C:\Documents and Settings\Administrador\Mis documentos\~Moneychanger\~Version Publicar\~Moneychang-tll er.doc
Pedido a Préstamo interbibliotecario, 23 nov 2001.
Adri Mackor, 'Are Marinus' Tax Collectors collecting taxes?' Bulletin du Musie National de Varsovie XXXVI (1995; no. 3-4) 3-13. It contains (again) a preliminary description of the subject.
Pedido a Préstamo interbibliotecario, 23 nov 2001.
TI: “Marinus van Reymerswale: painter, lawyer and iconoclast”
AU: Mackor, Adri
SO: Oud Holland v 109 no4 1995. p. 191-200.
AB: The writer reassesses the life of the 16th-century Dutch painter Marinus van Reymerswale, suggesting that he had a second, parallel career as a lawyer, notary, or administrator. Tradition has it that Marinus worked in Zeeland; as a master painter, he must have been a member of an artists' guild, yet no trace of him can be found in the registers of artists' guilds in either Antwerp or Middelburg. A more plausible hypothesis is that he produced all or most of his work in Reymerswale. This is supported by the fact that many, if not all, of his secular paintings contain direct or indirect references to the town, to persons or situations in it, or to documents from it. The possibility that he may have had a career in law or money is suggested by contemporary student records from the University of Louvain and by other documentary evidence relating to personages of a similar name and active in related capacities in the Antwerp region, where he is known to have lived. Although inconclusive, this hypothesis would explain many things, including Marinus's extensive, sustained use of Latin, which students then were obliged to learn. (Mackor, nov 2001: It contains a preliminary biography of Marinus. A more complete biography shall be published in my forthcoming Ph.D. thesis, in archival and art history.)
DE: Marinus,-van-Roymerswaele,-ca-1493-ca-1567
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Cassagnes, Sophie (2001), D’art et d’argent. Les artistes et leurs clients dans l’Europe du Nord (XIVe -XVe siècle), Rennes: Presses Universitaires de Rennes.
“Bruges et surtout Anvers ont donc créé les premiers marchés publics consacrés à l’art en Occident”
Brujas y sobre todo Amberes crearon los primeros mercados públicos consagrados al arte en Occidente (p. 264).
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Recomendado por Michale Collins:
Hughes, Robert (1991), Nothing If Not Critical : Selected Essays on Art and Artists. Contiene “Art and Money”
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Bibliografía que me sugirió De Marchi en Winston Salem (julio 2001):
Heilbrun and Gray, The Economics of Art and Culture
Richard E. Caves (2000), Creative Industries.
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No lo he leido ni me lo ha recomendado nadie, solo los he visto citados:
- Carter Ratcliff, "The Marriage of Art and Money," in Hertz, ed, Theories of Contemporary Art, pp. pp. 269-284. Parece que va sobre el arte y las instituciones, concretamente los museos.
- Art and Money, by Shell, Marc Hardcover/Clothcover ISBN: 0226752135
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Michale Collins, 21 julio 2001
I read your essay on "Economic Activity as Reflected in Painting." It's really a beautiful
essay, and not only because of the illustrations. It is packed with fascinating historical information that is integrated into a compelling argument. I think you make your case that the art historians are biased.
At least one art historian has a perspective closer to yours that you may be interested in. In fact, you may already be familiar with Robert Hughes essay "Art and Money," which appears in his book Nothing if Not Critical. In case you are not familiar with the essay, here is a relevant passage:
"the idea that money, patronage and trade automatically corrupt the wells of imagination is a pious fiction, believed by some utopian lefties and a few people of genius such as Blake but flatly contradicted by history itself. The work of Titian and Bernini, Piero della Francesca and Poussin, Reisener and Chippendale would not exist unless someone paid for them, and paid well. . . . On the whole, money does artists much more good than harm. The idea that one benefits from cold water, cursts and debt collectors is now almost extinct, like the belief in the reformatory power of flogging."
