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During the Seventeenth Century, Dutch Portraits Were Actively Commissioned by Corporate Groups and by Individuals from a Range of Economic and Social Classes
Cambridge University Press 978-1-107-69803-1 - Public Faces and Private Identities in Seventeenth-Century Holland: Portraiture and the Production of Community Ann Jensen Adams Frontmatter More information PUBLIC FACES AND PRIVATE IDENTITIES IN SEVENTEENTH-CENTURY HOLLAND During the seventeenth century, Dutch portraits were actively commissioned by corporate groups and by individuals from a range of economic and social classes. They became among the most important genres of painting. Not merely mimetic representations of their subjects, many of these works create a new dialogic rela- tionship with the viewer. In this study, Ann Jensen Adams examines four portrait genres – individuals, family, history portraits, and civic guards. She analyzes these works in relation to inherited visual traditions; contemporary art theory; chang- ing cultural beliefs about the body, sight, and the image itself; and current events. Adams argues that as individuals became unmoored from traditional sources of identity, such as familial lineage, birthplace, and social class, portraits helped them to find security in a self-aware subjectivity and the new social structures that made possible the “economic miracle” that has come to be known as the Dutch Golden Age. Ann Jensen Adams is associate professor of art history at the University of California, Santa Barbara. A scholar of Dutch painting, she curated the exhibi- tion Dutch Paintings from New York Private Collections (1988) and edited Rembrandt’s “Bathsheba Reading David’s Letter” (1998). She has contributed essays to numer- ous exhibition catalogues and essay collections including Leselust. Niederl¨andische Malerei von Rembrandt bis Vermeer (1993), Landscape and Power (1994), Looking at Seventeenth-Century Dutch Painting: Realism Reconsidered (1997), Renaissance Culture and the Everyday (1999), and Love Letters: A Theme in Dutch Seventeenth-Century Genre Painting (2003) and published articles in The Art Bulletin and the Nederlands Kunsthistorisch Jaarboek. -
The People's Republic Of
THE PEOPLE’S REPUBLIC OF CHINA 17 > 22 November 2019 BELGIAN ECONOMIC MISSION, PRESIDED BY HRH PRINCESS ASTRID, REPRESENTATIVE OF HIS MAJESY THE KING PARTICIPANTS BROCHURE PUBLICATION DATE: 22 OCTOBER 2019 This publication contains information on all the participants who have registered before its publication date. The profiles of all participants and companies, including the ones who have registered at a later date, are however published on the website of the mission www.belgianeconomicmission.be and on the app of the mission “Belgian Economic Mission” in the App Store and Google Play. Besides this participants brochure, other publications, such as economic studies, a useful information guide, etc. Are also available on the above-mentioned website and app. 2 BELGIAN ECONOMIC MISSION 17 > 22 November 2019 BELGIAN ECONOMIC MISSION THE PEOPLE’S REPUBLIC OF CHINA Organized by the regional agencies for the promotion of Foreign Trade & Investment (Flanders Investment & Trade [FIT], Hub.Brussels, Wallonia Export-Investment Agency [AWEX]), FPS Foreign Affairs and the Belgian Foreign Trade Agency. THE PEOPLE’S REPUBLIC OF CHINA 4 BELGIAN ECONOMIC MISSION BELGIAN ECONOMIC MISSION CALENDAR 2020 SENEGAL 7-10 June AUSTRALIA 18-24 October (The dates are subject to change) THE PEOPLE’S REPUBLIC OF CHINA 6 BELGIAN ECONOMIC MISSION TABLE OF CONTENTS p.8 HRH PRINCESS ASTRID AND MINISTERS p.20 COMPANIES p.286 HIGHER EDUCATION INSTITUTIONS p.300 FEDERATIONS AND CHAMBERS OF COMMERCE p.320 DIRECTORY OF COMPANIES p.328 OFFICIAL ORGANIZATIONS p.362 HOTELS OF -
Keyser, Thomas De Dutch, 1596 - 1667
