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72-516: The Antwerp Mannerists' style is certainly "mannered", and "characterized by an artificial elegance. Their paintings typically feature elongated figures posed in affected, twisting, postures, colorful ornate costumes, fluttering drapery, Italianate architecture decorated with grotesque ornament, and crowded groups of figures...". Joseph Koerner notes "a diffuse sense of outlandishness in Antwerp art, of an exoticism both of subject and means ... evoking

144-778: A Mater Dolorosa . Saint Jerome became increasingly of interest and popular after the publication of Erasmus 's nine-volume set of his works, prefaced with a biography, in 1516, and the general increased interest in the text of the Bible. Jerome had compiled the Latin Vulgate which remained the official version of the Western church until the Protestant Reformation was well under way. Paintings of Saint Jerome were produced by Joos and his workshop, apparently beginning in 1521, in three basic types: penitent amid

216-991: A lay analyst . Receiving in 1980 a Mellon Fellowship for study at Clare College, Cambridge , Koerner earned a Master of Arts in English Literature. Supervised by Frank Kermode , he wrote a (M.A.) dissertation on the image of the book in Joyce's Finnegans Wake ; this text became part of his 1992 book on Paul Klee , co-written with Rainer Crone . On a one-year fellowship from the Deutscher Akademischer Austauschdienst (1982–1983)to Heidelberg University , he worked on Martin Heidegger 's interpretations of Friedrich Hölderlin , studying philosophy and German literature with Hans-Georg Gadamer and Peter Pfaff. Work undertaken at Yale, Cambridge, and Heidelberg on Caspar David Friedrich , and

288-489: A "meteoric rise" after 1501, when the first Asian cargos were landed by Portuguese ships. The theme of rich commodities arriving from distant and exotic parts of the world had a natural appeal to Antwerp merchant buyers, a large proportion themselves foreign. Many artists from around the Netherlands and further afield moved to the city to benefit from the boom, which saw large workshops "that grew into assembly lines", and

360-493: A 1997 retrospective at the Austrian National Gallery. Work on his father's art prompted an autobiographical turn, first exemplified in lectures delivered widely in the mid-1990s and captured in video "The Family Portrait" [2] . In these texts, Koerner explored a large portrait of him by his father in which the artwork's creator is discovered to be neither the artist nor the sitter but a loss preceding both. In

432-515: A birth date of about 1485 to 1490 is inferred. Joos van Cleve is believed to have moved to Bruges between 1507 and 1511 since his painting style is similar to that of the painters of Bruges. Later he moved to Antwerp, and in 1511 became a free master in the Antwerp Guild of Saint Luke . He was co-deacon of the guild for several years around 1520, along with registering pupils there at various dates between 1516 and 1536. In 1528 he bought

504-605: A close-up with domestic still life details, and added Saint Joseph over the Virgin's shoulder. The wine and fruits on the foreground are a reference to Christ's incarnation and future sacrifice. They also hint at the emerging genre of still-life painting in Flanders. Another of the many compositional types exists in very similar versions, one in the Museum of Fine Arts, Budapest and another sold at Sotheby's on 30 January 2014. It

576-642: A court case in Utrecht in 1543, master-masons were prohibited from doing so there by guild restrictions. The fantastic and exotic costumes many characters wear were already a feature of Early Netherlandish painting in the previous century, and the Biblical Magi and their retinues gave one of the most typical settings for this. They seem to derive partly from theatrical contexts, such as tableaux vivants in royal entries and other pageants, which artists were often asked to design. Another influence

648-469: A desert landscape, with his attribute of a lion; at bust or half-length in a cluttered study, often with a skull on his desk; and lastly in his study, naked to the waist and holding a rock. The first two are not original, and borrow in particular from Albrecht Dürer ; the last, from the 1520s onwards, is an unusual combination of a figure type usually seen outdoors with the indoors study setting. In some versions of this type there are inscriptions referring to

