Encyklopédia Kresťanského Umenia

Total Page:16

File Type:pdf, Size:1020Kb

Encyklopédia Kresťanského Umenia Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Flámska apokalypsa - Apokalypsa flámska flámska gotika - flámska a burgundská tvorba 15.st. s príznačnými ostro lomenými, dramatickými záhybmi plášťov; pozri štýl lámaný flámska história - http://en.wikipedia.org/wiki/Category:History_of_Flanders flámska renesancia - pozri flámski primitívi http://fr.wikipedia.org/wiki/Renaissance_flamande http://en.wikipedia.org/wiki/Renaissance_in_the_Low_Countries flámska škola - škola maľby, ktorá sa vyvinula v Holandsku od renesancie do počiatkov baroka; zahrnuje flámskych primitívov (1400-1500), flámsku renesanciu (1500-1584) a holandský zlatý vek maľby zo 17.st.; patrí sem mnoho maliarov, sochárov a architektov, z ktorých sú najznámejší Rembrandt van Rijn, Frans Hals, Johannes Vermeer, Jacob van Ruisdael, Antoon van Dyck a Jan Steen http://fr.wikipedia.org/wiki/École_hollandaise flámske maliarstvo - samostatný výtvarný prejav charakteristický pre južné provincie Flámska od 15.st. (J.van Dyck, R.van Weyden, Majster z Flémale); v 16.-17.st. vytvorený typický barokový exaltovaný flámsky prejav, ktorý svoj vrchol našiel v diele Rubensa; v jeho dielni pod vedením A.van Dycka, ktorý svojou portrétnou tvorbou ovplyvnil anglickú maľbu, patrili Rubensovi žiaci J.Jordaens (žáner, religiózne a mytologické obrazy), F.Snyders (kvetinové a ovocné zátišia, poľovnícke zápasy), A.Brouwer a D. Teniers Ml. (žáner); krajinárstvo v dvoch smeroch: kabinetná drobnomaľba (Jan Brueghel St.) a monumentálna tzv. bruselská dekoratívna maľba; flámska žánrová maľba 17.st. zobrazovala alegórie piatich zmyslov v podobe krčmových scén s pijanmi (Chuť), fajčiarmi fajok (Čuch), rozjarenými spevákmi s huslistom (Sluch); Hmat zobrazovaný ako muž, ktorý objíma ženu okolo pása, alebo ako ránhojič púšťajúci pacientovi žilou; vo flámskom maliarstve 18.st. sa iba obmieňali vzory z predchádzajúceho obdobia, v 19.st. sa stáva súčasťou belgického maliarstva; pozri zeleň štiavová; ars simia naturae, tronie, singerie, kabinetové maliarstvo, kermesse, banket; Musée royal des Beaux-Arts/Koninklijk Museum voor schone kunster; cech (Baleka); H. Avercamp http://en.wikipedia.org/wiki/Flemish_painting http://es.wikipedia.org/wiki/Categor%C3%ADa:Pintura_flamenca http://it.wikipedia.org/wiki/Categoria:Pittura_fiamminga flámske maliarstvo vo Florencii - flámske maliarstvo 15.st. vo Florencii, keď toto mesto bobytím Pisy a jej prístavov získalo dôležitý prístup k moru, ktorý sa stal podmienkou jeho hospodárskeho rastu, bankovníctva, obchodu s Flandrami a kultúrnym rastom; boli nadviazané diplomatické vzťahy medzi Medicejovcami a burgundskými vojvodcami; prvé kontakty s flámskou kultúrou sa datujú do obdobia 1450-1460, keď Rogier van der Weyden na ceste Talianskom urobil zastávku vo Florencii a prišiel do styku s prácou Fra Angelica; dokonca aj Jan van Eyck bol ovplyvnený Florenciou pri svojej maľbe „Sv. Hieronymus v pracovni“ (dnes v Detroite), ktorý neskoršie ovplyvnil pravdepodobne ovplyvnil Ghirlandaia a Botticelliho; florentské bankárske a obchodnícke rodiny Tani, Portinari, Arnolfini, Canigiani, Cavalcanti, Tornabuoni, Baroncelli a iní sa stali patrónmi flámskych umelcov (Hugo van der Goes: Portinari Triptych; Hans Memling: početné práce, vrátane triptychu Posledný súd; Petrus Christus ( žena portrét v zbierkach lekárov, možno jeden z Berlína); podstatné a trvalé dôsledky vzájomného vplyvu bolo vidieť v Bruggách, Gentu, Bruselu a Antverpách; florentské a flámske maliarske školy mali v spoločné rysy vo väčšom dodržiavaní objektívnej reality, ale i v rôznych spôsoboch zobrazovania: predovšetkým perspektívna konštrukcia a za druhé zmysel pre detail; pozri