Virtual Museum Scavenger Hunt

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Virtual Museum Scavenger Hunt Rijksmuseum, Amsterdam, Netherlands Welcome to the Rijksmuseum! Before we get started on our Scavenger Hunt, here is a bit of history about the museum. The Rijksmuseum is in Amsterdam, Netherlands. The museum is dedicated to art and history. Originally, it was built in the Hague in 1798, but moved to Amsterdam in 1808. The Rijksmuseum was built by Pierre Cuypers and it officially opened in 1885. It has 8,000 objects of art and history displayed. It is home to over 1 million objects from the years 1200-2000. Here are some other fun facts about the museum: To get started on the Scavenger Hunt follow this link! . It is formally known as the Royal Museum, the name was https://artsandculture.google.com/partner/rijksm given by Louis Bonaparte, Napoleon Bonaparte’s brother. useum?hl=en . The Rijksmuseum has a road that runs through it. It was built on top of more than 8,000 wooden piles. The Museum has the largest Library in the Netherlands. The museum has 80 galleries. 1. Find the Portrait called “Portrait of a Girl Dressed in Blue”. What is to the right of it? 2. Find the painting called “Woman Reading a Letter”. What is the woman to the left of this painting doing? 3. Find the painting called “The Threatened Swan”. What do the other paintings in the room show? 4. Find the painting called “Floral Still Life”. How many people are in the painting to the right of this one? 5. Find the painting called “Girl in White Kimono”. What season is it in the painting to the left of this one? 6. Find the painting called “The Stone Bridge”. Who painted this picture? 7. Find the main hall of the Rijksmuseum. How many statues are in the lobby? 8. Find the painting called “The Little Street”. How many paintings are in the room with this painting? 9. Find the painting called “Fishing for Souls”. What objects are in the room with this painting? 10. Other than Rembrandt, there is another artist who painted a painting called, “Self Portrait”. Who painted this painting? .

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Major Rembrandt Portrait Painting on Loan to the Wadsworth from the Rijksmuseum Amsterdam
FOR IMMEDIATE RELEASE Media Contact: Kim Hugo, (860) 838-4082 [email protected] Image file to accompany publicity of this announcement will be available for download at http://press.thewadsworth.org. Email to request login credentials. Major Rembrandt Portrait Painting on Loan to the Wadsworth from the Rijksmuseum Amsterdam Hartford, Conn. (January 21, 2020)—Rembrandt’s Titus in a Monk’s Habit (1660) is coming to Hartford, Connecticut. On loan from the Rijksmuseum in Amsterdam, the painting will be on view at the Wadsworth Atheneum Museum of Art from February 1 through April 30, 2020. Rembrandt van Rijn (1606–1669), recognized as one of the most important artists of his time and considered by many to be one of the greatest painters in European history, painted his teenage son in the guise of a monk at a crucial moment in his late career when he was revamping his business as a painter and recovering from bankruptcy. It has been fifty-three years since this painting has been on view in the United States making this a rare opportunity for visitors to experience a late portrait by the Dutch master among the collection of Baroque art at the Wadsworth renowned for its standout paintings by Rembrandt’s southern European contemporaries, Zurbarán, Oratio Gentileschi, and Caravaggio. While this painting has been infrequently seen in America, it exemplifies the dramatic use of light and dark to express human emotion for which Rembrandt’s late works are especially prized. “Titus in a Monk’s Habit is an important painting. It opens questions about the artist’s career, his use of traditional subjects, and the bold technique that has won him enduring fame,” says Oliver Tostmann, Susan Morse Hilles Curator of European Art at the Wadsworth.