720-642: A friendship with Frank Schirrmacher inspiring study of the German hermeneutical tradition, shifted Koerner's focus to the history of German art. He received an M.A. (1985) and Ph.D. in art history at the University of California, Berkeley , in 1988. His dissertation on self-portraiture in the German Renaissance was advised by Svetlana Alpers , James Marrow, and Stephen Greenblatt . Koerner developed his characteristic technique most extensively in

792-520: A great increase in the quantity of art produced, but also some fall in quality; this is especially seen among the minor figures grouped under this term. Many smaller works were produced without commissions, for sale from shop windows, at fairs, or to dealers, rather than for an individual commission, an indication of a growing trend in Netherlandish painting. The Antwerp Pand was a trade fair lasting six weeks, where many painters sold works, and

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864-473: A house from his wife's parents. As there are no records of his being in Antwerp between 1529 and 1534, it is possible he spent some of this time in Italy or France at the court, or even London. From surviving documents it is clear that he was alive in Antwerp on 10 November 1540 and dead by 4 February 1541. He had two children from his first marriage, a daughter and a son. His son named Cornelis (1520) became

936-477: A more fluid form and an abundance of meticulously rendered details. Although one scholar has described Friedlander's label as "utterly inefficient as a stylistic guide", there are communalities. Their "essentially late Gothic style is characterized by calligraphically complicated compositions peopled with elongated, theatrically-dressed figures animated by improbable poses and repetitive gestures". According to James Snyder, "Receptivity, not originality, characterises

1008-548: A non-localized elsewhere". The subject of the Adoration of the Magi was a particular favourite, as it allowed the artists to give free rein to their preoccupation with ornament and the simulation and imitation of luxury products. The Biblical Magi were also regarded as the patron saints of travellers and merchants, which was relevant for the painters' clientele in what had become Europe's main centre for international trade, in

1080-458: A painter. Although the date of his death is unknown, Joos van Cleve drew up a will and testament on 10 November 1540, and his second wife was listed as a widow in April 1541. There are a number of other "van Cleef" Antwerp painters recorded from his time, some of whom may have been relatives. Compositions were often copied, repeated or adapted; for example at least six versions of an Adoration of

1152-484: A portrait artist were highly regarded as demonstrated by a summons to the court of Francis I of France . There he painted the king ( Philadelphia Museum of Art ), the queen Eleanor of Austria ( Kunsthistorisches Museum ) and other members of the court. His portrait of Henry VIII of England is of comparable size to that of Francis I (72.1 x 59.2 cm) and the compositions and costumes in both portraits are similar. Some historians have interpreted this as evidence that

1224-607: A previous marriage ended in divorce. Joos van Cleve Joos van Cleve ( / ˈ k l eɪ v ə / ; also Joos van der Beke ; c. 1485–1490 – 1540/1541) was a leading painter active in Antwerp from his arrival there around 1511 until his death in 1540 or 1541. Within Dutch and Flemish Renaissance painting , he combines the traditional techniques of Early Netherlandish painting with influences of more contemporary Renaissance painting styles. An active member and co-deacon of

1296-428: Is a new figure, first proposed in 1995. There is evidence that some workshops developed division of labour, with different artists specializing in figures, landscape or architectural backgrounds, and dividing the work on a particular painting between them, and different workshops specializing in one or two subjects. Compositions were often copied, repeated or adapted; for example at least six versions of an Adoration of

1368-418: Is full of charm and tenderness and was popular in his own time as well as with later collectors. The composition shows the Virgin with a brilliant red cloak, lined with fur and elaborately embroidered with pearls along the outside edge. The Virgin is seated in a loggia-like space with open windows through which a distant mountainous landscape is visible. She has her lips parted in a slight smile while she helps

1440-593: Is sometimes described as using the "woodcut convention" or having the "woodcut look". Although "detailed underdrawing in the woodcut convention appears labor intensive, it simplified the production process and saved on costs". Apart from the Adoration of the Magi , many of the panels or triptychs produced by the Antwerp Mannerists depicted the major events in the Life of Christ , including the Nativity , and

1512-626: Is therefore likely that he came from the Lower Rhenish region or city named Kleve (in traditional English "Cleves"), from which his name is derived. It is assumed that he began his artistic training around 1505 in the workshop of Jan Joest , whom he assisted in the panel paintings of the wings for the high altar of the Nikolaikirche in Kalkar , Lower Rhine, Germany, from 1506 to 1509. These include one of his self-portraits. From this

