The social lives of paintings in Sixteenth-Century Venice Kessel, E.J.M. van

That, around 1550, the painting came to be regarded as a product of a con- temporary artist, put Christ as the prototype at a distance – although we may wonder whether this is true

Ferguson (ed.), Rewriting the Renaissance: The Discourses of Sexual Difference in Early Modern Europe, Chicago and London: University of Chicago Press 1986, pp.

Maar wat dit proefschrift laat zien is dat het belang van de kunstenaar ten opzichte van andere personen, zoals het prototype of de op- drachtgever, niet het resultaat

can- didate at Leiden University with a project that was part of the research pro- gramme Art, Agency, and Living Presence in Early Modern Italy, funded by the Netherlands

The striking lifelikeness of Venetian sixteenth-century paintings should be seen as both a painterly and a literary topos, that at the same time was an expression of and a

Peripheral blood cells were stained with HLA-A2.1 tetramers containing the tyrosinase368–376 peptide followed by staining with a panel of lineage antibodies, as described in

Blades and blade fragments seem to have been especially used for longitudinal motions, mainly on plant material (7/12). Flake and flake fragments are used in different motions on

This shape also occurs in the combination artefacts (see below). The shape is the result of intensive use in a repetitive abrasive motion, carried out from different angles. In