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of workshops were likely involved in their production. That a majority of the miniatures share technical, stylistic and thematic similarities, they are often considered as a near homogeneous group. This view was first noted by the art historian Jaap
Leeuwenberg, who cited such stylistic traits as broad and densely populated animated scenes, which are often placed, in the words of the art historian William Wixom, on "steeply angled ground planes of tiled floors".
77:, or a patron. Dircksz is thought to have been active between 1500 and 1530, and responsible for some sixty of the surviving examples. He may have led a workshop in the southern Netherlands, given that Flemish inscriptions appear on some of the carvings. Alternatively, it was located more northerly, possibly in
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The more complex boxwood miniatures may have taken decades of work to complete, over a period equivalent to the entire career of a medieval master carver. Thus, production must have been organised between workshops of specialised artisans, and because the works are so intricate, only a small number
105:, approaches and use of depth, as well as similar hinges and methods of construction, the art historian Jaap Leeuwenberg suggests that production of a number of the miniatures was overseen by a single master named Adam Dircksz. Dircksz was first identified through a signature on a
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Other shared features include spatial devices, figures in contemporary dress, and draperies arranged in angular folds. On this basis
Leeuwenberg attributed a large number of the objects to Dircksz, around 35–40, although that estimate has been revised down in more recent years.
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The Latin name "Adam
Theodrici" may be translated into English as "Adam of Theodoric", but art historians usually use the Dutch version of his name, Adam Dircksz. Although it was rare in the 16th century for artists to sign a work, when done, it usually took the
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around 1500", but points out that "giant strides are rarely made in art history", pointing to affinities with silversmith's art, especially the miniature architectural elements often found in ecclesiastical silver and ornaments.
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Almost nothing is known about his life, except from some dates and signatures left on carvings, which indicate only that he was associated with the art works, the real life person may have been a woodcutter, sculptor,
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Regardless of the number of works that
Dircksz or his workshop can be attributed with, art historians often debate what the artistic and technical precedents for the miniatures might be. Dutch art historian
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57:. It may be that the master was the innovator in this style of sculpture, and that similar works were directly inspired. According to the
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Boehm, Barbara Drake; Suda, Alexandra. "Handpicked: Collecting
Boxwood Carvings from the Sixteenth to the Twenty-First Centuries." In:
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in
Holland. In any case, apart from Henry VIII and Catherine, all of the original owners come from the Netherlands.
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Prayer Bead with the
Crucifixion and Jesus before Pilate (open), c. 1500–1530. Metropolitan Museum of Art, New York
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micro-carvings. Other historians prefer to attribute various unrelated artists who are given individual or grouped
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456:(ed), "Small Wonders: Late-Gothic Boxwood Micro-Carvings from the Low Countries". Amsterdam: Rijksmuseum, 2016.
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sculptor whose workshop is often attributed with the creation of around 60 of the c. 150 extant
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observes how, to a large extent, it seems "as if this exquisite sculpture was born
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Investigating
Miniature Boxwood Carving at the Art Gallery of Ontario in Toronto
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463:. "Small Wonders: Gothic Boxwood Miniatures". Art Gallery of Ontario, 2016.
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Prayer nut case with tracery, attributed to Adam
Dircksz, c. 1500–1530.
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Scholten, Frits. "A Prayer Nut in a Silver
Housing by 'Adam Dirckz'".
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Prayer bead with the Adoration of the Magi and the Crucifixion
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Prayer bead with the Prayer of the Rosary and the Lamentation
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Prayer Bead with the Crucifixion and Jesus Carrying the Cross
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Because of shared characteristics, including common use of
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Prayer Bead with the Crucifixion and Jesus before Pilate.
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484:. Ann Arbor, MI: Antique Collectors Club Limited, 2000.
351:". CODART eZine, Spring 2003. Retrieved 18 November 2018
133:" (made me) form, in effect of making the object speak.
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Triptych, Adam Dircksz (workshop of), c. 1500 – c. 1530
391:". Metropolitan Museum of Art. Retrieved 8 October 2018
30:, dated 1511. 25.1 cm × 14 cm (9.9 in × 5.5 in).
498:, volume 61, no. 1/2, Summer 1983. pp. 38–45
494:Wixom, William. "A Brabantine Boxwood Triptych".
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41:(active 1500–1530) is the name ascribed by some
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239:". British Museum. Retrieved 18 November 2018
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622:Miniature altarpiece, Victoria & Albert
482:Netherlandish Art in Rijksmuseum: 1400–1600
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640:Miniature altarpiece with the Crucifixion
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250:The Universe in a Nutshell
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475:The Rijksmuseum Bulletin
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143:Gothic boxwood miniature
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121:Adam Dircksz has made me
65:, with a strong link to
51:Gothic boxwood miniature
45:to a highly influential
329:Scholten (2011), p. 339
317:Anderson (2012), p. 112
281:Scholten (2011), p. 342
116:Adam Theodrici me fecit
27:Portable altar (WB.232)
409:Scholten (2017), p. 31
400:Scholten (2017), p. 32
338:Scholten (2017), p. 27
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672:Renaissance sculptors
113:Copenhagen, reading "
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369:Marks (1977), p. 142
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79:the north of Brabant
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272:Wixom (1983), p. 43
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662:Woodcarvers
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612:, 1500-1510
588:Prayer nuts
554:Artists and
436:Rijksmuseum
208:, Amsterdam
206:Rijksmuseum
109:now in the
89:Attribution
656:Categories
419:17.190.474
180:, New York
107:prayer nut
556:workshops
155:ex nihilo
75:medallist
63:Charles V
130:me fecit
55:notnames
34:, London
581:Formats
446:Sources
163:Gallery
630:, 1511
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81:or at
597:Works
214:Notes
137:Style
83:Delft
67:Delft
47:Dutch
486:ISBN
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