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1584-604: Is thought that the "Antwerp Mannerists" were in turn influenced by Joos van Cleve. Like Quentin Matsys , a fellow artist active in Antwerp, Joos van Cleve appropriated themes and techniques of Leonardo da Vinci . This is apparent in the use of sfumato in the Virgin and Child . Multiple versions of a soft, sentimental Madonna and Child and the Holy Family were discovered, produced in his workshop. Joos van Cleve's skills as

1656-624: The BBC Four series Britain's Lost Masterpieces , centred on the fine art collection of the Royal Pavilion in Brighton, uncovered a work of Joos van Cleve, a portrayal of Balthazar , previously attributed to Bernard van Orley . The painting had once been the left-hand door of a folding altarpiece triptych. The influence of Kalkar and Bruges are seen in many of Joos van Cleve's early works, such as Adam and Eve (1507). The Death of

1728-698: The Fitzwilliam Museum and Hamburger Kunsthalle , and on Casper David Friedrich at the Metropolitan Museum of Art concern German Romantic art and visual representations of time. A member of the American Academy of Arts and Sciences (since 1995) and the American Philosophical Society (since 2008), and a Fellow of Society of Antiquaries of London (since 2021), Koerner has served on the boards of

1800-495: The Guild of Saint Luke of Antwerp, he is known mostly for his religious works and portraits, some of royalty. He ran a large workshop, with at least five pupils and other assistants, which produced paintings in a variety of styles over his career. As a skilled technician, his art shows sensitivity to color and a unique solidarity of figures. His style is highly eclectic: he was one of the first to introduce broad world landscapes in

1872-915: The Isabella Stewart Gardner Museum , the Yale University Art Gallery , the Frick Art Reference Library , the Warburg Institute , Ralston College , and the American Academy in Berlin . He received a Guggenheim Fellowship for his research on Reformation art (2006-7) and has served as visiting professor at the University of Konstanz (1991) and the Kunsthistorisches Institut in Florenz . In 2009, Koerner

1944-464: The Low Countries , any more than ruins from Roman architecture . The Mannerist painters show very little evidence of having visited Italy (where Jan Gossaert had been in 1508–09), and their idea of alla antica style must be derived from Italian prints, and sometimes drawings. At this period painters or other artists were the usual designers of buildings, especially their ornament, and until

2016-680: The Virgin Mary were the bread and butter work of early 15th century painting workshops, and Joos van Cleve produced many different types of the Virgin and Child , the Holy Family and the Virgin and Child with St Anne . In some instances the prime version has been lost, but the type can be recovered through the numerous replicas produced by his workshop and copyists. Most of these were no doubt produced with no specific commission, with many distributed by agents and dealers across Europe, for

2088-455: The monogram "JB", presumably for Joos van der Beke, rather inconspicuously placed. In three other works a self-portrait is placed among the minor figures. From the seventeenth to the nineteenth centuries, the name of Joos van Cleve as an artist was lost. Some of the paintings now attributed to Joos van Cleve were, at that time, known as the works of the "Master of the Death of the Virgin", after

2160-1030: The 1990s, Koeerner was a frequent contributor to the Frankfurter Allgemeine Zeitung and The New Republic . He has published book and exhibition reviews in The New York Review of Books and autobiographical non-fiction in Granta Magazine, anthologized (2020) in The Best American Essays . He has also written and taught on modern and contemporary artists, including Lucian Freud , Francesco Clemente , Vivienne Koorland, Luc Tuymans , and, most extensively, William Kentridge . He has also published over seventy scholarly articles, including in Critical Inquiry , Representations , October (journal) , Word & Image, and The Art Bulletin , where he

2232-634: The 2002 exhibition "Iconoclash" at the ZKM in Karlsruhe . Subsequently, he curated "Earth Tidings," a collaboration between the ZKM and the Staatliche Kunsthalle Karlsruhe , in conjunction with Latour and Weibel's 2020-21 exhibition "Critical Zones." He also was a contributing curator to ZKM's exhibitions "Making Things Public" (2005) and "Reset Modernity" (2016). Koerner has also curated exhibitions of his father's work, including

