Minerva.” In Studies in Western Art: Acts of the Twentieth International Congress of the History of Art, New York, 1961, 3:59–63. Princeton, N.J., 1963.

“Rembrandt.” In Enciclopedia Universale dell’ Arte, vol. 11, cols.295–317. Venice and Rome, 1964.

“Rembrandt.” In Encyclopedia of World Art, vol. 11, cols.916–40. New York,1966.

“Terborch’s Lady at Her Toilet.” Art News 64 (December 1965): 38–41, 62–63.

“A Standing Cavalier by Willem Buytewech.” Master Drawings 4 (1966): 155–57.

“Pieter Aertsen, Not Beccafumi.” Master Drawings 4 (1966): 413–15.

“The Assumption of the Virgin — A Hitherto Unknown ‘Modello’ by Rubens.” Burlington Magazine 109 (1967): 666, 704–06.

“Comelis Vroom aan het Meer van Como.”Oud-Holland 82 ( 1967): 65–67.

“Purpose and Style: Oil Sketches of Rubens, Jan Brueghel, Rembrandt.” In Akten des 21. Internationalen Kongresses für Kunstgeschichte in Bonn 1964: Stil und Überlieferung in der Kunst des Abendlandes, 3:104–13. Berlin, 1967.

“Rubens in Rotterdam.” Apollo 86 (July 1967): 38–43.

“Frans Pourbus the Elder as Draughtsman.” In Miscellanea I. Q. van Regteren Altena, 65–66, 282–83. Amsterdam: Scheltema and Holkema, l969.

“The Spanish Views of  Anton van den Wyngaerde.” Master Drawings 6 (1969): 375–99.

“What Rembrandt Taught.” Illustrated London News 255 (September 20, 1969),33–34.

“The Present State of Rembrandt Studies.”Art Bulletin 53 ( 1971): 88–104.

“The Sketch, Its Function in the Hands of Three Masters: Rubens, Rembrandt, JanBrueghel.” Art News Annual 37 (1971): 57–74.

“‘Nicolaes Berchem in honore Horst Gerson propter artem navigandi.’”Nederlands Kunsthistorisch Jaarboek 23 (1972): 273–74.

“Rembrandt as Teacher. ” In Actes du XXIIe Congres International d’histoire de l’art, Budapest 1969: Evolution generale et développements régionaux en histoire de l’art, edited by György Rósza, 2:105–13. Budapest: Akad. Kiadó,1972.

“Eine unbekannte Vorzeichnung zum ‘Claudius Civilis.'” In Neue Beiträge zur Rembrandt- Forschung, edited by Otto von Simson and Jan Kelch, 31–43. Berlin: Gebr. Mann,1973.

“The Price Is Never Right. “ Museum News 51(May 1973):32–35.

“Rembrandt’s Night Watch and the Triumph of Mordecai.” In Album Amicorum J. G. van Gelder, edited by Joos Bruyn, et al., 5–8. The Hague: Martinus Nijhoff, 1973.

“Dutch and Flemish Figure Drawings from the Collection of Harry G. Sperling.” Master Drawings 11 (1974): 34–39.

“’The Old and the New Church at Sloten’ by Rembrandt.” Master Drawings 12 (1974):123–27.

“The Appearance of Reality: Dutch Draughtsmen of the Golden Age.” Apollo 104 (1976): 354–63. Reprinted in Treasures from the Collection of Frits Lugt at the Institut Neerlandais Paris, 96–105. London, 1976.

“The Youthful Work of Andries Both: His Landscape Drawings.” In Tribute to Wolfgang Stechow. Special issue, Print Review 5 (1976):88–95.

“Dessins de Rubens (co-author with Anne-Marie Logan).” Revue de l’art 42 (1978): 89–99.

“Rubens’ ‘Three Caryatids.'” In Boymans Bijdragen (Essays Presented to J. C. Ebbinge Wubben), 44–50. Rotterdam: Museum Boymans, 1978.

