fbpx
Wikipedia

Haarlem Guild of St. Luke

February 16, 2024

This article is about a local Guild of St. Luke. For the main articles on this subject, see Guild or Guild of Saint Luke.

The Haarlem Guild of Saint Luke was first a Christian, and later a city Guild for various trades falling under the patron saints Luke the Evangelist and Saint Eligius.

Maarten van Heemskerck painted this altarpiece, Saint Luke painting the Virgin before he left Haarlem for Italy in 1532.

History edit

 
Doorway to the original monastery of the Carmelites and the Vrouwebroerskerk. Called the Guldenbergspoortje or Golden mountain gate in the Grote Houtstraat.

During the lifetime of Geertgen tot Sint Jans, there was probably a painter's guild in Haarlem, but all records of such an organization have been lost. If one existed, it would probably have been associated with the Janskerk (Haarlem), where Geertgen was active as a respected painter. The earliest mention of the Haarlem Guild of St. Luke is from 1496, when the heirs of Joost Huge Alboutsdr, who had been the former owner of the location of the altar in the Sint-Bavokerk, ceded all altar rights which up to then had been for the Ascension of the Virgin, to the Guild of St. Luke and St. Eligius.[1] This is possibly also the year that the Guild switched its altar from the Janskerk to the Bavokerk. The guild was for painters and gold- and silversmiths, with St. Luke being the patron saint of the painters, and St. Eligius being the patron saint for the smiths.

Earliest charter edit

The earliest charter for the guild no longer exists, but the earliest one still in the archives is from 1514. That charter remained in effect until the beeldenstorm, whereupon the guild altar found temporary housing in the Vrouwenbroerskerk, since the Bavokerk had become Protestant and all the guilds had left the church.[1] The Vrouwenbroerskerk was the church of the Carmelites, whose monastery is gone, but whose archives survive today. Of the original complex, only the entrance gate still stands on the Grote Houtstraat. These archives recorded that a kessophel (chasuble) was donated to this altar in 1575 by Elisabeth van Dorp.[1] After Haarlem lost the Siege of Haarlem in 1573, it became a Catholic enclave that officially fell under the rule of Philip II of Spain. It wasn't until 1577 that the local bishop Godfried van Mierlo set his seal to the Satisfactie van Haarlem wherein he promised to swear allegiance to Willem the Silent rather than Philip II, on the condition that the Catholics would keep the same rights as Protestants. Though Haarlem, like Amsterdam with its Alteratie, reverted the Catholic rights of this Satisfactie a year later, it was this special Catholic-friendly reputation that attracted many from the south that added to the city's wealth in its golden age.

In 1576, a decision was made on September 28 to make a devotional piece for St. Eligius, since only St. Luke was now represented.[1] This referred to the painting by Martin van Heemskerck, which does not display St. Eligius, but shows St. Luke painting the Virgin. This painting was quite large, and though it shows a pottery (faience) baker as St. Luke and sculptures and woodcarvings abound in it, there is no sign of any smith work in it. The signed paper attached at the bottom of the painting is recorded by Karel van Mander and states that Heemskerck painted it for his colleagues in the guild.[2] Heemskerk had painted this before he traveled to Italy, and when he came back he became charter master of the guild from 1550-1552. Apparently the smiths were dissatisfied with their representation in the running of the guild, and this caused a guild dispute, because the goldsmiths broke away into their own guild in 1576, only to return in the charter of 1590.[1]

Charter of 1590 edit

After the Siege of Antwerp in 1585, many families fled north and since Antwerp was a major center for painting, the Haarlem market was flooded with professional painters who competed with Haarlem's own craftsmen. To protect the market, a new charter was issued in 1590. That this was necessary is evidenced by the fact that new charters were issued soon after the beeldenstorm in most Dutch cities that had converted to Protestantism and were embroiled in the Eighty Years' War.

