No description available.

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Jeffrey Chipps Smith. Vita. Includes bibliographical references.

Inaugural-Dissertation -- Leipzig, 1929. / Lebenslauf. "Literaturnachweis," p. [92].

Inaug.--Diss.--Munich. / Bibliography: p. 140-141.

Thesis (Ph. D.)--Ohio State University, 1986. / Includes vita. Includes bibliographical references (leaves 269-274). Available online via OhioLINK's ETD Center.

Thesis--Freien Universität, Berlin. / Includes bibliographical references.

Im Rahmen eines Seminars über „Möbel als historische Quelle“ am Institut für Kunstgeschichte der Universität Leipzig im WS 2005/06 unter der Leitung des Verfassers wurde Sebastian Jung, Student der Kunstgeschichte, angeregt, eine Hausarbeit anzufertigen mit dem Thema ,,Gibt es geböttcherte Möbel? Eine Spurensuche in der Niederländischen Malerei“. Einige der folgenden Überlegungen entstammen dieser Arbeit. Die Gewerke der Tischler, Schnitzer, Drechsler und Zimmerleute sind holzverarbeitende Berufe, die immer auch Möbel angefertigt haben. Vom Böttcherhandwerk ist dies nicht bekannt, sieht man einmal von modernem Kneipeninterieur „im Böttcherstil“ ab. Das Besondere der Böttcherei ist, dass die einzelnen Holzteile – Dauben genannt – ohne Holzverbindungen nur mittels Reifen zusammengehalten werden. Dies benötigt eine regelmäßige Pflege durch den Nutzer, zum Beispiel durch das Nachschlagen der Reifen. Ist dies nicht gegeben, schwindet das Holz, die Reifen werden locker und es besteht so die Gefahr, dass alles auseinander fällt. Es handelt sich also bei geböttcherten Dingen um relativ empfindliche und pflegeintensive Gegenstände.

The Ince Hall Virgin and child is a painting of the Virgin and Child in an interior that was attributed to Jan van Eyck by the leading historians of early Netherlandish art from 1854 to 1956. Between 1956 and 1959 the work was subject to a technical and art historical analysis in Europe, in the re-classification of the work as a copy by a follower of Van Eyck, and possibly a forgery. Subsequently, a number of art historians have suggested that not even the composition of the work is Eyckian, and that the work is a pastiche based on Van Eyck’s paintings. Nevertheless, some authors have doubted the arguments for these reattributions. Some authors maintain the attributions to Van Eyck, and others suggest that the work may be a copy. This thesis is the first comprehensive critical reappraisal of the scientific and art historical analysis to be conducted. In the first chapter it examines the provenance and bibliography of the work. / In the second chapter it examines published and unpublished documents relating to the technical analysis found in Melbourne, Brussels, London and Amsterdam, which have been brought together for the first time. It also contains an interpretation of the work’s infrared reflectography that was produced, for the first time, for this thesis. It is argued that, contrary to the 1950's analysis, there is no technical impediment to an attribution of the work to Van Eyck. Furthermore, technical analysis reveals numerous correspondences to Van Eyck’s works, in the pigments, paint layer structures, underdrawing style and pentimenti. In the third chapter the relationship of the execution, composition and iconography to Van Eyck’s paintings is discussed. It is argued that the execution, composition and iconography are closely related to Van Eyck’s works. In the fourth chapter the attribution of the work as an original painting of Van Eyck, a copy, a pastiche or a forgery is discussed. It is concluded that the balance of the available evidence suggests the attribution of the work to Van Eyck, or his studio, is justifiable. The possibility that the work is a free copy is not excluded, but is undermined by the numerous correspondences to Van Eyck’s materials and technique and its relationship to the versions of the composition by other artists.

My dissertation contributes to the material and sensorial interest in the humanities by focusing on the beholder’s phenomenological experience of multi-panel paintings by Gerrit Dou (1613-1675), Rembrandt’s first and most financially successful pupil. Dou has long been hailed as the founder of the Leiden fijnschilders (fine painters), who brought mimesis to the height of artistic achievement around mid-century. Archival documents reveal that at least eight of Dou’s paintings were once fitted within cases that featured highly illusionistic still life paintings on the outer surfaces of their hinged doors or sliding lids. While only two of the recorded covers survive, they feature both common and luxury objects with varied surface textures and lighting effects that exhibit a level of artifice true to the goal of painting professed by Philips Angel: schijn zonder sijn (“semblance without being”). Projecting out of the darkness of false shallow niches, the objects addressed the viewer in a trompe l’oeil mode and with a startling mimetic force that invited closer scrutiny. Yet, Dou’s still life works are rarely the subject of critical analysis and remain on the periphery of seventeenth-century Dutch art historical scholarship, overshadowed by his novel achievements in genre painting. Scholars most often interpret Dou’s still lifes as protective mechanisms for and allegorical glosses on the paintings they concealed. Instead, I argue that these approaches have limited our understanding of their significance. The disassembly and loss of most of these painted covers has further obscured their functions and meanings. My phenomenological approach underscores the ways in which these painted still life covers fostered an embodied relationship with the beholder in the context of the art collections for which they were destined. In Chapter 1, I gather evidence of Dou’s extant and lost still life covers and quantify this practice and consider these paintings together as an understudied corpus in concert with the paintings they covered. In Chapter 2 and 3, I provide historical and theoretical contexts for Dou’s nested paintings to ground them in pictorial and material traditions of concealment and revelation that permeated early modern culture (Netherlandish, German, and Italian) from the fourteenth- to the late seventeenth century. I consider them modern adaptations of the illusionistic images on the exterior of devotional diptychs and triptychs, insisting on their presence in the liminal space that connects the painted and real world. In Chapter 4, I analyze Dou’s painted still life covers as “meta-paintings,” characterizing them as theoretical objects charged with their own agency and the ability to invite the beholder to “think” with both their mind and body. Ultimately, I explore the ways in which Dou’s still life covers and René Descartes’s natural philosophy exhibit a shared and contemporaneous distrust of the senses through an epistemology of doubt and deceit, a premise that expanded the horizons of their respective fields in the seventeenth century. / 2025-09-21T00:00:00Z

Im Rahmen eines Seminars über „Möbel als historische Quelle“ am Institut für Kunstgeschichte der Universität Leipzig im WS 2005/06 unter der Leitung des Verfassers wurde Sebastian Jung, Student der Kunstgeschichte, angeregt, eine Hausarbeit anzufertigen mit dem Thema ,,Gibt es geböttcherte Möbel? Eine Spurensuche in der Niederländischen Malerei“. Einige der folgenden Überlegungen entstammen dieser Arbeit. Die Gewerke der Tischler, Schnitzer, Drechsler und Zimmerleute sind holzverarbeitende Berufe, die immer auch Möbel angefertigt haben. Vom Böttcherhandwerk ist dies nicht bekannt, sieht man einmal von modernem Kneipeninterieur „im Böttcherstil“ ab. Das Besondere der Böttcherei ist, dass die einzelnen Holzteile – Dauben genannt – ohne Holzverbindungen nur mittels Reifen zusammengehalten werden. Dies benötigt eine regelmäßige Pflege durch den Nutzer, zum Beispiel durch das Nachschlagen der Reifen. Ist dies nicht gegeben, schwindet das Holz, die Reifen werden locker und es besteht so die Gefahr, dass alles auseinander fällt. Es handelt sich also bei geböttcherten Dingen um relativ empfindliche und pflegeintensive Gegenstände.