tronie, bodegón, bamboccianti, Bentvueghels, singerie http://it.wikipedia.org/wiki/Pittura_fiamminga_a_Firenze flámske maliarstvo v Janove - flámske maliarstvo prenikajúce do Janova prostredníctvom obchodu a peňazí janovských bankárov; na ich základe došlo k radu kontaktov, ktoré tiež zahŕňali výmenu obrazových kultúr; import týchto prác do Janova začína 15.st. Heslo FLÁMSKA – FLAN Strana 1 z 59 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia http://it.wikipedia.org/wiki/Pittura_fiamminga_a_Genova flámske osobnosti - pozri cech katolíkov flámske umelkyne - pozri M. van de Passe https://en.wikipedia.org/wiki/Category:Dutch_women_artists A Amsterdamse Joffers Emmy Andriesse B Maria Barnas Hanneke Beaumont Nelly Bodenheim Emilie Boon Marjan Borsjes Coosje van Bruggen C Christina Chalon D Amie Dicke Rineke Dijkstra E Christina Maria Elliger Angèle Etoundi Essamba Titia Ex F Anna Folkema G Marijke de Goey Greet Grottendieck Hatice Güleryüz H Jacqueline Hassink Berthe Hoola van Nooten Antonina Houbraken Christina Houbraken I Ien Lucas K Lorena Kloosterboer L Juliana Cornelia de Lannoy Dana Lixenberg M Christien Meindertsma O Willemina Ogterop Heslo FLÁMSKA – FLAN Strana 2 z 59 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Hinke Osinga P Charlotte van Pallandt Magdalena van de Passe Carla van de Puttelaar R Magdalena Roghman Katharina Rozee S Lara Schnitger Maaike Schoorel Iekeliene Stange Hilda van Stockum T Maria Tesselschade Visscher Tinkebell V Anna Visscher W Maria de Wilde Ans Wortel Y Hannah Yakin flámske umenie - http://en.wikipedia.org/wiki/Category:Flemish_art flámski architekti - pozri L. Suavius https://fr.wikipedia.org/wiki/Cat%C3%A9gorie:Architecte_dans_les_Pays- Bas_m%C3%A9ridionaux A François d'Aguilon B Jean Bégrand Claude-Joseph de Bettignies Louis van Bodeghem Jean Bornoy C Jean-Robert Calloigne Pedro de Campaña Wenceslas Cobergher Pieter Coecke van Aelst Jean Cosyn François de Cuvilliés l'Ancien D Guillaume de Bruyn Laurent-Benoît Dewez Heslo FLÁMSKA – FLAN Strana 3 z 59 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Jean Du Blocq Jacques Du Brœucq Jérôme Duquesnoy le Jeune F Jean Faulte Jean-Baptiste Fleuriot-Lescot Jacques Franquart H Henri Hoeimaker Pierre Huyssens K Antoon II Keldermans David 't Kindt L Mathieu de Layens Louis Ledoux M Jean-Thomas Maljean P Antoine Pastorana R François Romain S Lambert Zutman dit Suavius T Jacques van Thienen V Gilles van den Eynde Corneille van Nerven Jean Van Ruysbroeck (architecte) Hans van Steenwinckel l'Ancien W Jacques Walckiers Jean-François Wincqz flámski architekti pred r. 1830 - pozri L. Suavius https://nl.wikipedia.org/wiki/Categorie:Zuid-Nederlands_architect_(voor_1830) A François d'Aguilon Johannes Andreas Anneessens Jan Appelmans Pieter Appelmans B Jan Pieter van Baurscheidt de Oudere Jan Pieter van Baurscheidt de Jonge Denis-Georges Bayar Heslo FLÁMSKA – FLAN Strana 4 z 59 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Pierre Bruno Bourla C Jan-Robert Calloigne Wenceslas Cobergher Pieter Coecke van Aelst Alexander Colyn François de Cuvilliés de Oudere D Laurent-Benoît Dewez Jacques Dubrœucq Hiëronymus Duquesnoy de Jonge F Lucas Faydherbe Joost Fermont H Alaert du Hamel Ghislain-Joseph Henry Melchior van Herbach Jan Heyns Pieter Huyssens J Jacques-Jean Dutry K Keldermans (bouwmeestersgeslacht) Andries I Keldermans Antoon I Keldermans Antoon II Keldermans Jan II Keldermans Jan III Keldermans Laurens II Keldermans Marcelis Keldermans Rombout II Keldermans David 't Kindt L Matthijs de Layens Leo van Heil M Arnold van Mulken N Adriaan Noordendorp Coenraat Norenburch O Anthonis van Obbergen Jean d'Oisy P Hendrik van Paesschen Antoon Pastorana Hendrik Pulinx Heslo FLÁMSKA – FLAN Strana 5 z 59 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia R Lodewijk Roelandt Arendt de Roy Jan van Ruysbroeck S François Soiron Matheius Soiron Mathias Soiron Everaert Spoorwater Hans van Steenwinckel de Oude Charles Vander Straeten Tieleman Franciscus Suys T Jacob van Tienen V Pieter Antoon Verschaffelt Sulpitius van Vorst Hans Vredeman de Vries Cornelis Floris de Vriendt W Cornelis de Wael (architect) Herman de Waghemakere Bernard de Wilde Z Gilbertus van Zinnik flámski grafici - pozri N. van Aelst, M. Gheeraerts St., J. Hoefnagel, L. Suavius http://en.wikipedia.org/wiki/Category:Flemish_printmakers A Pieter van Avont B Cornelis Bol C Frans van Crabbe Espleghem D Volcxken Diericx Anthony van Dyck G Marcus Gheeraerts Staršieho M Majster Lübeck Biblia N Jost de Negker R Pieter Rijsbraeck V Johanna Vergouwen Heslo FLÁMSKA – FLAN Strana 6 z 59 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Mayken Verhulst W Ján Krstiteľ de Wael flámski iluminátori - pozri iluminácia; A. Janssen http://it.wikipedia.org/wiki/Categoria:Miniatori_fiamminghi B Melchior Broederlam A Barthélemy d'Eyck V Mayken Verhulst flámski iluminátori pred rokom 1830 - http://fr.wikipedia.org/wiki/Cat%C3%A9gorie:Enlumineur_flamand_(avant_1830) http://fr.wikipedia.org/wiki/Catégorie:Enlumineur_flamand_(avant_1830) B André Beauneveu Alexander Bening Simon Bening Jan Bondol C Jean Clouet Jacob Coene D Gerard David Jean Dreux E Barthélemy van Eyck Jan van Eyck H Joris Hoefnagel Gerard Horenbout Lucas Horenbout L Lieven van Lathem Loyset Liédet M Colard Mansion Simon Marmion Philippe de Mazerolles Boucicaut-meester Meester van Antoon van Bourgondië Weense meester van Maria van Bourgondië Meester van de David scènes Meester van de gebedenboeken omstreeks 1500 Meester van Guillebert de Mets Heslo FLÁMSKA – FLAN Strana 7 z 59 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Meester van het gebedenboek van Dresden Maximiliaan-meester Meester van Otto van Moerdrecht Meester van Jacobus IV van Schotland T Jan Tavernier V Willem Vrelant W Rogier van der Weyden A Maître d'Antoine de Bourgogne B Alexander Bening Simon Bening Maître de la Bible de Lübeck Maître
Recommended publications
  • SIMON DE VOS (1603 – Antwerp – 1676)
    CS0371 SIMON DE VOS (1603 – Antwerp – 1676) The Lamentation Signed and dated, lower left: S. D Vos. in et F 1644 Oil on panel, 14½ x 17⅝ ins. (36.8 x 44.8 cm) PROVENANCE With James A. Gorry, Dublin, until Anonymous sale, Christie’s, London, 6 October, 1950, lot 123 Anonymous sale, Christie’s, London, 9 July 2014, lot 159 (The Property of a Lady) Private collection, England, until 2021 Born in Antwerp in 1603, Simon de Vos studied with the portraitist Cornelis de Vos (1603- 1676) before enrolling as a master in the Antwerp Guild of St. Luke in 1620. Subsequently, he is thought to have rounded off his education with a trip to Italy. Although undocumented, a sojourn in Italy during the 1620s is the only plausible explanation for the stylistic similarities that exist between some of his early genre scenes and those of the German-born artist Johann Liss (c. 1595-1631), who was in Rome and Venice at that time. In any event, de Vos was back in his hometown by 1627, the year in which he married Catharina, sister of the still-life painter Adriaen van Utrecht (1599-1652). He remained in Antwerp for the rest of his life. In his early career, Simon de Vos painted mostly cabinet-sized genre scenes. He specialised in merry company subjects, whose style and composition recall similar works by such Dutch contemporaries as Antonie Palamedesz. (1601-1673), Dirck Hals (1591-1656) and Pieter Codde (1599-1678). After about 1640, he turned increasingly to biblical subjects that show the influence of Frans Francken the Younger (1581-1642), Peter Paul Rubens (1577-1640) and Anthony van Dyck (1599-1641).
