*Two guys urinating off a bridge*
art
Gerard Johnson (sculptor)
http://en.wikipedia.org/wiki/Gerard_Johnson_%28sculptor%29
<<Gerard Johnson (flourished 1616-1623) is the Anglicised form of
*Gheerart Janssen* , a sculptor who worked in Jacobean England and who
is thought to have created Shakespeare's funerary monument. His
father, also called Gerard Johnson, came to England in *1567* from
Holland. He established himself as a monumental sculptor in London.
Johnson's father had worked on a monument to the 1st Earl of
Southampton, which also depicts Shakespeare's patron,
the 3rd Earl, as a young man.
The younger Johnson's monument is in Holy Trinity church, Stratford
upon Avon, and was probably commissioned by Shakespeare's son-in-law
John Hall. The attribution to Johnson is contained in William
Dugdale's Antiquities of Warwickshire, published in 1656,
but no other evidence of Johnson's authorship exists.
Dugdale also states that the younger Johnson created
the memorial in Holy Trinity church to Shakespeare's
friend John Combe, who left the playwright a legacy
in his will. It is also possible that Shakespeare knew
the Johnson family from his London days,
since their workshop was close to the Globe theatre.
In 1849 a death mask was discovered in Germany, and was
claimed to be Shakespeare's. It received great publicity
when Richard Owen authenticated it and suggested that
it was used by Johnson as the model for the memorial.
Henry Wallis later painted this imagined scene.>>
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http://arts.jrank.org/pages/15673/Gerard-Johnson-%28or-Garet-Janssen-...
Gerard Johnson (or Garet Janssen) Biography
(d. 1611), (or Garet Janssen ), Shakespeare, English Church Monuments
<<Dutch-born sculptor and mason. Johnson was among those Protestant
refugees who fled the Low Countries during religious conflicts and
arrived in London c. *1567* . He established workshops in Southwark
and soon developed a large and thriving practice carving tombs,
chimney pieces, and fountain basins. Johnson, and his fellow Dutch
émigré sculptors, introduced canopied tombs, deeply carved, with
portrait figures and heraldic devices, urns, and strapwork, usually in
alabaster which was then coloured and gilded. Typical examples are the
tombs of the 2nd Earl of Southampton ( 1592 ; Titchfield, Hants) and
the 3rd Earl of Rutland ( 1591 ; Bottesford, Leics.); his son Nicholas
is credited with the tomb of the 4th Earl ( 1611 ). Another son,
Bernard (active 1610 – 30 ), is said to have been the principal mason
for Audley End ( 1603 – 16 ; Saffron Walden, Essex), the grandest of
Jacobean country houses, and Northumberland House, London
(demolished). Gerard the younger sculpted the pedestrian memorial
portrait bust of Shakespeare ( 1616 ; Stratford upon Avon).>>
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. Edward de VERE died on *St. JOHN's day* 1604 and
was buried in the church of *St. AUGUSTINE* in Hackney.
.
Sir Francis VERE died on *St. AUGUSTINE's day* 1609 and
was buried in the chapel of *St. John* in Westminster Abbey.
...........................................
1) grandson of John [15th] Earl of Oxford
2) Elizabeth, his true beloved widow
3) fought for Catholic Dukes (Alva or Guise) like Cervantes
4) a leader of the English forces in Belgium
5) retired in 1604
6) died in the 54th year of his age
7) heir: Henry de Vere, 18th Earl of Oxford
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Oxford was accused by Charles Arundel of:
.
1) leading Alva's Spanish troops into Holland &
.
2) leading 30,000 Papal troops against Genoa. [Ogburn, p.552 ]
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Marcus Gheeraerts the Elder
http://en.wikipedia.org/wiki/Marcus_Gheeraerts_the_Elder
Marcus Gheeraerts the Elder (c.1520–c.1590) was a Flemish printmaker
and painter associated with the English court of the mid-16th Century
and mainly remembered as the illustrator of the *1567* edition of
Aesop's Fables.
Born in Bruges, Flanders, Gheeraerts fled to England in 1568 with his
son, Marcus Gheeraerts the Younger (1562–1635), due to the [Duke of
Alva's] religious persecutions. There he married his second wife,
Sussanah de Critz, a close relative of Queen Elizabeth I's serjeant-
painter, John de Critz. He was in London for at least 9 years but may
have returned to Flanders around 1577 to continue his career in
Antwerp. However, Gheeraerts retained links with England: he had his
son enrolled in the painters guild and one of his daughters, Sarah,
married the famous French-born English limner Isaac Oliver.
Gheeraerts is most noteworthy as a printmaker. He was a keen innovator
and experimented with etching at a time when woodcut and engraving
were dominant techniques.
Gheeraerts' style resembles that of Pieter Bruegel the Elder. In his
own day, Gheeraerts was particularly famous as a draughtsman of birds
and animals, and since the Protestant Reformation had caused a still-
stand in the church art market, he showcased his talent in the fable
book De warachtighe fabulen der dieren from 1567. He etched the title
page and 107 fable illustrations and had his friend, *EDEWAERD DE
DENE* , write the book's fables in Flemish verse. Gheeraerts based
most of his motifs on woodcuts by Virgil Solis and Bernard Salomon but
gave his subjects greater naturalism. Gheeraerts added another 18
illustrations and a new title page for a French version of the Fabulen
that was published in 1578 under the title Esbatement moral des
animaux. A Latin version, Mythologia ethica, was published in the
following year with a title page likely based on a drawing by
Gheeraerts. The copper plates were used in books well into the 18th
Century and the fable series was copied by artists all over Europe.
