Over de betekenis van het werk van Jan van Scorel omstreeks 1530 voor oudere en jongere tijdgenoten (I)

Abstract

AbstractIn 1966 (Note 3) the writer tentatively identified the author of a small group of paintings, done between 1515 and around 1525 (Fig. 1), as the Haarlem painter Cornelis Willemsz., who according to Van Mander was the first teacher of both Jan van Scorel and Maerten van Heemskerck, probably around 1510. Confirmation of this hypothesis can hardly be expected to come from stylistic similarities between the works of the older artist and those produced by Scorel and Heemskerck around 1530, influenced as these latter are by contemporary Italian art. To the works of'Cornelis Willemsz.' may now be added two altar-wings and a St. Mary Magdalene (Figs. 2 and 4, present whereabouts of both unknown) dating from the years around 1530 and clearly exhibiting different phases of the influence of the St. Mary Magdalene Jan van Scorel executed in Haarlem when he worked there in 1527 and subsequent years (Fig.3). These pictures clearly demonstrate that the new style Scorel introduced in Haarlem had its impact not only on young artists of his own generation - such as Maerten van Heemskerck - but also on an older artist, who had possibly been his teacher. The latter's St. Mary Magdalene, clumsy as it is, must have won a certain appreciation among younger artists (cf. Figs. 5 and 6, Notes 10 and II).