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Papers by Marieke de Winkel
The Burlington Magazine, 2000
... Their sister Sophie wrote to Charles Louis on 16th September 1679 that she had seen his portr... more ... Their sister Sophie wrote to Charles Louis on 16th September 1679 that she had seen his portrait in Versailles: 'ff'ay veu dars un des cabinets vostre pourtrait de Van-deicke, tres bien fait (E. BODEMANN: Bneechsel der Herzogtn Sophie von Hannover mit iArgm Bruder dem ...
Zwolle : Waanders eBooks, 2005
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The Sixteenth century journal, Oct 1, 2008
Page 1. . V.. | . ' b . ;. ' M /' SK SB .: A. ean... more Page 1. . V.. | . ' b . ;. ' M /' SK SB .: A. eanina .: -., Paintings ' . . ': Page 2. Page 3. Page 4. Page 5. FASHION AND FANCY Thi so H24Z-OSZ-4JE8 Page 6. Page 7. FASHION AND FANCY s One H24Z-OSZ-4JE8 Page 8. Page 9. ...
Shows and describes self-portraits by Rembrandt and how they reveal the development of his art.
Bulletin van het Rijksmuseum , 2005
With Jan Piet Filedt Kok
Desipientia, 2008
Item does not contain fulltext5 p
De Winkel, Marieke. “Ambition and Apparel.” Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer, edited by Ronni Baer, translated by Diane Webb, 55–71. Boston: MFA Publications, 2015. , 2015
In the early modern period, more so than today, clothing was a way of distinguishing between clas... more In the early modern period, more so than today, clothing was a way of distinguishing between classes, and any blurring of the boundaries was censured or even outlawed. In seventeenth-century Holland, the tendency of maidservants in particular to wear unsuitable clothing was a cause of increasing irritation and social unrest. Although written sources such as sermons and farces generally describe the appearance and behavior of maidservants in negative terms, the image of the maid in paintings is usually positive.
Ekkart & Buvelot (eds.), Dutch portraits : the Age of Rembrandt and Frans Hals, 2007
The great interest that seventeenth-century sitters took in clothing is obvious from their portra... more The great interest that seventeenth-century sitters took in clothing is obvious from their portraits. Even today we are astonished by the complicated garments and jewels worn, just as we are by the great attention and detail with which painters have depicted them. Quantitatively, dress is often the most important part of a painting, because it takes up so much of the surface area, but in a qualitative sense too, it is frequently one of a painting's highlights. In Rembrandt's Portrait of Jan Six from 1654, the sketchily but extremely effectively rendered cloak and gloves appear to lead a life of their own within the painting and attest to the painter's great virtuosity. Costumes also often feature prominently in the portraits of Gerard ter Borch, Frans Hals and Bartholomeus van der Helst ; at times, the astonishing brilliance of the satin is so magnificent that the wearer almost pales by comparison. Fashion influences portraiture more than is often acknowledged, determining key elements such as pose or palette. Yet despite the essential importance of the sitter's dress, remarkably little is kqown about the process of choice. Who selected the apparel and for what reasons? Did clients expect a literal rendering of the garments' appearance? Did the artist play a role in selecting a particular pose or dress? In short, is the clothing depicted an accurate reflection of reality or is it rather the artist's creation? The following discussion will explore the field of tension between the picture presented by Clothes in Documents: Imagination and Fact.
'De kleding van de Nederlandse adel in de 17de eeuw en de portretten van de Brederodes', in: A. Koenheim (ed.) Johan Wolfert Van Brederode 1599-1655. Een Hollands edelman tussen Nassau en Oranje, Vianen/Zutphen, 1999, p. 85-97., 1999
In Dutch. An essay on the dress depicted on the different portraits of members of the counts of B... more In Dutch. An essay on the dress depicted on the different portraits of members of the counts of Brederode in the seventeenth century. With two transcripts of the clothes in the inventories of Count Floris II of Culemborg and the trousseau of Louise Hendriette, princess of Orange-Nassau.
