DOCSLIB.ORG

Imitation and Emulation in Rembrandt's Neighborhood

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Imitation and Emulation in Rembrandt's Neighborhood EAUH 2018 conference Session M37: New Technologies and Methods for Historical Cadastral Studies (1500-1950) Imitation and emulation in Rembrandt’s neighborhood– deciphering transmission of ideas among artists living around the corner Weixuan Li,a Marten Jan Bok,a Ivan Kisjes,a and Menno den Engelseb a University of Amsterdam, Amsterdam, the Netherlands b Islands of Meanings, the Netherlands1 Abstract Historical and cadastral maps can enrich art historical research by allowing to pinpoint the artist’s workshop to a specific location in the city. Cadastral resources, together with historical maps and archival sources, enable us to virtually reconstruct the spatial networks in neighborhoods where artists lived, worked, and socialized. However, the dissemination of artistic innovation through physical contact within the same community has long escaped the art historian’s attention. This research intends to fill this gap through deep-mapping the production and consumption of painting in seventeenth-century Amsterdam, with a focus on Rembrandt’s neighborhood, Sint Antoniesbreestraat. Information extracted from archival documents are layered on top of the historical maps of 1625 and 1724 by geo- referencing the descriptions of locations from the original sources. Wealth distribution in the city based on the 1631 tax registration are visualized which refutes the commonly-held belief that Sint Antoniesbreestraat was crowded with wealthy patrons of arts, who attracted artists to this neighborhood. This research further links the biographical databases of agents in the creative industries in Amsterdam and analyzes the composition of the neighborhood of Sint Antoniesbreestraat, which illustrates that this area continued to flourish throughout Rembrandt’s lifetime. A closer observation of the functioning and evolution of creative industries in a spatial cluster reveals that, as the art market matured, Rembrandt’s neighborhood experienced a ‘reverse gentrification’ -- artistic painters were replaced by the ‘industrial’ painters who painted on spec or participated in mass production. Lastly, by layering paintings created in Sint Antoniesbreestraat onto the map, it shows that, for the transmission of artistic knowledge, physical proximity worked in a similar way as social relation because both provided access to each other’s work and collections for inspiration. Therefore, spatial clustering and the social network of artists will need to be translated into measures of accessibility to reveal the transmission of artistic innovation. Keywords: spatial clustering; knowledge transmission; tax registers; Amsterdam; Rembrandt Introduction In recent years, increasing awareness of the importance of place and space in humanities and social sciences has reinforced a shift of interests from temporal subjects matters to themes relevant to space and place for a deeper analysis of human behavior.2 The phenomenon of spatial concentration of artists and artistic activities, so-called ‘spatial clustering,’ has attracted scholars to probe into the cause and the dynamics of the artistic clusters. The research using contemporary examples emphasizes the importance of face-to-face relations in conveying new and tacit knowledge (such as painting techniques) which drives up the need for physical proximity.3 Economic geographers confirmed that accessibility 1 We thank Claartje Rasterhof, Harm Nijboer, and Gabri van Tussenbroek for their advice. Special thanks go to Clé Lesger, who generously shared his list of the 250 wealthiest Amsterdamers in the 1631 kohier, and Marleen Puyenbroek, who allowed us to use the data she collected for her BA thesis: M. Puyenbroek, Kunstenaars van de Breestraat, BA thesis, University of Amsterdam, 2016. 2 D.J. Bodenhamer, J. Corrigan J, T.M. Harris. The spatial humanities. GIS and the Future of Humanities Scholarship, Bloomington, IN. 2010. 3 A.Rallet, A. Torre, On geography and technology: Proximity relations in localised innovation networks. In Michael Steiner (Ed.) Clusters and regional specialisation: On geography, technology and networks. London: Pion, 2008. 1 to other artists ranks as the top factor when contemporary artists make their choice of location.4 However, studies looking into historical evidence of spatial clustering of painters only focused on the most prominent painters across history.5 Due to the difficulty in collecting location-related information from historical sources, existing studies of the spatial clusters in the early modern time are scarce and often restricted to describing the clustering phenomenon at the city level.6 Amsterdam, during its golden age, was known for the size and scale of its creative industries, especially for paintings. At its peak, there were more than 300 painters working in the city, who accounted for the unprecedented painting production in various genres and style.7 Thanks to the 150 years of art historical research on artists and artworks of the Dutch Golden Age, a significant number of artists who lived in Amsterdam are well-researched. The existing knowledge concerning these artists goes beyond the works of art they created and expands to various aspects of their lives, in particular, their residence and social relations. Traditional art historical scholarship has not yet gone into greater detail than using street and/or place names to describe the exact spot where artists lived, worked and socialized.8 Historical and cadastral maps, in this case, can help to contextualize the geographical information that art historians have identified, translating the vague descriptions of location into a more