To Theo Van Gogh. Arles, Thursday, 5 July 1888
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Companion to European Heritage Revivals / Companion to European Heritage Revivals / Edited by Linde Egberts and Koos Bosma
Companion to European Heritage Revivals / Companion to European Heritage Revivals / edited by Linde Egberts and Koos Bosma Companion to European Heritage Revivals / edited by Linde Egberts and Koos Bosma Linde Egberts and Koos Bosma (eds.) CLUE research institute VU University Amsterdam The Netherlands This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. ISBN 978-3-319-07769-7 ISBN 978-3-319-07770-3 (eBook) DOI 10.1007/978-3-319-07770-3 Springer Heidelberg New York Dordrecht London Library of Congress Control Number: 2014942845 © The Editor(s) (if applicable) and the Author(s) 2014. The book is published with open access at SpringerLink.com. Open Access This book is distributed under the terms of the Creative Commons Attribution Noncommercial License which permits any noncommercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. All commercial rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, re-use of illustrations, recitation, broadcasting, reproduction on microfilms or in any other way, and storage in data banks. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for commercial use must always be obtained from Springer. Permissions for commercial use may be obtained through RightsLink at the Copyright Clearance Center. -
Arles Monuments
SCHOOL PASS OPENING HOURS AND PRICES Individual entrance fee PASS AVANTAGE PASS LIBERTÉ ARLES Valid for 2 days Valid for 6 months Valid for 1 month Or combined ticket valid School groups -18 2021 One entrance per site One entrance per site MONUMENTS for 2 days years old Last admission : 30 min March, April May to November to Reduced Full price Reduced Full price Reduced price Single price before closing Full price 16.00 € 12.00 € 10.00 € 4.00 € and October September February price price 13.00 € Combined ticket 1. Amphitheater (Arena) • • + 9.00 € 7.00 € 2. Roman Theater • • 4 monuments of your choice + Includes The Réattu Museum 4.00 € 3.20 € all the monuments 3. Baths of Constantine • • + and Archeological Museum 9 a.m- 6 p.m 9 a.m - 7 p.m To be confirmed the Réattu Museum (3) (3) or Camargue Museum 4. Cryptoportico 4.50 € 3.60 € • • at your choice 5. Alyscamps Roman and medieval 4.50 € 3.60 € • • graveyard 6. Saint-Trophime 5.50 € 4.50 € • • cloister Combined ticket : Amphitheater (Arena) + Roman Theater or 9.00 € 7.00 € Alyscamps Roman and medieval graveyard + Saint-Trophime cloister The monuments and museums are closed on : 01/01, 01/05, 01/11 and 25/12. Amphitheatre closed the entire day from 09/09 to 12/09, from 23/09 to 26/09, and on 09/10 and 10/10 FREE ! The monuments could be closed on other days due to spectacles. For more information please call 00 33 (0)4 90 18 41 20 Children under 18 years old accompanied by an adult. -
A Little Tour in France
A LITTLE TOUR IN FRANCE with ninety-four illustrations by JOSEPH PENNELL LONDON WILLIAM HEINEMANN 1900 Preface Preface The notes presented in this volume were gathered, as will easily be perceived, a number of years ago and on an expectation not at that time answered by the event, and were then published in the United States. The expectation had been that they should accompany a series of drawings, and they themselves were altogether governed by the pictorial spirit. They made, and they make in appearing now, after a considerable interval and for the first time, in England, no pretension to any other; they are impressions, immediate, easy, and consciously limited; if the written word may ever play the part of brush or pencil, they are sketches on "drawing-paper" and nothing more. From the moment the principle of selection and expression, with a tourist, is not the delight of the eyes and the play of fancy, it should be an energy in every way much larger; there is no happy mean, in other words, I hold, between the sense and the quest of the picture, and the surrender to it, and the sense and the quest of the constitution, the inner springs of the subject—springs and connections social, economic, historic. One must really choose, in other words, between the benefits of the perception of surface—a perception, when fine, perhaps none of the most frequent—and those of the perception of very complex underlying matters. If these latter had had, for me, to be taken into account, my pages would not have been collected. -
Van Gogh Museum Journal 2002
Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh. -
The Count of Saint-Gilles and the Saints of the Apocalypse