A Corpus of Rembrandt Paintings, 2005
One of the most remarkable features of Rembrandt’s presentation of himself in his self-portraits ... more One of the most remarkable features of Rembrandt’s presentation of himself in his self-portraits is his attire, the diversity and frequently prominent treatment of which significantly contribute to the great variety of self-portraits in his oeuvre. As clothing always conveys certain messages, it represents an important means of creating a specific image of oneself. This justifies an investigation of clothing as signifier in general, and makes it an interesting tool in the study of self-portraits in particular. What statements does Rembrandt make through his clothing? Does the dress in his self-portraits indicate a particular social rank (that of burgher, gentleman or artist) or is it perhaps also an expression of certain art-theoretical ideals (that of the pictor doctus or pictor vulgaris)? Because we have scarcely any personal statements by Rembrandt, certainly in comparison with Rubens for instance, how he perceived himself as an artist, his self-portraits represent the appropriate vehicle for exploring this.
Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek, 1995
Renaissance Quarterly, 2007
Page 1. . V.. | . ' b . ;. ' M /' SK SB .: A. ean... more Page 1. . V.. | . ' b . ;. ' M /' SK SB .: A. eanina .: -., Paintings ' . . ': Page 2. Page 3. Page 4. Page 5. FASHION AND FANCY Thi so H24Z-OSZ-4JE8 Page 6. Page 7. FASHION AND FANCY s One H24Z-OSZ-4JE8 Page 8. Page 9. ...
Portrait art of Holland's Golden Age is one of the most fascinating phenomena in the history ... more Portrait art of Holland's Golden Age is one of the most fascinating phenomena in the history of Western art, distinguished by a powerful realism, an immense diversity and, above all, a high artistic level. The National Gallery in London and the Mauritshuis in The Hague are mounting a major exhibition on the subject in 2007. The main thread running through the exhibition is the chronological development of the portrait, interwoven with several themes like the individual portrait, the double portrait, the family portrait, the group portrait, militia and regents portraits as well as children's portraits.Within each theme a selection of works are being shown which offer imposing and also exciting juxtapositions. In this accessible publication all the exhibited paintings are illustrated in colour and have accompanying information. The texts are prefaced by three lavishly illustrated essays on the development of portraiture in the northern part of the Netherlands and the costumes ...
Preface.- Bibliographical and other Abbreviations.- Essays:.- I. Towards a Reconstruction of Remb... more Preface.- Bibliographical and other Abbreviations.- Essays:.- I. Towards a Reconstruction of Rembrandt's Art Theory.- II. An Illustrated Chronological Survey of Rembrandt's Small-Scale 'Histories': Paintings, Etchings and a Selection of Drawings, with Remarks on Art-Theoretical Aspects, Function and Questions of Authenticity.- III. Rembrandt's Prototypes and Pupils' Production of Variants.- IV. On Quality: Comparative Remarks on the Functioning of Rembrandt's Pictorial Mind.- V. More than One Hand in Paintings by Rembrandt.- Catalogue of the Small-Scale History and Genre Paintings 1642-1669 by Rembrandt and his Pupils.- Corrigenda et Addenda.- Indexes.
Choice Reviews Online
47 artists' biographies in exhibition catalogue
Shows and describes self-portraits by Rembrandt and how they reveal the development of his art.
The Burlington Magazine, 2000
... Their sister Sophie wrote to Charles Louis on 16th September 1679 that she had seen his portr... more ... Their sister Sophie wrote to Charles Louis on 16th September 1679 that she had seen his portrait in Versailles: 'ff'ay veu dars un des cabinets vostre pourtrait de Van-deicke, tres bien fait (E. BODEMANN: Bneechsel der Herzogtn Sophie von Hannover mit iArgm Bruder dem ...
Zwolle : Waanders eBooks, 2005
Item does not contain fulltex
The Sixteenth century journal, Oct 1, 2008
Page 1. . V.. | . ' b . ;. ' M /' SK SB .: A. ean... more Page 1. . V.. | . ' b . ;. ' M /' SK SB .: A. eanina .: -., Paintings ' . . ': Page 2. Page 3. Page 4. Page 5. FASHION AND FANCY Thi so H24Z-OSZ-4JE8 Page 6. Page 7. FASHION AND FANCY s One H24Z-OSZ-4JE8 Page 8. Page 9. ...