exact geo- referenced representation. This research, as a pilot of the Amsterdam Time Machine project, thus tries to take advantage of the geo-referenced cadastral sources to pinpoint the artist’s workshop to a specific location in the city, to probe into the mechanics of dissemination of artistic innovation within Amsterdam, and to understand to dynamics of artist’s intra-city location choice. In this paper, we focus on Rembrandt’s neighbors and his artistic rivals living in Amsterdam to unfold the patterns of socio- spatial aspects of production, consumption, and innovation of the painting industries of the Golden Age Amsterdam. Therefore, the research question of this project has two objectives: 1) methodological: how can 19th-century cadastral maps assist historical and art historical research of the previous centuries? and 2) art historical: how did geographic proximity within a city facilitate the transmission of artistic innovation? (Deep) Mapping painting production and consumption of Amsterdam Detailed property maps for the entire city of Amsterdam were available for the first time in 1832. This cadastral map, which has recently been digitized and transformed into georeferenced vectors by the HisGIS project, divided Amsterdam into 28,365 lots on which 30,047 individual buildings had been built before 1832.9 Fortunately, as architectural historians have shown, the center of Amsterdam had not changed much since the 16th and 17th century as most existing buildings date from these two 4 Å.E. Andersson, D.E. Andersson, Z. Daghbashyan, B. Hårsman. Location and spatial clustering of artists. “Regional Science and Urban Economics”, 2014 Jul 1;47:128-37. 5 J. O’Hagan, C. Hellmanzik, Clustering and Migration of Important Visual Artists: Broad Historical Evidence, “Historical Methods”, 2010, 121-136. 6C. Rasterhoff, The fabric of creativity in the Dutch Republic. Painting and publishing as cultural industries, 1580-1800. Amsterdam Univeristy Press, Amsterdam. 2017. 7 ECARTICO database: http://www.vondel.humanities.uva.nl/ecartico/analysis/ 8 A notable exception: Dudok van Heel, SAC. De jonge Rembrandt onder tijdgenoten. Godsdienst en schilderkunst in Leiden en Amsterdam. PhD diss., Radboud University Nijmegen, 2006. 9 Fryske Akademy. (2014). HISGIS-project Amsterdam. Retrieved from http://www.hisgis.nl/hisgis/gewesten/amsterdam/ 2 centuries.10 It thus allows us to employ the 1832 cadastral map as a geographical anchor to realign other historical information extracted from various archival sources. Information about locations in the pre-cadastral sources is often scattered in the marriage registration (ondertrouwregisters), tax registrations (kohieren and verpondingsregisters), court registrations of real estate transactions (transportakten), notarial deeds, and in all kinds of other archival documents, all of which have not yet been systematically linked. Fortunately, these sources have been well researched by art historians and linked to individual artists. The existing biographies of artists are compiled in the ECARTICO database – a comprehensive collection of structured biographical data concerning painters and other agents in the culture industries of the Low Countries during the 16th and 17th century – including over 6,000 descriptions of locations.11 On the consumption side, numerous probate inventories have described not only the collections of the owners but sometimes, also the location of their property, which enables us to map the consumer’s location in conjunction to the information on artistic production. Within the framework of the Amsterdam Time Machine, this research project aims to systematically link datasets from the aforementioned heterogeneous sources and extracts the descriptions of locations associated with the agents in the art market. Nevertheless, the 17th-century locations identified in the sources cannot be directly plotted on the nineteenth-century cadastral
Load more

Recommended publications
  • A Young Boy in a Plumed Cap Black Chalk, with Traces of Red Chalk, and Framing Lines in Brown Ink
    Jacob Adriaensz. BACKER (Harlingen 1608 - Amsterdam 1651) A Young Boy in a Plumed Cap Black chalk, with traces of red chalk, and framing lines in brown ink. Signed Backer. at the lower right. 168 x 182 mm. (6 5/8 x 7 1/8 in.) This charming drawing is a preparatory study for the pointing child at the extreme left of Jacob Backer’s Family Portrait with Christ Blessing the Children, a painting datable to c.1633-1634. This large canvas was unknown before its first appearance at auction in London in 1974, and is today in a private collection. The present sheet is drawn with a vivacity and a freedom in the application of the chalk that is stylistically indebted to Rembrandt’s chalk drawings of the same period, namely the early 1630s. Drawings executed in black chalk alone are rare in Backer’s oeuvre, but this drawing may be compared in particular to a signed and dated Self-Portrait in black chalk by Backer of 1638, in the Albertina in Vienna. A black chalk study of A Man in a Turban, in the Boijmans-van Beuningen Museum in Rotterdam, may also be likened to the present sheet. Provenance: Probably by descent to the artists’s brother, Tjerk Adriaensz. Backer, Amsterdam Iohan Quirijn van Regteren Altena, Amsterdam (his posthumous sale stamp [Lugt 4617] stamped on the backing sheet) Thence by descent. Literature: Werner Sumowski, Drawings of the Rembrandt School, Vol.I, New York, 1979, pp.20-21, no.3 (where dated to the mid-1630s), and also pp.46-47, under nos.16x and 17x, p.52, under no.19x and p.54, under no.20x; Werner Sumowksi, Gemälde der Rembrandt-Schüler, Landau/Pfalz, 1983, Vol.I, p.203, under no.72; Peter van den Brink, ‘Uitmuntend Schilder in het Groot: De schilder en tekenaar Jacob Adriansz.
