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When did Geertgen tot Sint Jans travel to Flanders?

When did Geertgen tot Sint Jans travel to Flanders? 83 J. Q . VAN REGTEREN ALTENA When did Geertgen tot Sint Jans travel to Flanders? A do If Goldschmidt was the first to suppose that Geertgen tot Sint Jans had visited Flanders and become acquainted there witlt a.o. the Nlonforte altar of Hugo van der Goes. Since he pLfbllSIPed this view in 1915, general credit has been given to a journey by Geertgen in tlae South some time after he had finished his apprenticeship with Albert van Ouwater. Since then R. Koclr and S. Sulzberger have drawn our attention to `Gheerkifi de Hollandere' being mentioned in 1475 as a young pupil of a bookbinder at Bruges. Before using the argument we shall have either to assume that only at a later .stage of his career and after having develotedfrotii a miniaturist into the painter of'several of his known works, did Geertgcn enter the Haarlem studio, or we shall have to drop the identification altogether. The absence of a relationship with Ouwater in the Amsterdam 'Adoration of the King.s' and the 'Legend of St. Daminic' as well as the dependence upon Memlinc of a 'Saint Jerome', lzere published far the first time as a juvenile work of Geertgen, speak in favour of the first supposition, the altar of the `Juns-Heren' and the `Holy Kinship' being considered as late works. But even then a completely satisfying chronology cannot yet be reached. Therefore the alternative is left open to consideration until a definite decision can be reaclred. The Alaster of the Brzcnswick diptych, rather than to derive from the later works of Geertgen, appears to be strongly involved in the succeeding stages of Geertgen's ovvrt career. The obvious and almost essential discrepancies existing between paintings of different size as well as between the diverging media used by the painter, do not allow us to rell> entirely on criteria of a homogeneous style when deciding on questions of authenticity. The occurrence of small panels from diffej-ent periods, and their being treated in the beginning as minutely as the panels of'the Brussels diptych ascribed to the Brunswick Master, miglat be considered other arguments for the assumption that Geertgen started as a miniaturist. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oud Holland - Quarterly for Dutch Art History Brill

When did Geertgen tot Sint Jans travel to Flanders?

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Publisher
Brill
Copyright
© 1966 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0030-672x
eISSN
1875-0176
DOI
10.1163/187501766X00162
Publisher site
See Article on Publisher Site

Abstract

83 J. Q . VAN REGTEREN ALTENA When did Geertgen tot Sint Jans travel to Flanders? A do If Goldschmidt was the first to suppose that Geertgen tot Sint Jans had visited Flanders and become acquainted there witlt a.o. the Nlonforte altar of Hugo van der Goes. Since he pLfbllSIPed this view in 1915, general credit has been given to a journey by Geertgen in tlae South some time after he had finished his apprenticeship with Albert van Ouwater. Since then R. Koclr and S. Sulzberger have drawn our attention to `Gheerkifi de Hollandere' being mentioned in 1475 as a young pupil of a bookbinder at Bruges. Before using the argument we shall have either to assume that only at a later .stage of his career and after having develotedfrotii a miniaturist into the painter of'several of his known works, did Geertgcn enter the Haarlem studio, or we shall have to drop the identification altogether. The absence of a relationship with Ouwater in the Amsterdam 'Adoration of the King.s' and the 'Legend of St. Daminic' as well as the dependence upon Memlinc of a 'Saint Jerome', lzere published far the first time as a juvenile work of Geertgen, speak in favour of the first supposition, the altar of the `Juns-Heren' and the `Holy Kinship' being considered as late works. But even then a completely satisfying chronology cannot yet be reached. Therefore the alternative is left open to consideration until a definite decision can be reaclred. The Alaster of the Brzcnswick diptych, rather than to derive from the later works of Geertgen, appears to be strongly involved in the succeeding stages of Geertgen's ovvrt career. The obvious and almost essential discrepancies existing between paintings of different size as well as between the diverging media used by the painter, do not allow us to rell> entirely on criteria of a homogeneous style when deciding on questions of authenticity. The occurrence of small panels from diffej-ent periods, and their being treated in the beginning as minutely as the panels of'the Brussels diptych ascribed to the Brunswick Master, miglat be considered other arguments for the assumption that Geertgen started as a miniaturist.

Journal

Oud Holland - Quarterly for Dutch Art HistoryBrill

Published: Jan 1, 1966

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