Catalogus Der Schilderijen En Teekeningen in Het Frans
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Plekken Van Plezier
Plekken van plezier Open Monumentendagen 14 & 15 september Haarlem - 1 Welkom in Haarlem Op de voorkant van dit programmaboekje prijkt zwembad De Houtvaart. Een prachtige plek van plezier in onze monumentenstad Haarlem. Dit jaar staat dan ook de amusementswaarde van monumenten centraal tijdens Open Monumentendagen, met als thema ‘Plekken van plezier’. Naar welke monumentale plekken gingen en gaan mensen voor hun plezier? Ik vind het belangrijk dat onze monumenten bewaard en beschermd blijven. Dat ze bezocht en bewonderd kunnen worden en dat ze ons leren wie we zijn en waar we vandaan komen. Veel vrijwilligers werken actief mee aan de organisatie en uitvoering van de Open Monumentendagen; vanaf deze plek wil ik iedereen hartelijk bedanken voor hun inzet. In dit boekje vindt u informatie over bijzondere monumenten in Haarlem die hun deuren voor u openen. Een mooie selectie van monumenten voor ontspanning, vermaak en vrije tijd. Ik wens u een plezierig weekend vol verrassende ervaringen toe! Floor Roduner, wethouder Monumenten en Erfgoed - 2 Plekken van plezier Hoe hebben mensen zich in de loop der eeuwen vermaakt en welke monumenten zijn daarvoor het decor of het podium geweest? Deze vragen zijn leidend geweest bij het samenstellen van dit programma boekje. In Haarlem zijn volop historische ‘plekken van plezier’ te vinden zoals theaters, musea, parken, markten en sportclubs. Al in de middeleeuwen zijn er plekken in Haarlem aan te wijzen die centraal staan voor vermaak. Zo had Haarlem als eerste stad ter wereld een heus sportveld, de ‘Baen’. Hier werden vanaf de 14de eeuw Oudhollandse spellen gespeeld. Een andere bekende plek van plezier is de Haarlemmerhout, een immense groene oase aan de zuidkant van de stad. -
Sztuki Piękne)
Sebastian Borowicz Rozdział VII W stronę realizmu – wiek XVII (sztuki piękne) „Nikt bardziej nie upodabnia się do szaleńca niż pijany”1079. „Mistrzami malarstwa są ci, którzy najbardziej zbliżają się do życia”1080. Wizualna sekcja starości Wiek XVII to czas rozkwitu nowej, realistycznej sztuki, opartej już nie tyle na perspektywie albertiańskiej, ile kepleriańskiej1081; to również okres malarskiej „sekcji” starości. Nigdy wcześniej i nigdy później w historii europejskiego malarstwa, wyobrażenia starych kobiet nie były tak liczne i tak różnicowane: od portretu realistycznego1082 1079 „NIL. SIMILIVS. INSANO. QVAM. EBRIVS” – inskrypcja umieszczona na kartuszu, w górnej części obrazu Jacoba Jordaensa Król pije, Kunsthistorisches Museum, Wiedeń. 1080 Gerbrand Bredero (1585–1618), poeta niderlandzki. Cyt. za: W. Łysiak, Malarstwo białego człowieka, t. 4, Warszawa 2010, s. 353 (tłum. nieco zmienione). 1081 S. Alpers, The Art of Describing – Dutch Art in the Seventeenth Century, Chicago 1993; J. Friday, Photography and the Representation of Vision, „The Journal of Aesthetics and Art Criticism” 59:4 (2001), s. 351–362. 1082 Np. barokowy portret trumienny. Zob. także: Rembrandt, Modląca się staruszka lub Matka malarza (1630), Residenzgalerie, Salzburg; Abraham Bloemaert, Głowa starej kobiety (1632), kolekcja prywatna; Michiel Sweerts, Głowa starej kobiety (1654), J. Paul Getty Museum, Los Angeles; Monogramista IS, Stara kobieta (1651), Kunsthistorisches Museum, Wiedeń. 314 Sebastian Borowicz po wyobrażenia alegoryczne1083, postacie biblijne1084, mitologiczne1085 czy sceny rodzajowe1086; od obrazów o charakterze historycznodokumentacyjnym po wyobrażenia należące do sfery historii idei1087, wpisujące się zarówno w pozy tywne1088, jak i negatywne klisze kulturowe; począwszy od Prorokini Anny Rembrandta, przez portrety ubogich staruszek1089, nobliwe portrety zamoż nych, starych kobiet1090, obrazy kobiet zanurzonych w lekturze filozoficznej1091 1083 Bernardo Strozzi, Stara kobieta przed lustrem lub Stara zalotnica (1615), Музей изобразительных искусств им. -
Reserve Number: E14 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of Semester