    [Show full text]
  • STUDIEN ZUR IKONOGRAPHIE DES KUNSTBETRACHTERS Im 17., 18
    STUDIEN ZUR IKONOGRAPHIE DES KUNSTBETRACHTERS im 17., 18. und 19. Jahrhundert Von der Philosophischen Fakultät der Rheinisch-Westfälischen Technischen Hochschule Aachen zur Erlangung des akademischen Grades eines Doktors der Philosophie genehmigte Dissertation vorgelegt von Heinrich Silvester Johannes Becker aus Ulm/Donau Berichter: Universitätsprofessor Dr. phil. Andreas Beyer Universitätsprofessor Dr. phil. Theo Buck Professurvertreter Dr. phil. Alexander Markschies Tag der mündlichen Prüfung: 21. 01. 2005 Diese Dissertation ist auf den Internetseiten der Hochschulbibliothek online verfügbar Rachel und meinen Eltern Wem ich danken möchte: - Prof. Dr. Adreas Beyer, der sich ohne Umschweife dazu bereit erklärte, die Betreuung dieser Arbeit von seinem Vorgänger zu übernehmen - Prof. Dr. Hans Holländer, dem besagten Vorgänger, von dem der entscheidende Anstoß zur Themen- findung kam - Prof. Dr. Walter Grasskamp für sein Interesse und seine Hinweise - Prof. Dr. Theo Buck für ein offenes Ohr und die umgehende Bereitschaft als Berichter zu fungieren - Professurvertreter Dr. Alexander Marschies für die freundliche und unkomplizierte Art, mit der er die Aufgabe des Gutachters übernahm - meiner Tochter Rachel und ihrer Mutter Viola Kramer für die vielen Entbehrungen, die sie im Lauf der Jahre - wenn auch nicht immer ganz freiwillig - auf sich genommen haben, und für ihr oft mühevol- les Streben, mich im ‘richtigen’ Leben zu halten - meinen Eltern für ihre bereitwillige Unterstützung in jeder Hinsicht - Gabriela Ruhmann, ohne die und deren Verständnis,
    [Show full text]
  • PDF Hosted at the Radboud Repository of the Radboud University Nijmegen
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/206026 Please be advised that this information was generated on 2021-09-25 and may be subject to change. 18 De Zeventiende Eeuw 31 (2015) 1, pp. 18-54 - eISSN: 2212-7402 - Print ISSN: 0921-142x Coping with crisis Career strategies of Antwerp painters after 1585 David van der Linden David van der Linden is lecturer and nwo Veni postdoctoral fellow at the University of Groningen. He recently published Experiencing Exile. Huguenot Refugees in the Dutch Repu- blic, 1680-1700 (Ashgate, 2015). His current research project explores Protestant and Catholic memories about the French civil wars. [email protected] Abstract This article explores how painters responded to the crisis on the Antwerp art market in the 1580s. Although scholarship has stressed the profound crisis and subsequent emigration wave, prosopographical analysis shows that only a mino- rity of painters left the city. Demand for Counter-Reformation artworks allowed many to pursue their career in Antwerp, while others managed to survive the crisis by relying on cheap apprentices and the export of mass-produced paintings. Emigrant painters, on the other hand, minimised the risk of migration by settling in destinations that already had close artistic ties to Antwerp, such as Middelburg. Prosopographical analysis thus allows for a more nuanced understanding of artistic careers in the Low Countries. Keywords: Antwerp painters, career strategies, art market, guild of St.