Some guild membership grants after the Reformation edit

Loss of the St. Luke relic edit

In 1517 a relic of St. Luke had been donated for the altar by the painter Barthel Pons, who had gotten it from the cardinal Christoforo da Forli (with the additional title S. Maria Aracoeli). This relic was accompanied by an indulgence of 100 days to whoever would say their Paternoster and Ava maria at the altar. Apparently Pieter Fransz de Grebber gave this relic to the Franciscan friar Joannes Cloribus van Brugge in 1627 for safekeeping.[1] In 1632 the St. Lucas guild masters were very upset about this and Salomon de Bray tried to get it back, but to no avail. In 1641 they tried once again to get the relic back, but it seems to have disappeared.[7]

The failed Charter of 1631 edit

 
Transcription of Salomon de Bray's proposed hierarchy of the guild in 1631.[8]

The immigration of Flemish painters after the fall of Antwerp in 1585 added a great deal to the painting community of Haarlem and artistically the city flourished, with an astounding production of oil paintings. Between 1605 and 1635 over 100,000 paintings were produced in Haarlem.[9] The competition for commissions was very high, however, and the 1590 charter was apparently not considered protective enough. In 1631 a new charter was released again, and this charter is so detailed that it tells us much more about the art of painting and art dealing than it does about the artists themselves. It was prepared by Salomon de Bray, and he described a hierarchy of guild members that apparently met with a lot of opposition. His first petition to pass this charter was denied with the remark that it was too long, and the second attempt was not passed at all.[1] Essentially the charter of 1590 held up until the guild was dissolved altogether in 1795 by Napoleonic decree.[7]

The Guild masters in 1631 edit

In the introduction to the charter of 1631, the guildmasters present their proposal of the charter to the city fathers. The signers of this proposal were Pieter de Molijn, Outgert Ariss Akersloot, Willem Claesz Heda, Salomon de Bray, Cornelis Cornelisz, Cornelis Claesz van Wieringen, Floris van Dyck, and Isaak Halinck.[10]

Proposed guild hierarchy in the failed Charter of 1631[10]
St. Luke Guild Artists Painters: Masters.
Art dealers, students, boys
Craftsmen: Etchers, glass-cutters, sculptors, carvers, metal-workers.
Architects, surveyors, mathematicians, rare arts.
Dependents: Rough painters, plate-makers, mirror-makers, house-painters. Other arts:
Printers, pottery bakers, shriners, paint-mixers, engravers.
Lower handicrafts: Gold- & Silversmiths, book-binders, copper-, brass-, tin- and lead workers, plumbers, and roof tilers.
Glass-makers, embroiderers, carpet-makers, weavers, lantern-makers & solderers.

Legacy edit

 
The Governors of the Haarlem Guild of St Luke in 1675. Salomon's son Jan de Bray painted himself second from the left.

Unfortunately the Haarlem St Lucasgilde archives fell into disarray between the period that the guilds were dissolved in Haarlem (1795) and 1860. Through the years historians have attempted to make lists of archival records, using the personal archives of the de Bray family (most notably from Salomon de Bray in the 1630s) and the van der Vinne family (most notably Vincent Laurensz van der Vinne from the 1650s) and thanks mostly to the efforts of Adriaan van der Willigen Pz. in 1866 and 1870.[7] A recent inventory by Hessel Miedema has helped to give insight into the remains, while the Haarlem archives have been able to buy back lost records from enthusiastic researchers of the 19th century who never returned borrowed materials.

References edit

  1. ^ a b c d e f g Sint Lucas Gilde te Haarlem in 1631. Medegedeeld door den Adj.-Archivaris van Haarlem C. J. Gonnet, 1877, North Holland Archives, Haarlem.
  2. ^ "Ter eeren S. Lucas heeft hy't bedreven/Dus ghemeen ghesellen heeft hy mede bedacht."
  3. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj See the RKD page for this artist
  4. ^ a b c Miedema, page 1039
  5. ^ Pupil of Salomon de Bray, Miedema, page 604
  6. ^ a b c Miedema, page 1036
  7. ^ a b c De Geschiedenis van de St. Lucasgilden in Nederland, Amsterdam, by G.J. Hoogewerff, Kampen & zoon,1947
  8. ^ The Haarlem archivist C.J. Gonnet published a book in 1877 on the Haarlem St. Lukasgilde archives. This was meant for historians wishing to do research on Haarlem painting, but who could not read the old handwriting.
  9. ^ Museum exhibition: The Cradle of the Golden Age, November 2008, Frans Hals Museum
  10. ^ a b charter 1631
  • De archiefbescheiden van het St. Lukasgilde te Haarlem 1497-1798, Hessel Miedema, 1980, ISBN 90-6469-584-9
  • North Holland Archives, Haarlem.
  • Les artistes de Harlem (archive.org),Commons, see p.42, compilation of guild membership by Adriaan van de Willigen Pz (1810-1876), 1870
 