While this passage does not directly address the issue of the representation of commercial activity in art, it confirms one of your subsidiary points--that art is itself a commercial activity, and probably recognized as such by artists.
Max Weber, of course, sees an explicit connection in the Protestant tradition between earning money and demonstrating virtue. So, following his argument, there would be (in the Protestant tradition, at least, and I don't know whether the Flemish painters were Protestant) no contradiction between concern for money and concern for piety.
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PORTINARI TRIPTYCH, Uffici, Florence. This huge panel by Hugo Van der Goes came to Florence from Bruges in 1483. [...] In the left side panel are St. Anthony the Abbot and St. Thomas, as well as the banker Tommaso Portinari, who commissioned this painting which carries his name, on his knees, with his two sons behind him (portraits of him and other members of his family were later painted by Hans Memling). In the right-hand panel are St. Margaret and Mary Magdalen, with Tommaso's wife and daughter at their feet.
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Voet, Lâeon, El siglo de oro en Amberes (Dibujos y aguafuertes de los siglos XVI y XVII), catálogo de la exposición celebrada en noviembre de 1978 en Barcelona. Peter Van der Heyden (a Merica), Avaritia (La avaricia) (lámina 86). Grabado con buril, 22’4x29’3 cm., copiado de un dibujo de Pieter Brueghel el Viejo y publicado por Jérôme Cock, Seven Deadly Sins, 1558. [Pieter Brueghel the Elder (1525-1569)]. Internet (páginas no disponibles, 30 mayo 2000): [<http://wwwlet.leidenuniv.nl/www.let.data/pkl/Catalog/120115.htm> Pieter van der Heyden (1530-?), Avaritia, first date (1556)] – [Engraving Avaritia 1558 <http://wwwlet.leidenuniv.nl/www.let.data/pkl/Passages/x120115.htm> Avaritia (1558) The personification of Avaritia is a seated lady] [Seven Prints by Various Artists (Printroom Leiden University) <http://wwwlet.leidenuniv.nl/www.let.data/PKL/Multiple/7xprints.htm> P. VAN DER HEYD]
Voet, Lâeon, Antwerp, The Golden Age, Antwerp, Mercatorfonds, 1973. [También en neerlendés; edición francesa abreviada, 1976]
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Larry Silver <>
http://dept.arth.upenn.edu/arth/faculty/silver.html
1
GRADUATE EDUCATION:
Harvard University, Department of Fine Arts
M.A., 1971
Ph.D., 1974
Dissertation: Quinten Massys (Director: Seymour Slive)
BOOKS/ CATALOGUES:
(With Franklin Robinson and William Wilson)
Flemish and Dutch Paintings 1400-1900 (Ringling Museum of Art, Sarasota, Florida, 1980)
Northern European Paintings
(Bulletin, Saint Louis Museum of Art, 1982)
The Paintings of Quinten Massys
(Montclair, N.J.: Allanheld and Schram, 1984)
(London,: Phaidon, 1984)
Rembrandt (New York: Rizzoli, 1992) in Rizzoli Art Series
Art in History (Englewood Cliffs, N.J.: Prentice-Hall, 1993) trade edition (New York: Abbeville, 1993)
Instructor's Manual (Englewood Cliffs: Prentice- Hall, 1993)
“Accounting for Taste: Pictorial Genres and the Antwerp Art Market “
ARTICLES:
"The Sin of Moses: Comments on the Early Reformation in a Late Painting by Lucas van Leyden," Art Bulletin 45 (1973), 401-09.
"The Ill-Matched Pair by Quentin Massys," Studies in the History of Art, National Gallery of Art, 6 (1974), 1-23.
"Ozu, Cinema, and Culture," Journal of Ethnic Studies 4 (1976), 117-25.
"Of Beggars--Lucas van Leyden and Sebastian Brant," Journal of the Warburg and Courtauld Institutes
39 (1976), 253-57.
"Power and Pelf: A New-Found Old Man by Massys," Simiolus 9 (1977), 63-92.