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2304-823: The Associate Editor. During this period, Koerner was also a member of the research group Poetik und Hermeneutik in Konstanz in its later phase, 1987–1994, writing on the themes of festival and contingency, or accident. Caspar David Friedrich and the Subject of Landscape became the third volume of Koerner's trilogy on German art. The first volume, The Moment of Self-Portraiture in German Renaissance Art (1993), studied Albrecht Dürer ’s self-portraits and their distortion by Dürer’s disciple, Hans Baldung Grien . The second volume, The Reformation of

2376-546: The Avenali Chair in the Humanities at U. C. Berkeley (2018) treated Hieronymus Bosch and William Kentridge under the title, borrowed from Kentridge, "Art in a State of Siege." A book of this title treating Bosch, Max Beckmann, Kentridge, with an introduction on Aby Warburg will appear in 2025 at Princeton University Press. Koerner's recent publications concern the theme of enmity in the art of Bosch, including

2448-524: The Christ Child drink from a glass with red wine, a symbol of Christ's future suffering and blood and the Eucharist . Characteristic of Netherlandish painting of this period are the jewel-like colours and the details of the Virgin's costume and brocade pillow in the foreground. A new devotional type of the Virgin alone, her hands clasped in prayer, also appears in many versions. This may be called

2520-724: The Courtauld Institute, University College London, and Frankfurt University. In 2020 the College Art Association honored him with its 2020 Distinguished Lifetime Achievement Award for Writing on Art. He a member of the Executive Committee of Harvard's Center for Jewish Studies and currently (until 2027) Koerner serves currently as Chair of Harvard's Department of History of Art and Architecture. In 2003, Koerner married Margaret K Koerner (born Margaret Lendia Koster), also an art historian;

2592-494: The Crucifixion. Larger triptych altarpieces for churches might have several small scenes on the reverses of the hinged wings, giving the "closed view" which was displayed most of the time, the wings only being opened perhaps on Sundays or feast days (or for visitors on a small payment to the sacristan ). A number of highly finished drawings in the Antwerp style, possibly copies of paintings, can be shown to have been used as

2664-629: The History of Art and Architecture and Professor of Germanic Languages and Literatures at Harvard University . Since 2008 he has also been Senior Fellow at the Harvard's Society of Fellows . Specializing in Northern Renaissance and 19th-century art, Koerner is best known for his work on German art and Early Netherlandish painting . After teaching at Harvard from 1989 to 1999 (as professor since 1991), he moved to Frankfurt, where he

2736-454: The Image (2004), focussed on works by Lucas Cranach , and treated Protestant iconoclasm and its aftermath in painting and architecture. Among its claims was that, prior to Protestantism, Christian art already had iconoclasm built into it, most centrally in the image of the ruined Christ as hidden God. While writing the latter book, Koerner collaborated with Bruno Latour and Peter Weibel on

2808-646: The Magi triptych composition by Joos van Cleve and his workshop are known, though varying considerably in size, with the widths of the centre panel ranging from 56 to 93 cm. It has been possible to identify some of the artists. Jan de Beer , Jan de Molder , the Master of 1518 (possibly Jan Mertens or Jan van Dornicke ) and Adriaen van Overbeke are some of the identified artists who are regarded as Antwerp Mannerists. The early paintings of Jan Gossaert and Adriaen Isenbrandt (in Bruges ) also show characteristics of

2880-436: The Magi triptych composition by him and his workshop are known, though varying considerably in size, with the widths of the centre panel ranging from 56 to 93 cm. This probably reflected different intended sites for the paintings, from private house chapels to churches. Numerous paintings contain heraldry , which often enables the customers to be identified, including eleven of the twenty-one altarpieces attributed to