Wikimedia Commons has media related to Haarlem Guild of St. Luke.

February 16, 2024
haarlem, guild, luke, this, article, about, local, guild, luke, main, articles, this, subject, guild, guild, saint, luke, haarlem, guild, saint, luke, first, christian, later, city, guild, various, trades, falling, under, patron, saints, luke, evangelist, sain. This article is about a local Guild of St Luke For the main articles on this subject see Guild or Guild of Saint Luke The Haarlem Guild of Saint Luke was first a Christian and later a city Guild for various trades falling under the patron saints Luke the Evangelist and Saint Eligius Maarten van Heemskerck painted this altarpiece Saint Luke painting the Virgin before he left Haarlem for Italy in 1532 Contents 1 History 1 1 Earliest charter 1 2 Charter of 1590 2 Some guild membership grants after the Reformation 3 Loss of the St Luke relic 4 The failed Charter of 1631 4 1 The Guild masters in 1631 5 Legacy 6 ReferencesHistory edit nbsp Doorway to the original monastery of the Carmelites and the Vrouwebroerskerk Called the Guldenbergspoortje or Golden mountain gate in the Grote Houtstraat During the lifetime of Geertgen tot Sint Jans there was probably a painter s guild in Haarlem but all records of such an organization have been lost If one existed it would probably have been associated with the Janskerk Haarlem where Geertgen was active as a respected painter The earliest mention of the Haarlem Guild of St Luke is from 1496 when the heirs of Joost Huge Alboutsdr who had been the former owner of the location of the altar in the Sint Bavokerk ceded all altar rights which up to then had been for the Ascension of the Virgin to the Guild of St Luke and St Eligius 1 This is possibly also the year that the Guild switched its altar from the Janskerk to the Bavokerk The guild was for painters and gold and silversmiths with St Luke being the patron saint of the painters and St Eligius being the patron saint for the smiths Earliest charter edit The earliest charter for the guild no longer exists but the earliest one still in the archives is from 1514 That charter remained in effect until the beeldenstorm whereupon the guild altar found temporary housing in the Vrouwenbroerskerk since the Bavokerk had become Protestant and all the guilds had left the church 1 The Vrouwenbroerskerk was the church of the Carmelites whose monastery is gone but whose archives survive today Of the original complex only the entrance gate still stands on the Grote Houtstraat These archives recorded that a kessophel chasuble was donated to this altar in 1575 by Elisabeth van Dorp 1 After Haarlem lost the Siege of Haarlem in 1573 it became a Catholic enclave that officially fell under the rule of Philip II of Spain It wasn t until 1577 that the local bishop Godfried van Mierlo set his seal to the Satisfactie van Haarlem wherein he promised to swear allegiance to Willem the Silent rather than Philip II on the condition that the Catholics would keep the same rights as Protestants Though Haarlem like Amsterdam with its Alteratie reverted the Catholic rights of this Satisfactie a year later it was this special Catholic friendly reputation that attracted many from the south that added to the city s wealth in its golden age In 1576 a decision was made on September 28 to make a devotional piece for St Eligius since only St Luke was now represented 1 This referred to the painting by Martin van Heemskerck which does not display St Eligius but shows St Luke painting the Virgin This painting was quite large and though it shows a pottery faience baker as St Luke and sculptures and woodcarvings abound in it there is no sign of any smith work in it The signed paper attached at the bottom of the painting is recorded by Karel van Mander and states that Heemskerck