Volume 18.1 (2026) of the refereed, open-access Journal of Historians of Netherlandish Art is published on jhna.org. In this issue, four articles model different ways of approaching art history grounded in questions of the visual: one examines Conrat Meit’s Renaissance busts in the context of Hapsburg court patronage; another probes Peter Paul Rubens’s artistic liberties when rendering globes; a third provides a deep dive into Rembrandt’s use of paper and printmaking through a digital lens; and a fourth thoroughly reassesses attributions to a Dutch master.

Contents

Editors’ Greeting
H. Perry Chapman, Jacquelyn N. Coutré, Bret Rothstein, Joanna Woodall, Alison M. Kettering

Contrat Meit’s Marble Busts of Philibert II of Savoy and Margaret of Austria
Jens Ludwig Burk, Dagmar Eichberger, Šárka Radostová, Kristina Uhlíková

Global (In)Attentiveness in the Age of Rubens
Aaron M. Hyman

Assisting Creation Dating of Rembrandt Prints Using Exact Watermark Matches Between the Prints and Seventeenth-Century Dutch Documents
C. Richard Johnson, Jr., Andrew C. Weislogel

Vermeer in Dispute: The Authorship of The Glass of Wine and The Love Letter
Adriaan E. Waiboer

Journal of Historians of Netherlandish Art

JHNA publishes peer-reviewed original scholarship, across a range of methodological approaches, on Dutch, Flemish, German, and Franco-Flemish art and material culture dating from the medieval period through the eighteenth century. We also publish state-of-research and critical essays, and roundtable discussions, as well as English translations of significant articles originally published in other languages. JHNA welcomes the submission of manuscripts from scholars at every career stage. We also encourage proposals for state-of-research and critical essays and roundtable discussions. See our Submissions guidelines.

For more information, visit jhna.org.