University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 8-2015 The ounC t of Saint-Gilles and the Saints of the Apocalypse: Occitanian Piety and Culture in the Time of the First Crusade Thomas Whitney Lecaque University of Tennessee - Knoxville, [email protected] Recommended Citation Lecaque, Thomas Whitney, "The ounC t of Saint-Gilles and the Saints of the Apocalypse: Occitanian Piety and Culture in the Time of the First Crusade. " PhD diss., University of Tennessee, 2015. http://trace.tennessee.edu/utk_graddiss/3434 This Dissertation is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Thomas Whitney Lecaque entitled "The ounC t of Saint-Gilles and the Saints of the Apocalypse: Occitanian Piety and Culture in the Time of the First Crusade." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, with a major in History. Jay Rubenstein, Major Professor We have read this dissertation and recommend its acceptance: Thomas Burman, Jacob Latham, Rachel Golden Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official student records.) The Count of Saint-Gilles and the Saints of the Apocalypse: Occitanian Piety and Culture in the Time of the First Crusade A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Thomas Whitney Lecaque August 2015 ii Copyright © 2015 by Thomas Whitney Lecaque All rights reserved. -
The Traveller's Guide to the Bouches-Du-Rhône Sectorsthe Five Sectors Themestravel Themes of the Bouches-Du-Rhône Culture and Heritage Prehistory and Antiquity P
> The traveller’s guide The Traveller's Guide to the Bouches-du-Rhône SectorsThe Five Sectors ThemesTravel Themes of the Bouches-du-Rhône Culture and Heritage Prehistory and Antiquity P. 56 Aix and Salon-de-Provence Sector P. 7 Church Architecture P. 58 Aix-en-Provence P. 8 Castles P. 59 The Countryside around Aix-en-Provence P. 11 Salon-de-Provence P. 12 Rural and Village Architecture P. 60 The Countryside around Salon-de-Provence P. 13 Urban and Suburban Architecture P. 61 Discovery Circuits P. 14 Feast Days and Festivals P. 62 Crafts and Popular Traditions P. 64 Saint-Rémy and the Alpilles Sector P. 17 Cultural Creativity P. 66 Saint-Rémy de Provence P. 18 Gastronomy P. 68 The Countryside around Saint-Rémy P. 20 Discovery Circuits P. 22 Outdoor Pursuits Arles, the Camargue and La Crau Sector P. 25 Water P. 72 Arles P. 26 The Countryside around Arles P. 30 Protected Natural Sites P. 74 Discovery Circuits P. 32 Water-centred Activities P. 76 Golf Courses and Driving Ranges P. 78 Martigues and the Côte Bleue Sector P. 35 Hiking, Horse Riding and Cycling P. 80 Martigues P. 36 Climbing and Caving P. 82 The Countryside around Martigues P. 38 Discovery Circuits P. 40 Children Marseille and the Calanques Sector P. 43 Practical Information P. 86 Marseille P. 44 The Countryside around Marseille and Aubagne P. 49 Discovery Circuits P. 50 General Information P. 88 The Five Sectors of the Bouches-du-Rhône 7 Aix and Salon-de-Provence Saint-Rémy and the Alpilles 17 Arles, 25 the Camargue and La Crau Martigues and the Côte Bleue 35 Marseille and the Calanques 43 Aix and Salon-de-Provence Overview This sector, along with the Alpilles, is one of the inland regions of Provence. -
É an Installation by JR #Aupanth·On Ê
Press release, 25 February 2014 The CM N is inviting JR to create a participatory work at the Pantheon çTo the Pantheon!é an installation by JR #AuPanth·on ê www.au-pantheon.fr Press officer: Camille Boneu ê +33 (0)1 44 61 21 86 ê camille.boneu@ monuments-nationaux.fr çTo the Pantheon!é An installation by JR The restoration work currently being carried out on the Pantheon is one of the largest projects in Europe. The purpose of the current phase is to consolidate and fully restore the dome. A vast self-supporting scaffolding system ê a great technical feat ê has been built around the dome and will remain in place for two years. Last October the President of the Centre des Monuments Nationaux, Philippe Bélaval, presented the President of the French Republic with a report on the role of the Pantheon in promoting the values of the Republic. The title of this public report was “Pour faire entrer le peuple au Panthéon” (Getting people into the Pantheon), and it contains suggestions on how to make the monument more attractive, encourage French people to truly identify with it, and give it a greater role in Republican ceremonies. In order to give concrete form to these proposals, which have since been approved by the public authorities, the CMN has chosen to ask a contemporary artist to carry out a worldwide project embodying the values of this monument, which is so emblematic of the French Republic. Hence for the first tim e the worksite hoardings installed around a national m onum ent will be used to present a contem porary artistic venture instead of a lucrative advertising cam paign. -
How Long? 2000 Years!