painted it for his colleagues in the guild 2 Heemskerk had painted this before he traveled to Italy and when he came back he became charter master of the guild from 1550 1552 Apparently the smiths were dissatisfied with their representation in the running of the guild and this caused a guild dispute because the goldsmiths broke away into their own guild in 1576 only to return in the charter of 1590 1 Charter of 1590 edit After the Siege of Antwerp in 1585 many families fled north and since Antwerp was a major center for painting the Haarlem market was flooded with professional painters who competed with Haarlem s own craftsmen To protect the market a new charter was issued in 1590 That this was necessary is evidenced by the fact that new charters were issued soon after the beeldenstorm in most Dutch cities that had converted to Protestantism and were embroiled in the Eighty Years War Some guild membership grants after the Reformation edit1593 Cornelis Engelsz father of Johannes Cornelisz Verspronck 3 1597 Cornelis Claesz van Wieringen 3 1600 Frans Pietersz de Grebber father of the painters Pieter Maria and Albert 1610 Frans Hals father of the painters Harmen Frans the Younger Reynier and Nicolaes Floris Claesz van Dijck 3 1612 Willem Buytewech Esaias van de Velde Hercules Seghers 3 1613 Jan van de Velde 3 1614 Jacob van Campen 3 1616 Pieter de Molyn 3 1617 Jan van Goyen 3 1623 Salomon van Ruysdael Pieter Saenredam Pieter Post Hans Bollongier Johannes Bosschaert 1628 Pieter Soutman 4 Jan Matham son of Jacob Matham Jan Wils 3 1630 Salomon de Bray father of the painters Jan Dirck and Jozef 1631 Willem de Poorter Willem Claeszoon Heda Sara van Baalbergen 3 1632 Jan Cornelisz Verspronck Pieter de Grebber 4 Jan Coelenbier Pieter van Berendrecht Johannes Berendrecht 3 1633 Judith Leyster 3 1634 Adriaen van Ostade 3 1636 Jacob Duck 3 1639 Philips Angel Floris van Schooten 3 1640 Philips Wouwerman 3 1642 Nicolaes Berchem as Claes Pietersen son of Pieter Claesz Barent Gael 3 1643 Isaac van Ostade Gerrit Claesz Bleker Cornelis Gerritsz Decker 3 1644 Claes van Beresteyn 5 1645 Pieter Cornelisz Verbeeck 3 1646 Pieter Wouwerman 4 Frans Post Guillam Dubois 3 1647 Hendrick Mommers 3 1649 Vincent van der Vinne 1651 Caesar van Everdingen 3 1653 Cornelis Visscher 3 1654 Cornelis Pietersz Bega Job Adriaensz Berckheyde 3 1655 Jan Wouwerman 6 1659 Josua de Grave 3 1660 Gerrit Adriaenszoon Berckheyde Isaak van Nickelen 3 1661 Jan Steen Cornelis Beelt 3 Isaack Vermeer 6 1662 Reyer van Blommendael 1663 Edwaert Collier 1664 Jacob Salomonsz van Ruysdael Jan de Bray 6 Thomas Heeremans 3 1666 Pieter Fris 3 1667 Jan de Bray 3 1669 Jacob van Huchtenburg 3 1670 Jan van Huchtenburg 3 1671 Dirck de Bray 3 1678 Dirk Maas 3 1679 Cornelis Dusart 3 1688 Jan van Nickelen 3 1706 Frans DeckerLoss of the St Luke relic editIn 1517 a relic of St Luke had been donated for the altar by the painter Barthel Pons who had gotten it from the cardinal Christoforo da Forli with the additional title S Maria Aracoeli This relic was accompanied by an indulgence of 100 days to whoever would say their Paternoster and Ava maria at the altar Apparently Pieter Fransz de Grebber gave this relic to the Franciscan friar Joannes Cloribus van Brugge in 1627 for safekeeping 1 In 1632 the St Lucas guild masters were very upset about this and Salomon de Bray tried to get it back but to no avail In 1641 they tried once again to get the relic back but it seems to have disappeared 7 The failed Charter of 1631 edit nbsp Transcription of Salomon de Bray s proposed hierarchy of the guild in 1631 8 The immigration of Flemish painters after the fall of Antwerp in 1585 added a great deal to the painting community of Haarlem and artistically the city flourished with an astounding production of oil paintings Between 1605 and 