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Fashionable Mourners: Bronze Statuettes from the Rijksmuseum
Fashionable Mourners: Bronze Statuettes from the Rijksmuseum by Amanda Mikolic, Curatorial Assistant Cleveland’s celebrated early fifteenth-century alabaster tomb Figure 1. Mourners mourners are part of a major exhibition at the renowned from the Tomb of Philip the Bold, Rijksmuseum in Amsterdam this fall (fig. 1). In exchange, the Duke of Burgundy (r. Cleveland Museum of Art has the rare opportunity to exhibit 1363–1404), 1404–10. Claus de Werve four bronze mourners—traveling to North America for the (Netherlandish, first time—from the tomb of Isabella of Bourbon (1436–1465) 1380–1439). Vizille ala- (fig. 2). The original carvings are attributed to Jan Borman the baster; avg. h. 41.4 cm. The Cleveland Museum Younger and the casting attributed to Renier van Thienen. of Art, Bequest of Leonard C. Hanna Jr., 1940.128, 1958.66–67. Figure 2. Mourners from the Tomb of Isabella of Bourbon, c. 1475–76. Attributed to Jan Borman the Younger (Netherlandish, active 1479–1520); casting at- tributed to Renier van Thienen (Flemish, ac- tive 1460–1541). Brass copper alloy; avg. h. 56 cm. On loan from the City of Amsterdam, BK-AM-33-B, I, D, F. 2 3 Figure 3. Portrait of for overseeing the construction of Isabella’s tomb in addition to Isabella of Bourbon, c. casting the bronze mourners from wooden models attributed 1500. After Rogier van der Weyden (Flemish, to carver Jan Borman, who often worked with Van Thienen and c. 1399–1464). Musée was known in Brussels as a master of figural sculpture. des Beaux-Arts, Dijon, France.
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Changing the Game Museum Research and the Politics of Inclusivity Margriet Schavemaker
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Sebasco Harbor Resort, Rte
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Insights from Stourhead Gardens
Open Research Online The Open University’s repository of research publications and other research outputs Myth In Reception: Insights From Stourhead Gardens Thesis How to cite: Harrison, John Edward (2018). Myth In Reception: Insights From Stourhead Gardens. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000d97e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Myth in reception: Insights from Stourhead gardens John Edward Harrison BSc (Hons) Psychology, University of Hertfordshire, UK Dip CS, Open University, UK PhD Neuroscience, University of London, UK Thesis submitted to The Open University in partial fulfilment of the requirement for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences (FASS) The Open University December 2017 1 Declaration I declare that this thesis represents my own work, except where due acknowledgement is made, and that is has not been previously submitted to the Open University or to any other institution for a degree, diploma or other qualification. 2 Abstract The focus of my thesis is the reception of classical myth in Georgian Britain as exemplified by responses to the garden imagery at Stourhead, Wiltshire. Previous explanations have tended to the view that the gardens were designed to recapitulate Virgil’s Aeneid.
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The Rijksmuseum Collection As Linked Data
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Van Gogh Museum Journal 1995
Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions.
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Tidy Humanities Data
Tidy Humanities Data Matthew Lincoln May 30, 2019 Making tidy humanities data I All real-life historical data are more complicated than that. The problem I Text, network, and other quantitative analyses need data supplied in one neat table The problem I Text, network, and other quantitative analyses need data supplied in one neat table I All real-life historical data are more complicated than that. What we’ll learn I Structuring our sources as “tidy” data for future analysis I Handling dates I Categorization I Multiple values I Missing or uncertain data I Example queries I Practical exercise What is tidy data? 1. One variable per column 2. One observation per row 3. Consistent data types 4. If you can’t do 1 and 2, that means you need an extra table Messy (but well-intentioned!) data acq_no museum artist date medium tags 1999.32 Rijksmuseum Studio of Rembrandt, Govaert Flinck after 1636 oil on canvas religious, portrait 1908.54 Victoria & Albert Jan Vermeer c. 1650 oil paint on panel domestic scene and women 1955.32 British Museum Possibly Vermeer, Jan c. 1655 oil on canvas woman at window, portrait 1955.33 Rijksmuseum Hals, Frans 16220 oil on canvas, relined portraiture Dates There’s no one true way to encode date information. It depends on your use-case. 1. “point” events? Or durations? 2. How precise are your sources? 3. How varied is that precision? Point vs. duration events date 1660-03-01 1661-05-20 1661-12-05 Point data speciﬁes exactly one point in time; durations have a beginning and an end.
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Louvre Abu Dhabi: the New Museum Exhibits a Sublime Leonardo (Not the Most Publicized) Along with Sixteen Rembrandts and Two Vermeers
Louvre Abu Dhabi: the new museum exhibits a sublime Leonardo (not the most publicized) along with sixteen Rembrandts and two Vermeers Vanished Leonardo After a little over a year in existence and with over a million visitors, the Louvre Abu Dhabi has shown itself to be a force to be reckoned with in the museum world. To do so it wasn’t necessary to acquire an overly restored Leonardo da Vinci painting, of which we’ve had no news as of yet (1). A Leonardo from Paris In addition to the exceptional deployment of their permanent collections charting the evolution of humankind through its creations, presented in a grandiose architectural setting with a dome, designed by French architect Jean Nouvel, the museum is currently housing names from the very pinnacle of art history, including “La belle ferronnière” by Leonardo da Vinci on loan from the Louvre until August, but also “The Lacemaker” by Vermeer, another fascinating painting from the Louvre, and a monumental “Minerva” by Rembrandt van Rijn (1606- 1669), which accompanies fourteen other paintings alongside drawings and etchings by the Dutch master. Thomas Kaplan These works have all travelled to take part in the exhibition “Rembrandt, Vermeer and the Dutch Golden Age” which is mainly composed of the collection belonging to the American businessman Thomas Kaplan (see the post on the collector), part of which has already been exhibited at the Louvre in Paris in 2017 followed by Beijing, Shanghai, St Petersburg and Moscow. Rembrandt To coincide with the exhibition, the Louvre Abu Dhabi announced that it has acquired a portrait of Christ by Rembrandt.