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Keyser, Thomas de Dutch, 1596 - 1667 BIOGRAPHY Thomas de Keyser was the second son of Hendrick de Keyser (1565–1621), the famed Dutch architect, sculptor, and municipal stonemason of the city of Amsterdam, and his wife Beyken (Barbara) van Wildere, who hailed from Antwerp.[1] The family lived in a house that was part of the municipal stone yard along the Amstel River, between the Kloveniersburgwal and the Groenburgwal.[2] Thomas and his brothers Pieter and Willem were trained by their father in architecture, and each also became a highly regarded master stonemason and stone merchant in his own right. On January 10, 1616, the approximately 19-year-old Thomas became one of his father’s apprentices. As he must already have become proficient at the trade while growing up at the Amsterdam stone yard, the formal two-year apprenticeship that followed would have fulfilled the stonemasons’ guild requirements.[3] Thomas, however, achieved his greatest prominence as a painter and became the preeminent portraitist of Amsterdam’s burgeoning merchant class, at least until the arrival of Rembrandt van Rijn (Dutch, 1606 - 1669) in 1632. Nothing is known about his artistic training as a painter, which likely occurred in his younger years. Four Amsterdam portraitists have been considered his possible teacher. Ann Jensen Adams, in her catalogue raisonné of Thomas de Keyser, posits (based on circumstantial evidence) that Cornelis van der Voort (c. 1576–1624) -
An ABC of Heritage Libraries 3 Krant // Newspaper Heritage Libraries Often Hold Extensive Collections of Newspapers and Periodicals
AN b OF HERITAGE LIBRARIESC ACQUISITIE // ACQUISITION Each heritage library has its individual thematic or regional profile. Collections are expanded and enriched via carefully considered acquisitions and a well thought-out donation policy. BIBLIOFIEL // BIBLIOPHILE Many heritage libraries owe thanks to the zeal of bibliophile collectors. They also preserve modern bibliophile editions, books executed in exceptional formats. CATALOGUS // CATALOGUE A library’s assets are described in a catalogue according to strict rules. This used to be done on index cards kept in special cabinets. Today, online catalogues are used, allowing readers to locate publications from home. DIGITALISERING // DIGITISATION Important, vulnerable or frequently used titles are digitised to protect them and make them more available. Originals no longer need to be manipulated and digital copies can be accessed globally via the internet. Automatic character recognition allows ‘paper’ text to be searched. EX LIBRIS // EX LIBRIS Collectors often paste or stamp an ex libris with their name and a figurative, emblematic image in their books. Such provenance marks are also found in historical books and serve as a primary source for researchers of the reading cultures of the past. 2 FLANDERS HERITAGE LIBRARY FORMAAT // FORMAT Printed books are made up of quires, which can have varying formats. The largest ‘folio’ format consist of four pages. It is created by folding a sheet of paper once. An additional fold results in a ‘quarto’ format of eight pages and a third fold in an ‘octavo’ format of sixteen pages. GOUDSTEMPELING // GOld TOOLING Books used to be bound in leather or parchment. The binding was sometimes tooled, using gold leaf to give books their characteristic sparkle. -
English Translationenglish
3 16 Introduction Zuid-Hollandse Vormgevingsprijs 2007: English Translation 3 Three hybrids for Delft’s railway zone Hidden Amsterdam: the Binnengasthuis Willemijn Wilms Floet (municipal hospital) and the transformation 17 of the former monastery areas after the Book review Alteratie Herman van Bergeijk Esther Gramsbergen 19 9 Book review Seventeenth-century Dutch architecture in Merlijn Hurx paintings and drawings 80 Everhard Korthals Altes About the authors 12 Ungers and Koolhaas: Urban conditions and architectural form Lara Schrijver Introduction projects are presented for the Delft rail the Dam. In any case, before constructing zone, which were nominated for the Zuid- a separate building for the city council, the In OverHolland 6, much attention is paid to Hollandse Vormgevingsprijs (South Hol- Sint-Elisabethgasthuis was established on 17th-century Dutch architecture. Although land Design Award) 2007. Willemijn Wilms the Middendam.2 In 1395 the city council this is a historical subject, the period Floet examines their designs, which were bought a parcel of the