Reserve Number: E14 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of semester Rosenberg, Jakob and Slive, Seymour . Chapter 4: Frans Hals . Dutch Art and Architecture: 1600-1800 . Rosenberg, Jakob, Slive, S.and ter Kuile, E.H. p. 30-47 . Middlesex, England; Baltimore, MD . Penguin Books . 1966, 1972 . Call Number: ND636.R6 1966 . ISBN: . The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or electronic reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or electronic reproduction of copyrighted materials that is to be "used for...private study, scholarship, or research." You may download one copy of such material for your own personal, noncommercial use provided you do not alter or remove any copyright, author attribution, and/or other proprietary notice. Use of this material other than stated above may constitute copyright infringement. http://library.umbc.edu/reserves/staff/bibsheet.php?courseID=5869&reserveID=16583[8/18/2016 12:48:14 PM] f t FRANS HALS: EARLY WORKS 1610-1620 '1;i no. l6II, destroyed in the Second World War; Plate 76n) is now generally accepted 1 as one of Hals' earliest known works. 1 Ifit was really painted by Hals - and it is difficult CHAPTER 4 to name another Dutch artist who used sucli juicy paint and fluent brushwork around li this time - it suggests that at the beginning of his career Hals painted pictures related FRANS HALS i to Van Mander's genre scenes (The Kennis, 1600, Leningrad, Hermitage; Plate 4n) ~ and late religious paintings (Dance round the Golden Calf, 1602, Haarlem, Frans Hals ·1 Early Works: 1610-1620 Museum), as well as pictures of the Prodigal Son by David Vinckboons. -
To Emile Bernard. Arles, Monday, 30 July 1888
To Emile Bernard. Arles, Monday, 30 July 1888. Monday, 30 July 1888 Metadata Source status: Original manuscript Location: New York, Thaw Collection, The Morgan Library & Museum Date: Assuming that Van Gogh honoured his promise to write again soon, the present letter dates from shortly after the previous one to Bernard (letter 649, of 29 July). The opening words accordingly appear to be an immediate continuation of their discussion about painting, while the drawings that Bernard had sent are examined at the end. Van Goghs new model, Joseph Roulin, who posed for him on 31 July, is not mentioned, despite the fact that the importance of painting portraits is stressed in this letter. On the assumption that he would have told Bernard about Roulins portrait if he had already painted it, as he did Theo and Willemien in letters 652 and 653, both of 31 July, we have dated this letter Monday, 30 July 1888. Additional: Original [1r:1] Mon cher copain Bernard. Tu admettras, jen doute aucunement, que ni toi ni moi ne puissions avoir de Velasquez et de Goya une ide complte de ce quils etaient comme homme et comme peintres, car ni toi ni moi navons vu lEspagne, leur pays et tant de belles choses qui sont restes dans le midi. Nempche que ce que lon en connait cest dj quelque chse. 1 Va sans dire que pour les gens du nord, Rembrandt en tte, il est excessivement dsirable de connatre, en jugeant ces peintres, et leur oeuvre dans toute son tendue, et leur pays et lhistoire un peu intime et serre de lpoque et des moeurs de lantique pays. -
The Intersection of Art and Ritual in Seventeenth-Century Dutch Visual Culture
Picturing Processions: The Intersection of Art and Ritual in Seventeenth-century Dutch Visual Culture By © 2017 Megan C. Blocksom Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Dr. Linda Stone-Ferrier Dr. Marni Kessler Dr. Anne D. Hedeman Dr. Stephen Goddard Dr. Diane Fourny Date Defended: November 17, 2017 ii The dissertation committee for Megan C. Blocksom certifies that this is the approved version of the following dissertation: Picturing Processions: The Intersection of Art and Ritual in Seventeenth-century Dutch Visual Culture Chair: Dr. Linda Stone-Ferrier Date Approved: November 17, 2017 iii Abstract This study examines representations