Overview

This book presents the first sustained study of the stunning drawings of Roman ruins by Haarlem artist Maarten van Heemskerck (1498–1574; in Rome, 1532–ca. 1537). In three parts, Arthur J. DiFuria describes Van Heemskerck’s pre-Roman training, his time in Rome, and his use his ruinscapes for the art he made during his forty-year post-Roman phase. Building on the methods of his predecessors, Van Heemskerck mastered a dazzling array of methods to portray Rome in compelling fashion. Upon his return home, his Roman drawings sustained him for the duration of his prolific career. Maarten van Heemskerck’s Rome concludes with the first ever catalog to bring together all of Van Heemskerck’s ruin drawings in state-of-the-art digital photography.

Full Product Details

Author:   Arthur J. Di Furia
Publisher:   Brill
Imprint:   Brill
Volume:   287/31
Weight:   1.056kg
ISBN:  

9789004380462

ISBN 10:   9004380469
Pages:   526
Publication Date:   21 February 2019
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Available To Order  
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Table of Contents

Preface and Acknowledgments List of Illustrations Introduction  Maarten van Heemskerck’s Rome  Drawings in Berlin and Scattered to the Four Winds  The Historicized Van Heemskerck and Karel Van Mander’s Schilder-Boeck  Van Heemskerck’s Drawings and Memory  Van Heemskerck and the Cult of Ruins Part 1: Imagining the Eternal: Maarten van Heemskerck Before Rome Introduction 1 The Possibility of a pre-Roman Maarten van Heemskerck  Collection, Invention, and Netherlandish Antiquity c. 1510–25  The Status of the Ruin in Netherlandish Visual Culture c. 1510–25  The Roman Journey’s Status in the Netherlands and Van Heemskerck’s Road to the Eternal City 2 The Ruin Landscape in Jan van Scorel’s Workshop  Prototype, Imitation, Emulation, Invention  Van Scorel, Van Heemskerck, and the Ruin  Leaving Van Scorel’s Workshop: Landscape and the Wanderjahr Drawing Part 2: Drawing the Eternal: Van Heemskerck in Rome Introduction 3 Drawing Ruins in Post-Sack Rome  Rome’s Post-Sack Milieu  Drawing, Collecting, and the ‘Chaos of Memory’  Ruins in Post-Sack Rome  Raphael and Van Heemskerck’s Ruinscapes  Charles V’s Triumphal Procession 4 Memory and Maarten van Heemskerck’s Eternal Eye  Discovering the Vestiges of Ancient Rome in the Frame  The Compelling Space and the Epochal Time of Van Heemskerck’s Ruinscapes  Artistry and Roman Topography as Memory 5 The Copious Hand  An Abundant Technique  Van Heemskerck’s Pre-Roman Technical Inheritance: Pen and Ink Hatching, Netherlandish Realism  Towards Finish: The Flexibility of Van Heemskerck’s Pen and Ink Process  Ink Washes, Chalk, Texture: Performance  Mimesis, Performance, and Function Part 3: Remembering the Eternal: Van Heemskerck After Rome Introduction 6 Invention, Collecting, Antiquarianism  Reinventing Rome: Panorama with the Abduction of Helen Amidst the Wonders of the World  Memory and Invention After Rome: Van Heemskerck’s Drawings in the Netherlands  Van Heemskerck’s Inventions After the Antique: Means and Modes  In Reminiscor: Reading the Ruins 7 Antiquity in 1553: Ruins and Self-Fashioning  A Summa of the Self  Coming of Age: The Signature Ruin and Netherlandish Antiquarianism  Van Heemskerck’s Drawings and Hieronymus Cock’s Præcipua aliquot Romanae Antiquitatis Ruinarum  Self-Portrait before the Colosseum’s Antiquarian Audience 8 Regnum, Reform, and Ruin  Van Heemskerck and the Destruction of Art in the ‘Age of Art’  Before the Beeldenstorm, After the Antique  1569: The Rhetoric of Ruination Epilogue  After Van Heemskerck, After the Antique: A Continuum of Pictorial Memory Part 4: A Catalog of Maarten van Heemskerck’s Roman Ruin Drawings A Note on the Catalog In and Around the Forum  Forum Romanum  Capitoline Hill  Palatine Hill  Arch of Titus  Colosseum  Arch of Constantine  Septizonium  Forum Nervae On the Quirinal Hill  Frontespizio di Nerone  Baths of Diocletian  Trofei di Mario  San Lorenzo Fuori le Mure On the Tiber’s East Bank and On the Interior  Porticus Octaviae  Forum Boarium  Piazza del Popolo  Pantheon In and Around the Vatican  Banchi and Borgo  St. Peter’s  Belvedere Near the South Wall  Baths of Caracalla  San Giovanni in Laterano  Temple of Minerva Medica  Porta Maggiore  Pyramid of Cestius Further Afield: Otium  Tivoli  Villa Madama Panorama, Collection, Fragment, Fantasia  Broad-View Panoramas  Sculpture Collections, Gardens, and Cortile  Architectural Fragments  Fantasia  Single Sheets with Multiple Copies after Maarten van Heemskerck: The so-called De Vos Sketchbook Deattributions  Deattributions from Maarten Van Heemskerck  A Deattributed Group of Drawings in Berlin: ‘Anonymous C’  A Brief Explanation and List of Previous Deattributions Notes References

Reviews

Until now, Maarten van Heemskerck's hundreds of Roman drawings have been used chiefly by archaeologists and architectural historians to discern the critical early stages of building St Peter's and excavating ancient imperial ruins. To the rescue, Arthur Di Furia examines this entire corpus of drawings for what they contributed to van Heemskerck's later creations and to an emerging Netherlandish vision of antiquity in the sixteenth century. As the first study dedicated to a comprehensive cultural interpretation of both van Heemskerck and Rome, this fine tome uncovers a critical turning-point in both histories. Larry Silver, Farquhar Professor of Art History, emeritus, University of Pennsylvania

Until now, Maarten van Heemskerck's hundreds of Roman drawings have been used chiefly by archaeologists and architectural historians to discern the critical early stages of building St Peter's and excavating ancient imperial ruins. To the rescue, Arthur Di Furia examines this entire corpus of drawings for what they contributed to van Heemskerck's later creations and to an emerging Netherlandish vision of antiquity in the sixteenth century. As the first study dedicated to a comprehensive cultural interpretation of both van Heemskerck and Rome, this fine tome uncovers a critical turning-point in both histories. Larry Silver, Farquhar Professor of Art History, emeritus, University of Pennsylvania This fine monograph [...] has been edited impeccably, with meticulous reproductions of Van Heemskerck's drawings and many of his paintings. A great help to the reader are the cuts from the drawings reproduced in the margins of the main text. Eric M. Moormann, Radboud University, Nijmegen. In: Babesch, vol. 95 (2020), pp. 275-277.

Author Information

Arthur J. DiFuria, Ph.D. (2008, Delaware), is Savannah College of Art and Design’s Chair of Art History. He has published books and articles on early modern Netherlandish art, including Genre Imagery in Early Modern Northern Europe: New Perspectives (Ashgate / Routledge, 2016).

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