Shows and describes self-portraits by Rembrandt and how they reveal the development of his art.
Bulletin van het Rijksmuseum , 2005
With Jan Piet Filedt Kok
Desipientia, 2008
Item does not contain fulltext5 p
De Winkel, Marieke. “Ambition and Apparel.” Class Distinctions: Dutch Painting in the Age of Rembrandt and Vermeer, edited by Ronni Baer, translated by Diane Webb, 55–71. Boston: MFA Publications, 2015. , 2015
In the early modern period, more so than today, clothing was a way of distinguishing between clas... more In the early modern period, more so than today, clothing was a way of distinguishing between classes, and any blurring of the boundaries was censured or even outlawed. In seventeenth-century Holland, the tendency of maidservants in particular to wear unsuitable clothing was a cause of increasing irritation and social unrest. Although written sources such as sermons and farces generally describe the appearance and behavior of maidservants in negative terms, the image of the maid in paintings is usually positive.
Ekkart & Buvelot (eds.), Dutch portraits : the Age of Rembrandt and Frans Hals, 2007
The great interest that seventeenth-century sitters took in clothing is obvious from their portra... more The great interest that seventeenth-century sitters took in clothing is obvious from their portraits. Even today we are astonished by the complicated garments and jewels worn, just as we are by the great attention and detail with which painters have depicted them. Quantitatively, dress is often the most important part of a painting, because it takes up so much of the surface area, but in a qualitative sense too, it is frequently one of a painting's highlights. In Rembrandt's Portrait of Jan Six from 1654, the sketchily but extremely effectively rendered cloak and gloves appear to lead a life of their own within the painting and attest to the painter's great virtuosity. Costumes also often feature prominently in the portraits of Gerard ter Borch, Frans Hals and Bartholomeus van der Helst ; at times, the astonishing brilliance of the satin is so magnificent that the wearer almost pales by comparison. Fashion influences portraiture more than is often acknowledged, determining key elements such as pose or palette. Yet despite the essential importance of the sitter's dress, remarkably little is kqown about the process of choice. Who selected the apparel and for what reasons? Did clients expect a literal rendering of the garments' appearance? Did the artist play a role in selecting a particular pose or dress? In short, is the clothing depicted an accurate reflection of reality or is it rather the artist's creation? The following discussion will explore the field of tension between the picture presented by Clothes in Documents: Imagination and Fact.
'De kleding van de Nederlandse adel in de 17de eeuw en de portretten van de Brederodes', in: A. Koenheim (ed.) Johan Wolfert Van Brederode 1599-1655. Een Hollands edelman tussen Nassau en Oranje, Vianen/Zutphen, 1999, p. 85-97., 1999
In Dutch. An essay on the dress depicted on the different portraits of members of the counts of B... more In Dutch. An essay on the dress depicted on the different portraits of members of the counts of Brederode in the seventeenth century. With two transcripts of the clothes in the inventories of Count Floris II of Culemborg and the trousseau of Louise Hendriette, princess of Orange-Nassau.
A Corpus of Rembrandt Paintings, 2005
One of the most remarkable features of Rembrandt’s presentation of himself in his self-portraits ... more One of the most remarkable features of Rembrandt’s presentation of himself in his self-portraits is his attire, the diversity and frequently prominent treatment of which significantly contribute to the great variety of self-portraits in his oeuvre. As clothing always conveys certain messages, it represents an important means of creating a specific image of oneself. This justifies an investigation of clothing as signifier in general, and makes it an interesting tool in the study of self-portraits in particular. What statements does Rembrandt make through his clothing? Does the dress in his self-portraits indicate a particular social rank (that of burgher, gentleman or artist) or is it perhaps also an expression of certain art-theoretical ideals (that of the pictor doctus or pictor vulgaris)? Because we have scarcely any personal statements by Rembrandt, certainly in comparison with Rubens for instance, how he perceived himself as an artist, his self-portraits represent the appropriate vehicle for exploring this.
Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek, 1995
Renaissance Quarterly, 2007
Page 1. . V.. | . ' b . ;. ' M /' SK SB .: A. ean... more Page 1. . V.. | . ' b . ;. ' M /' SK SB .: A. eanina .: -., Paintings ' . . ': Page 2. Page 3. Page 4. Page 5. FASHION AND FANCY Thi so H24Z-OSZ-4JE8 Page 6. Page 7. FASHION AND FANCY s One H24Z-OSZ-4JE8 Page 8. Page 9. ...
Portrait art of Holland's Golden Age is one of the most fascinating phenomena in the history ... more Portrait art of Holland's Golden Age is one of the most fascinating phenomena in the history of Western art, distinguished by a powerful realism, an immense diversity and, above all, a high artistic level. The National Gallery in London and the Mauritshuis in The Hague are mounting a major exhibition on the subject in 2007. The main thread running through the exhibition is the chronological development of the portrait, interwoven with several themes like the individual portrait, the double portrait, the family portrait, the group portrait, militia and regents portraits as well as children's portraits.Within each theme a selection of works are being shown which offer imposing and also exciting juxtapositions. In this accessible publication all the exhibited paintings are illustrated in colour and have accompanying information. The texts are prefaced by three lavishly illustrated essays on the development of portraiture in the northern part of the Netherlands and the costumes ...
Preface.- Bibliographical and other Abbreviations.- Essays:.- I. Towards a Reconstruction of Remb... more Preface.- Bibliographical and other Abbreviations.- Essays:.- I. Towards a Reconstruction of Rembrandt's Art Theory.- II. An Illustrated Chronological Survey of Rembrandt's Small-Scale 'Histories': Paintings, Etchings and a Selection of Drawings, with Remarks on Art-Theoretical Aspects, Function and Questions of Authenticity.- III. Rembrandt's Prototypes and Pupils' Production of Variants.- IV. On Quality: Comparative Remarks on the Functioning of Rembrandt's Pictorial Mind.- V. More than One Hand in Paintings by Rembrandt.- Catalogue of the Small-Scale History and Genre Paintings 1642-1669 by Rembrandt and his Pupils.- Corrigenda et Addenda.- Indexes.
Choice Reviews Online
47 artists' biographies in exhibition catalogue
Shows and describes self-portraits by Rembrandt and how they reveal the development of his art.
Rembrandt. The Complete Paintings , 2019
Rembrandt. The Complete Paintings Hardcover with fold-outs, 29 x 39.5 cm, 8.07 kg, 744 pages. The... more Rembrandt. The Complete Paintings Hardcover with fold-outs, 29 x 39.5 cm, 8.07 kg, 744 pages.
The Dutch Golden Age spawned some of history’s greatest artists and artisans, but few can boast the genius of Rembrandt. Commemorating 350 years of unparalleled legacy, this XXL-sized monograph gathers the artist’s 330 paintings in exquisite reproductions and details that reveal how, in all their forms, Rembrandt’s painted works are built of intricacies—the totality of each subtle wrinkle, gaze, or figure.
Fashion and Fancy. Dress and Meaning in Rembrandt's Paintings, Amsterdam, 2006
Until now dress has played a minor role in the studies of Rembrandt's paintings. This is all ... more Until now dress has played a minor role in the studies of Rembrandt's paintings. This is all the more surprising since the artist clearly delighted in the rendering of clothes. He made extensive use of clothing and jewellery to emphasize the character, religious affiliation or social status of the sitters in his portraits, and to clarify the narrative or heighten the drama in his history pieces.De Winkel fills this lacuna and shows that research of this neglected field can contribute in many and unexpected ways to our understanding of Rembrandt's art. Serious study of the history of dress is itself a rather new field, and was long regarded by art historians as merely ancillary to art history, mainly as a help in matters of dating. However, the knowledge of dress can contribute to the identification of the sitter. It can also help to determine the message the sitter or the artist wished to express. The wider aim of the author is to investigate the possible contemporary connotations of clothes in Rembrandt's painted oeuvre by placing them within a wider cultural and historical context.