    [Show full text]
  • Holland Artikel
    Bonny van Sighem Vis op het droge Visstillevens in Holland en Utrecht in de 17de eeuw Stillevens met daarop stapels dode vissen behoren zelden tot de topstukken van musea. Wij kijken liever naar een schilderij met flink wat menselijk drama of naar een kleurig boeket bloemen in verf dan naar een uitstalling van deze weinig aaibare dieren. Toch zijn er prachtige visstillevens geschilderd in de 17de eeuw. De meesten werden gemaakt in de provincie Holland en de stad Utrecht. Over het algemeen zien we op schilderijen uit Holland wat vaker zeevis en op die uit Utrecht wat vaker zoetwatervis. Realisti - sche uitstallingen tonen vistillevens echter niet. De bederfelijkheid van het onderwerp verklaart waarom ze nooit de nageschilderde werkelijkheid laten zien. De stank in het atelier zou ondraaglijk zijn geweest. Bijbelse taferelen, portretten, mythologische voorstellingen, kerkinterieurs, stadsgezichten, genrestukken, landschappen, zeegezichten, stillevens. De 17de-eeuwse Nederlandse schil - derkunst kende zeer veel specialiteiten. De markt was vrij en de economische situatie was gunstig, waardoor zowel de vraag naar als het aanbod van schilderijen zeer groot was. Stil - levenschilders die zich oefenden in het weergeven van levenloze voorwerpen konden kiezen voor het schilderen van vazen met bloemen, boeken, tabaksgerei, steengoed, etenswaar, vruchten, glas en andere kostbaarheden, jachtbuit, vis, of een combinatie hiervan, zoals het ontbijtje, het vanitas-stilleven en het pronkstilleven. Stillevens stelden in de ogen van de la - tere kunsttheoretici niet veel voor, maar op de markt vonden ze gretig aftrek en er konden hoge prijzen voor betaald worden. Ook aan het begin van de 21ste eeuw worden stillevens nog bijzonder gewaardeerd. Ze staan sterk in de markt en brengen ongekende prijzen op.
    [Show full text]
  • Garland of Flowers by Abraham Mignon
    Garland of Flowers by Abraham Mignon Magdalena Kraemer-Noble This text is published under an international Attribution-NonCommercial-NoDerivs Creative Commons licence (BY-NC-ND), version 4.0. It may therefore be circulated, copied and reproduced (with no alteration to the contents), but for educational and research purposes only and always citing its author and provenance. It may not be used commercially. View the terms and conditions of this licence at http://creativecommons.org/licenses/by-ncnd/4.0/legalcode Using and copying images are prohibited unless expressly authorised by the owners of the photographs and/or copyright of the works. © of the texts: Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao Photography credits © Bilboko Arte Ederren Museoa Fundazioa-Fundación Museo de Bellas Artes de Bilbao: figs. 1, 14 and 15 By courtesy of Richard Green, London: fig. 9 By courtesy of Magdalena Kraemer-Noble: figs. 4, 10 and 12 By courtesy of Johnny Van Haeften, London: fig. 8 © Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden / Elke Estel, Hans-Peter Klut: figs. 5 and 6 © Horta Auctioneers, Brussels: fig. 11 © MBA Lyon / Alain Basset: fig. 3 © Museo Nacional del Prado, Madrid: fig. 7 © Royal Cabinet of Paintings Mauritshuis, The Hague: figs. 2 and 13 © Staatliche Kunsthalle Karlsruhe: fig. 16 © Tim Koster, ICN, Rijswijk/Amsterdam: fig. 17 Text published in: B’08 : Buletina = Boletín = Bulletin. Bilbao : Bilboko Arte Eder Museoa = Museo de Bellas Artes de Bilbao = Bilbao Fine Arts Museum, no. 4, 2009, pp. 195-237. efore studying the opulent Garland of Flowers [fig. 1] in the Museum’s collection, it would be of prior in- terest to explore the challenging life of the Baroque painter Abraham Mignon who is unknown in Spain Bexcept this still-life in Bilbao.