"Prayer and LAughter: Erasmian Elements in Two Late Massys Panels," Erasmus in English 9 (1978), 17-23.
(with Susan Smith)
"Forest Primeval: Albrecht Altdorfer and the Early German Wilderness Landscape," Simiolus 13 (1983), 4-43.
"Fountain and Source: A Rediscovered Eyckian Icon," Pantheon 41 (1983), 95-104.
"Step-Sister of the Muses: Painting as Sister Art and Liberal Art," in R. Wendorf, editor,
Articulate Images: The Sister ARts from Hogarth to Tennyson (Minneapolis, 1983), 36-39.
"Christ-Bearer: Durer, Luther, and Saint Christopher," in Essays in Northern European Art Presented to
Egbert HAverkamp-Begemann on his Sixtieth Birthday
(Doornspijk, 1983), 283-44.
"The State of Research in Northern European Art of the Renaissance Era," Art Bulletin 68 (1986), 518-35.
"The 'Gothic' Gossaert: Native and Traditional Elements in a Mabuse Madonna," Pantheon 45 (1987), 58-69.
"Town and Country: Early Landscape Drawings," in Landscape Drawings of Five Centuries, 1400-1900 from the Robert Lehman Collection Metropolitan Museum of Art, exh. cat. (Evanston, 1988), 3-17.
"Rembrandt," Encyclopaedia Britannica, 1988 edition.
"Retooling: Feminist Findings and Frustrations," Art Documentation 9 (1990), 131-33.
"Florence," Encyclopaedia Britannica, 1992 edition
"Power of the Press: Albrecht Durer's Arch of Honor," Durer in the Collection of the National Gallery of Victoria, ed. Irena Zdanowicz (Melbourne, 1994), 45-62.
"Kith and Kin: A Rediscovered Sacred Image by Massys," in Shop Talk, Studies in Honor of Seymour Slive, ed. Cynthia Schneider, William Robinson, and Alice Davies (Cambridge, MA; 1995), 232-36.
"Peter Bruegel and the Culture of Early Modern
Capitalism," Bulletin of University of Melbourne Fine
Arts Society 7:2 (November, 1995), 3-6.
"Pieter Bruegel in the Capital of Early Capitalism,"
Nederlands Kunsthistorisch Jaarboek 47 (1996), 125-53.
"Thr Influence of Anxiety: The Agony in the Garden as Artistic Theme in the Era of Durer," Umeni 45 (1997), 420-29.
(In Press) "German Patriotism in the Age of the Durer," in Charles Zika and Dagmar Eichberger, eds., Durer and his Culture (Cambridge University Press, forthcoming)
"Identity in Art and History: Maurycy Gottlieb (1856- 79) as Early Jewish Artist," in Jewish Identity in
Art History:Ethnicity and Discourse,
ed. Catherine Soussloff (U. of California Press)
"Nature and Nature's God: Immanence in the Landscape Cosmos of Albrecht Altdorfer," Art Bulletin (in press)
"Old Time Religion: Bernard van Orley and the
Devotional Tradition" Pantheon (in press)
1
Silver, Larry. "The State of Research in Northern European Art of the Renaissance Era," Art Bulletin 68 no. 4 (1986):518-35.
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En la "Mesa de los pecados capitales", 1480, por El Bosco, la avaricia está representada por un juez que se deja sobornar. Esto es muy diferente de la actividad de un banquero: lo que nos muestra no es una actividad mercantil en busca de lucro y que por serlo sería pecaminosa, sino una corrupción que sería mal vista en una sociedad comercial al igula que lo sería en una sociedad modelo de los escolásticos.
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Fundación Caixa, Librería, 934.76.86.59 Catálogo Exposición "El esplendor de Flandes. Arte en Bruselas, Amberes y Malinas en los siglos XV–XVI"; pedido 11 feb 2000, me lo enviarán contra reembolso (edición en catalán; en castellano está agotada).
