Tributes to Maryan W. Ainsworth

This volume honors Maryan W. Ainsworth, curator emerita at The Metropolitan Museum of Art and former adjunct professor at Barnard College, whose work as a scholar, curator, and teacher has profoundly impacted the study of early northern European painting. Contributions by leading specialists from museums and academia, including former interns and fellows, reflect Ainsworth’s emphasis on the centrality of the object and on the interdisciplinary methods of technical art history, while also paying homage to the variety of Ainsworth’s research interests as a whole. The essays explore topics such as the working methods of individual artists, workshop practice, artistic collaboration, and patronage across a range of media—mainly painting, but also manuscript illumination, drawing, tapestry, sculpture, and stained glass.

Acknowledgments

Anna Koopstra, Christine Seidel, and Joshua P. Waterman
Maryan W. Ainsworth: An Appreciation

Chronological Bibliography of Maryan W. Ainsworth

Keith Christiansen
The Fourteenth-Century Bohemian Virgin and Child Enthroned at The Met: Some Preliminary Thoughts
Till-Holger Borchert
Collaborator or Follower of Jan van Eyck? The Painter of the Simpson Carson Virgin Reconsidered
Stephan Kemperdick
Petrus Christus’s Altarpiece of 1452: A New Reconstruction
Ron Spronk
Jan Provoost before c.1500: The Documentary Evidence
Molly Faries
Maarten van Heemskerck’s Early Lamentation of Christ: The Beginning of a Long Career
Maximiliaan P. J. Martens
A Christ as the Man of Sorrows by Quinten Massys
Julien Chapuis and Sophie Hoffmann
From Wood to Silver: Michel Erhart and Heinrich Hufnagel at the Bode Museum
Dagmar Eichberger
The Cult of Mary Magdalene and Jacques de Saint-Nectaire’s Tapestry Series for the Abbey Church of La Chaise-Dieu (1518)
Diane Wolfthal
The Color of Money and Other Temporary Natural Alterations in Silver-Stained Windows
Sandra Hindriks
Optical Illusion as Epistemological Challenge: Konrad Witz’s Saint Christopher
Peter Parshall
Ad vivum: Observations on Hugo van der Goes’s Monforte Altarpiece in Berlin
Alice Hoppe-Harnoncourt
“PRIMA TABVLA HABET IMAGINES”: A Reconsideration of Bernhard Strigel’s Family Portrait of Emperor Maximilian I
Thomas Kren
On the Role of an Early-Sixteenth-Century Drawing in Netherlandish Luxury Manuscript Production
Daantje Meuwissen
A Portable Artistic Resource: The Practical Uses of the Pocket-Size Sketchbook of Cornelis Anthonisz (c.1505–1553)
Dan Ewing
A Tale of Two Altarpieces: Jan de Beer’s Birmingham and Madrid Paintings
Peter van den Brink
The Stigmatization of Saint Francis by Joos van Cleve: A New Discovery
Sophie Scully
The Examination and Treatment of the Annunciation by Joos van Cleve at The Metropolitan Museum of Art
Ronda Kasl
Things They Do Not Have: Royal Spanish Gifts for the Emperor of China
Melanie Gifford
Rembrandt and the Rembrandtesque: The Experience of Artistic
Process and Its Imitation

Image Credits