PhD Research by Erik Eising
Completed 2018.
Through comparative research, this thesis (re)determines the origins, Europewi... more Completed 2018.
Through comparative research, this thesis (re)determines the origins, Europewide dissemination, functions, and meaning of embedded iconography (figures and scenes depicted in art as lifeless decoration or objects), c. 1250-1500.
Publications by Erik Eising
„Jan Gossart, Danaë“, pp. 70-71
„Meister des Hausbuchs, Die Fußwaschung der Apostel, Das letzte Abendmahl“, p. 295
2018
Editor of the 2nd edition.
Renaissance Metapainting, 2020
In neuem Glanz / With New Splendour: Das Schächer-Fragment des Meisters von Flémalle im Kontext / The Crucified Thief by the Master of Flémalle in Context, 2017
"From 15 November 2017 to 18 February 2018, the Liebieghaus Skulpturensammlung presents a special... more "From 15 November 2017 to 18 February 2018, the Liebieghaus Skulpturensammlung presents a special exhibition revolving around a work of key significance to the history of European art in the collection of the Städel Museum: the so-called “Crucified Thief“ by the “Master of Flémalle”, one of the most enigmatic figures of Early Netherlandish painting. The exhibition sheds light on the procedure and spectacular outcome of the technological examination and the restoration. It also features thirteen selected comparanda in the mediums of sculpture, panel painting, drawing and book illumination, serving to contextualize the fragment in a wide variety of ways. “With New Splendour: The Restored Crucified Thief by the Master of Flémalle in Context” will be the first presentation ever to bring works together that, as early copies, testify to the fame of the original altarpiece while at the same time providing the basis for reconstructing that nonextant overall ensemble."
Albrecht Dürer. His Art in Context, Oct 30, 2013
Artistic Translations Between Fourteenth and Sixteenth Centuries. International Seminar for Young Researchers. Proceedings, Sep 2013
Online Publications by Erik Eising
Conference Papers by Erik Eising
Iconography and Religious Otherness: Fifteenth International Conference of Iconographic Studies, 2021
During the late Middle Ages, painters in various European regions included images of figurative a... more During the late Middle Ages, painters in various European regions included images of figurative artworks or "images-within-images" in their work. Examples range from depictions of sculptures to representations of paintings, mosaics, stained-glass figures, and even woodcuts. These depicted artworks could serve a variety of functions, both on a meta-level (i.e. as a comment on the nature of art itself, or as a form of illusionism), as well as in support of the content of the main scene (i.e. have a narrative or symbolic purpose). One particularly often-found function of the depicted artwork in late-medieval art is the indication of Otherness, for example through the representation of pagan idols or Old Testament imagery. Yet, a survey of the depiction of “images-within-images” throughout late-medieval Europe shows that the exact nature of the Otherness indicated by this type of imagery varies between European regions, centers, and even workshops. In fourteenth-century Italy, for example, the depicted artwork could be used to signify historical or temporal Otherness (i.e. placing a scene in the “past”), while in fifteenth-century German art, images-within-images can frequently be identified as indications of religious or cultural Otherness (i.e. placing a biblical scene in a Jewish or pagan setting), often with negative connotations. Interestingly, although “images-within-images” are a common occurrence in fifteenth-century Netherlandish painting, they can rarely be interpreted in a critical manner towards the Other.
This conference paper, based on a doctoral dissertation finished in 2018 (defended in 2020), aims at illustrating the differences in the usage of this type of iconographic motif among Italian, German, and Netherlandish artists, as well as highlighting occasional similarities. In some cases, for example, specific motifs of this type were disseminated throughout Europe via travelling artists or transported artworks and subsequently picked up by artists elsewhere, whereby the original meaning or function of the motif in question was diluted, altered or ignored. Thus, the identity or meaning of the Other could change as well, in accordance with local or regional views and culture.
ANKK Kolloquium, Kassel, 2019
In scholarly literature, the statue of Moses is often regarded as a conventional motif in fifteen... more In scholarly literature, the statue of Moses is often regarded as a conventional motif in fifteenth-century Netherlandish painting. However, recent research has shown that the Moses statue can in fact mainly be found in paintings by artists active or trained in Brussels after c. 1450, while, previously, the motif most frequently occurred in Parisian manuscript illumination shortly after 1400. Is there a connection between these two groups of works? The recent restauration of an Eyckian panel painting at the Prado suggests Jan van Eyck may have played a role in bridging the gap between the two art centers.
Talk and workshop held on 28 January 2020 at the Museo del Prado in Madrid, as part of the semina... more Talk and workshop held on 28 January 2020 at the Museo del Prado in Madrid, as part of the seminar "Nuevas perspectivas en el estudio del arte neerlandés".
Artistic Translations between the fourteenth and sixteenth centuries: conference proceedings
Conference Presentations by Erik Eising
La Fuente de la Gracia es sin duda una de las obras de referencia para acercarnos a los mecanismo... more La Fuente de la Gracia es sin duda una de las obras de referencia para acercarnos a los mecanismos de propagación del arte de Jan van Eyck, pero de la cual sin embargo se desconocen con certeza casi todos los detalles. La reciente investigación y restauración a la que se ha sometido la pintura han aportado nuevos y sugerentes datos que avanzan en su conocimiento, pero es necesario una puesta en común de esos datos y la recapitulación de los aspectos más notables en torno todos los diversos extremos que subyacen alrededor de la obra para seguir avanzando en el conocimiento de esta singular creación eyckiana y su repercusión. Este será el contexto en el que se celebre este encuentro de especialistas, un foro en el que discutir, desde diversos campos del conocimiento, las posibilidades que los nuevos datos aportan y abrir nuevas líneas de investigación para el futuro.
Papers by Erik Eising
Uploads
PhD Research by Erik Eising
Through comparative research, this thesis (re)determines the origins, Europewide dissemination, functions, and meaning of embedded iconography (figures and scenes depicted in art as lifeless decoration or objects), c. 1250-1500.
Publications by Erik Eising
Online Publications by Erik Eising
Conference Papers by Erik Eising
This conference paper, based on a doctoral dissertation finished in 2018 (defended in 2020), aims at illustrating the differences in the usage of this type of iconographic motif among Italian, German, and Netherlandish artists, as well as highlighting occasional similarities. In some cases, for example, specific motifs of this type were disseminated throughout Europe via travelling artists or transported artworks and subsequently picked up by artists elsewhere, whereby the original meaning or function of the motif in question was diluted, altered or ignored. Thus, the identity or meaning of the Other could change as well, in accordance with local or regional views and culture.
Conference Presentations by Erik Eising
Papers by Erik Eising
Through comparative research, this thesis (re)determines the origins, Europewide dissemination, functions, and meaning of embedded iconography (figures and scenes depicted in art as lifeless decoration or objects), c. 1250-1500.
This conference paper, based on a doctoral dissertation finished in 2018 (defended in 2020), aims at illustrating the differences in the usage of this type of iconographic motif among Italian, German, and Netherlandish artists, as well as highlighting occasional similarities. In some cases, for example, specific motifs of this type were disseminated throughout Europe via travelling artists or transported artworks and subsequently picked up by artists elsewhere, whereby the original meaning or function of the motif in question was diluted, altered or ignored. Thus, the identity or meaning of the Other could change as well, in accordance with local or regional views and culture.