hospital grounds to remains crucial in order to gain a good all created in the Hybrid Buildings Master’s build the first part of the Town Hall. At the understanding of the development of the studios of the Delft University of Technology, end of the 15th century, the expanding Town Dutch city and its architectural structure. It including the award winning design by Luuk Hall claimed the hospital buildings, which is not so much the historical respect of the Stoltenberg and that of Carien Akkermans, is how it lost its prominent position on the City the Dutch Studies for Architectural cultural inheritance of the Golden Age that which won the public award. -
The Amsterdam Civic Guard Pieces Within and Outside the New Rijksmuseum Pt. IV
Volume 6, Issue 2 (Summer 2014) The Amsterdam Civic Guard Pieces within and Outside the New Rijksmuseum Pt. IV D. C. Meijer Jr., trans. Tom van der Molen Recommended Citation: D. C. Meijer Jr., “The Amsterdam Civic Guard Pieces Within and Outside the New Rijksmuseum Pt. IV,” trans. Tom van der Molen, JHNA 6:2 (Summer 2014) DOI:10.5092/jhna.2014.6.2.4 Available at https://jhna.org/articles/amsterdam-civic-guard-pieces-within-outside-new-rijksmu- seum-part-iv/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This is a revised PDF that may contain different page numbers from the previous version. Use electronic searching to locate passages. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 6:2 (Summer 2014) 1 THE AMSTERDAM CIVIC GUARD PIECES WITHIN AND OUTSIDE THE NEW RIJKSMUSEUM PT. IV D. C. Meijer Jr. (Tom van der Molen, translator) This fourth installment of D. C. Meijer Jr.’s article on Amsterdam civic guard portraits focuses on works by Thomas de Keyser and Joachim von Sandrart (Oud Holland 6 [1888]: 225–40). Meijer’s article was originally published in five in- stallments in the first few issues of the journal Oud Holland. For translations (also by Tom van der Molen) of the first two installments, see JHNA 5, no. 1 (Winter 2013). For the third installment, see JHNA 6, no. -
Winning En Toepassing Van Diestiaanijzerzandsteen in Het Hageland Van De Middeleeuwen Tot De 20Ste Eeuw
Relicta 13 (2015), 7-124 7 ‘van goeden koerliken Rotcelaerstene wel ende reynlic ghehouwen’ Winning en toepassing van Diestiaanijzerzandsteen in het Hageland van de middeleeuwen tot de 20ste eeuw Thomas Van Driessche1 1 Inleiding2 Bij de Vlaamse Overheid worden momenteel verschillende pistes onderzocht om het acute tekort aan ijzerzandsteen op te lossen, 1.1 Diestiaanijzerzandsteen zoals het openen van een nieuwe steengroeve, het hergebruiken Het bouwkundig erfgoed van het Hageland en de Zuiderkempen van oude bouwstenen afkomstig van sloop of het systematisch wordt in hoge mate gekenmerkt door het gebruik van Diestiaan- bergen van ijzerzandsteen die bij infrastructuurwerken aan het ijzerzandsteen. Deze roestbruine steen werd van de volle middel- licht komt. eeuwen tot de 19de eeuw gebruikt in kerken, kapellen, kastelen, watermolens, bruggen, sluizen, kaaimuren, enz. De meeste van In 2010 heeft de Afdeling Land en Bodembescherming, Onder- deze gebouwen en constructies zijn vandaag beschermd als grond, Natuurlijke Rijkdommen (ALBON) van de Vlaamse monument of opgenomen in de Inventaris van het Bouwkundig Overheid acht proefboringen laten uitvoeren op vier locaties in Erfgoed. het Hageland4. Deze boorkernen werden vervolgens door het Koninklijk Instituut voor het Kunstpatrimonium onderzocht op Bij restauratiewerkzaamheden aan deze gebouwen moet regel- dichtheid, porositeit en vorstbestendigheid, en druksterkte5. Het matig verweerde ijzerzandsteen vervangen worden. Nieuwe doel van het onderzoek was inzicht te krijgen in de geo logische ijzerzandsteen is echter niet meer voorhanden. De laatste com- kenmerken van de steenbanken en kwaliteitscriteria te bepalen mercieel geëxploiteerde steengroeve werd in 1950 buiten gebruik voor het gebruik van ijzerzandsteen bij restau ratie projecten. gesteld. Bij gebrek aan ijzerzandsteen nemen monumentenzor- gers sindsdien hun toevlucht tot vervangende steensoorten of Parallel aan het geologische en materiaaltechnische onderzoek restauratiemortels. -
A New Life for Old Buildings