    [Show full text]
  • The Collecting, Dealing and Patronage Practices of Gaspare Roomer
    ART AND BUSINESS IN SEVENTEENTH-CENTURY NAPLES: THE COLLECTING, DEALING AND PATRONAGE PRACTICES OF GASPARE ROOMER by Chantelle Lepine-Cercone A thesis submitted to the Department of Art History In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada (November, 2014) Copyright ©Chantelle Lepine-Cercone, 2014 Abstract This thesis examines the cultural influence of the seventeenth-century Flemish merchant Gaspare Roomer, who lived in Naples from 1616 until 1674. Specifically, it explores his art dealing, collecting and patronage activities, which exerted a notable influence on Neapolitan society. Using bank documents, letters, artist biographies and guidebooks, Roomer’s practices as an art dealer are studied and his importance as a major figure in the artistic exchange between Northern and Sourthern Europe is elucidated. His collection is primarily reconstructed using inventories, wills and artist biographies. Through this examination, Roomer emerges as one of Naples’ most prominent collectors of landscapes, still lifes and battle scenes, in addition to being a sophisticated collector of history paintings. The merchant’s relationship to the Spanish viceregal government of Naples is also discussed, as are his contributions to charity. Giving paintings to notable individuals and large donations to religious institutions were another way in which Roomer exacted influence. This study of Roomer’s cultural importance is comprehensive, exploring both Northern and Southern European sources. Through extensive use of primary source material, the full extent of Roomer’s art dealing, collecting and patronage practices are thoroughly examined. ii Acknowledgements I am deeply thankful to my thesis supervisor, Dr. Sebastian Schütze.
    [Show full text]
  • The Test of Time: Art Encyclopedias and the Formation of the Canon
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Erasmus University Digital Repository TEST OF TIME 1 The Test of Time: Art Encyclopedias and the Formation of the Canon of Seventeenth-Century Painters in the Low Countries Authors Filip Vermeylen, Ph.D. (lead author) Associate Professor in Cultural Economics Erasmus University Rotterdam, The Netherlands Website: http://filipvermeylen.com Maarten van Dijck, Ph.D. Lecturer in Historical Methodology Erasmus University Rotterdam, The Netherlands Website: www.eshcc.eur.nl/english/personal/vandijck/ Veerle De Laet, Ph.D., Leuven University Press, Belgium The authors wish to thank Karolien de Clippel, Neil de Marchi, Victor Ginsburgh and two anonymous reviewers for their insightful feedback, and Jessica Verboom for her help with collecting the data. TEST OF TIME 2 Abstract This paper deals with the process of canon formation for Flemish and Dutch painters from the seventeenth century onwards. We examine how the essential art-historical treatises and art encyclopedias since Houbraken’s Grote Schouburgh der Nederlandsche Konstschilders en Schilderessen ranked and evaluated the leading painters, based on the attention given to them in these volumes. Using standardized z-scores, we map the relative importance the selected artists received in these publications over the three centuries. In doing so, we emphasize the path-dependency and the dimension of time in explaining the endurance of certain artists in the long run. From our research it emanates that the canon of Netherlandish painters is much more volatile than previously assumed. TEST OF TIME 3 “When one does a thing, it appears good, otherwise one would not write it.
    [Show full text]
  • Julius S. Held Papers, Ca
    http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt.
    [Show full text]
  • November 2012 Newsletter
    historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 29, No. 2 November 2012 Jan and/or Hubert van Eyck, The Three Marys at the Tomb, c. 1425-1435. Oil on panel. Museum Boijmans Van Beuningen, Rotterdam. In the exhibition “De weg naar Van Eyck,” Museum Boijmans Van Beuningen, October 13, 2012 – February 10, 2013. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents Board Members President's Message .............................................................. 1 Paul Crenshaw (2012-2016) HNA News ............................................................................1 Wayne Franits (2009-2013) Personalia ............................................................................... 2 Martha Hollander (2012-2016) Exhibitions ............................................................................ 3 Henry Luttikhuizen (2009 and 2010-2014)
    [Show full text]
  • Full Texts Book
    2. PEARSON JOURNAL INTERNATIONAL CONFERENCE ON SOCIAL SCIENCES & HUMANITIES June 28-29, 2021 Izmir – TURKEY FULL TEXTS BOOK Editor Assoc. Prof. Dr. Filiz KALYON ISBN - 978-1-955094-08-5 2. PEARSON JOURNAL INTERNATIONAL CONFERENCE ON SOCIAL SCIENCES & HUMANITIES June 28-29, 2021 Izmir – TURKEY FULL TEXTS BOOK Published by Liberty Publications -2021© LIBERTY ACADEMIC is a part of LIBERTY PUBLISHER OF BOOKS Head officeNew York, USA +1 (314) 597-037280 Maiden Lane, 21st Floor /8Water Street Corridor New York, NY 10038 www.libertyacademicbooks.com [email protected] Release date: 21.07.2021 ISBN – 978-1-955094-08-5 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY CONGRESS'S IDENTIFICATION CONGRESS NAME 2. Pearson Journal International Conference on Social Sciences & Humanities DATE AND PLACE June 28-29, 2021 Izmir, TURKEY ORGANIZING COMMITTEE Dr. Terane NAGIYEVA Dr. Mehmet Emin KALGI Dr. Alice HERMANIS Dr. Hasan ÇİFTÇİ Dr. Damezhan SADYKOVA Dr. Yunus Emre TANSÜ COORDINATOR Zhanuzak ALIMGEREY NUMBER OF ACCEPTED PAPERS 31 NUMBER OF REJECTED PAPERS 11 EVALUATION PROCESS All applications have undergone a double-blind peer review process CONGRESS LANGUAGES Turkish and all dialects, English, Russian PRESENTATION Oral presentation Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY PHOTO GALLERY Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY SCIENTIFIC COMMITTEE Prof.
