Once More “The Friedsam Annunciation and the Problem of the Ghent Altarpiece”
1938; College Art Association; Volume: 20; Issue: 4 Linguagem: Inglês
10.1080/00043079.1938.11408701
ISSN1559-6478
Autores Tópico(s)Aesthetic Perception and Analysis
ResumoAbstractIn Replying to Hermann Beenken's article in the last volume of this periodical1 I shall not go into his remarks on the difference between the “intellectual-speculative construction of theories” and the “connoisseurship of the trained eye,” nor shall I resume the debate on the stylistic problems connected with the brothers van Eyck. There is no point in discussing the principles of connoisseurship with a scholar who exemplifies the decisive step in the development of fourteenth century portrait sculpture by works executed around 18502 and now lays down the law about a picture he has never seen. To dwell further on the stylistic differences between Jan and Hubert van Eyck does not seem fruitful as long as the very date, let alone the attribution of the main G and the main H miniatures in the Heures de Turin-Milan remain a matter of controversy, as long as pictures like the Man with the Pink (executed at the very end of the fifteenth century) are counted among the genuine works of Jan, and as long as the most distinguished expert denies the possibility of recognizing the hand of Hubert in any work of art which has come down to us.3
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