Primacy of the Image in Northern European Art, 1400–1700

Debra Taylor Cashion is Digital Humanities Librarian and Assistant Librarian of the Knights of Columbus Vatican Film Library at Saint Louis University in St. Louis, Missouri. She holds a PhD in art history from the University of California, Berkeley and an MLIS from the University of Pittsburgh. A specialist in medieval and early modern manuscripts, she presently serves as President and Executive Director of Digital Scriptorium, a consortium of American libraries and museums with collections of pre-modern manuscripts. Debra also creates projects to develop digital resources for manuscript studies, including (Broken Books) and (METAscripta).Henry Luttikhuizen (Ph.D. University of Virginia) is Professor of Art History at Calvin College (Grand Rapids, MI). Among his publications, Luttikhuizen is the co-author (with Larry Silver) of the second edition of Snyder’s Northern Renaissance Art (Upper Saddle River, NJ: Prentice Hall, 2005). He has served as the President of the American Association of Netherlandic Studies and as the President of the Midwest Art History Society.Ashley D. West is Associate Professor of Northern Renaissance and Northern Baroque Art at Temple University in Philadelphia, with a particular expertise in the history of prints. She has published on early etchings as visual poesia; Albrecht Dürer as a book illuminator; history painting and the German sense of the past; and early representations of peoples from the coast of Africa and India. West’s current book, Hans Burgkmair and the Visual Translation of Knowledge in the German Renaissance will appear in 2018 with Brepols-Harvey Miller Press.

• AcknowledgmentsList of FiguresList of ContributorsIntroductionPart 1: Early Netherlandish Painting and Prints1 Strategies of Intimacy: Memling’s Triptych of Adriaan ReinsLynn F. Jacobs2 Those Who Are Bashful Starve: An Interpretation of the Master of the Brunswick Diptych’s Holy Family at MealHenry Luttikhuizen3 Hugo van der Goes and PortraitureMaryan W. Ainsworth4 The Besieged War-Elephant: A Boschian Moralized Antiwar DiscourseYona Pinson5 The Overpainted Patron: Some Considerations about Dating Bosch’s Last Judgment Triptych in ViennaErwin PokornyPart 2 Sixteenth-Century Netherlandish Painting6 The Red Jew, Red Altarpiece and Jewish Iconography in Jan de Beer’s St. Joseph and the SuitorsDan Ewing7 “Headlong” into Pieter Bruegel’s Series of the SeasonsReindert L. Falkenburg8 Better Living Through MisinterpretationBret Rothstein9 The Last Supper with Donors in the Chrysler Museum CollectionLloyd DeWitt10 Michiel Coxcie’s Artistic Quotations in The Death of AbelChristopher D. M. AtkinsPart 3 Manuscripts, Patrons, and Printed Books11 Veronica’s TextileHerbert L. Kessler12 It’s February in the Early Fifteenth Century: What’s for Dinner?Harry Rand13 Oratio ad Proprium Angelum: The Guardian Angel in the Rothschild HoursDagmar Eichberger14 Chinese Painting and Dutch Book Arts: The Challenges of Cross-Cultural InterpretationDawn Odell15 Kinesis and Death in LautensackChristopher P. Heuer*16 Virgil’s Flute: the Art and Science of “Antique Letters” and the Origins of KnowledgeAndrew Morrall17 Born to Teach: Nikolaus Glockendon’s Finding of Jesus in the TempleDebra Taylor Cashion18 Nicolaes Witsen’s Collection, his Influence, and the Primacy of the ImageRebecca P. BrienenPart 4 Dürer and the Power of Pictures19 Dürer’s Rhinoceros Underway: the Epistemology of the Copy in the Early Modern PrintStephanie Leitch20 Praying against Pox: New Reflections on Dürer’s Jabach AltarpieceBirgit Ulrike Münch21 The Weird Sisters of Hans Baldung GrienBonnie Noble22 Preserving Destruction: Albrecht Altdorfer’s Etchings of the Regensburg Synagogue as Material Performances of the Past and FutureAshley D. West23 The Case of the Missing Gold Disc: A Crucifixion by Albrecht DürerMiya Tokumitsu24 Hitler’s Dürer? The Nuremberg Painter between Self-Portrayal and National AppropriationThomas Schauerte25 Performing Dürer: Staging the Artist in the Nineteenth CenturyJeffrey Chipps SmithPart 5 Prints and Printmaking26 The Burin, the Blade, and the Paper’s Edge: Early Sixteenth-Century Engraved Scabbard Designs by Monogrammist ACBrooks Rich27 “Return to Your True Self!” Practicing Spiritual Therapy with the Spiegel der Vernunft in MunichMitchell B. Merback28 The Eucharistic Controversy and Daniel Hopfer’s Tabernacle for the Holy SacramentFreyda Spira29 Recalibrating Witchcraft through Recycling and Collage: The Case of a Late Seventeenth-Century Anonymous PrintCharles Zika30 The Timeless Space of Maerten van Heemskerck’s Panoramas: Viewing Ruth and Boaz (1550)Arthur DiFuria31 Hendrick Goltzius’s Method of Exegetical Allegory in his Scriptural Prints of the 1570sWalter S. Melion32 Narrative, Ornament, and Politics in Maerten van Heemskerck’s Story of Esther (1564)Shelley Perlove33 Disgust and Desire: Responses to Rembrandt’s NudesStephanie S. DickeyPart 6 Seventeenth-Century Painting34 A New Painting by Dirck van BaburenWayne Franits35 “Verbum Domini manet in eternum”: Devotional Cabinets and Kunst- und Wunderkammern around 1600James Clifton36 Creating Attributability with the Five Senses of Jan Brueghel the YoungerHans J. Van Miegroet37 Pieter Lastman’s Paintings of David’s Death Sentence for Uriah, 1611 and 1619Amy Golahny38 Thomas de Keyser’s Venus Lamenting the Death of AdonisAnn Jensen Adams39 On Painting the Unfathomable: Rubens and The Banquet of TereusAneta Georgievska-Shine40 Jan Miense Molenaer’s Boys with Dwarfs and the Heroic Tradition of ArtDavid A. Levine41 Is it a Rembrandt?Catherine B. Scallen42 Pieter Codde and the Industry of Copies in 17th-century Dutch PaintingJochai RosenAppendix: Larry Silver BibliographyIndex