    [Show full text]
  • 2017 Annual Report 2017 NATIONAL GALLERY of IRELAND
    National Gallery of Ireland Gallery of National Annual Report 2017 Annual Report 2017 Annual Report nationalgallery.ie Annual Report 2017 Annual Report 2017 NATIONAL GALLERY OF IRELAND 02 ANNUAL REPORT 2017 Our mission is to care for, interpret, develop and showcase art in a way that makes the National Gallery of Ireland an exciting place to encounter art. We aim to provide an outstanding experience that inspires an interest in and an appreciation of art for all. We are dedicated to bringing people and their art together. 03 NATIONAL GALLERY OF IRELAND 04 ANNUAL REPORT 2017 Contents Introducion 06 Chair’s Foreword 06 Director’s Review 10 Year at a Glance 2017 14 Development & Fundraising 20 Friends of the National Gallery of Ireland 26 The Reopening 15 June 2017 34 Collections & Research 51 Acquisition Highlights 52 Exhibitions & Publications 66 Conservation & Photography 84 Library & Archives 90 Public Engagement 97 Education 100 Visitor Experience 108 Digital Engagement 112 Press & Communications 118 Corporate Services 123 IT Department 126 HR Department 128 Retail 130 Events 132 Images & Licensing Department 134 Operations Department 138 Board of Governors & Guardians 140 Financial Statements 143 Appendices 185 Appendix 01 \ Acquisitions 2017 186 Appendix 02 \ Loans 2017 196 Appendix 03 \ Conservation 2017 199 05 NATIONAL GALLERY OF IRELAND Chair’s Foreword The Gallery took a major step forward with the reopening, on 15 June 2017, of the refurbished historic wings. The permanent collection was presented in a new chronological display, following extensive conservation work and logistical efforts to prepare all aspects of the Gallery and its collections for the reopening.
    [Show full text]
  • TRQ Layout Def 1-6 Web.Indd
    The 2010 Rubenianum 2 Quarterly Rubenianum Fund gathers momentum Dear Friends of the Rubenianum, In the past few months, the Rubenianum Fund has continued to gather momentum. We are delighted to let you know that the The total amount raised so far already exceeds Euro 1.4 million from donors in results so far of the fundraising initiatives of Belgium, the United States, the Netherlands, the United Kingdom, France, Spain the Rubenianum Fund have been immensely and Switzerland. This is especially gratifying in these economically diffi cult times. encouraging. Only three weeks ago, on 21th It signifi es that the fi nal target of Euro 2 million is within reach, although obviously September to be precise, our colleagues of the quite a lot of ground still needs to be covered. Rubenshuis hosted a splendid fundraising dinner for the Dutch community of patrons The next fundraising event will take place in Madrid in the premises of the and collectors living in our country which was Fundacion Carlos de Amberes. This is a most appropriate location, as the Fundacion also attended by the Dutch consul–general. was established at the end of the 16th century by a Flemish merchant who came The benevolent and generous support of a to Madrid. Moreover, it houses an impressive Rubens Altarpiece depicting Saint growing number of international Donors and Andrew in its Chapel of San Andres de los Flamencos. Benefactors made it possible to hire two talented Madrid will also be the venue for the fi rst trip for the donors and benefactors of the junior staff members on a fulltime basis.
    [Show full text]