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Arrangement of Information There are various ways to structure a historical account. In the wake of the Catholic Reform, the Seven Sorrows confraternity regained its prominent position with the support of Albert and Isabella. This idea is all the more apparent when the author writes about lost, damaged, or stolen property.

Even if they situate the paintings in the Bruges and Ghent context respectively, evidence of a commission is missing. In addition, a cluster of artists came from the County of Flanders, notably Kortrijk, Ghent and Bruges. The attribution of the main handwriting to Judocus Wouwermans brings us to the dating of the manuscript. We only have to think of the marine painter Jan Porcellis, who was born in the south, who became a leading specialist in marine painting in Haarlem, and who spent part of his career in Antwerp. The inventory includes two seventeenth-century hands, malibnet online dating which are clearly recognizable and easy to read.

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Although the handwriting is neat and there are barely any cross-outs or alterations, the manuscript gives a rather sloppy impression. Vrouwe der seven weeen, pp. Through the art trade a shared visual culture was both maintained and developed further, not in the least by the dissemination of prints. Indeed, it seems quite plausible that despite the presence of famous history painters in the south, De Grebber managed to carry off commissions of Flemish cloisters and churches.

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Possibly another provost occasionally took over the pencil. Lotteries, auctions and raffles may not have been invented in Antwerp, but were employed there on a large scale to widen the market for paintings and to stimulate demand.

Moreover, they set up workshops in their newly adopted home towns, and most importantly, they also trained local talented youths. Conclusions The root causes of the emerging Haarlem art market were to a large extent a result of external factors. The same mechanism seems to apply to the Brussels confraternity of the Seven Sorrows. The Flight of Lot and his family from Sodom, exh. We can do no more than formulate some hypotheses.

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Despite the tendency of Haarlem artists to specialize in certain genres, they did not operate in a vacuum and were indebted to developments taking place in other Netherlandish towns. This pattern echoes the migration of the textile workers with whom the artists shared a similar background. The year is also mentioned on p. Religieuze cultuur, sociabiliteit en sociale relaties in de corporatieve wereld van Antwerpen, Brussel en Gent c. In other words, through the inventory, the history of the Seven Sorrows confraternity becomes tangible.

They came from all parts of the South but notably from the County of Flanders. Our analysis suggests that the Seven Sorrows inventory was destined for the inner circle of confraternity members or at least for a subgroup of board members and affiliates. It was during those years that he made his most inventive prints. It seems quite plausible that the first and main motivation was artistic. The scribes are impossible to identify by the manuscript alone, since they did not leave any direct indications in the text.

There were many reasons for this, but improved transportation facilities without a doubt acted as a catalyst. Historical narratives were inserted in a complex visual culture while historical consciousness was present in daily practices.

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In brief, the inventory seems very impractical to use as a manual. There were certainly many more clubs and societies in Brussels than are presently known, but no systematic research on this topic has been done. He conveyed the idea that things got better, larger, and bigger.

Family ties played a crucial role as did the networks artists belonged to. And they migrated in great numbers.

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