Object data
oil on panel
support: height 103.5 cm × width 55 cm
Master of Alkmaar
1504
oil on panel
support: height 103.5 cm × width 55 cm
The support consists of two vertically grained oak planks (23.2-24.7 and 31.1-32.2 cm), 0.2-0.6 cm thick. The top and bottom of the panel are bevelled. The support was thinned slightly before being cradled. The cradle was removed in 1971-75. Dendrochronology has shown that the youngest heartwood ring of plank II, which came from the same tree as plank I of Burying the Dead (SK-A-2815-4) was formed in 1483. The panel could have been ready for use by 1494, but a date in or after 1508 is more likely. The white ground was applied in the frame, for there are unpainted edges approx. 1.2 cm wide at the top and bottom, and approx. 0.2 cm wide on the right and left sides, as well as the remains of a barbe (painted surface: 101 x 54.5 cm). An underdrawing in a wet medium applied with a brush is partially visible with the naked eye, and was fully revealed with infrared reflectography. There is extensive hatching and cross-hatching in the underdrawing. Most of the hatching lines are fairly thin and give a dry impression. Some, though, are thicker and were drawn with a brush loaded with medium. Hatchings are regularly at right angles to the drapery folds and look rather like zip fasteners. The shape of the underdrawn hatchings indicate the modelling, as in the curvature in the shapes of the faces and elsewhere. Careful use was made of this for the reserves and shaded passages when building up the paint layers.
Fair. There are vertical cracks in both planks, and many paint losses at the top and bottom of the panel and along the join and cracks. The paint layers are abraded. The face of the crippled man sitting on the ground has been scratched. The damaged areas at the top and bottom have not been filled or reconstructed, but other areas of damage were filled and retouched.
See the record for the entire painting. SK-A-2815
See the provenance for SK-A-2815.
Object number: SK-A-2815-1
Credit line: Purchased with the support of the Vereniging Rembrandt and the Commissie voor Fotoverkoop
Copyright: Public domain
Master of Alkmaar (active in Haarlem and Alkmaar c. 1490-1510)
The Master of Alkmaar takes his name from the Polyptych with The Seven Works of Charity dated 1504 (SK-A-2815; date on SK-A-2815-4), which remained in its original location in Alkmaar’s Laurenskerk until 1918. The mark on the first of the seven scenes, Feeding the Hungry, is probably that of the artist. Valentiner, followed by Van Gelder-Schrijver, Friedländer and Hoogewerff, attributed several rather heterogeneous paintings to this master. In addition to a few smaller pictures, they include two wings with donor’s portraits from an epitaph for the Van Soutelande family of Haarlem (SK-A-1188-A, SK-A-1188-B), and two wings of an altarpiece in the Rijksmuseum (SK-A-1307 and SK-A-1308). The provenance of The Seven Works of Charity and the donors of the epitaph have resulted in the artist being placed in the northern part of the province of Holland, most likely in Haarlem and/or Alkmaar.
Valentiner identified him with the Haarlem painter Cornelis Willemsz. Bruyn published a series of archival data and convincingly rejected that identification. Friedländer, Hoogewerff and others suggested the possibility that the Master of Alkmaar was the brother of Jacob Cornelisz van Oostsanen, Cornelis Buys I, who is said to have been active as a painter in Alkmaar until his death in 1524. One argument against this is the mark on Polyptych with The Seven Works of Charity, which does not resemble the family mark of his son, Cornelis Buys II (c. 1500-45/46), which is identical to that of Jacob Cornelisz van Oostsanen.1 The suggestion put forward in 1958 that the Master of Alkmaar was Pieter Gerritsz, a Haarlem painter who died in 1540 and who worked regularly in Egmond Abbey between 1515 and 1529, as well as for the St Laurenskerk in Alkmaar, is less plausible. Bruyn and Van Regteren Altena’s theory that the Master of Alkmaar was actually two brothers from Haarlem, Mourijn Simonsz (c. 1440/50-1509) and Claas Simonsz van Waterlant (c. 1440/50-1533), has been explored further in a recent study by Bangs, in which the master’s entire oeuvre has been allocated to them. The exceptionally rich trove of archival data shows that the brothers carried out a series of commissions between 1464 and 1505, which they often worked on together, and received payments for gilding and paintings, such as the work they did for the high altar of the St Bavokerk in 1485 and 1487, when they were expressly instructed to leave the portraits to another artist. This hypothesis, which lacks convincing corroboration, would mean that the Master of Alkmaar belonged to the same generation as Geertgen tot Sint Jans.
The master’s oeuvre, which was assembled in the early decades of the 20th century and described at length by Friedländer in 1932, is rather heterogeneous in style, and has hardly been subtracted from of added to by recent research. This is clear from the core works, the polyptych from which he takes his name and the fragmentary works in the Rijksmuseum. He had a remarkable talent for portraiture, as can be seen from the donors’ portraits of the Van Soutelande family of Haarlem (SK-A-1188-A, SK-A-1188-B). His figured pieces reveal him to have been an amiable, rather naive narrator whose works are of a craftsman-like nature but lack the quality of Haarlem predecessors or contemporaries like Geertgen tot Sint Jans and Jan Mostaert. The work of these two artists must have been a model for the master. His work can be dated between c. 1490 and c. 1510 on stylistic grounds.
References
Valentiner 1914, pp. 76-77, 201; Hirschmann 1919, pp. 88-91; Van Gelder-Schrijver 1930; Van Gelder-Schrijver 1931; Friedländer X, 1932, pp. 33-44, 125-26; Hoogewerff, II, 1937, pp. 347-87; Amsterdam 1958, pp. 89, 92; Bruyn 1966, pp. 197-217; ENP X, 1973, pp. 24-29, 73-75, 86, 90-91; Van Regteren Altena 1974; Snyder 1985, pp. 446-48; Bangs 1999
(J.P. Filedt Kok)
See the record for the entire painting. (SK-A-2815)
See the record for the entire painting. SK-A-2815
See the record for the entire painting. SK-A-2815
J.P. Filedt Kok, 2009, 'Meester van Alkmaar, Panel of a Polyptych with the Seven Works of Charity: Feeding the Hungry, 1504', in J.P. Filedt Kok (ed.), Early Netherlandish Paintings, online coll. cat. Amsterdam: hdl.handle.net/10934/RM0001.COLLECT.362369
(accessed 10 November 2024 00:39:45).