of religious and secular processions produced in the seventeenth-century Northern Netherlands. Scholars have long regarded representations of early modern processions as valuable sources of knowledge about the rich traditions of European festival culture and urban ceremony. While the literature on this topic is immense, images of processions produced in the seventeenth-century Northern Netherlands have received comparatively limited scholarly analysis. One of the reasons for this gap in the literature has to do with the prevailing perception that Dutch processions, particularly those of a religious nature, ceased to be meaningful following the adoption of Calvinism and the rise of secular authorities. This dissertation seeks to revise this misconception through a series of case studies that collectively represent the diverse and varied roles performed by processional images and the broad range of contexts in which they appeared. Chapter 1 examines Adriaen van Nieulandt’s large-scale painting of a leper procession, which initially had limited viewership in a board room of the Amsterdam Leprozenhuis, but ultimately reached a wide audience through the international dissemination of reproductions in multiple histories of the city. -
Revisiting the Dutch Motorization
Following America? : Dutch geographical car diffusion, 1900 to 1980 Citation for published version (APA): Wolf, H. M. (2010). Following America? : Dutch geographical car diffusion, 1900 to 1980. Technische Universiteit Eindhoven. https://doi.org/10.6100/IR658844 DOI: 10.6100/IR658844 Document status and date: Published: 01/01/2010 Document Version: Publisher’s PDF, also known as Version of Record (includes final page, issue and volume numbers) Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal. -
Federico Etro and Elena Stepanova the Market for Paintings in The
Federico Etro and Elena Stepanova The Market for Paintings in the Netherlands during the Seventeenth Century ISSN: 1827-3580 No. 16/WP/2013 Working Papers Department of Economics Ca’ Foscari University of Venice N o . 16/ WP/ 2013 ISSN 1827-3580 The Market for Paintings in the Netherlands during the Seventeenth Century Federico Etro University of Venice, Ca’ Foscari and Elena Stepanova S. Anna School of Advanced Studies, Pisa This Draft: July 2013 Abstract We analyze the price of paintings in Dutch inventories and auctions of the Golden Age. The econometric investigation emphasizes correlations between prices adjusted for inflation and characteristics of the paintings, of the painters, of the owners (job, religion, size of the house) and, in case of auctions, also of the buyers. Price differentials for alternative genres, for the characteristics of the traders and the purpose of the inventory tend to disappear after con-trolling for the unobservable quality of paintings with artists fixed effects. The real price of a representative painting declined over the XVII century. We argue that initial high prices were the fruit of the large increase in demand by the Dutch middle class, which attracted en - dogenous entry of painters. This led to intense competition and the development of cost-saving innovations for mass production (high specialization in genres, smaller paintings, mo -nochromatic styles) so as to gradually reduce prices. We also run a multinomial probit model to verify the Montias hypothe sis on the location of painting s between rooms of Dutch houses. Keywords Art market, Endogenous entry, Dutch Golden Age Hedonic pricing analysis JEL Codes Z11, N0, D4 Address for correspondence: Federico Etro Department of Economics Ca’ Foscari University of Venice Cannaregio 873, Fondamenta S.Giobbe 30121 Venezia - Italy Phone: (++39) 041 2349172 Fax: (++39) 041 2349176 e-mail: [email protected] This Working Paper is published under the auspices of the Department of Economics of the Ca’ Foscari University of Venice. -
"MAN with a BEER KEG" ATTRIBUTED to FRANS HALS TECHNICAL EXAMINATION and SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian
Centre for Conservation and Technical Studies Fogg Art Museum Harvard University 1'1 Ii I "MAN WITH A BEER KEG" ATTRIBUTED TO FRANS HALS TECHNICAL EXAMINATION AND SOME ART HISTORICAL COMMENTARIES • by Daniel Fabian July 1984 ___~.~J INDEX Abst act 3 In oduction 4 ans Hals, his school and circle 6 Writings of Carel van Mander Technical examination: A. visual examination 11 B ultra-violet 14 C infra-red 15 D IR-reflectography 15 E painting materials 16 F interpretatio of the X-radiograph 25 G remarks 28 Painting technique in the 17th c 29 Painting technique of the "Man with a Beer Keg" 30 General Observations 34 Comparison to other paintings by Hals 36 Cone usions 39 Appendix 40 Acknowl ement 41 Notes and References 42 Bibliog aphy 51 ---~ I ABSTRACT The "Man with a Beer Keg" attributed to Frans Hals came to the Centre for Conservation and Technical Studies for technical examination, pigment analysis and restoration. A series of samples was taken and cross-sections were prepared. The pigments and the binding medium were identified and compared to the materials readily available in 17th century Holland. Black and white, infra-red and ultra-violet photographs as well as X-radiographs were taken and are discussed. The results of this study were compared to 17th c. materials and techniques and to the literature. 3 INTRODUCTION The "Man with a Beer Keg" (oil on canvas 83cm x 66cm), painted around 1630 - 1633) appears in the literature in 1932. [1] It was discovered in London in 1930. It had been in private hands and was, at the time, celebrated as an example of an unsuspected and startling find of an old master. -
Dutch and Flemish Art in Russia
Dutch & Flemish art in Russia Dutch and Flemish art in Russia CODART & Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie) Amsterdam Editors: LIA GORTER, Foundation for Cultural Inventory GARY SCHWARTZ, CODART BERNARD VERMET, Foundation for Cultural Inventory Editorial organization: MARIJCKE VAN DONGEN-MATHLENER, Foundation for Cultural Inventory WIETSKE DONKERSLOOT, CODART English-language editing: JENNIFER KILIAN KATHY KIST This publication proceeds from the CODART TWEE congress in Amsterdam, 14-16 March 1999, organized by CODART, the international council for curators of Dutch and Flemish art, in cooperation with the Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie). The contents of this volume are available for quotation for appropriate purposes, with acknowledgment of author and source. © 2005 CODART & Foundation for Cultural Inventory Contents 7 Introduction EGBERT HAVERKAMP-BEGEMANN 10 Late 19th-century private collections in Moscow and their fate between 1918 and 1924 MARINA SENENKO 42 Prince Paul Viazemsky and his Gothic Hall XENIA EGOROVA 56 Dutch and Flemish old master drawings in the Hermitage: a brief history of the collection ALEXEI LARIONOV 82 The perception of Rembrandt and his work in Russia IRINA SOKOLOVA 112 Dutch and Flemish paintings in Russian provincial museums: history and highlights VADIM SADKOV 120 Russian collections of Dutch and Flemish art in art history in the west RUDI EKKART 128 Epilogue 129 Bibliography of Russian collection catalogues of Dutch and Flemish art MARIJCKE VAN DONGEN-MATHLENER & BERNARD VERMET Introduction EGBERT HAVERKAMP-BEGEMANN CODART brings together museum curators from different institutions with different experiences and different interests. The organisation aims to foster discussions and an exchange of information and ideas, so that professional colleagues have an opportunity to learn from each other, an opportunity they often lack. -
Beknopte Geschiedenis Van Haarlem Door Men
