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"Niclaes van der Heck, van t'Gheslacht van Marten Hemskerck"

"Niclaes van der Heck, van t'Gheslacht van Marten Hemskerck" 44 depicted between two kneeling figures in a hilly landscape, while on one side are four little pictures, in 15th century style, in separate framing, but connected with the principal scene by lines which proceed from the kneeling figures. They would seem to have been added later, were it not that this, from an iconographic point of view, is impossible, as together they form a whole. Apparently they are intended to represent the "right" and "wrong" form of Prayer. It is curious that the Cross does not occupy the middle of the scene, but is in the centre of the flat surface of the pillar. A touching photo, without the 4 little pictures, is given, which elucidates the composition somewhat. We see here the influence of Italian masters. The Dutch master possessed excellent technique. "Niclaes van der Heck, van t'Gheslacht van Marten Hemskerck" door TH. P. H. WORTEL. e kwestie van de Van der Hecks en Heemskerck is altijd lastig geweest. ) Vooral daar door, ten deele, gelijkluidende voornamen reeds bij de eerste geschiedschrijvers verwarring ontstond. Archief-onderzoek heeft nu kunnen leiden tot onderscheiding van de verschillende meesters en in het navolgende is getracht hun onderlinge verwantschap definitief aan http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oud Holland - Quarterly for Dutch Art History Brill

"Niclaes van der Heck, van t'Gheslacht van Marten Hemskerck"

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Publisher
Brill
Copyright
© 1943 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0030-672x
eISSN
1875-0176
DOI
10.1163/187501743X00077
Publisher site
See Article on Publisher Site

Abstract

44 depicted between two kneeling figures in a hilly landscape, while on one side are four little pictures, in 15th century style, in separate framing, but connected with the principal scene by lines which proceed from the kneeling figures. They would seem to have been added later, were it not that this, from an iconographic point of view, is impossible, as together they form a whole. Apparently they are intended to represent the "right" and "wrong" form of Prayer. It is curious that the Cross does not occupy the middle of the scene, but is in the centre of the flat surface of the pillar. A touching photo, without the 4 little pictures, is given, which elucidates the composition somewhat. We see here the influence of Italian masters. The Dutch master possessed excellent technique. "Niclaes van der Heck, van t'Gheslacht van Marten Hemskerck" door TH. P. H. WORTEL. e kwestie van de Van der Hecks en Heemskerck is altijd lastig geweest. ) Vooral daar door, ten deele, gelijkluidende voornamen reeds bij de eerste geschiedschrijvers verwarring ontstond. Archief-onderzoek heeft nu kunnen leiden tot onderscheiding van de verschillende meesters en in het navolgende is getracht hun onderlinge verwantschap definitief aan

Journal

Oud Holland - Quarterly for Dutch Art History – Brill

Published: Jan 1, 1943

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