This essay examines the erotic works produced collaboratively by members of Karel van Mander’s so-called “Haarlem Academy” to suggest that early modern art making created a space in which slippages could occur between homosocial relationships and homoerotic practices. Hierarchical power relations inherent to collaboration, and to early-modern precursors to formalized academies, facilitated these dynamics because they structurally replicated essential conditions of homoerotic relationships. In turn, the piece proposes ways in which formal readings of works coupled with the interrogation of collaborative artistic production can help explore how works of art do more than index homoerotic relationships and, instead, instantiate them.
Brushes, Burins, and Flesh: The Graphic Art of Karel van Mander’s Haarlem Academy
Aaron M. Hyman is a PhD candidate in the Department of History of Art at the University of California, Berkeley, and currently the Andrew W. Mellon fellow at the Center for Advanced Study in the Visual Arts (2015–17) and Mellon fellow in Critical Bibliography at Rare Book School (University of Virginia). His research has also been supported by the Social Science Research Council, the Belgian American Educational Foundation, and the Jacob K. Javits fellowship.
Aaron M. Hyman; Brushes, Burins, and Flesh: The Graphic Art of Karel van Mander’s Haarlem Academy. Representations 1 May 2016; 134 (1): 1–28. doi: https://doi.org/10.1525/rep.2016.134.1.1
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