End Notes
Understanding Petrus Christus’ A Goldsmith in his Shop
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[1] Rose-Marie and Rainer Hagen, What Great Paintings Say, Volume 1, Taschen, Cologne, 2003, at 47.
[2] Christopher J Duffin, “Geological Prophylactics in Petrus Christus' Painting A Goldsmith in his shop possibly Saint Eligius (1449) at https://www.researchgate.net/publication/268687003; Hagen, op cit, at 48.
[3] Maryan W Ainsworth, with Maximiliaan Martens, Petrus Christus, Renaissance Master of Bruges, Exhibition Catalogue, Metropolitan Museum of Art, New York, 1994, 96 ff, at 98.
[4] Ainsworth, Petrus Christus, op cit, at 98.
[5] Ainsworth, Petrus Christus, op cit, at 98.
[6] Duffin, op cit.
[7] Hagen, op cit at 46; Duffin, op cit.
[8] Ainsworth, Petrus Christus, op cit, at 98.
[9] Hagen, op cit, at 46.
[10] Hugo van der Velden, “Defrocking St Eloy: Petrus Christus’s Vocational Portrait of a Goldsmith”, Netherlands Quarterly for the History of Art, Vol. 26, No. 4 (1998), pp. 242-276; Maryan W Ainsworth, “Intentional Alterations of Early Netherlandish Painting”, Essay in Heilbrunn Timeline of Art History, January 2008.
[11] Velden, op cit at 244.
[12] Velden, op cit at 246.
[13] Velden, op cit at 242.
[14] Velden, op cit at 257-261. See, for example, van Eyck’s portrait of prominent Bruges goldsmith Jan de Leeuwn (1436).
[15] Velden, op cit at 262.
[16] Maximiliaan Martens, in Ainsworth, Petrus Christus, op cit at 15
[17] Martens, op cit at 4ff. Christus would also have been attracted by the fact that the fee required to obtain citizenship (and therefore membership of the painters’ guild) had recently been reduced.
[18] Martens, op cit. On the growth of Antwerp, see our article Lost in Translation http://www.artinsociety.com/lost-in-translation-bruegelrsquos-tower-of-babel-new-page.html
© Philip McCouat, 2020.
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[1] Rose-Marie and Rainer Hagen, What Great Paintings Say, Volume 1, Taschen, Cologne, 2003, at 47.
[2] Christopher J Duffin, “Geological Prophylactics in Petrus Christus' Painting A Goldsmith in his shop possibly Saint Eligius (1449) at https://www.researchgate.net/publication/268687003; Hagen, op cit, at 48.
[3] Maryan W Ainsworth, with Maximiliaan Martens, Petrus Christus, Renaissance Master of Bruges, Exhibition Catalogue, Metropolitan Museum of Art, New York, 1994, 96 ff, at 98.
[4] Ainsworth, Petrus Christus, op cit, at 98.
[5] Ainsworth, Petrus Christus, op cit, at 98.
[6] Duffin, op cit.
[7] Hagen, op cit at 46; Duffin, op cit.
[8] Ainsworth, Petrus Christus, op cit, at 98.
[9] Hagen, op cit, at 46.
[10] Hugo van der Velden, “Defrocking St Eloy: Petrus Christus’s Vocational Portrait of a Goldsmith”, Netherlands Quarterly for the History of Art, Vol. 26, No. 4 (1998), pp. 242-276; Maryan W Ainsworth, “Intentional Alterations of Early Netherlandish Painting”, Essay in Heilbrunn Timeline of Art History, January 2008.
[11] Velden, op cit at 244.
[12] Velden, op cit at 246.
[13] Velden, op cit at 242.
[14] Velden, op cit at 257-261. See, for example, van Eyck’s portrait of prominent Bruges goldsmith Jan de Leeuwn (1436).
[15] Velden, op cit at 262.
[16] Maximiliaan Martens, in Ainsworth, Petrus Christus, op cit at 15
[17] Martens, op cit at 4ff. Christus would also have been attracted by the fact that the fee required to obtain citizenship (and therefore membership of the painters’ guild) had recently been reduced.
[18] Martens, op cit. On the growth of Antwerp, see our article Lost in Translation http://www.artinsociety.com/lost-in-translation-bruegelrsquos-tower-of-babel-new-page.html
© Philip McCouat, 2020.
RETURN TO HOME