2952-683: The Magi (as in some illustrated here). The large costumes were also useful in concealing deficiencies in the artists' figure drawing, which the complicated poses would otherwise have exposed. The artists liked "chromatic" colouring, as was becoming fashionable in Italy, and coleur changeante transitions between colours in fabrics, imitating silks (called cangiante in Italy). Compositional elements, especially figures, are often taken from outside sources, especially prints, but also drawings which appear to have been passed around within and perhaps between workshops:"Thus background groups are endlessly repeated,

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3024-414: The Netherlands only after a gap of about fifty years after Antwerp Mannerism declined in the 1530s, and after the next stylistic wave of Romanism , heavily influenced by Italian painting, as seen in the later works of Gossaert . The term Antwerp Manierists was first used in 1915 by Max Jakob Friedländer in his work Die Antwerpener Manieristen von 1520 , in which he made a first attempt to put order in

3096-535: The Northern Netherlands. Although attempts have been made to identify the individual artists that were part of this movement, most of the paintings remain attributed to anonymous masters as the paintings were not signed. This anonymity has contributed to a lack of knowledge about or popularity of their works. Only a minority of the works have been attributed. The makers of the altarpieces have been given notnames based on any external knowledge about

3168-984: The Slade Lectures at Cambridge (2003) and at Oxford (2013), the Getty Lectures at USC (2005), Bross Lectures at University of Chicago (2007), the A. W. Mellon Lectures in the Fine Arts at the National Gallery of Art (2008), the Tanner Lectures on Human Values at Cambridge (2012), the E. H. Gombrich Lectures in the Classical Tradition at the Warburg Institute (2016) and the Linbury Lecture at London's National Gallery (2022). His lecture and seminars as

3240-538: The Theron Rockwell Field Prize and Wrexham Prize and published in German by Suhrkamp Verlag in 1983 with the title Die Suche nach dem Labyrinth ("In Quest of the Labyrinth"), treated the myth of Daedalus and Icarus from Ancient Greek art and literature through James Joyce , with chapters on Ben Jonson , John Milton , and John Keats . An early deconstructive analysis of literary history,

3312-703: The Vienna-born American painter Henry Koerner , Joseph Koerner was raised in the Squirrel Hill area of Pittsburgh , Pennsylvania , and in Vienna , Austria. He graduated from Taylor Allderdice High School in 1976. He attended Yale University ( Trumbull College ) where he received his B.A. in History, the Arts, and Letters in 1980; we was elected to Phi Beta Kappa in his junior year and graduated summa cum laude . His senior thesis, winner of both

3384-399: The Virgin (1520) shows the combined influence of several artists. It has the intense emotionality of Hugo van der Goes , and iconographic ideas of Jan van Eyck and Robert Campin . A strong influence of Italian art combined with Joos van Cleve's own color and light sensitivity make his works especially unique. The " Antwerp Mannerist " style is identifiable in the Adoration of the Magi . It

3456-412: The backgrounds of his paintings, sometimes collaborating with Joachim Patinir , which would become a popular technique of sixteenth century northern Renaissance paintings. Some works reflect the popular style of Antwerp Mannerism , while others are variations on early Netherlandish masters of two or more generations before, or reflect recent Italian painting. Four of his more important paintings have

3528-580: The basis for miniatures in illuminated manuscript books of hours made in France, probably around Tours , by the so-called "1520s Hours Workshop". At the same time the continuing Ghent-Bruges style of illumination had little influence in French manuscripts. Joseph Koerner Joseph Leo Koerner (born June 17, 1958) is an American art historian and filmmaker. He is the Victor S. Thomas Professor of

3600-421: The book argued that the story of Daedalus's maze, and the escape from the maze by flight, concerned the problem of time as understood existentially and aesthetically. The relation between family time and chronological time remains a theme throughout Koerner's work. At Yale he worked for four years as research assistant for historian Peter Gay while Gay was writing his biography of Sigmund Freud and training to be

3672-409: The book, based on Koerner's Mellon Lectures and widely reviewed, Bosch and Bruegel: From Enemy Painting to Everyday Life (2016). In it, he revisited the dual-artist format of The Moment of Self-Portraiture in German Renaissance Art, although with a different trajectory: from Bosch's artistry specializing in hatred to Pieter Bruegel the Elder 's art that predicts a modern ethnographic perspective on

