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Scorel≈parallellen

G. J. HOOGEWERFF
Oud Holland
Vol. 46 (1929), pp. 197-214, 281
Published by: Brill
Stable URL: http://www.jstor.org/stable/42722383
Page Count: 19
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Scorel≈parallellen
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Abstract

The author begins with the statement that the ten works attributed to Scorel at the great Exhibition of Dutch Art, held in London last Spring, in reality are by no fewer than four different hands. It will be necessary to aim at acquiring a more critical knowledge of the master's own art. After a suggestion as to the real authorship of the beautiful portraits representing the Amsterdam magistrate Pieter Bicker and his wife, the writer tries to define better the artistic personality of Scorel by discussing some parallels existing between a number of authentic works and no less "authentic" variations and replicas. He gives a stilistic description of an important "Descent from the Cross", discovered recently at New-York, dating this altarpiece at 1540—42, and concludes by pointing out that the "Adoration of the Magi", in the Museum at Bonn, must be considered a work of Scorel's friend Jan Cornelisz. Vermeyen, a painter at the court of the Emperor Charles V. A "parallel" to this is found in an authentic "Adoration" by Scorel himself in Nieuwenbroek-Castle.

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