The Album of Drawings (object number: PK-T-AW-xxx) housed in the University of Leiden's Special Collections presents a compelling enigma within art history. Comprising 80 intricately executed pen...Show moreThe Album of Drawings (object number: PK-T-AW-xxx) housed in the University of Leiden's Special Collections presents a compelling enigma within art history. Comprising 80 intricately executed pen and brown ink drawings embellished with grey wash, these depictions meticulously portray episodes from the Old Testament. The illustration spans Genesis through Judges, highlighting the relationship between God and His people and the latter’s struggles, faith and challenges as they define their identity and purpose, guided by divine intervention and historical context. Measuring around 4.2 × 5.6 cm, each drawing showcases remarkable detail and skill. The elusive identity of the artist adds an intriguing dimension to the collection. This research aims to uncover the album's history, the artist's pictorial references, the drawings' purpose, their likely creation date, and their status as copies or original works. Employing an object-oriented methodology, the study combines visual and iconographical analyses with examination of relevant literature and technical resources, including watermark and transfer techniques. The album consists of two sections: eight drawings of fruits and nuts, believed to be created by the album's owner, and 80 Old Testament drawings attributed to an anonymous Netherlandish artist, potentially originating after 1659. Visual scrutiny suggests that most drawings are adaptations of widely disseminated contemporary prints, drawing inspiration from prominent artists like Antonio Tempesta, Jost Amman, and Pieter Hendricksz. Schut. These drawings display thematic and compositional correlations with identified sources, hinting at the artist's access to a diverse array of visual materials. The sequential arrangement of scenes echoes a picture Bible, possibly intended for broader distribution through printing. The inquiry into whether these biblical drawings are copies or original creations is pivotal. Despite drawing from existing compositions—a prevalent practice—evidence suggests deliberate alterations, infusing them with a distinct style, emotional depth, and focus on human actions. These modifications, coupled with the amalgamation of diverse sources, elevate the drawings beyond mere reproductions. The artist's conscientious choices underscore the intricate interplay between artistic value and intended purpose. In conclusion, this research provides an in-depth exploration of the Album of Drawings, shedding light on its historical context, artistic origins, and potential functions. Through meticulous analysis, the study enhances our understanding of Netherlandish biblical illustration in the seventeenth century and fosters a deeper appreciation for these captivating pen drawings.Show less
Copying other artists' paintings was an essential practice in the nineteenth century and has a rich culture. For art students, copying and that way learning from the old masters was seen as a vital...Show moreCopying other artists' paintings was an essential practice in the nineteenth century and has a rich culture. For art students, copying and that way learning from the old masters was seen as a vital element of their education. Also for artists it was essential to control the techniques of great artists to develop their inventiveness. The Sistine Madonna altarpiece by Raphael (1483-1520) was famous among students and artists who wanted to copy Raphael’s painting skills, sell a copy on the art market, or keep it in their possession. This painting also caught the attention of Paul Tétar van Elven (1823-1896), a Dutch artist who made nine painted (partial) copies of the Sistine Madonna next to some drawings. However, some of Tétar's copies are not faithfully copied, but instead, he has managed to add his own touches. This research investigates the copying culture and creative freedom of copyists in the nineteenth century, treating the copies of the Sistine Madonna by Paul Tétar van Elven after Raphael as a case study. The research question of this thesis therefore addresses the context in which the nineteenth-century Dutch artist Paul Tétar van Elven added his own touches to his (partial) copies of the Sistine Madonna after Raphael.Show less
