An Ars moriendi with etchings by Romeyn de Hooghe. The history of a cycle of book illustrations

An Ars moriendi with etchings by Romeyn de Hooghe. The history of a cycle of book illustrations CHRIS COPPENS An Ars moriendi with etchings by Romeyn de Hooghe. The history of a cycle of book illustrations* Part I ORIGINAL EDITIONS AND CORRESPONDING TRANSLATIONS In recent years the work of Romeyn de Hooghe has been the object of exten- sive studies which either provide a survey of his production or which tackle his work from specific angles, each throwing a special light on one of the most productive and gifted draughtsmen in the Northern Netherlands in the second half of the seventeenth century.' Scholarly interest in his work and its historical connotations succeeded an artistic appreciation of the etcher focussed partly on the skill with which De Hooghe conjured up figures and space in his engravings and partly on his ability to turn a seething mass into a harmonic composition. The appreciation of Romeyn de Hooghe's art as an etcher undoubtedly reached its climax when Otto Benesch compared the Dutchman to El Greco in his capacity of creating a visionary sphere.2 The immediate objects of Benesch's praise were the prints in a work to which lit- tle further attention was paid and which has given rise to a number of bibliographical misunderstandings, the Miroir de la http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Quaerendo Brill

An Ars moriendi with etchings by Romeyn de Hooghe. The history of a cycle of book illustrations

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Publisher
BRILL
Copyright
© 1984 Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0014-9527
eISSN
1570-0690
D.O.I.
10.1163/157006984X00028
Publisher site
See Article on Publisher Site

Abstract

CHRIS COPPENS An Ars moriendi with etchings by Romeyn de Hooghe. The history of a cycle of book illustrations* Part I ORIGINAL EDITIONS AND CORRESPONDING TRANSLATIONS In recent years the work of Romeyn de Hooghe has been the object of exten- sive studies which either provide a survey of his production or which tackle his work from specific angles, each throwing a special light on one of the most productive and gifted draughtsmen in the Northern Netherlands in the second half of the seventeenth century.' Scholarly interest in his work and its historical connotations succeeded an artistic appreciation of the etcher focussed partly on the skill with which De Hooghe conjured up figures and space in his engravings and partly on his ability to turn a seething mass into a harmonic composition. The appreciation of Romeyn de Hooghe's art as an etcher undoubtedly reached its climax when Otto Benesch compared the Dutchman to El Greco in his capacity of creating a visionary sphere.2 The immediate objects of Benesch's praise were the prints in a work to which lit- tle further attention was paid and which has given rise to a number of bibliographical misunderstandings, the Miroir de la

Journal

QuaerendoBrill

Published: Jan 1, 1984

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