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3744-401: The group strictly to Antwerp and the time period to circa 1520, even though he was of the opinion that most of the "pseudo-Bles' works originated from Antwerp and Antwerp workshops. Friedländer placed the works attributed to the group in a time period between 1500 and 1530. Despite the name Antwerp Mannerism the style was not limited to Antwerp. The style also appeared in the north of France and

3816-423: The growing number of works from the Netherlands that were catalogued under the "name of embarrassment 'pseudo- Herri met de Bles ' " (usually now "Pseudo Bles" or "Pseudo-Blesius"). Friedländer used the term Antwerp Mannerism here as synonymous for "Antwerp style". Even though he added the location 'Antwerp' to name the artists and placed them in the year 1520, Friedländer made it clear that he did not intend to limit

3888-436: The houses of the wealthy. The Holy Family was a newly popular subject in small devotional paintings, reflecting increased theological and devotional interest in the role of Saint Joseph . One of the earliest examples of the new type is the painting by Joos dated to c. 1512 at the New York Metropolitan Museum of Art . This essentially reduced the figures from Jan van Eyck 's Lucca Madonna (c. 1435, Städel , Frankfurt) to

3960-568: The human. Pioneering "a way out of the monograph," this framework accords with his conception of the work of art as "inherently doubled," at once embedded in its historical context and anticipating its later receptions. Koerner's recent work concerns art in extreme states and contemporary debates concerning of monuments, which he is currently pursuing partly in collaboration with Professor Sarah Lewis . Koerner's early engagement with Romanticism continues in recent work, including collaboration on exhibitions on William Blake and Philipp Otto Runge at

4032-405: The latest ideas were exchanged and diffused. Although sometimes spoken of as the "subterm "Antwerp Mannerism" as part of "Northern Mannerism in the early sixteenth century", the movement is better distinguished from the Northern Mannerism of later in the century, which developed from Italian Mannerism . There was very little continuity between the two, with Northern Mannerism proper developing in

4104-450: The mostly smaller paintings that have survived; these were no doubt still in private houses. The Sack of Antwerp or "Spanish Fury" of 1576, by unpaid Spanish troops caused much further destruction. Elsewhere in the Netherlands, artists in the large workshop of Cornelis Engebrechtsz. in Leiden seem to have pulled their reluctant master in the Mannerist direction, and at least the extravagant clothes and architectural settings are seen in

4176-401: The opening chapters of his first art history book, Caspar David Friedrich and the Subject of Landscape (1990, Winner of the 1992 Mitchell Prize), written while the author was a Junior Fellow at Harvard's Society of Fellows. At Berkeley, Koerner began an association with the journal RES: Anthropology and Aesthetics , where he published numerous articles and editorials and served (since 1990) as

4248-399: The otherwise more solidly based works of the Master of Delft and in Haarlem Jan Mostaert . The Antwerp workshop of Joos van Cleve (probably originally German) could work in the style, as well as others. The Antwerp Mannerists typically depicted religious subjects, which they interpreted generally in a more superficial manner than the Flemish artists of the previous century in favour of

4320-448: The portraits were pendants painted to commemorate the meeting of the two kings in Calais and Boulogne on 21 and 29 October 1532, which Joos might possibly have witnessed. Other historians have proposed the alternative view that van Cleve based the Henry VIII portrait on that of Francis I without meeting the English king. He may have hoped that this gesture might earn him English royal commissions in future. Small devotional pictures of

4392-408: The same repoussoire figures fill in a variey of empty corners, and stock poses answer many demands". The prints of Albrecht Dürer were the most common easily traceable source. Woodcut style also influenced the type of underdrawing revealed by special photography, "extremely detailed underdrawing with an elaborate system of shading (hatching and crosshatching) and broad, curling contour lines". This

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4464-530: The style of Antwerp painting, resulting in a hodgepodge of modes that are nearly impossible to sort out... With some effort, a few basic tendencies can be discerned which include selective eclecticism and archaism in terms of style, Mannerism in matters of taste, and specialization in subject matter." The compositions typically include architectural ruins. The architecture is initially Gothic but later Renaissance motifs become dominant. The "antique" style appears in paintings when hardly any built examples existed in

