Peters, Emily J., and Laura Ritter, eds. Tales of the City: Drawing in the Netherlands from Bosch to Bruegel

While the paintings, prints, and more recently sculptures produced in the Low Countries in the early modern period have been the subject of scholarly investigation, the drawings of this period have remained comparatively overlooked.Moreover, scholarship has only recently re-evaluated the sixteenth century, which has been less well studied than the Netherlandish art of the fifteenth and seventeenth centuries.The Cleveland Museum of Art and the Albertina Museum have organized an exhibition and accompanying catalogue to shed light on the significance of drawings in the sixteenth century, situated amid recent turns in scholarship to the material, social, religious, and urban contexts of artworks.The catalogue, edited by Emily Peters and Laura Ritter, brings together four thematic essays and catalogue entries, to explore the production, use, and reception of this medium across the Low Countries.Drawing is here understood as critical for the development of the arts in this period, as both a means of observing the world and expressing imaginative invention.Emerging from the rich collections of the Albertina, alongside a few selections from the Cleveland Museum of Art, the catalogue evokes the richness of the arts in the Low Countries in the sixteenth century.In her introduction, Emily Peters sets the social and religious scene: the Low Countries were home to rich, diverse, trading cities.Applying a civic lens, the catalogue aims to create a conceptual framework for understanding drawings.Both artists and their works were key to the development of cities: drawing was "a technique and a practice, and a product of the intersection of the various urban constituencies" (5).First, Koenraad Jonckheere studies how the feverish image debates in the sixteenth century, which emerged from ongoing religious tensions, are linked to artistic production.Writers in the Low Countries did not compose specialized texts about artistic practice, in contrast to those created in the Italian Peninsula at this time.This essay argues that the understanding of art can instead be found embedded in the religious debates of the period, which called into question the very status of the image.Mathieu de Launoy and Henry Pennetier's Calvinist treatise against images, and its response by Lambert Daneau exemplify the link

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