    [Show full text]
  • Betrachtungen Zur Sammlung
    Valentina Vlasic Fokus Flinck Es ist fünfzig Jahre her, dass die letzte monographische Ausstellung den war, vorwegnahm – nämlich von seinem Freund, dem großen des barocken Malers Govert Flinck (1615-1660) stattgefunden hat. Wie niederländischen Nationaldichter Joost van den Vondel, mit dem „Reflecting History“ heute kam auch sie in seiner Geburtsstadt Kleve sagenumwobenen griechischen Künstler gleichgesetzt zu werden. zustande, und wurde vom Archivar und ersten Museumsleiter Fried- rich Gorissen (1912-1993) aus Anlass eines Jubiläums – damals des 350. Klever Sammlung Es ist ein großer Verdienst Friedrich Gorissens, Geburtstags von Flinck – organisiert. Sie fand im damaligen Städti- dass zahlreiche der historischen Besonderheiten Kleves für seine Fokus Flinck: Betrachtungen zur schen Museum Haus Koekkoek (heute Stiftung B.C. Koekkoek-Haus) Bürger und für die Nachwelt sichtbar sind. Mit seiner umsichti- statt, das 1957 gegründet und drei Jahre später eröffnet worden war. gen Forschungs- und Sammlungstätigkeit – u.a. den Werken nie- Sammlungsgeschichte, Die Ausstellung über Flinck war vom 4. Juli bis 26. September 1965 derrheinischer mittelalterlicher Bildschnitzer gewidmet, der Kunst zu sehen und es wurden – nicht unähnlich wie heute – 47 Gemälde des Barock am Klever Hof des Statthalters Johann Moritz von Nas- zum Werk und zur Ausstellung und 26 Zeichnungen aus aller Herren Länder präsentiert. Darunter sau-Siegen und der romantischen Klever Malerschule rund um Ba- befanden sich sowohl biblisch-mythologische Szenen wie Jakob er- rend Cornelis Koekkoek – legte er den Grundstein für das Klever hält Josephs blutigen Mantel (Kat. Nr. 22) und Salomo bittet um Weisheit Museum, das später von Guido de Werd umfassend ausgebaut wor- (Kat. Nr. 27) als auch Porträts wie Rembrandt als Hirte (Kat.
    [Show full text]
  • The Leiden Collection Catalogue, 2Nd Ed
    Rembrandt van Rijn (Leiden 1606 – 1669 Amsterdam) How to cite Bakker, Piet. “Rembrandt van Rijn” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/rembrandt-van-rijn/ (archived June 2020). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. According to Rembrandt’s first biographer, Jan Jansz. Orlers (1570–1646), the most famous Dutch painter of the seventeenth century was born in Leiden on 15 July 1606, the ninth child of the miller Harmen Gerritsz van Rijn (1568–1630) and the baker’s daughter Neeltje Willemsdr van Suydtbrouck (ca. 1568–1640).[1] The painter grew up in the Weddesteeg, across from his father’s mill. He attended the Latin school in Leiden, and his parents enrolled him in the University of Leiden when he was fourteen, “so that upon reaching adulthood he could use his knowledge for the service of his city and the benefit of the community at large.”[2] This, however, did not come to pass, for Rembrandt’s ambitions lay elsewhere, “his natural inclination being for painting and drawing only.”[3] His parents took him out of school in 1621, allowing him to follow his passion. They apprenticed him to Jacob Isaacsz van Swanenburgh (1571–1638), who had just returned from Italy, “with whom he stayed for about three years.”[4] It is during this time that Rembrandt probably painted his earliest known works: Stone Operation (Allegory of Touch), Three Musicians (Allegory of Hearing), and Unconscious Patient (Allegory of Smell).[5] Rembrandt moved to Amsterdam in 1625 to complete his training with the leading painter of his day, Pieter Lastman (1583–1633), with whom, according to Arnold Houbraken, he stayed for six months.”[6] When Rembrandt returned to Leiden, he set up his own workshop in his parents’ house.