1635 over 100 000 paintings were produced in Haarlem 9 The competition for commissions was very high however and the 1590 charter was apparently not considered protective enough In 1631 a new charter was released again and this charter is so detailed that it tells us much more about the art of painting and art dealing than it does about the artists themselves It was prepared by Salomon de Bray and he described a hierarchy of guild members that apparently met with a lot of opposition His first petition to pass this charter was denied with the remark that it was too long and the second attempt was not passed at all 1 Essentially the charter of 1590 held up until the guild was dissolved altogether in 1795 by Napoleonic decree 7 The Guild masters in 1631 edit In the introduction to the charter of 1631 the guildmasters present their proposal of the charter to the city fathers The signers of this proposal were Pieter de Molijn Outgert Ariss Akersloot Willem Claesz Heda Salomon de Bray Cornelis Cornelisz Cornelis Claesz van Wieringen Floris van Dyck and Isaak Halinck 10 Proposed guild hierarchy in the failed Charter of 1631 10 St Luke Guild Artists Painters Masters Art dealers students boysCraftsmen Etchers glass cutters sculptors carvers metal workers Architects surveyors mathematicians rare arts Dependents Rough painters plate makers mirror makers house painters Other arts Printers pottery bakers shriners paint mixers engravers Lower handicrafts Gold amp Silversmiths book binders copper brass tin and lead workers plumbers and roof tilers Glass makers embroiderers carpet makers weavers lantern makers amp solderers Legacy edit nbsp The Governors of the Haarlem Guild of St Luke in 1675 Salomon s son Jan de Bray painted himself second from the left Unfortunately the Haarlem St Lucasgilde archives fell into disarray between the period that the guilds were dissolved in Haarlem 1795 and 1860 Through the years historians have attempted to make lists of archival records using the personal archives of the de Bray family most notably from Salomon de Bray in the 1630s and the van der Vinne family most notably Vincent Laurensz van der Vinne from the 1650s and thanks mostly to the efforts of Adriaan van der Willigen Pz in 1866 and 1870 7 A recent inventory by Hessel Miedema has helped to give insight into the remains while the Haarlem archives have been able to buy back lost records from enthusiastic researchers of the 19th century who never returned borrowed materials References edit a b c d e f g Sint Lucas Gilde te Haarlem in 1631 Medegedeeld door den Adj Archivaris van Haarlem C J Gonnet 1877 North Holland Archives Haarlem Ter eeren S Lucas heeft hy t bedreven Dus ghemeen ghesellen heeft hy mede bedacht a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj See the RKD page for this artist a b c Miedema page 1039 Pupil of Salomon de Bray Miedema page 604 a b c Miedema page 1036 a b c De Geschiedenis van de St Lucasgilden in Nederland Amsterdam by G J Hoogewerff Kampen amp zoon 1947 The Haarlem archivist C J Gonnet published a book in 1877 on the Haarlem St Lukasgilde archives This was meant for historians wishing to do research on Haarlem painting but who could not read the old handwriting Museum exhibition The Cradle of the Golden Age November 2008 Frans Hals Museum a b charter 1631 De archiefbescheiden van het St Lukasgilde te Haarlem 1497 1798 Hessel Miedema 1980 ISBN 90 6469 584 9 North Holland Archives Haarlem Les artistes de Harlem archive org Commons see p 42 compilation of guild membership by Adriaan van de Willigen Pz 1810 1876 1870 nbsp Wikimedia Commons has media related to Haarlem Guild of St Luke Retrieved from https en wikipedia org w index php title Haarlem Guild of St Luke amp oldid 1108061008, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.