A NEW A NEW LIFE LIFE FOR FOR OLD BUILDINGS 5 wandel/fiets- en vaarroutes langs historische,5 walking/biking gerestaureerde and navigation gebouwen routes OLD inalong Amsterdam historic, restored buildings Walk, bike or navigate along the buildings that in Amsterdam BUILDINGS are part of the collective memory of the city. The guide describes how these buildings have received a second or third life thanks to the efforts and fighting spirit of those who took the initiative and creative architects. These routes lead through 5 different parts of the city: Annemarie Wijn Annemarie W • Historic City Centre • City Centre-South • City Centre-East • Along the River IJ • Oud-Zuid ijn It is the beauty on a human scale that makes this city unique van Dieme 1 S nstr t p aat a a r n d 5 ekstraa a m m e der P r s t r Van a a t HET IJ Haarlemmerweg terdok Map of 5 walking and biking routes Haa Wes V rle a mm n er Hou route Historic City Ce ntre tt uin Brouwer en D e R u H i route City Centre-South sgracht jte a r l k l a d e D r o o 2 g HET IJ route City Centre-East b a k s t r 4 route Along the River IJ cht Openhaven route Oud-Zuid gracht Front Prinsengra acht Keizers 3 str Singel IJ haven Herengr t ukade a a al 9 tr w is 6 u rg p u Nassa S rb o o 7 V Damrak 1 s Dijksgra Hendrik ijd 2 z cht aat e e alenstr Hu w an G go u Damrak Jan v d e e G i ro N ot 8 2 P ri Oosterdok 7 ns 4 H ik 8 en t d aat ri kk str Freder a Rozengrach de ger N bur a ten s s Kat a u k a d d e e Ruij ter traat we rqs 3 g de Cle n i k o gwal B R aat i 5 l 9 d e genstr r ersbur d -
Volume XXXVI, No. 1, Cumulative Issue 70
The Communicator Volume 36 Issue 70 Article 1 2020 Volume XXXVI, No. 1, Cumulative Issue 70 Follow this and additional works at: https://digitalcommons.snc.edu/communicator Part of the Catholic Studies Commons, and the Christianity Commons Recommended Citation (2020) "Volume XXXVI, No. 1, Cumulative Issue 70," The Communicator: Vol. 36 : Iss. 70 , Article 1. Available at: https://digitalcommons.snc.edu/communicator/vol36/iss70/1 This Article is brought to you for free and open access by Digital Commons @ St. Norbert College. It has been accepted for inclusion in The Communicator by an authorized editor of Digital Commons @ St. Norbert College. For more information, please contact [email protected]. COMMUNICATOR Volume XXXVI, Number June 2020 Cumulative Issue 70 The English Speaking Circary of the Order of Prémontré Editor: V. Rev. John C. Zagarella, O. Praem. (Daylesford) Assistant Editor: Rev. Joseph McLaughlin, O. Praem. (Daylesford) Canonry Correspondents: Albuquerque: Rt. Rev. Joel Garner: [email protected] Bayview: V. Rev. James Herring: [email protected] Chelmsford: Rt. Rev. Hugh Allan: [email protected] Daylesford: Rev. Joseph McLaughlin: [email protected] DePere: Rev. Michael Brennan: [email protected] Jamtara: G. Christopher: [email protected] Mananthavady: [email protected] Muston: Rt. Rev. Andrew Smith: [email protected] Orange: V. Rev. Chrysostom Baer: [email protected] Queens Park: Rev. Peter Stiglich: [email protected] Tehachapi: Mother -
KANE, PAMELA MEYS, D.M.A. the 1927 Longwood Sketches of Firmin Swinnen: Replica of a Scenic Film Score. (2013) Directed by Dr. John Salmon and Dr
KANE, PAMELA MEYS, D.M.A. The 1927 Longwood Sketches of Firmin Swinnen: Replica of a Scenic Film Score. (2013) Directed by Dr. John Salmon and Dr. Joan Titus, 99 pp. In his Longwood Sketches: Suite for Organ in Four Parts (Theodore Presser, 1927), Belgian-American organist Firmin Swinnen provides the vicarious traveler with an aural travelogue of gunpowder magnate Pierre S. du Pont’s Longwood Gardens outside Kennett Square, Pennsylvania. Swinnen relays his impressions of landscapes, waterscapes, and the Lenni Lenape Indian provenance of the estate in a composition that stylistically resembles music that accompanied silent travel films of the early 1900’s known as Scenics. As organist at Broadway’s Rialto and Rivoli Theatres between 1916 and 1921 and Philadelphia’s Aldine Theatre in 1922, Swinnen accompanied Scenics with titles like Tropical Nights (Robert C. Bruce, 1920), Lake Tahoe, Land of the Sky (Essanay, 1916), Geysers of the Yellowstone (Paramount, 