“Joos van Liere.” In Pieter Bruegel und seine Welt: Ein Colloquium, 17–28. Berlin: Gebr. Mann, 1979.

“Creative Copies. Print Collector’s Newsletter 11 (1980): 168–70.

“Dutch and Flemish Masters of the Seventeenth Century.” Apollo 111 (1980): 202–11.

“Rubens’ Portrait of a Carmelite Monk in Rotterdam.” Jaarboek Koninklijk Museum voor Schone Kunsten Antwerpen (1980):227–31.

“Dutch and Flemish Paintings at Hoogsteder-Naumann New York.” Burlington Magazine 125, no. 963 (June 1983): 382, 385–86.

“Harold Joachim (1909–1983): An Appreciation.” Art Institute of Chicago Museum Studies 12, no. 1 (Autumn 1985): 4–7.

“The State of Research in Northern Baroque Art.” Art Bulletin 69, no. 4 (December 1987): 510–19.

“Rembrandt as a Draughtsman: The Changing Image 1956–1988.” Master Drawings 27, no. 2 (1989): 105–10.

“Van Dyck and the Brazen Serpent.” Master Drawings 28, no. 3 (1990): 296–302.

“Rembrandt’s Drawing The Raising of the Cross in the Museum of Fine Arts, Boston.” In The Learned Eye: Regarding Art, Theory, and the Artist’s Reputation; Essays for Ernst van de Wetering, edited by Marieke van den Doel, et al., 39–46. Amsterdam: Amsterdam University Press, 2005.

 

V. REVIEWS

“Kunstnieuws uit het buitenland.” Phoenix 1, no. 2 (1946): 30–32.

“Kunstnieuws uit andere landen.”Phoenix 1, no. 4 (1946): 27–28.

Review of Stanovlenie Realizmav Gollandskoi  Zhivopisi  XVII Veka (The Formation of Realism in Dutch Paintings of the 17th Century), by B. R. Vipper. Burlington Magazine,102 (1960): 39–40.

Review of The Drawings of Rembrandt: First Complete Edition in Six Volumes, by Otto Benesch (London: Phaidon, 1954–57). Kunstchronik 14 (1961): 10–14, 19–28, 50–57, 85–91.

Review of Connoisseur and Diplomat: The Earl of Arundel’s Embassy to Germany in1636 . . . , by Francis C. Springell (London: Maggs Bros., 1963). Master Drawings 1 (1963): 62.

Review of Oude tekeningen uit de Nederlanden, Verzameling Prof E. Perman, Stockholm, exh. cat., 1962. Master Drawings 1 (1963): 56.

Review of Bruegel: The Drawings, Complete Edition, by Ludwig Miinz (London: Phaidon, 1961). Master Drawings 2 (1964): 55–58.

Review of The Flower Drawings of Jan van Huysum, by Christopher White (Leigh-on-Sea,1964). Master Drawings 3 (1965): 174.

Review of Jan Gossaert genaamd Mabuse, exh. cat., Rotterdam and Bruges, 1965. Master Drawings 3 (1965): 403–05.

Review of Rembrandts Handzeichnungen und Radierungen zur Bibel, by Hans-Martin Rotermund (Lahr: Verlag Ernst Kaufmann, and Stuttgart: Württembergische Bibelanstalt, 1963). Master Drawings 4 (1966): 49–52.

Review of Die Zeichnungen von Hendrick Goltzius, by E. K. J. Reznicek (Utrecht: Haentjens Dekker & Gumbert,1961).Master Drawings 5 (1967): 191–93.

“Rembrandt Backward and Forward.” Review of Rembrandt and the Italian Renaissance, by Kenneth Clark (New York: New York University Press). Yale Review 56 (1966–67): 301–09.

“Rembrandt Gisteren en Morgen.” Review of Rembrandt and the Italian Renaissance, by Kenneth Clark (New York: New York University Press). De Kroniek van het Rembrandthuis 21, no. 4 (1967): 91–104.