HOW LONG? 2000 YEARS! ARLES AND CAESAR (1/2 day tour) • 10.00 AM : Meet your guide at the archaeological museum (Musée Départemental Arles antique), with its new 800-m2 wing. All the archaeological objects found over the centuries in the territory around Arles, and evidence of its rich Roman past, are exhibited, including the restored barge “ Arles-Rhône 3” dated back to 50-60 AD, listed as a “National Treasure” and found in the Rhône River, as well as the only known bust of Julius Caesar to have been sculpted while he was alive. • 12.30 Roman lunch in a restaurant in the old city center. Arelate plate, Apicius chicken, Fruit salad fl avored with muscat wine and mint. ¼ l Roman wine and coffee. Price : 33€ per person (group of 30 persons or more) Dates of validity : every day except Tuesdays, January 1, May 1, November 1, December 25 – extra charge on Sundays and holidays. ROMAN ARLES (day tour) • 10.00 AM Meet your guide at the Arles archaeological museum (Musée Départemental Arles Antique). This contemporary building has recently received an 800-m2 addition, and will immerse you in the living memory of the city. All the archaeological objects found over the centuries in the territory around Arles, and evidence of its rich Roman past, are exhibited, including the restored barge “Arles-Rhône 3” dated back to 50-60 AD, listed as a “National Treasure” and found in the Rhône River, as well as the only known bust of Julius Caesar to have been sculpted while he was alive. -
Stereotomy and the Mediterranean: Notes Toward an Architectural History*
STEREOTOMY AND THE MEDITERRANEAN: * NOTES TOWARD AN ARCHITECTURAL HISTORY SARA GALLETTI DUKE UNIVERSITY Abstract Stereotomy, the art of cutting stones into particular shapes for the construction of vaulted structures, is an ancient art that has been practiced over a wide chronological and geographical span, from Hellenistic Greece to contemporary Apulia and across the Mediterranean Basin. Yet the history of ancient and medieval stereotomy is little understood, and nineteenth- century theories about the art’s Syrian origins, its introduction into Europe via France and the crusaders, and the intrinsic Frenchness of medieval stereotomy are still largely accepted. In this essay, I question these theories with the help of a work-in-progress database and database-driven maps that consolidate evidence of stereotomic practice from the third century BCE through the eleventh century CE and across the Mediterranean region. I argue that the history of stereotomy is far more complex than what historians have assumed so far and that, for the most part, it has yet to be written. Key Words Stereotomy, stone vaulting, applied geometry, history of construction techniques. * I am very grateful to John Jeffries Martin and Jörn Karhausen for reading drafts of this essay and providing important suggestions. I am also indebted to the faculty and students of the Centre Chastel (INHA, Paris), where I presented an early version of this essay in April 2016, for helping me clarify aspects of my research. Philippe Cabrit, a maître tailleur of the Compagnons du devoir de France, helped me immensely by generously sharing his knowledge of the practice of stereotomy. This essay is dedicated to Maître Cabrit as a token of my gratitude. -
De Kwartierstaat Van Dingeman De Waard
een genealogieonline publicatie De kwartierstaat van Dingeman de Waard door Jaco Oversluizen 5 augustus 2021 De kwartierstaat van Dingeman de Waard Jaco Oversluizen De kwartierstaat van Dingeman de Waard Generatie 1 1. Dingeman de Waard, zoon van Pieter de Waard (volg 2) en Lijntje Hendrika Huizer (volg 3), is geboren op 25 juni 1914 in Ridderkerk, South Holland, Netherlands. Dingeman is overleden op 75 jarige leeftijd op 23 juli 1989 in Ridderkerk, South Holland, Netherlands en is begraven in Ridderkerk, South Holland, Netherlands. Generatie 2 2. Pieter de Waard, zoon van Gerrit de Weerd (volg 4) en Lena van Driel (volg 5), is geboren op 25 november 1875 in Heerjansdam, South Holland, Netherlands. Pieter is overleden op 76 jarige leeftijd op 18 December 1951 in Ridderkerk, South Holland, Netherlands. 