Simiolus has become a journal of record for studies in Netherlandish art. Over the past decades, we have had the privilege of publishing many of the most influential and exciting papers in the field.
We are therefore interested in all original contributions on the history of Dutch and Flemish art especially, and if accepted, offer to pay for the cost of translation into English of manuscripts submitted in Dutch, German or French.
A confident start has been made with the publication of the first issue of volume 40 (2018). It will be followed by a rich double issue on Old age creativity in the fall, containing papers by – amongst others – Jeroen Stumpel, Frits Scholten, Jonathan Bikker, Philip Sohm and Matthi Forrer. The centerpiece in the last issue of volume 40 will be an important contribution by Boudewijn Bakker on the late medieval Utrecht artist Erhard Rewich and his journey to the Holy Land.
Articles in the current issue (vol. 40-1)
The first line of The Ghent altarpiece quatrain restored
Paul Claes
An addition to the Sauli family’s commissions in Bruges: the Genoa Annunciation triptych attributed to Jan Provoost
Maria Clelia Galassi
An unwritten chapter of Dutch collecting history: the painting collection of Pieter de Smeth van Alphen (1753–1809)
Laurens Meerman
Review: François Ier et l’art des Pays-Bas, Paris (Musée du Louvre)
matthias ubl
Articles in issue 39-4
The woodworker and the Redemption: the right shutter of the Merode triptych
Malcolm Russell
Imagining Hieronymus Bosch in colonial Peru: foreign sources, indigenous responses
Daan van Heesch
Baglione on Flemish diligenza and the Italian maniera pittoresca in landscape and still life
Stefano Pierguidi
The bad bat: on two painted fables by Pieter Boel in Frankfurt am Main and Munich
Lisanne Wepler
Jan Steen’s history paintings and Dutch art theory: comments and corrections by Gerard de Lairesse
Rosalie van Gulick
A nocturnal odalisque: Picasso’s Nude in front of a garden at the Stedelijk Museum, Amsterdam
Jan van Adrichem
Book review – Vermeer and the masters of genre painting
Peter Hecht
Book review – De l’expertise artistique à la vulgarisation au siècle des Lumières: Jean-Baptiste Descamps
Everhard Korthals Altes
Articles in issue 39-3
Hieronymus Cock’s Volck: her family, wealth and anxieties
B.P. Tuin
An imaginary visit to The Four Winds, the house and shop of Hieronymus Cock and Volcxken Diericx
Petra Maclot
Hieronymus Cock’s view of Antwerp (1557): its genesis and offspring, from Antwerp to Italy
Pieter Martens
Maurusias & Co.: the influence of Hieronymus Cock’s print series on bookbinding in sixteenth-century Paris
Fabienne Le Bars
The production of prints in France at the time of Hieronymus Cock
Séverine Lepape
The stocklist of Joannes Galle, print publisher of Antwerp, and print sales from old copperplates in the seventeenth century
Peter Fuhring
Articles in issue 39-1/2
Replicating the sanctity of the Holy Face: Jan van Eyck’s Head of Christ
Miyako Sugiyama
Attributing the Berlin Sketchbook to Cornelis Anthonisz
Daantje Meuwissen
Reformation, renovation and commemoration: the religious patronage of a Brabantine lord (Zoutleeuw, 1548–58)
Ruben Suykerbuyk
Pieter Bruegel, Bernard van Orley, realism and class
Ethan Matt Kavaler
Tobias or not Tobias: a Jesuit visual pun
Alphons Hamer
The silence of the mystic lambs: Jan van Eyck and André Cauvin’s film about The mystic lamb (1939)
Steven Jacobs
Hieronymus Bosch after 500 years: exhibitions and publications in 2016
Jan Piet Filedt Kok