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Albert van Ouwater: The Raising of Lazarus

Albert van Ouwater: The Raising of Lazarus 235 Oud Holland Jaargang/Volume 123 - 2010 Nr. 3/4 The acquisition of the Raising of Lazarus (fig. 1) by the Gemäldegalerie Berlin in the year 1889 meant at the same time the raising of Albert van Ouwater from a mere name in Karel van Mander’s Schilderboeck of 1604 to a major figure of fifteenth cen- tury Netherlandish painting. The panel had been completely unknown to scholars and was only shortly before its acquisition recognized – on the basis of a poor photo- graph – by Ludwig Scheibler as the work described in some detail by Van Mander in his ‘leven van Albert van Ouwater, Schilder van Haerlem’. 1 Moreover, Van Mander’s claim that the painting had been abducted from Haarlem by Spanish troops – during the occupation of the city in 1573 – fitted well with the provenance of the panel which had come from the collection of a Marchese Mamelli in Genoa who in turn had inherited it from the Balbi family. In this family it was believed to have been gained once as a gift from king Philipp II of Spain. The medium-sized panel shows the event described in John 11:1-45, set into the rounded apse http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oud Holland - Quarterly for Dutch Art History Brill

Albert van Ouwater: The Raising of Lazarus

Oud Holland - Quarterly for Dutch Art History , Volume 123 (3-4): 235 – Jan 1, 2010

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Publisher
Brill
Copyright
© 2010 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0030-672x
eISSN
1875-0176
DOI
10.1163/187501710796167572
Publisher site
See Article on Publisher Site

Abstract

235 Oud Holland Jaargang/Volume 123 - 2010 Nr. 3/4 The acquisition of the Raising of Lazarus (fig. 1) by the Gemäldegalerie Berlin in the year 1889 meant at the same time the raising of Albert van Ouwater from a mere name in Karel van Mander’s Schilderboeck of 1604 to a major figure of fifteenth cen- tury Netherlandish painting. The panel had been completely unknown to scholars and was only shortly before its acquisition recognized – on the basis of a poor photo- graph – by Ludwig Scheibler as the work described in some detail by Van Mander in his ‘leven van Albert van Ouwater, Schilder van Haerlem’. 1 Moreover, Van Mander’s claim that the painting had been abducted from Haarlem by Spanish troops – during the occupation of the city in 1573 – fitted well with the provenance of the panel which had come from the collection of a Marchese Mamelli in Genoa who in turn had inherited it from the Balbi family. In this family it was believed to have been gained once as a gift from king Philipp II of Spain. The medium-sized panel shows the event described in John 11:1-45, set into the rounded apse

Journal

Oud Holland - Quarterly for Dutch Art HistoryBrill

Published: Jan 1, 2010

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