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All that glitters is not gold: The depiction of gold-brocaded velvets in
fifteenth-and early sixteenth-century Netherlfifteenth-andish paintings
van Duijn, E.E.
Publication date
2013
Link to publication
Citation for published version (APA):
van Duijn, E. E. (2013). All that glitters is not gold: The depiction of gold-brocaded velvets in
fifteenth- and early sixteenth-century Netherlandish paintings.
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Acknowledgements
10 Acknowledgements
I would like to gratefully thank everybody who spent time and energy to help me make this project possible. First I would like to thank my supervisor Jan Piet Filedt Kok for his unfaltering trust and support. He was always there when I needed him. He knew when to encourage, when to criticise and was always ready to share his vast body of knowledge, not to mention his possibly even bigger network of colleagues and friends. Second I wish to thank my fellow Ph.D. researcher and friend Abbie Vandivere, without whom this project would not have been the fantastic experience it turned out to be. I dare say that without her support and feedback, I would not have been able to finish in time. Additionally she critically looked at and corrected every English text I wrote. Needless to say that any mistake that remains is completely for my own account. Further I would like to thank my co-supervisor Jeroen Stumpel and the rest of the Impact of Oil team for their support and advice: Arie Wallert, Mark Clarke, Marjolijn Bol and Ann-Sophie Le-hmann. I also give a very warm ‘thank you’ to my colle-ague conservator, Jessica Roeders, who spend so many of her valuable free Fridays with me, writing on our ar-ticle. She was always prepared to travel to Zeist to work on it, when I had to babysit my newborn son.
Throughout the project many people in various insti-tutions and museums have helped me with their time and energy, advise and support. While running the unforgivable risk of forgetting somebody, for which I apologize in advance, I would like to thank the follo-wing people:
Liesbeth Abraham (Frans Hals Museum, Haarlem), Stephanie Avril (student University of Amsterdam), Julian van den Berg (Cultural Heritage Agency, Library, Amsterdam), J.R.J. van Asperen de Boer (formerly Uni-versity of Groningen), Till-Holger Borchert (Groeninge-museum, Bruges), Rozanne de Bruijne (Museum Boij-mans van Beuningen, Rotterdam), Charlotte Caspers (private specialist in historical reconstructions, Amster-dam), Christina Currie (Royal Institute for Cultural Her-itage, Brussels), Marjan Debaene (M-Museum, Leuven), Menno Dooijes (private conservator, Makkum), Eric Domela-Nieuwenhuis (Cultural Heritage Agency, Rijs-wijk/ Amsterdam), Hélène Dubois (Royal Institute for Cultural Heritage, Brussels), Kathrin Dyballa (Gemälde-galerie, Berlin), Molly Faries (Indiana University, Bloo-mington, USA), Michiel Franken (Netherlands Institute for Art History, The Hague), Felice Geurdes (Centraal Museum, Utrecht), Melanie Gifford (National Gallery of Art, Washington, USA), Jeroen Giltaij (Museum Boijmans van Beuningen, Rotterdam), Beatrix Graf
(Gemäldegale-rie, Berlin), Anne van Grevenstein (formerly Univer-sity of Amsterdam), John Hand (National Gallery of Art, Washington, USA), Christiane Haeseler (Städel Museum, Frankfurt am Main), Babette Hartwieg (Gemäldegalerie, Berlin), Liesbeth Helmus (Centraal Museum, Utrecht), Erma Hermens (University of Glasgow), Boy van den Hoorn (Royal Picture Gallery Mauritshuis, The Hague), Roland Huguenin (Cultural Heritage Agency, Library, Amsterdam), Jolanda van Iperen (Rijksmuseum, Am-sterdam), Andre Jordaan, (Royal Picture Gallery Maurits-huis, The Hague), Stephan Kemperdick (Gemäldegalerie, Berlin), Alison Kettering (Carleton College, Northfield, USA), Lizet Klaassen (Royal Museum of Fine Arts, Ant-werp) Indra Kneepkens (student University of Am-sterdam), Friso Lammertse (Museum Boijmans van Beuningen, Rotterdam), Micha Leeflang (Museum Ca-tharijneconvent, Utrecht), Henry Luttikhuizen (Calvin College, Grand Rapids, USA), Suzanne Maarschalker-weerd (University of Amsterdam), Mireille te Marvelde (Frans Hals Museum, Haarlem), Julie Mauro (Royal In-stitute for Cultural Heritage, Brussels), Rhona MacBeth (Museum of Fine Arts, Boston, USA), Sabrina Meloni (Royal Picture Gallery Mauritshuis, The Hague), Daan-tje Meuwissen (Radboud University, Nijmegen), Marc de Mey (Flemish Academic Centre for Science and the Arts, Brussels), Norbert Middelkoop (Amsterdam Mu-seum, Amsterdam), Cor Mulders (Cultural Heritage Agency, Library, Amsterdam), Jeffrey van Nierop (Rijksmuseum, Amsterdam), Judith Niessen (Art Historian, Wassenaar), Elke Oberthaler (Kunsthis-torisches Museum, Vienna), Anne van Oosterwijk (Groeningemuseum, Bruges), Joanna Pedroso (Rijks-museum, Amsterdam), Jochen Sander (Städel Mu-seum, Frankfurt am Main), Cécile Scailliérez (Musée du Louvre, Paris), Martin Schawe (Alte Pinakothek, Munich), Jan Schmith (Alte Pinakothek, Munich), Karl Schütz (Kunsthistorisches Museum, Vienna), Lana Sloutzky (Boston University, USA), Marika Spring (Na-tional Gallery, London), Ron Spronk (Queen’s Universi-ty, Kingston, Canada/ Radboud UniversiUniversi-ty, Nijmegen), Ad Stijnman (Herzog August Bibliothek, Wolfenbüt-tel), Maartje Stols-Witlox (University of Amsterdam), Alice Taatgen, (Suermondt-Ludwig-Museum, Aachen), Monique Tahon (Museum of Fine Arts, Ghent), Gwen Tauber (Rijksmuseum, Amsterdam), Ilona van Tuinen (Museum de Lakenhal, Leiden), Anna Tummers (Frans Hals Museum, Haarlem), Matthias Ubl (Rijksmuseum, Amsterdam), Christiaan Vogelaar (Museum de Laken-hal, Leiden), Ige Verslype (Rijksmuseum, Amsterdam), Nienke Woltman (student University of Amsterdam), Lidwien Wösten (student University of Amsterdam),
Margreet Wolters (Netherlands Institute for Art History, The Hague).
I would also like to thank everyone who helped me to obtain high resolution images, especially for the article on Geertgen tot Sint Jans: Martin Herda (Prague Castle), Maya Jucker (Sammlung Oskar Reinhart ‘am Römerholz’, Winterthur), Petr Ledvina (Prague Castle), Jan Nicolaisen (Museum der bildende Künste, Leipzig), Almut Pollmer-Schmidt (Städel Museum, Frankfurt am Main), Salvador Salort-Pons (Detroit Institute of Arts, USA), Sabine Schmidt (Museum der bildende Künste, Leipzig) and Yao-Fen You (Detroit Institute of Arts, USA).
From the University of Amsterdam, I would like to thank the following people for their help and support: Gemma Blok, Paul Koopman, Gea Lindeboom, Hotze Mulder, Eric Jan Sluijter, Boudien de Vries and Irene Zwiep.
I would like to warmly thank Annelieke van Wijnen from Turquoise, who did a beautiful last-minute lay-out, gave me a crash course Indesign and bore with my en-dless questions.
I would like to give a special thanks to all my friends and family. I would like to thank my close friends Margreet, Katjuscha, Ingelies and Marieke as well as my adopted ‘sister’ Anita, who have always believed in me and sup-ported me in many ways: with a multitude of encou-raging messages, by taking me out to dinner, and by offering me a work spot at their table in the last few months. The same is true for my sister Sandra and her family, Harald, Nine and Ties, who, in spite of their in-credible busy lives, managed to free up time to babysit my son, so I could work. Thank you all.
More thanks, and my deepest love, are for my partner, Albert, and my son, Liev, who gave me their unfailing support and all the freedom to fulfil my ambitions. Espe-cially in the last few months they bore all my foul moods and inattention bravely and patiently. Well most of the time anyway.
Tenslotte een woord van dank voor mijn moeder, mijn trouwste fan en belangrijkste steunpilaar. Ik kan de ke-ren niet tellen dat ze me de afgelopen maanden moed in heeft gesproken en weekend na weekend bereid is geweest om op haar kleinzoon te passen, terwijl ze mij tussendoor van drank en versnaperingen voorzag. Dank je wel, lieve mama.
12 Acknowledgements