1917), and Trails that Lure (U.S. Department of Agriculture, 1920). These films have been archived and preserved to allow for viewing by modern-day audiences. Absent from the films, however, is the sound of musical accompaniment which, during the silent era, was provided either by an orchestra or organist who through-played one or two composed orchestral compositions or by an organist who improvised an accompaniment that was informed by changing scenery on the screen. By referring to period film music columns like Montville Morris Hansford’s “Preparing Music for Photoplay Accompaniments” (New York Dramatic Mirror) and George W. Beynon’s “Music for the Picture” (Moving Picture World), where documentation can be found that indicates which orchestral selections were paired with given Scenics, it is possible for contemporary musicians to replicate authentic orchestral accompaniments. -
Tema 10. El Barroco En Holanda E Inglaterra
Tema 10. El Barroco en Holanda e Inglaterra [email protected] http://compoarq.wordpress.com El Barroco en Holanda Simon de Vlieger Adriaen van de Velde Vermeer de Delft Rubens Willem Claeszoon Heda, Naturaleza muerta con copa dorada, 1635 David Teniers el joven Ruysdael Vermeer, Vista de Delft, 1658-1660 Vermeer, Delft Ámsterdam en 1538 Plano de Amsterdam, del Civitates Orbis Terrarum (1541-1622) Amsterdam, 1613 Casa de madera de 1460 Viviendas en Amsterdam Viviendas en Amsterdam Viviendas en Amsterdam HENDRICK DE KEYSER (1565-1621) Casa Bartolotti, Ámsterdam (1615) Torres construidas por Hendrick de Keyser Oude Waal Munttoren Iglesia del Este (Zuiderkerk), Ámsterdam (1606-1614) Iglesia del Este (Zuiderkerk), Ámsterdam (1606-1614) Iglesia del Oeste (Westerkerk), Ámsterdam (1620) Iglesia del Oeste (Westerkerk), Ámsterdam (1620) Iglesia del Oeste (Westerkerk), Ámsterdam (1620) Iglesia del Oeste (Westerkerk), Ámsterdam (1620) Iglesia del Oeste (Westerkerk), Ámsterdam (1620) Iglesia del Oeste (Westerkerk), Ámsterdam (1620) Iglesia del Norte (Noorderkerk ), Amsterdam (1620) Iglesia del Norte (Noorderkerk ), Amsterdam (1620) JACOB VAN CAMPEN (1595-1657) Mauritshuis, La Haya (hacia 1633) Mauritshuis, La Haya (hacia 1633) Mauritshuis, La Haya (hacia 1633) Ayuntamiento (hoy palacio Real), Ámsterdam (1648) Ayuntamiento (hoy palacio Real), Ámsterdam (1648) Ayuntamiento (hoy palacio Real), Ámsterdam (1648) Ayuntamiento (hoy palacio Real), Ámsterdam (1648) El Barroco en Inglaterra El Gran incendio de Londres. 1666 Robert Smythson. Hardwick Hall -
Hendrick De Keyser
uit de serie Belangrijke Amsterdamse Architecten Hendrick de Keyser (1565-1621) Hendrick de Keyser 1 Dit is een serie over architecten, maar het is zeer de vraag of De Keyser een gedegen oplei- Hendrick de Keyser (1565-1621) ding als bouwmeester achter de rug had toen hij in 1595 een aanstelling kreeg in Amster- dam. Van alle gebouwen, kerken en woonhuizen die op zijn naam staan is de vraag wat het resultaat geweest zou zijn zonder de inbreng van meester-metselaar Cornelis Danckerts de Rij (1561-1634). Samen met meester-timmerman Hendrick Staets (1558-1631) vormden deze mannen een driemanschap in stedelijke dienst dat eind zestiende, begin zeventiende eeuw in het onstuimig groeiende Amsterdam alle overheidsgebouwen en aanzienlijke woonhuizen voor hun rekening nam en waarvan we vandaag nog een groot aantal kunnen bewonderen. Onder: Portret van Hendrick de Keyser, gravure De Keyser nam daarbij het uiterlijk voor zijn rekening, iets dat we later denigrerend ‘schort- aan de hand van een schilderij door zijn jesarchitectuur’ zijn gaan noemen. Veel belangrijker is echter zijn rol als beeldhouwer en zoon Thomas -1621 (SAA) daar werd hij dan ook voor aangesteld: als steenhouwer en beeldsnijder. Hendrick Corneliszoon de Keyser werd in 1565 in Utrecht geboren als zevende kind van antiekdraaier en kistenmaker Cornelis Dirckszoon De Keyser. Het was, naar we mogen aan- nemen, in de werkplaats van zijn vader dat Hendrick de grondbeginselen van houtbewerking leerde. Toen de tijd rijp was ging hij in de leer bij bouwmeester Cornelis Bloemaert (1540- 1593) die in 1576 in Utrecht was komen wonen, waar hij binnen korte tijd als stadsbouw- meester werd aangesteld.