In de voetsporen van Max Friedländer
Een pleidooi voor het kennerschap aan de hand van het Werlaltaarstuk
In: Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Suzanne Laemers in
Current site
Google Scholar
Since the early twentieth century connoisseurship has been criticised because of its subjective character. Max Friedländer, the connoisseur par excellence in the field of early Netherlandish painting, always defended connoisseurship as an indispensable art-historical tool. In his days the technical examination of paintings was gradually introduced. Now, it is a full-fledged field of expertise with its own experts. But no matter how much technical examination has led to new insights, it appears that it is not always able to âcrack the codeâ. An attribution issue that is still under debate concerns the shutters of the Werlaltarpiece (Madrid, Museo Nacional del Prado). Since the nineteenth century they have been attributed alternately to the Master of Flémalle alias Robert Campin or to Rogier van der Weyden. The enigmatic Werlaltarpiece exemplifies the need for connoisseurship and technical research to go hand in hand.
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| All Time | Past 365 days | Past 30 Days | |
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In de voetsporen van Max Friedländer
Een pleidooi voor het kennerschap aan de hand van het Werlaltaarstuk
In: Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Suzanne Laemers in
Current site
Google Scholar
PubMed
Since the early twentieth century connoisseurship has been criticised because of its subjective character. Max Friedländer, the connoisseur par excellence in the field of early Netherlandish painting, always defended connoisseurship as an indispensable art-historical tool. In his days the technical examination of paintings was gradually introduced. Now, it is a full-fledged field of expertise with its own experts. But no matter how much technical examination has led to new insights, it appears that it is not always able to âcrack the codeâ. An attribution issue that is still under debate concerns the shutters of the Werlaltarpiece (Madrid, Museo Nacional del Prado). Since the nineteenth century they have been attributed alternately to the Master of Flémalle alias Robert Campin or to Rogier van der Weyden. The enigmatic Werlaltarpiece exemplifies the need for connoisseurship and technical research to go hand in hand.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 433 | 48 | 3 |
| Full Text Views | 31 | 0 | 0 |
| PDF Views & Downloads | 58 | 0 | 0 |