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Puyvelde, Leo van (1957), "Un Portrait de Marchand par Quentin Metsys et les Percepteurs d'Impôts par Marin van Reymerswale", Revue Belgue d'Archéologie et d'Histoire de l'Art, vol. 26, pp. 3-23. Inscripción en francés, legible con claridad, en el cuadro "Portrait d'un marchand et de son Associé",de Quentin Metsys (collection Cailleux, Paris): "L'avaricieux n'est jamais rempli d'argent... N'ayez point souci des richesses injustes, car elles ne vous profiteront en rien au jour de la visitation et de la vengeance. Soyez donc sans avarice". Es una paráfrasis del Evangelio, San Lucas, cap. XII, 15 y 21-34; San Mateo, cap. VI, 19-21. (p. 5). Jean Cailleux afirma que el personaje principal del cuadro "est soumis à la parole évangélique. Il est vraiment fidele dans les richesses injustes. Il ne cède pas a la sollicitacion du Tentateur qui, derrière lui, le visage tordu par lávarice et la soif du lucre, lui propose des comptes fantastiques" (p. 5, quoted from "Les Richesses injustes", 1946). Debe tratarse del retrato de un comerciante francés (p. 7) Puyvelde sostiene que este cuadro es el origen de todas las copias e interpretaciones posteriores, y no "el cambista y su mujer" que está en el Louvre. El libro que tiene la mujer en sus manos, en la versión de Corneille van de Capelle, es descrito como "le lisent des annotations de comptes" (p. 12). Puyvelde considera que, en las pinturas de Marinus, "le veritable portrait fait place à la caricature de l'homme d'affaire rapace" (p. 13; lo mismo en p. 20). En "el cambista y su mujer" de Marinus, "l'esprit de lucre est plus nettement marqué dans les physionomies et les doigts maigres" (p. 13). El estudio de las monedas que aparecen en el cuadro de Marinus muestra que "the coins are mostly Italian and are all of types minted before 1520" (p. 17). Eso podría significar que la obra es de las realizadas por Marinus para aprender, antes de la fecha que aparece en el primero de sus cuadros con fecha conocida, el "Saint Jerome", de 1521 (p. 17). En el curso de su carrera, Marinus se lanza a la sátira y a la caricatura (pp. 17-18). Ya no se trata de retratos: "Le tablau de genre tourne au pamphlet" (p. 18). El público de la época, que había aplaudido el Elogio de locura de Erasmo y La isla de la Utopía de Tomás Moro debía tener el sentido del humor necesario para apreciar la sátira, y se convirtieron en cuadros amables que movían a risa, y que se disputaban los coleccionistas (p. 18). Otros cuadros parecidos tienen inscripciones, en flamenco, supongo, con el detalle de los impuestos que se cobran por la cerveza, el vino, el pescado... (p. 20) En una de las copias o imitaciones de "La Cabinet d'un Notaire", el documento que lee el notario ha sido descifrado como una parodia de la jerga de los hombres de leyes; incluso la firma del documento dice, en francés: "Notaire infame et faussaire" (p. 23).
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King James Version of the Bible
http://www.weblicity.com/freedom/bible/
Mathew Chapter 6
19 Lay not up for yourselves treasures upon earth, where moth and rust doth corrupt, and where thieves break through and steal:
20 But lay up for yourselves treasures in heaven, where neither moth nor rust doth corrupt, and where thieves do not break through nor steal:
21 For where your treasure is, there will your heart be also.
Luke Chapter 12
15 And he said unto them, Take heed, and beware of covetousness: for a man's life consisteth not in the abundance of the things which he possesseth.
16 And he spake a parable unto them, saying, The ground of a certain rich man brought forth plentifully:
17 And he thought within himself, saying, What shall I do, because I have no room where to bestow my fruits?
18 And he said, This will I do: I will pull down my barns, and build greater; and there will I bestow all my fruits and my goods.
19 And I will say to my soul, Soul, thou hast much goods laid up for many years; take thine ease, eat, drink, and be merry.