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Original Articles

Saenredam and his Critics

Pages 5-13 | Published online: 02 Jun 2015

NOTES

  • Jean Lognon and Millard Mciss, Les Très Riches Heures du Duc de Berry, London 1969, pls 4, 7.
  • E. Panofsky, Early Netherlandish Painting, Cambridge, Mass., 1964, pp. 144–148, fig. 236.
  • Francis Haskell, Rediscoveries in Art, London 1976, p. 21.
  • Pieter Jansz. Saenredam, Catalogue Raisonné, Exhibition Utrecht Centraal Museum 1961, with Introductory Essays by P. T. A. Swillens (the paintings) J. Q. van Regteren Altena (the drawings) Bibl.
  • The reasons for Haarlem's artistic efflorescence is discussed in Frima Fox Hofrichter, Haarlem the Seventeenth Century, Rutgers University Exhibition Catalogue, 1983; Reviewed by Arthur K. Wheelock, Jr, Burlington Magazine, CSSV, 1983, p. 386.
  • R. Ruurs, ‘Pieter Saenredam Zijn Boekenbezit en Zijn Relatie met de Landmeter Pieter Wils’, Oud Holland, 1983, 97, p. 59 seq.
  • Walter A. Liedtke, ‘Saenredam's Space’, Oud Holland, 86, 1971, p. 130, 131.
  • Gary Schwartz, ‘Saenredam, Huyghens and the Utrecht Bull’, Simiolus I, 1966/67, pp. 68–93.
  • J. H. Huizinga, Dutch Civilisation in the 17th Century, (Fontana), London 1968, pp. 43–44.
  • Joseph Bédier, Les Légendes Epiques, IV, 191–207, pp. 251–277. A passage in The Dictionary of Mr Peter Bayle, I, London, 1834, pp. 166–7 refers to the legend and mentions the representation of the four brothers on horseback on the walls of a church in Cologne: ‘They are all four on one horse’. According to Bédier Renaud was depicted in Cologne in wall paintings and windows in the sixteenth century. Whether the Dutch image bears any relation to the one described by Bayle is not known. I am grateful to Lynn Nossal, June Phillips, and John Cashmore for their help with the motif from the Chanson de Geste.
  • Svetlana Alpers, The Art of Describing, Dutch Art in the 17th Century, London 1983, pp. 64–68, 175; for Peter Williams see Note 12.
  • Svetland Alpers, Dutch Church Painters Saenredam's Great Church in Context, Exhibition Catalogue, National Gallery of Scotland, Edinburgh 1984, with Introductory Essays by Hugh MacAndrew, Martin Kemp (Perspective Construction) Peter Williams (The Organ, Organ Music).
  • ibid.

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