Fashion and Fancy: Dress and Meaning in Rembrandt's Paintings., 2006
Assessing Fashion Accessories in Rembrandt's Portraits* '…En over 't jaer sou teeren, Op den vers... more Assessing Fashion Accessories in Rembrandt's Portraits* '…En over 't jaer sou teeren, Op den versnoepten cost Van uw' lint en uw' veeren.' c. huygens, 't Costelijck Mall, 1622 In 1707 Gerard de Lairesse in his Groot Schilderboek stated that, in order to properly understand the character of the figures depicted, the addition of meaningful attributes is indispensable. 1 In portraiture these 'dignified and splendid additions', according to De Lairesse, not only made pleasant decorations but also served to elucidate and emphasise the sitter's quality and occupation. 2 The author proceeds by giving numerous examples of attributes or symbols he believes to be fitting for different types of sitters. 3 It is significant that De Lairesse's list of meaningful additions does not include fashion accessories such as fans, gloves or handkerchiefs. Nevertheless, several art historians do not appear content with the view that these items are just 'prosaic bits of fashionable attire' but suppose them to have had a much profounder meaning. 4 Just how justified is the view, that jewellery and fashion accessories are implicit symbols of marital love, gentility, friendship, or grief as has been claimed by various authors? 5 Focussing primarily on accessories worn by female sitters in Rembrandt's portraits, this chapter forms a re-evaluation of some of these interpretations. It attempts to establish the precise connotations of these fashion accessories in the light of seventeenth-century sartorial conventions and to assess their importance in the entire representation by comparing various types of depictions in addition to descriptions by contemporaries, personal documents and archival records. the allusions of accessories: convention, context and connotations In some portraits, ostensibly meaningful objects appear to have a relatively straightforward meaning. Indeed, a small book of psalms or a watch held up to the chapter two 13 Rembrandt, Portrait of Maria Bockenolle, 1634, Museum of Fine Arts, Boston chapter two 54
Fashion and Fancy, 2006
Jan Six forms the subject of two of Rembrandt's most impressive portraits, both of which can be c... more Jan Six forms the subject of two of Rembrandt's most impressive portraits, both of which can be considered high points of his painted and etched oeuvre. The iconography as well as the exceptional execution of these works have stirred the imagination of contemporaries and generations of art historians alike, giving rise to much comment. 1 This interest has only been increased by the wealth of anecdotes that have evolved around the relationship between the affluent art lover and the artist; some stories are indeed based on documentary evidence, while others are mere legend. 2 Certainly, Jan Six's life is relatively well documented: a wealthy member of the regent class and eventually burgomaster of Amsterdam, he was a scholar with an interest in sculpture, painting and poetry as well. The prevailing tendency among art historians has been to interpret the portraits in the light of Jan Six's biography and other facts known about him. Recurring motifs, include Six's great love of art and scholarship as well as his special veneration of Baldassare Castiglione's book on the ideal courtier. On the basis of the same material, various authors have come up with quite different interpretations with regard to the intentions of both patron and artist. For instance, Six's occupation with scholarship and his pensive mood in both portraits has led Luba Freedman to suppose a preoccupation of both men with the notion of melancholy, a mental condition from which many artists and poets at the time affected to suffer. 3 David Smith views the portraits first and foremost as manifestations of the gentlemanly aspirations of both Rembrandt and Six, seeing a conflicting two-facedness of 'Janus' Six the private man and the persona he presented to the outside world. 4 Eddy de Jongh points out, on the other hand, that the fluid brushwork and unfinished aspect of the painting must have appealed to the personal taste of the art lover Six and the familiarity of both men with Castiglione's concept of sprezzatura.
Fashion and Fashion, 2006
Dress and working clothes of Rembrandt
Fashion and Fancy, 2006
Costume in Rembrandt's History Paintings
Fashion and Fashion, 2006
2 van thienen 1930; der kinderen-besier 1950. The latter, however, especially when dealing with d... more 2 van thienen 1930; der kinderen-besier 1950. The latter, however, especially when dealing with dress from the period 1660-1700, does not distinguish between dress that was actually worn in real life and fanciful styles invented by the painter. 3 chapman 1986; meyer 1986. The work by Chapman especially is marred by many inaccuracies.
Fashion and Fashion, 2006
Transcripts of clothes in probate inventories of Amsterdam Painters, of Aeltje Schouten and Oopje... more Transcripts of clothes in probate inventories of Amsterdam Painters, of Aeltje Schouten and Oopjen Coppit.
