The 2008 volume of the Wallraf-Richartz-Jahrbuch contains some articles on Dutch/Flemish subjects
For English abstracts of the Dutch/Flemish articles see below
9 Berichte aus westdeutschen Museen
73 Mediensynthesen in der spätmittelalterlichen Sakralkunst. Das Altarbild als Kulisse für liturgische Gegenstände und Handlungen. Mit einem Beitrag von Tobias Nagel
169 Botticellis Beweinung Christi in der Alten Pinakothek. Aufgabe, Kontext und Rekonstruktion eines Florentiner Altarretabels zur Zeit Savonarolas
211 Der junge Momper in Italien Ein neu entdecktes Gemälde von Josse de Momper und Hendrick Cornelisz. Vroom
229 Peter Paul Rubens’ Madonna mit dem Papagei
257 Gerard de Lairesse’s Heliodorus: between Raphael and Delacroix
271 Ferdinand Franz Wallraf im Bild
303 Die Autoren des Jahrbuches
Josse de Momper’s previously unknown painting of a southern coastal landscape with ships made in Rome in cooperation with the Dutch maritime painter Hendrick Cornelisz. Vroom 1586/1587 implies that the artist took a journey to Italy that could not be conclusively proven until now. It additionally assumes a key position in Momper’s art because the coastal landscape represented here is the ‘prototype’ from which many of his early landscapes can be derived; at the same time it is also Vroom’s earliest known maritime painting.
The first version of Rubens’s Madonna with the parrot was made between 1614 and 1620, the second version by about 1625. The painting intended for the Antwerp Guild of St. Luke is the counterpart to Frans Floris’s painting depicting St. Luke as the painter of the Virgin also preserved in the guild chamber. The conspicuous absence of the Virgin in Floris’s painting presupposes a second, now lost painting by Floris showing the Virgin; both pictures referenced each other contentually and were very probably placed opposite each other. Rubens replaced Floris’s lost picture of the Virgin with the Madonna with the parrot. In accordance with the terms of the pictorial configuration for the assembly room of the painters’ guild, the pictures by Floris and Rubens are conceived as propositional, art theoretical pictures. Rubens references his predecessor Floris and simultaneously surpasses him with modern artistic patterns. The Christ Child in Rubens’s painting of the Virgin who, unusually, is shown standing, makes reference to the Bruges Madonna and thus to Michelangelo’s disegno, the colour triad references Titian’s colours: the connection of both constitutes painting’s greatest glory in sixteenth and seventeenth-century art theory.
After establishing the early provenance of De Lairesse’s Expulsion of Heliodorus from the Temple based on new evidence, the present study discusses this rare biblical subject. The article further defines De Lairesse’s artistic ambitions in treating this particular subject as an attempt to emulate Raphael’s Heliodorus from the Vatican Stanze. Finally, the position of Delacroix’s mural of Heliodorus in the Church of Saint-Sulpice to both earlier inventions will be clarified.