    [Show full text]
  • Rembrandt: a Milestone of Portraiture
    Artistic Narration: A Peer Reviewed Journal of Visual & Performing Art ISSN (P): 0976-7444 (e): 2395-7247 Vol. VIII. 2016 IMPACT Factor - 3.9651 Rembrandt: a Milestone of Portraiture Syed Ali Jafar Assistant Professor Dept. of Painting, D.S. College, Aligarh. Email: [email protected] Abstract When we talk about portraiture, the name of Dutch painter Rembrandt comes suddenly in our mind who was born in 1607 and studied art in the studio of a well known portrait painter Pieter Lastman in Amsterdam. Soon after learning all the basics of art, young Rembrandt established himself as a portrait painter along with a reputation as an etcher (print maker). As a result, young and energetic Rembrandt established his own studio and began to apprentice budding artist almost his own age. In 1632, Rembrandt married to Saskia van Ulyenburg, a cousin of a well known art dealer who was not in favour of this love marriage. Anyhow after the marriage, Rembrandt was so happy but destiny has written otherwise, his beloved wife Saskia was died just after giving birth to the son Titus. Anyhow same year dejected Rembrandt painted his famous painting „Night Watch‟ which pull down the reputation of the painter because Rembrandt painted it in his favourite dramatic spot light manner which was discarded by the officers who had commissioned the painting. Despite having brilliant qualities of drama, lighting scene and movement, Rembrandt was stopped to obtain the commission works. So he stared to paint nature to console himself. At the same time, Hendrickje Stoffels, a humble woman who cared much to child Titus, married Rembrandt wise fully and devoted her to reduce the tide of Rembrandt‟s misfortune.
    [Show full text]
  • Bosch, TJ (Theodorus Johannes / Theo)
    Nummer Toegang: BOSC Bosch, T.J. (Theodorus Johannes / Theo) / Archief Het Nieuwe Instituut (c) 2000 This finding aid is written in Dutch. 2 Bosch, T.J. (Theodorus Johannes / Theo) / BOSC Archief BOSC Bosch, T.J. (Theodorus Johannes / Theo) / 3 Archief INHOUDSOPGAVE BESCHRIJVING VAN HET ARCHIEF......................................................................5 Aanwijzingen voor de gebruiker.......................................................................6 Citeerinstructie............................................................................................6 Openbaarheidsbeperkingen.........................................................................6 Archiefvorming.................................................................................................7 Geschiedenis van het archiefbeheer............................................................7 Geschiedenis van de archiefvormer.............................................................7 Bosch, Theodorus Johannes J....................................................................7 Bereik en inhoud............................................................................................11 Manier van ordenen.......................................................................................13 Verwant materiaal..........................................................................................14 BESCHRIJVING VAN DE SERIES EN ARCHIEFBESTANDDELEN........................................15 BOSC.110283547 Studie................................................................................15
    [Show full text]
  • Rembrandt in Southern California Exhibition Guide
    An online exhibition exploring paintings by Rembrandt in Southern California. A collaboration between The Exhibition Rembrandt in Southern California is a virtual exhibition of paintings by Rembrandt Harmensz. van Rijn (Dutch, 1606–1669) on view in Southern California museums. This collaborative presentation offers a unique guide to exploring these significant holdings and provides information, suggested connections, and points of comparison for each work. Southern California is home to the third-largest assemblage of Rembrandt paintings in the United States, with notable strength in works from the artist’s dynamic early career in Leiden and Amsterdam. Beginning with J. Paul Getty’s enthusiastic 1938 purchase of Portrait of Marten Looten (given to LACMA in 1953; no. 9 in the Virtual Exhibition), the paintings have been collected over 80 years and are today housed in five museums, four of which were forged from private collections: the Hammer Museum, the J. Paul Getty Museum, and the Los Angeles County Museum of Art (LACMA) in Los Angeles; the Norton Simon Museum in Pasadena; and the Timken Museum of Art in San Diego. In addition, Rembrandt in Southern California provides insight into the rich holdings of etchings and drawings on paper by the master in museums throughout the region. Together, Southern California’s drawn, etched and painted works attest to the remarkable range of Rembrandt’s achievement across his long career. Self-Portrait (detail), about 1636–38. Oil on panel, 24 7/8 x 19 7/8 in. (63.2 x 50.5 cm). The Norton Simon Foundation, Pasadena, F.1969.18.P 1 NO.