Gheeraerts also etched a second series of 65 illustrations for the
fable book Apologi creaturarum, which was published in Antwerp in
1584.
Less is known about Gheeraerts' color portraits or paintings as he
never signed his work, and what does exist is identifiable only from
stylistic considerations – a certain "fuzziness" and an attempt to
imitate Flemish artists of the past such as *Jan Van Eyck* .
Karel van Mander wrote in his Schilderboeck from 1604 that
Gheeraerts was a good landscape painter, who "often had the habit
of including *a squatting, urinating woman on a bridge* .
A similar detail is seen in one of his fable illustrations.>>
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*Two guys urinating off a bridge*
http://www.ibiblio.org/wm/paint/auth/eyck/rolin.jpg
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http://www.shakespearefellowship.org/Newsletter/NewsletterMain.htm
http://www.shakespearefellowship.org/Ashbourne.htm
http://www.shakespearefellowship.org/Newsletter/Ashbourne-Part_II_Win...
_A Golden Book, bound richly up_
By Barbara Burris ©2001
<<The Dutch painter Cornelius Ketel, whose initials Barrell found in
the painting through X-rays, was in England from 1573 to 1581. Hatton
introduced Ketel as a painter to Elizabeth's Court in 1578. Van Mander
notes Ketel painted a portrait of Oxford. In 1580 Harvey mocked
Oxford's wearing of large French Camerick ruffs. Barrell's X-ray
examination revealed a large circular ruff under the visible ruff.
Lord Russell's 1580 French ruff fits perfectly over the outlines
of this hidden ruff.>>
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http://www.metmuseum.org/TOAH/HD/neth/ho_17.190.17.htm
Virgin and Child, ca. 1525
Jan Gossaert (called Mabuse) (Netherlandish, ca. 1478–1532)
<<This is the preeminent version of a dozen or so paintings of this
popular composition by Gossart. It has been associated with a work the
artist made while serving Adolf of Burgundy, *MARQUIS de Veere* .
According to Karel van Mander in his Schilderboeck (1604), the faces
of Mary and the infant Christ were modeled after Adolf's wife, Anna
van Bergen, and the couple's son. The picture is therefore, both a
devotional object and a disguised portrait.>>
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What, if anything, Marcus Gheeraerts The Elder
have to do with Geerhart JANssen The Younger.
http://en.wikipedia.org/wiki/Gerard_Johnson_%28sculptor%29
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Geerhart JANssen's bust of Shakespeare:
http://mh.cla.umn.edu/ShakTrin.jpg
Appears to me to abe a rendition of a JAN Van Eyck's work:
http://www.ibiblio.org/wm/paint/auth/eyck/rolin.jpg
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Check out:
1) The two tone Red & Blue/Green tasselled cushion
(reversed for Shakespere) for holding "the word".
2) The Black Corinthian columns supporting an arch.
3) Shakespere's nose, mouth, eyes, curly hair,
. thick neck & sour apple expression as
. an amalgam of that of Rolin & the christ child
. (and possibly the madonna as well).
4) The breast shaped disks over Shakespere's head representing
the breast shaped disks in the windows that frame the painting.
5) Shakspere's right middle & forefinger extended in writing
as Jesus's right middle & forefinger extended in blessing.
6) And *Two guys urinating off a bridge*
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http://tinyurl.com/374wsl
<<The Flemish writer *Eduard de DENE* published a comical poem in 1539
about a nobleman who hatches a plan to send his servant back & forth
on absurd errands on April 1st, supposedly to help prepare for a
wedding feast. The servant recognizes that what’s being done to him is
an April 1st joke. The poem is titled “Refereyn vp VERzEnDEkens dach /
Twelck den eersten April te zyne plach.” This is late medieval Dutch
meaning (roughly) “Refrain on errand-day / which is the first of
April.” In the closing line of each stanza, the servant says, “I am
afraid… that you are trying to make me run a fool’s errand.” What we
have here is a fairly clear reference to a custom of playing practical
jokes on April 1st. So we can say that April Fool’s Day dates back at
least to the sixteenth century. Because of this reference, historians
believe that April Fool’s Day must have originated in continental
northern Europe and then spread to Britain.>>
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http://www.dlroper.shakespearians.com/
_______ <= Sonnet 34 =>
. STAYPASSENG- *E* RWHYGO ____- *E* STTHOVBYSOFASTR
. EADIFTHOVCAN_ *S* TWHOM *E* ___- *N* VIOVSDEATHHATH
. PLASTWITHINTH__-*I* SMON__ *V* _ _M_ *E* NTSHAKSPEAREW
. ITHWHOMEQVICKN- *A* TVR__ *ED* _ -_I__ *D* EWHOSENAMEDO
. THDECKYSTOMBEFA *R* MO_ *RE* _T _H_ *E* NCOSTSIEHAL
. LYTHEHATHWRITTLE_- *A* _V_ *E* _SLIVI ________ NGARTBVTPA
.GETOSERVEHISWITT
.......................................................
. All's Well That Ends Well > Act II, scene I
LAFEU: O, will you eat no GRAPEs, my royal fox?
. Yes, but you will my *noble GRAPEs* , an if
. My royal fox could reach them: I have seen a medicine
. That's able to breathe life into a stone,
. Quicken a rock, and make you dance canary
. With spritely fire and motion; whose simple touch,
. Is powerful to *ARAISE* King Pepin, nay,
. To give great Charlemain a PEN in's hand,
. And write to her a love-line.
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Art Neuendorffer