Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 104. (Budapest, 2006)
TERÉZ GERSZI: Pieter Coecke Van Aelst and Andrea Mantegna
M.J. Friedländer, Early Netherlandish Painting, vol. 8, Leiden and Brussels 1975, 54, no. 100, pi. 100; Kunst der Renaissance, ed. K. Plegner, Schwerin, Staatliches Museum 1990, no. 60. N. Dacos, "Michiel Coxcie dans l'atelier de Bemard van Orley," Handelingen van de Koninklijke Kring voor Oudheidkunde, Letteren en Kunst van Mechelen, Mechelen 1993, 47. Friedländer 1975, vol. 12. no. 226, pi. 122; D. Schubert, Die Gemälde des • BraunschweigerMonogramm ist, Cologne 1970, no. 7, fig. 22; W. S. Gibson, Mirror of the EartV: The World Landscape in SixteenthCentury Flemish Painting, Princeton NJ 1989, 25. G Marlier, La Renaissance flamande: Pierre Coecke dAlost, Brussels 1966; The Age ofBruegel: Netherlandish Drawings in the Sixteenth Century, eds. J. O. Fland, J. R. Judson, W. W. Robinson, and M. Wolff, cxh. cat., Washington, National Gallery of Art Washington and New York, The Pierpont Morgan Library 1986-1987, 114-19. W. Wegner, Die niederländischen Handzeichnungen des 15.-18. Jahrhunderts, Berlin 1973, no. 35; Washington and New York 1986-87, no. 36. O. Benesch, Die Zeichnungen der niederländischen Schulen des XV. undXVI. Jahrhunderts, Vienna 1928, no. 53. Hol I stem IV, 4. The second piece of the woodcut series shows the caravan ascending from the mountains of Slavonia, the long procession of which is reminiscent of the marching of the multi-figured retinue of the Adoration of the Magi compositions of Italian quattrocento masters. Coecke may have portrayed this caravan scene not independently of these. If the Brunswick Monogrammist can really be identified with Jan van Amstel, then comparison of their paintings with the same subject matter is especially justified, since he was Coecke's brotherin-law. In the numerous paintings made in Coecke's workshop, the landscape was often executed by Jan van Amstel. E. Tietze-Conrat, Mantegna, Paintings, Drawings, Engravings, London 1955, 185, pi. 25, 198, pi. 42. The other painting with the same subject matter, executed with the participation of the workshop, can be found in the Musée de Tours. Tietze-Conrat 1955, 183-84, pis. 108-16; A. Martindale, The Triumphs of Caesar by Andrea Mantegna in the Collection of LI. M. The Queen at Hampton Court, London 1979. A. E. Popham, Catalogue of Drawings by Dutch and Flemish Artists Preserved in the Department of Prints and Drawings in the British Museum, vol. 5, London 1932, 23, 24, no. 8; Washington and New York 1986-87, no. 37. Martindale 1979, 162-68, pis. 52-65, 78-86, 89-97.