3. Lijntje Hendrika Huizer, dochter van Arie Huizer (volg 6) en Pietertje de Heer (volg 7), is geboren op 5 mei 1877 in Ridderkerk, South Holland, Netherlands. Lijntje Hendrika is overleden op 78 jarige leeftijd op 4 januari 1956 in Rotterdam, South Holland, Netherlands. Generatie 3 4. Gerrit de Weerd, zoon van Dingeman de Weerd (volg 8) en Leentje van der Poel (volg 9), is geboren op 10 oktober 1829 in Barendrecht, Holland (South), Netherlands. Gerrit is overleden . 5. Lena van Driel, is geboren op 24 juni 1846 in Kleine Lindt, Holland (South), Netherlands. Lena is overleden . 6. Arie Huizer, zoon van Pleun Huijser (volg 12) en Hendrika Alderliesten (volg 13), is geboren op 24 januari 1843 in Ridderkerk, Holland (South), Netherlands. Arie is overleden . 7. Pietertje de Heer, dochter van Henderik De Heer (volg 14) en Gerritje Hendriks (volg 15), is geboren op 9 april 1841 in South Holland, Netherlands. -
Van Gogh Museum Enterprises 39 the Works Council 41
Van Gogh Museum Annual Report 2018 Van Gogh Museum Annual Report 2018 Contents Supervisory Board statement 5 1 Report of the Board 7 2018 in short 9 2 Overview of 2018 17 Museum Affairs19 The Mesdag Collection 26 Public Affairs28 Operations 36 Van Gogh Museum Enterprises 39 The Works Council 41 3 Appendices to annual report 43 Overview of the organisation 45 Social Annual Report 46 Acquisitions 48 Gifts 53 Supporters 54 Conserved works 57 Collection information 66 Overview of outgoing loans 67 Long-term loans to the VGM 76 Long-term loans to other museums 78 Research projects 79 Museum publications 81 Additional functions 82 Lectures and other academic activities 84 Publications employees 87 Supervisory Board statement 2018 was once again a resoundingly successful year for the Van Gogh Museum. Vincent van Gogh and his contemporaries continue to inspire millions of people all around the world, as is reflected in the sustained high numbers of visitors to both the museum and its website. In the past year, 2,165,000 art lovers from the Netherlands and abroad visited the museum, and our online fan base grew exponentially. After being officially opened by King Willem-Alexander during a celebratory event, the exhibition Van Gogh & Japan attracted an impressive 430,000 visitors, making it a great success. Van Gogh aspires was published last year, the Strategic Plan 2018-2020 outlining how the museum will work towards realising its Strategic Pillars in the years ahead. In its endeavours to deliver and uphold its mission, vision and core values, the museum focuses on three dimensions: local, global and digital. -
Stereotomy and the Mediterranean: Notes Toward an Architectural History*
STEREOTOMY AND THE MEDITERRANEAN: * NOTES TOWARD AN ARCHITECTURAL HISTORY SARA GALLETTI DUKE UNIVERSITY Abstract Stereotomy, the art of cutting stones into particular shapes for the construction of vaulted structures, is an ancient art that has been practiced over a wide chronological and geographical span, from Hellenistic Greece to contemporary Apulia and across the Mediterranean Basin. Yet the history of ancient and medieval stereotomy is little understood, and nineteenth- century theories about the art’s Syrian origins, its introduction into Europe via France and the crusaders, and the intrinsic Frenchness of medieval stereotomy are still largely accepted. In this essay, I question these theories with the help of a work-in-progress database and database-driven maps that consolidate evidence of stereotomic practice from the third century BCE through the eleventh century CE and across the Mediterranean region. I argue that the history of stereotomy is far more complex than what historians have assumed so far and that, for the most part, it has yet to be written. Key Words Stereotomy, stone vaulting, applied geometry, history of construction techniques. * I am very grateful to John Jeffries Martin and Jörn Karhausen for reading drafts of this essay and providing important suggestions. I am also indebted to the faculty and students of the Centre Chastel (INHA, Paris), where I presented an early version of this essay in April 2016, for helping me clarify aspects of my research. Philippe Cabrit, a maître tailleur of the Compagnons du devoir de France, helped me immensely by generously sharing his knowledge of the practice of stereotomy. This essay is dedicated to Maître Cabrit as a token of my gratitude.