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Sander Pinkse

Ensor in the popular imagination: Paul Haesaerts’s film Masques et visages de James Ensor (1952)

17 December 2020 by Sander Pinkse
Categories 42-3

A “Raphael” set in stone: Henry Ferguson’s Fantasy landscape with  St Charles Borromeo in the Rijksmuseum

17 December 2020 by Sander Pinkse
Categories 42-3

The enterprising Mynken Liefrinck: coloring, printing and selling maps and prints in sixteenth-century Antwerp

17 December 2020 by Sander Pinkse
Categories 42-3

Ordering reliquary statuettes in Tongeren: a statement amidst religious turmoil

17 December 2020 by Sander Pinkse
Categories 42-3

Quentin Massys and Jérôme de Busleyden: the textual sources and the likely patron of The moneychanger and his wife

17 December 2020 by Sander Pinkse
Categories 42-3

Review – Peter Schatborn and Erik Hinterding, Rembrandt: the complete drawings and etchings

1 July 2020 by Sander Pinkse
Categories 42-1/2

“Paintings that can give great joy to the lovers of art”: Marcus van Vaernewijck’s notes about art and artists (1568)

1 July 2020 by Sander Pinkse
Categories 42-1/2

Under siege: the aesthetics and politics of Michelangelo’s attack on Flemish painting

1 July 2020 by Sander Pinkse
Categories 42-1/2

Not Felipe de Guevara, but Wilhelm von Roggendorf: a portrait of a knight attributed to Jan Cornelisz Vermeyen

1 July 2020 by Sander Pinkse
Categories 42-1/2

The swan song of Philip of Cleves (1456–1528): innovative tomb sculpture and ducal imagery in the Ravenstein mausoleum

1 July 2020 by Sander Pinkse
Categories 42-1/2
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