    [Show full text]
  • Rembrandt Self Portraits
    Rembrandt Self Portraits Born to a family of millers in Leiden, Rembrandt left university at 14 to pursue a career as an artist. The decision turned out to be a good one since after serving his apprenticeship in Amsterdam he was singled out by Constantijn Huygens, the most influential patron in Holland. In 1634 he married Saskia van Uylenburgh. In 1649, following Saskia's death from tuberculosis, Hendrickje Stoffels entered Rembrandt's household and six years later they had a son. Rembrandt's success in his early years was as a portrait painter to the rich denizens of Amsterdam at a time when the city was being transformed from a small nondescript port into the The Night Watch 1642 economic capital of the world. His Rembrandt painted the large painting The Militia Company of Captain Frans Banning Cocq historical and religious paintings also between 1640 and 1642. This picture was called De Nachtwacht by the Dutch and The gave him wide acclaim. Night Watch by Sir Joshua Reynolds because by the 18th century the picture was so dimmed and defaced that it was almost indistinguishable, and it looked quite like a night scene. After it Despite being known as a portrait painter was cleaned, it was discovered to represent broad day—a party of musketeers stepping from a Rembrandt used his talent to push the gloomy courtyard into the blinding sunlight. boundaries of painting. This direction made him unpopular in the later years of The piece was commissioned for the new hall of the Kloveniersdoelen, the musketeer branch of his career as he shifted from being the the civic militia.
    [Show full text]
  • Elegant Shepherdess Listening to a Shepherd Playing the Recorder in an Arcadian Landscape
    Elegant Shepherdess Listening to a 1654 Shepherd Playing the Recorder in an oil on canvas Arcadian Landscape 139 x 170 cm signed and dated lower left: “G flinck. f. 1654 Govaert Flinck (Kleve 1615 – 1660 Amsterdam) (?)” GF-101 © 2021 The Leiden Collection Elegant Shepherdess Listening to a Shepherd Playing the Recorder in an Arcadian Landscape Page 2 of 11 How to cite Yeager-Crasselt, Lara. “Elegant Shepherdess Listening to a Shepherd Playing the Recorder in an Arcadian Landscape” (2018). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/elegant-shepherdess-listening-to-a- shepherd-playing-the-recorder-in-an-arcadian-landscape/ (accessed September 30, 2021). A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Elegant Shepherdess Listening to a Shepherd Playing the Recorder in an Arcadian Landscape Page 3 of 11 Govaert Flinck’s depiction of an amorous shepherd and shepherdess in the Comparative Figures warm, evening light of a rolling landscape captures the lyrical character of the Dutch pastoral tradition.[1] The shepherd, dressed in a burnt umber robe, calf-high sandals, and a floppy brown hat, plays a recorder as he gazes longingly at the shepherdess seated beside him.[2] She returns her lover’s gaze with a coy, sideways glance, while placing a rose on her garland of flowers.
    [Show full text]
  • The Leiden Collection Catalogue, 3Rd Ed
    Govaert Flinck (Kleve 1615 – 1660 Amsterdam) How to cite Bakker, Piet. “Govaert Flinck” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artists/govaert- flinck/ (accessed September 27, 2021). A PDF of every version of this biography is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Govaert Flinck Page 2 of 8 Govaert Flinck was born in the German city of Kleve, not far from the Dutch city of Nijmegen, on 25 January 1615. His merchant father, Teunis Govaertsz Flinck, was clearly prosperous, because in 1625 he was appointed steward of Kleve, a position reserved for men of stature.[1] That Flinck would become a painter was not apparent in his early years; in fact, according to Arnold Houbraken, the odds were against his pursuit of that interest. Teunis considered such a career unseemly and apprenticed his son to a cloth merchant. Flinck, however, never stopped drawing, and a fortunate incident changed his fate. According to Houbraken, “Lambert Jacobsz, [a] Mennonite, or Baptist teacher of Leeuwarden in Friesland, came to preach in Kleve and visit his fellow believers in the area.”[2] Lambert Jacobsz (ca. 1598–1636) was also a famous Mennonite painter, and he persuaded Flinck’s father that the artist’s profession was a respectable one. Around 1629, Govaert accompanied Lambert to Leeuwarden to train as a painter.[3] In Lambert’s workshop Flinck met the slightly older Jacob Adriaensz Backer (1608–51), with whom he became lifelong friends.
