By Amy Golahny, Mia M. Mochizuki, Lisa Vergara
Gathered in honor of John Michael Montias (1928–2005), the most advantageous pupil on Johannes Vermeer and a pioneer within the research of the socioeconomic dimensions of artwork, the essays in In His Milieu are an important contribution to the research of the social capabilities of constructing, gathering, exhibiting, and donating artwork. The approximately 40 essays right here by—all the world over famous specialists within the fields of artwork historical past and the economics of art—are specifically revealing concerning the Renaissance and Baroque eras and current new fabric on such artists as Rembrandt, Van Eyck, Rubens, and da Vinci.
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Extra resources for In His Milieu: Essays on Netherlandish Art in Memory of John Michael Montias
23 In 1945, after the war, Hannema was removed from the directorship of the Boijmans Museum because of his dubious dealings with the German occupiers. He later started his still existing museum, the Hannema-de Stuers Fun- the case of han van meegeren’s | 53 montiasdeel1 04-12-2006 13:55 Pagina 54 Fig. 4. Attributed to Vermeer by Hannema and Decoen in 1935, tentatively attributed to Nicolas Tournier by Juynboll, Mary Magdalen Under the Cross, oil on canvas. Present whereabouts unknown. datie in his castle, “Het Nijenhuis,” near Heino in the eastern part of the country.
Pl. XXV; Frits Scholten, Gebeeldhouwde portretten: Rijksmuseum, Amsterdam (Amsterdam: Rijksmuseum; Zwolle: Waanders, 1995), p. 24, no. 9, repr. in color. D. R ter Molen, 1984), esp. vol. 1, pp. 29-34. For a history of the Auricular style, see R. W. Lightbown, “Christian van Vianen at the Court of Charles I,” Apollo 87 (1968): 426-39. Engraved by Theodor van Kessel, published by Christiaen van Vianen (Utrecht, c. 1650), pl. 44; on this publication and its date, see Ter Molen 1984, vol. 2, nos.
In both, Bredius’ new attribution of the “very beautiful authentic” Lady and a Gentleman is not even contradicted, but completely ignored, as if it were fully irrelevant in these authors’ eyes. Connoisseurs of painting must have quickly realized that the picture was not kosher. We get inside information from a memorandum of Duveen’s Edward Fowles, dated 19 October 1932: “it is common talk in Berlin that the picture [here Fig. ”14 This was written five years before Bredius’ publication of the Supper at Emmaus.