“Jacob Jordaens 1593–1678: Zur Ausstellung in Ottawa.” Kunstchronik 22 (1969): 125–32.

“Jacob Jordaens at the National Gallery of Canada.” Master Drawings 7 (1969): 173–78.

“Rembrandt und seine Schule: Zur Ausstellung in Kanada.” Kunstchronik 22 (1969): 281–89.

Review of Groninger Museum voor Staden Lande: Dutch Drawings from the Collection of Dr. C. Hofstede de Groot, by J. Bolten. Master Drawings 8 (1970): 410–15.

Review of Old Master Drawings from the Collection of Kurt  Meissner, Zurich, exh. cat. by Françoise Forster-Hahn, Stanford Art Gallery, Detroit Institute of Arts, and Finch College Museum of Art, 1969). Master Drawings 10 (1972): 165–66.

Review of Crispijn van de Passe.‘t Lightder Tekenen Schilderkonst  [facsimile, Soest: Davaco, 1973]. Master Drawings 11 (1973): 291–93.

Review of Dessins flamands et hollandais du dix-septieme siècle, Collections de l’Ermitage, Leningrad, et du Musée Pouchkine, Moscou, exh. cat. by Juri Kuznetsov and T. A. Tseshkovskaya, Brussels, Rotterdam, and Paris, 1972–73. Master Drawings 11 (1973): 176–78.

Review of The German Drawings in the Collection of Her Majesty The Queen at Windsor Castle…, by Edmund Schilling (London and NewYork, 1971). Master Drawings 11 (1973): 52–54.

Review of Flemish Drawings of the Seventeenth Century from the Collection of Frits Lugt, Institut Neerlandais, Paris, exh. cat. by Carlos van Hasselt, London, Paris, Bern, and Brussels, 1972. Master Drawings 11 (1973): 49–52.

Review of Jan van der Heyden, 1637–1712 by Helga Wagner (Amsterdam-Haarlem, Scheltema & Holkema, 1972). Burlington Magazine 115 (1973): 401–02.

Review of Zeichnung in Deutschland: Deutsche Zeichner 1540–1640, exh. cat. by Heinrich Geissler et al., Stuttgart,1979–80. Master Drawings 19 (1981): 178–80.

Review of Johan (Jan) van Lintelo, exh. cat. with monographic essay by Heinrich Geissler and archival sources and biographical notes by Hans D. Oppe. Master Drawings 23–24, no. 3 (1986): 416.

Review of Paulus van Vianen Handzeichnungen, by Teréz Gerszi. Master Drawings 23–24, no. 3 (1986): 416.

 

VI. OTHER CONTRIBUTIONS

“Flemish Drawings” and “Dutch Drawings.” In Great Drawings of All Time, vol. 2, selected and edited by Ira Moskowitz. New York: Shorewood, 1962.

Introduction to Willem Buytewech 1591–1624. Exh. cat. Rotterdam: Museum Boymans-van Beuningen, and Paris: Institut Neerlandais, 1974–75.

Introduction to Egypt: Day and Night; Keith Achepohl  Watercolors and Lithographs. Exh. cat. Dallas: Southern Methodist University, and elsewhere,1979–80.

Introduction to Small Paintings by Great Masters. New York, 1981.

Introduction to Haarlem: The Seventeenth Century. Exh. cat. by Frima Fox Hofrichter. New Brunswick, N. J.: Zimmerli Art Museum, Rutgers University, 1983.

“On Alchemy and Van den Eeckhout.” Letter to the Editor. Art Bulletin 69, no. 4 (December 1990): 647.

Foreword to In the Eye of the Beholder: Northern Baroque Paintings from the Collection of Henry H. Weldon. Exh. cat. by Nancy Minty. New Orleans: New Orleans Museum of Art, 1997.