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Frans Hals's Portrait of Isaac Massa and Beatrix Van Der Laen For
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The Rijksmuseum Bulletin
the rijksmuseum bulletin 246 the rijks an amsterdam notebookmuseum unravelled bulletin Short Notice A New Attribution of a Bust * of the Holy Virgin to Enrico Merengo • maichol clemente • little known Bust of the Holy < Fig.1 into a sensitive style, in which the A Virgin in the Rijksmuseum’s enrico merengo, marble seemed to become a living, collection is here added to the oeuvre Bust of the Holy shimmering material, thanks in part of the sculptor Heinrich Meyring, born Virgin, c. 1680. to a growing tendency towards painter - Marble, h. 35 cm. in Westphalia but better known by his ly chiaroscuro effects. While the high Amsterdam, Italian name Enrico Merengo (1638/39- Rijksmuseum, point of this stylistic development 1 1723). His works owe a considerable inv. no. bk-1968-19. is with out doubt represented by the debt to the compositional inventions complex plasticity of The Virgin and formal style of his teacher, Giusto Fig. 2 Grieving over Plague-Stricken Venice,7 Le Court (1627-1679)2 (figs. 1-2).3 The Detail of fig. 1 there are other works that also express Rijksmuseum’s bust is a work in marble that has previously been attributed to two other artists at different times.4 Working in Venice in the second half of the seventeenth century, Merengo was trained in Giusto le Court’s work - shop. Since 1655, the year his presence in the Serenissima Repubblica di San Marco is first recorded, this Flemish sculptor – born in Ypres – had been the great pioneer of baroque sculpture in Venice and the exponent of François du Quesnoy’s style there.
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Automatic Meaning Discovery Using Google
Automatic Meaning Discovery Using Google Paul Vitanyi CWI, University of Amsterdam, National ICT Australia Joint work with Rudi Cilibrasi New Scientist, Jan. 29, 2005 Slashdot: News for Nerds; Stuff that Matters, Jan. 28, 2005 Dutch Radio: TROS Radio Online, March 8, 2005 The Problem: Given: Literal objects (binary files) 1 2 3 45 Determine: “Similarity” Distance Matrix (distances between every pair) Applications: Clustering, Classification, Evolutionary trees of Internet documents, computer programs, chain letters, genomes, languages, texts, music pieces, ocr, …… TOOL: z Information Distance (Li, Vitanyi, 96; Bennett,Gacs,Li,Vitanyi,Zurek, 98) D(x,y) = min { |p|: p(x)=y & p(y)=x} Binary program for a Universal Computer (Lisp, Java, C, Universal Turing Machine) Theorem (i) D(x,y) = max {K(x|y),K(y|x)} Kolmogorov complexity of x given y, defined as length of shortest binary ptogram that outputs x on input y. (ii) D(x,y) ≤D’(x,y) Any computable distance satisfying ∑2 --D’(x,y) ≤ 1 for every x. y (iii) D(x,y) is a metric. However: z x X’ Y Y’ D(x,y)=D(x’,y’) = But x and y are much more similar than x’ and y’ z So, we Normalize: Li Badger Chen Kwong Kearney Zhang 01 Li Vitanyi 01/02 Li Chen Li Ma Vitanyi 04 z d(x,y) = D(x,y) Max {K(x),K(y)} Normalized Information Distance (NID) The “Similarity metric” Properties NID: z Theorem: (i) 0 ≤ d(x,y) ≤ 1 (ii) d(x,y) is a metric symmetric,triangle inequality,: d(x,x)=0 (iii) d(x,y) is universal d(x,y) ≤ d’(x,y) for every computable, normalized (0≤d’(x,y)≤1) distance satisfying standard “density” condition.
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