The latest Oud Holland: from 1450 to 1850 in hundred pages

The current double issue of Oud Holland arrives just at the beginning of the new academic year. It includes thorough analyses on a wide range of topics: from medieval illuminated books to nineteenth-century religious painting in the Netherlands.

The surviving account books of the monastery of Lopsen near Leiden contain numerous payments relating to panel painting, pigments, parchment, and the writing, illumination and binding of various books. This casts doubt upon the general theory that the so-called Masters of the Suffrages were active in Lopsen. Instead, As-Vijvers proposes that the documentary records from Lopsen concerning illumination refer to pen-flourishing instead of painting.

Maarten van Heemskerck’s painting style underwent enormous development thanks to his introduction to antiquity and the Italian High Renaissance. His views on portraiture also changed considerably. Our understanding of Heemskerck’s autonomous portraiture is, however, blurred by incorrect attributions and dates. A careful analysis by Veldman is employed here to establish the authenticity of the signed portraits that have survived, and as a means of identifying the persons depicted.

Brosens and De Prekel provide an in-depth view of Antwerp’s artistic production in the seventeenth century. From a methodological point of view, the essay demonstrates that there is great value in a combination of qualitative and quantitative readings of various sources to analyze complex social systems, such as artistic communities. Their approach proves to be instrumental in the debate on the productivity of early modern Antwerp.

Religious painting in the nineteenth-century Netherlands has been largely neglected in art historical research. The persisting misconception that art and Protestantism are irreconcilable has become an all-too easy explanation for the apparent lack of religious painting in this period. This article by Maathuis aims to understand the reception of the religious paintings of Ary Scheffer in the light of the Dutch Réveil.

For summaries of the articles, go to

1. Cover Oud Holland 2021-2/3, volume 134
2. Book of hours in Dutch, Leiden, c. 1490-1510, The Hague, KB, Ms. 76 G 13, fols. 105v-106r.

Oud Holland - Journal for Art of the Low Countries
 2021 - 2/3, volume 134:

Anne Margreet W. As-Vijvers
Manuscript production in the monastery of St Hieronymusdal in Lopsen, near Leiden

Ilja M. Veldman
Artistic innovation in Maarten van Heemskerck’s portraits after 1537 and new identifications in the light of his social network

Koenraad Brosens & Inez De Prekel
Antwerp as a production center of paintings (1629-1719): A qualitative and quantitative analysis

Marieke Maathuis
An aesthetic of devotion: Ary Scheffer and the Dutch Réveil

About Oud Holland

The oldest surviving art-historical journal in the world is a Dutch periodical. From 1883 until now Oud Holland - Journal for Art of the Low Countries publishes scholarly articles about important archival finds and major art-historical discoveries. The scope of Oud Holland is art from the Low Countries from ca. 1400 to 1920. For more information and news about recent issues of Oud Holland, online reviews, back issues, subscriptions and information for authors, visit