Prefaces (as coordinating scholar) to vols. 1–15 of The Robert Lehman Collection Catalogue. New York: The Metropolitan Museum of Art, 1987–2013.

The principal and, in fact, the only convenient overview on late-16th and early-17th-century Flemish art is Hans Vlieghe’s volume in the Pelican History of Art series (Vlieghe 1998a). Traditionally conceived, it offers a complete and well-balanced introduction to the Flemish baroque and excellent insights into its nature. The text consists of historical overviews of the different art forms, with a slight emphasis on painting. In addition to all other (partial) overviews of 17th-century Flemish art, of value is Hans Vlieghe’s landmark article (Vlieghe 1998b) on the nature of Flemish art, in which the cliché of a purely Counter-Reformation, absolutist art is downplayed, and the importance of the common artistic tradition in the Low Countries (until deep into the 17th century) is stressed. On baroque art in general, Martin 1977 is still the most significant reference. Instructive chapters on 17th-century Flemish art are to be found in other (art) historical overviews with broader scopes as well, such as Liebaers, et al. 1991 and DaCosta Kaufmann, et al. 2002. Good and more concise introductions to Flemish 17th-century art can also be found in some landmark exhibition catalogues, in particular Mai and Vlieghe 1993 and Sutton and Wieseman 1993. On women artists, Van der Stighelen, et al. 1999 is fundamental.

  • DaCosta Kaufmann, Thomas, Dominique Allart, Anne Egger, Martial Guedron, Anne-Marie Terel, and F. Everaars. L’art flamand et hollandais: Belgique et Pays-Bas, 1520–1914. L’art et les Grandes Civilisations. Paris: Citadelles & Mazenod, 2002.

    E-mail Citation »

    Overview of Netherlandish art (Flemish and Dutch) from 1520 onward; conceivably a bit too ambitious and therefore rather dense.

  • Liebaers, Herman, Piet Baudouin, et al., eds. Flemish Art from the Beginning till Now. Translated by John Cairns. Antwerp, Belgium: Mercatorfonds, 1991.

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    Primarily commercial and vulgarizing overview of Flemish art in general, yet valuable.

  • Mai, Ekkehard, and Hans Vlieghe. Von Bruegel bis Rubens: Das goldene Jahrhundert der flämischen Malerei; Eine Austellung des Wallraf-Richartz-Museums, Köln, des Koninklijk Museum voor Schone Kunsten, Antwerpen, und des Kunsthistorischen Museums, Wien. Vienna: Kunsthistorisches Museum, 1993.

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    A landmark exhibition on Flemish baroque and its origins. Still very useful as a guide. Excellent essays.

  • Martin, John Rupert. Baroque. Style and Civilization. London: Allen Lane, 1977.

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    The most commonly used but somewhat outdated handbook on northern and southern European baroque. Instructive in its analysis of the key issues in baroque art, including the Flemish.

  • Sutton, Peter C., and Marjorie E. Wieseman. The Age of Rubens. Boston: Museum of Fine Arts, 1993.

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    The Anglo-Saxon counterpart of the Von Bruegel bis Rubens exhibition, it has a broader spectrum.

  • Van der Stighelen, Katlijne, Mirjam Westen, and Maaike Meijer. Elck zijn waerom: Vrouwelijke kunstenaars in België en Nederland 1500–1950. Ghent, Belgium: Ludion, 1999.

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    A good exhibition catalogue on women artists active in the Netherlands.

  • Vlieghe, Hans. Flemish Art and Architecture, 1585–1700. Yale University Press Pelican History of Art. New Haven, CT: Yale University Press, 1998a.

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    Without a doubt the best and foremost study on Flemish 17th-century art.

  • Vlieghe, Hans. “Flemish Art, Does It Really Exist?” Simiolus: Kunsthistorisch tijdschrift (1998b) 26.3: 187–200.

    DOI: 10.2307/3780898E-mail Citation »

    An instructive article on the somewhat artificial division between Flemish and Dutch baroque.

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