We are happy to present yet another issue of Simiolus, the papers of which again succeed in spanning five centuries of Netherlandish art history. Svea Janzen presents new insights into an Eyckian portrait at the National Gallery in London. She suggests an identification of the sitter as coming from the south of the German-speaking regions, cautiously suggesting him to be Duke Louis IX the Rich of Bavaria-Landshut, and draws the relevant conclusions pertaining to the anonymous painter’s background. Moving to the city of Antwerp of the 1560s, Stefaan Grieten revisits the well-known but little-studied house of the enigmatic landscape painter Cornelis van Dalem, presenting new visual sources and an iconographical reading of its facade.
In the third paper, Stefan Bartilla studies Jan Brueghel’s 1604 journey to Prague, focusing on the impact of his stay at the imperial court of Rudolf II on the development of his painted output in the following years. We are also happy to publish yet another important discovery by Leen Kelchtermans and Katharina Van Cauteren in our pages. In this issue, they demonstrate that what has long been thought to be a heraldic aberration in double portraits should in fact be read as a sign of pregnancy and motherhood. Stefan Huygebaert, finally, addresses the reception of Memling’s oeuvre in Bruges of c. 1900, by studying a refreshing range of diverse and sometimes surprising source material.
Articles in the current issue (44-3/4)
“har · las · uber · gan”: new evidence about an Eyckian portrait in the National Gallery, London
A palace for Pictura: Cornelis van Dalem’s artist’s house in Antwerp
Jan Brueghel the Elder’s journey to Prague in 1604: works from an artistic turning point
Pregnancy portraits by Jacob Jordaens and Anthony van Dyck
Leen Kelchtermans and Katharina Van Cauteren
Memling’s genius and locus: Symbolists, travelers and tourists in Bruges’s St John’s Hospital