4536-468: The style. The paintings combine Early Netherlandish and Northern Renaissance styles, and incorporate both Flemish and Italian traditions into the same compositions. A particular problem is that Antwerp was very badly hit by the Beeldenstorm of 1566, when a large proportion of the altarpieces in the churches were destroyed by iconoclastic rioters. Some of these are documented and probably many were signed, which would have helped greatly in attributing

4608-453: The territories of John III, Duke of Cleves , and the Holy Roman Empire , suggesting the duke or a close courtier. Three paintings delivered to King Francois I of France are recorded. The great majority of his work is religious subjects or portraits, with the main exceptions being versions of the Suicide of Lucretia , and a Leonardo-esque half-length nude, the Mona Vanna in the National Gallery in Prague . In January 2021 an episode

4680-429: The triptych in the Wallraf-Richartz-Museum in Cologne . In 1894 it was discovered that the monogram on the back of the triptych was that of Joos van der Beke, the real name of Joos van Cleve. His oeuvre was reconstructed in the 1920s and 1930s by Ludwig von Baldass and Max Jakob Friedländer . Now over 300 works are generally attributed to him or his workshop, which vary considerably in both quality and style. He

4752-415: The works such as an inscription, a previous owner, the place where it was kept or a date found on the work. These include as the Pseudo-Bles, the Master of the Von Groote Adoration , the Master of Amiens, the Master of the Antwerp Adoration and the Master of 1518 . Works that cannot be attributed directly to a named master are attributed to Anonymous Antwerp Mannerist . The Master of the Lille Adoration

4824-405: The workshop. In other works the identity of local saints gives clues. Antwerp was the centre of European trade in the period, and the Antwerp merchant class was highly cosmopolitan. Five paintings can be linked with Italy, especially Genoa , and others to Cologne (three altarpieces) and Danzig in Germany, and four to various Netherlandish cities. Others have the arms of his homeland Mark-Cleves,

4896-444: Was Book Review Editor in the early 1990s. In Great Britain, Koerner is known for his work as writer and presenter of the three-part Northern Renaissance (2006) and the feature-length Vienna: City of Dreams (2007), both produced in Scotland by the BBC and first broadcast on BBC Four . A popular speaker, Koerner has delivered the Tomàs Harris Lectures at University College London (1995), Polonsky Lectures at Hebrew University (2001),

4968-525: Was one of three recipients of the Andrew W. Mellon Foundation's Distinguished Achievement Award, which funded an academic and creative project on homemaking (geographic, architectural, and psychic) in Vienna from Otto Wagner to the present day. Based at Harvard, the project produced the 2013 Slade Lectures series "City of Dreams" and the documentary film written, produced, and directed by Koerner, The Burning Child . Koerner has been primary advisor of some twenty-five doctoral dissertations completed at Harvard,

5040-426: Was professor of modern art history at the Goethe University , and to London, where he held professorships at University College London and the Courtauld Institute before returning to Harvard in 2007. His feature film The Burning Child , a documentary combining personal and cultural history, was released in 2019. A new German version titled Wohnungswanderung ('Home Wandering') will be released in 2024. Son of

5112-425: Was the father of Cornelis van Cleve (1520–1567) who also became a painter, and inherited the workshop. Cornelis became mentally ill during a residence in England and was therefore referred to as 'Sotte Cleef' (mad Cleef). Joos van Cleve was born around 1485–90. The birthplace of Joos van Cleve is not precisely known. In various Antwerp legal documents he is referred to as 'Joos van der Beke alias van Cleve'. It

5184-683: Was the visit of the Byzantine Emperor John VIII Palaiologos and his 700-strong retinue to the Ferrara stage of the Council of Florence in 1438. They were drawn by Pisanello and others, and the drawings were copied across Europe. The emperor's stylish hat, with a long pointed peak in front, seen on the Medal of John VIII Palaeologus , was especially popular, and versions appear in a good proportion of paintings of

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