BEKNOPTE GESCHIEDENIS VAN HAARLEM DOOR MEN. DR G. H. KURTZ UITGEOEVEN DOOR DE VEREENIG1NG HAERLEM DE ERVEN F. BOHN N. V. HAARLEM BEKNOPTE GESCHIEDENIS VAN HAARLEM Naar tekening van C. van Noorde, 1793 BEKNOPTE GESCHIEDF,NIS VAN HAARLEM DOOR ME]. DR G. H. KURTZ ARCHIVARIS VAN DE GEMEENTE HAARLEM TWEEDE DRUK UITGEGEVEN DOOR DE VEREEN1GING HAERLFi DE ERVEN F. BOHN N. V. - HAARLEM I 94 2 INLEIDING In de geschiedenis van ons vaderland neemt Haarlem geen onbelangrijke plaats in. Het mag dan al niet steeds op de voorgrond treden als Amsterdam, toch vinden wij ook telkenmale Haarlem genoemd en speelt het een rol in verschillende belangrijke gebeurtenissen. Ook is Haarlem te beschouwen als het type van een Hollandse stad, door handel en nijverheid opkomende in de Middeleeuwen, in voile bloei, zowel door deze nijverheid als ook door de kunst in de gouden eeuw, om in de I 8e eeuw in matheid en sleur te vervalien, totdat het, na zijn zwartste tijd gedurende de Franse overheersing te hebben doorgemaakt, in de i 9e eeuw weer langzaam tot opbloei komt. Een afzonderlijke geschiedenis van Haarlem is daarom wel op zijn plaats, vooral ook, omdat in Haarlem nog zoveel van het oude is terug te vinden, hetzij in wezen, hetzij in naam, wat ongetwijfeld de geschiedenis van voorbije eeuwen tot een meer levend iets maakt. Het moge mij gegeven zijn, in de volgende bladzijden in het kort deze geschiedenis uiteen te zetten en tevens op de ons nog resterende overblijfselen uit vroeger dagen te kunnen wijzen. Van de jongste geschiedenis zal men echter in dit boekje alleen datgene vinden, wat met het oude in direct verband staat. -
Portraits As Objects Within Seventeenth-Century Dutch Vanitas Still Life
University of Amsterdam Graduate school of Humanities – Faculty of Humanities Arts and Culture – Dutch Art (Masters) Author: Rukshana Edwards Supervisor: Dr. E.E. P. Kolfin Second reader: Dr. A.A. Witte Language: English Date: December 1, 2015 Portraits as Objects within Seventeenth-Century Dutch Vanitas Still Life Abstract This paper is mainly concerned with the seventeenth-century Dutch vanitas still life with special attention given to its later years in 1650 – 1700. In the early period, there was significant innovation: It shaped the characteristic Dutch art of the Golden Age. The research focuses on the sub-genre of the vanitas still life, particularly the type which includes as part of its composition a human face, a physiognomic likeness by way of a print, painted portrait, painted tronie, or a sculpture. This thesis attempts to utilize this artistic tradition as a vehicle to delve into the aspects of realism and iconography in Dutch seventeenth-century art. To provide context the introduction deals with the Dutch Republic and the conditions that made this art feasible. A brief historiography of still life and vanitas still life follows. The research then delves into the still life paintings with a portrait, print or sculpture, with examples from twelve artists, and attempts to understand the relationships that exist between the objects rendered. The trends within this subject matter revolve around a master artist, other times around a city such as Haarlem, Leiden or country, England. The research looks closely at specific paintings of different artists, with a thematic focus of artist portraits, historical figures, painted tronies, and sculpture within the vanitas still life sub-genre. -
A Cultural History of Tarot
A Cultural History of Tarot ii A CULTURAL HISTORY OF TAROT Helen Farley is Lecturer in Studies in Religion and Esotericism at the University of Queensland. She is editor of the international journal Khthónios: A Journal for the Study of Religion and has written widely on a variety of topics and subjects, including ritual, divination, esotericism and magic. CONTENTS iii A Cultural History of Tarot From Entertainment to Esotericism HELEN FARLEY Published in 2009 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © Helen Farley, 2009 The right of Helen Farley to be identified as the author of this work has been asserted by the author in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN 978 1 84885 053 8 A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Printed and bound in Great Britain by CPI Antony Rowe, Chippenham from camera-ready copy edited and supplied by the author CONTENTS v Contents