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The Role of Painters before the Rise of Painting: The Master of Frankfurt's Festival of the Archers

The Role of Painters before the Rise of Painting: The Master of Frankfurt's Festival of the Archers James J. Bloom In the Koninklijk Museum voor Schone Kunsten Antwerpen hangs a curious painting known as the Festiv ofthe Archers (fig. 1).1Believed to al have been executed in 1493 by the Master of Frankfurt, neith er the painting's author nor its subject has been convincingly identified.' Nevertheless, this largely anonymous work bears the distinction of being the earliest dated or datable panel produced in the ciry ofAntwerp .' More unusual still is the panel's almost primordial status as an easel painting within the northern tradition: the Festival oftheArchers represents one of the earliest examples of an autonomous painting hung within the precincts of a private int erior for the purposes of decoration . In th is regard, it might be viewed as a progenitor of what would come to be understood as the modern easel picture.' The painting is also historically significant for the fact that the art ist pictured himself near the very cente r of th e panel (fig. 2), marking one of the first demonstrable selfrepresenta tions of a Netherland ish artist actively plying his craft. Standing as it does near the beginning of these several traditions, the painting is perhaps most remarkable for http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online Brill

The Role of Painters before the Rise of Painting: The Master of Frankfurt's Festival of the Archers

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Publisher
Brill
Copyright
Copyright 2009 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0169-6726
eISSN
2214-5966
DOI
10.1163/22145966-90000064
Publisher site
See Article on Publisher Site

Abstract

James J. Bloom In the Koninklijk Museum voor Schone Kunsten Antwerpen hangs a curious painting known as the Festiv ofthe Archers (fig. 1).1Believed to al have been executed in 1493 by the Master of Frankfurt, neith er the painting's author nor its subject has been convincingly identified.' Nevertheless, this largely anonymous work bears the distinction of being the earliest dated or datable panel produced in the ciry ofAntwerp .' More unusual still is the panel's almost primordial status as an easel painting within the northern tradition: the Festival oftheArchers represents one of the earliest examples of an autonomous painting hung within the precincts of a private int erior for the purposes of decoration . In th is regard, it might be viewed as a progenitor of what would come to be understood as the modern easel picture.' The painting is also historically significant for the fact that the art ist pictured himself near the very cente r of th e panel (fig. 2), marking one of the first demonstrable selfrepresenta tions of a Netherland ish artist actively plying his craft. Standing as it does near the beginning of these several traditions, the painting is perhaps most remarkable for

Journal

Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineBrill

Published: Jan 1, 2009

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