A fresh look at the phenomenon of artistic collaboration in the early modern Low Countries
"(...) this volume itself exemplifies a true collaboration, where major previous contributors add their reflections to newer, focused contributions by younger scholars. Newman, Nijkamp, and the publishers of a handsome book deserve praise for refining, but also stimulating our thinking about Antwerp art practices as well as the range of what we consider as collaboration." (Larry Silver, in Historians of Netherlandish Art Reviews, October 2021)
Abigail D. Newman is a part-time professor of Art History in the History Department at the University of Antwerp and Research Adviser at the Rubenianum. Lieneke Nijkamp is Curator of Research Collections at the Rubenianum.
Artists everywhere and across all time periods have collaborated with one another. Yet in the early modern Low Countries, collaboration was particularly widespread, resulting in a number of distinctive visual forms that have become strongly associated with artistic – and especially painterly – practice in this region. While art historians long glossed over this phenomenon, which appeared to discomfitingly counter nineteenth-century notions of authorship and artistic genius that have long shaped the field, the past few decades have seen increased attention to this rich and complicated subject. The essays in this book together constitute a current state of the question, while at once pointing the way forward. In broadening the art historical lens on this subject, they draw upon economic and social history, current interests in immigration and mobility, print studies, and technical analysis, embracing a range of literary and archival sources along the way. Interdisciplinary in their perspectives and methodologically diverse, these essays present both theoretical reflections on artistic collaboration and in-depth studies of particular artist-partnerships and collaboratively made objects.
Abigail D. Newman — Introduction: Collaboration in the Early Modern Low Countries
Part I. Theory, beginnings, beyond Antwerp
Chapter 1. Dorien Tamis — The Appreciation and Reception of Painters’ Collaborations in the Low Countries: An Overview, c. 1500–1700
Chapter 2. Bernard Aikema — Collaboration, Connoisseurship, and the Artistic Canon
Chapter 3. Katharine Campbell — Landscapes, Figures, Demons: Collaboration as Canon Formation in Joachim Patinir and Quentin Metsys’s Temptation of St. Anthony
Chapter 4. Julia Lillie — Collaboration in Exile: Crispijn de Passe I and Matthias Quad in Cologne, 1589–1604
Chapter 5. Sophia Quach McCabe — Many Hands, Many Lands: Collaborative Copper Painting by Hans Rottenhammer, Paul Bril, and Jan Brueghel I
Part II. Collaboration in seventeenth-century Antwerp paintings
Chapter 6. Angela Jager and Jørgen Wadum, with contributions by Aoife Daly, David Buti, and Gianluca Pastorelli — The Raid by Jan Brueghel I and Sebastiaen Vrancx: Prime Version and Autograph Replica
Chapter 7 — Arnout Balis, Many Hands in Rubens’s Workshop: An Exploration
Chapter 8. Filip Vermeylen — Antwerp as a Center of Artistic Collaboration: A Unique Selling Point?
Chapter 9. Elizabeth Alice Honig — Additive Painting and the Social Self
Chapter 10. Anne T. Woollett — Considering Collaboration: Then and Now