    [Show full text]
  • Evolution and Ambition in the Career of Jan Lievens (1607-1674)
    ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality.
    [Show full text]
  • Walk of Peace Amsterdam
    Walk of Peace Amsterdam PELGRIMAGE VAN GERECHTIGHEID EN VREDE 23 AUGUSTUS 2018 70 jaar na de oprichting in Amsterdam van de Wereldraad van Kerken - op 23 augustus 1948 1 Welkom in de Hoftuin 1. Hermitage (museum) 2. Hermitage (Outsider Art Museum) 2 3. Corvershof 3 4 4. Ingang tuin 5 6 5. Amstelrank 6. In- en uitgang metrostation Waterlooplein 1 7. Restaurant Dignita 7 9 8. Van Limmikhof 8 9. Ingang tuin 10 10. Hodshonhof U wordt ontvangen in de Hoftuin. Deze binnentuin, ooit als boomgaard in gebruik, wordt omringd door gebouwen die oorspronkelijk alle zorginstellingen waren van De Diaconie van Amsterdam. Het gebouw dat sinds 2009 Museum de Hermitage is, werd in 1683 gebouwd, was oor- spronkelijk het Diaconie Oude Vrouwen Huys, in de volksmond Oudebesjeshuis. Tot 2007 was hier Verpleeghuis Amstelhof. De andere gebouwen worden nu (weer) gebruikt door de Protestantse Kerk & Diaconie Amsterdam. In de Corvershof zit de Protestantse Diaconie met in de kelder het Wereldhuis, het Straatpastoraat en de Sociale Kruidenier. In Amstelrank het In de tuin tegenover restaurant Dignita staat een Mission House, waar jongeren uit heel Europa wonen die tien maanden als vrijwilliger bij beeldengroep die de zeven werken van barmhar- verschillende diaconale projecten werken en Dokters van de Wereld; in de Hodshonhof de tigheid verbeelden. Ze zijn gemaakt door Tineke Timon Woongroep samen met jongeren die een sociaal netwerk en professionele begelei- Smith. Voor de Protestantse Kerk & Diaconie zijn ze ding nodig hebben. In de Van Limmikhof werkt het Kerkelijk Bureau. de leidraad van hun aanwezigheid in de stad. 2 Welkom bij de Walk of Peace Beste deelnemer, te organiseren.
    [Show full text]
  • The Low Countries. Jaargang 11
    The Low Countries. Jaargang 11 bron The Low Countries. Jaargang 11. Stichting Ons Erfdeel, Rekkem 2003 Zie voor verantwoording: http://www.dbnl.org/tekst/_low001200301_01/colofon.php © 2011 dbnl i.s.m. 10 Always the Same H2O Queen Wilhelmina of the Netherlands hovers above the water, with a little help from her subjects, during the floods in Gelderland, 1926. Photo courtesy of Spaarnestad Fotoarchief. Luigem (West Flanders), 28 September 1918. Photo by Antony / © SOFAM Belgium 2003. The Low Countries. Jaargang 11 11 Foreword ριστον μν δωρ - Water is best. (Pindar) Water. There's too much of it, or too little. It's too salty, or too sweet. It wells up from the ground, carves itself a way through the land, and then it's called a river or a stream. It descends from the heavens in a variety of forms - as dew or hail, to mention just the extremes. And then, of course, there is the all-encompassing water which we call the sea, and which reminds us of the beginning of all things. The English once labelled the Netherlands across the North Sea ‘this indigested vomit of the sea’. But the Dutch went to work on that vomit, systematically and stubbornly: ‘... their tireless hands manufactured this land, / drained it and trained it and planed it and planned’ (James Brockway). As God's subcontractors they gradually became experts in living apart together. Look carefully at the first photo. The water has struck again. We're talking 1926. Gelderland. The small, stocky woman visiting the stricken province is Queen Wilhelmina. Without turning a hair she allows herself to be carried over the waters.
    [Show full text]