November 2011 Newsletter
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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, -
PP.13.001 NOTA VOORKEURSALTERNATIEF DR57 NIEUW BERGEN Hoogwaterbeschermingsprogramma Noordelijke Maasvallei
PP.13.001 NOTA VOORKEURSALTERNATIEF DR57 NIEUW BERGEN Hoogwaterbeschermingsprogramma Noordelijke Maasvallei Datum: Januari 2018 In opdracht van: Kenmerk (SP): 6965 Versienummer: 1.0 Status: Definitief HWBP Noordelijke Maasvallei INHOUDSOPGAVE 1 Inleiding ........................................................................................................................... 3 1.1 Hoogwaterveiligheid in de noordelijke Maasvallei .............................................. 3 1.2 Doel HWBP dijkversterkingsprogramma Noordelijke Maasvallei ........................... 4 1.3 Planproces dijkversterking: aanpak ................................................................. 4 1.4 Nota Voorkeursalternatief .............................................................................. 5 1.5 Omgevingsproces ......................................................................................... 5 1.6 Raakvlakken met lopende projecten en beleid .................................................. 6 1.7 Leeswijzer ................................................................................................... 7 2 Gebiedsomschrijving .......................................................................................................... 8 2.1 Beschrijving huidige situatie .......................................................................... 8 2.2 Gebiedsomschrijving ruimtelijke kwaliteit ......................................................... 9 2.3 Gebiedsomschrijving overige thema’s ........................................................... -
Master Thesis Multinational Villages in the Euroregion Rhine-Waal
Master Thesis Maarten Goossens S4615646 Radboud University Nijmegen Human Geography: Conflicts, Territories and Identities June 2019 Multinational villages in the Euroregion Rhine-Waal Supervised by: Martin van der Velde And the thing called Europe has become a patchwork of colourful places, and everyone is a stranger as soon as they stick their nose out of their village. There are more strangers than inhabitants in this God blessed continent... Everyone considers their business to be the most important one and no one is planning to sacrifice anything. First of all, to start with, we draw a demarcation line. We split up. We need a boundary. Because we are all for ourselves. But an earth bends under these foolish people, a soil under them and a heaven above them. The borders run criss-cross Europe. In the long term, however, no one can separate people - not borders and not soldiers - if they just don't want to. (Kurt Tuchulsky alias Peter Panter, Berliner Volkszeitung, 27-06-1920) ii Preface The last few months I crossed the Dutch-German border on a daily basis. I did so in a bus, filled with school children speaking Dutch one moment, German the other as if it were one and the same language for them. Often with international students and other people from all over the world making their way from the one side of the border to the other. On my daily trip from Nijmegen to Kleve I sometimes forgot where I was, or fell asleep, and then suddenly noticed I already had crossed the border. -
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•i CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1 83 1 BY HENRY WILLIAMS SAGE Cornell University Library Z1023 .C89 Of the decorative illustration of books 3 1924 029 555 426 olin Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924029555426 THE EX-LIBRIS SERIES. Edited by Gleeson White. THE DECORATIVE ILLUSTRATION OF BOOKS. BY WALTER CRANE. *ancf& SOJfS THE DECORATIVE OFILLUSTRATION OF BOOKS OLD AND NEW BY WALTER CRANE ^ LONDON: GEORGE BELL AND SONS YORK STREET, COVENT GARDEN, W.C. NEW YORK: 66 FIFTH AVENUE MDCCCXCVI 5 PRINTED AT THE CHISWICK PRESS BY CHARLES WHITTINGHAM & CO. TOOKS COURT, CHANCERY LANE, LONDON, E.C. PREFACE. HIS book had its origin in the course of three (Cantor) Lectures given before the Society of Arts in 1889; they have been amplified and added to, and further chapters have been written, treating of the very active period in printing and decorative book- illustration we have seen since that time, as well as some remarks and suggestions touching the general principles and conditions governing the design of book pages and ornaments. It is not nearly so complete or comprehensive as I could have wished, but there are natural limits to the bulk of a volume in the " Ex-Libris" series, and it has been only possible to carry on such a work in the intervals snatched from the absorbing work of designing. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Full Program & Logistics Hna 2018
Thank you for wearing your badge at all locations. You will need to be able to identify at any moment during the conference. WIFI at Het Pand (GHENT) Network: UGentGuest Login: guestHna1 Password: 57deRGj4 3 WELCOME Welcome to Ghent and Bruges for the 2018 Historians of Netherlandish Art Conference! This is the ninth international quadrennial conference of HNA and the first on the campus of Ghent University. HNA will move to a triennial format with our next conference in 2021. HNA is extremely grateful to Ghent University, Groeningemuseum Bruges, St. John’s Hospital Bruges, and Het Grootseminarie Bruges for placing lecture halls at our disposal and for hosting workshops. HNA would like to express its gratitude in particular to Prof. dr. Maximiliaan Martens and Prof. dr. Koenraad Jonckheere for the initiative and the negotiation of these arrangements. HNA and Ghent University are thankful to the many sponsors who have contributed so generously to this event. A generous grant from the Samuel H. Kress Foundation provided travel assistance for some of our North American speakers and chairs. The opening reception is offered by the city of Ghent, for which we thank Annelies Storms, City Councillor of Culture, in particular. We are grateful to our colleagues of the Museum of Fine Arts Ghent for the reception on Thursday and for offering free admission to conference participants. Also the Museum Het Zotte Kunstkabinet in Mechelen offers free entrance during the conference, for which we are grateful. In addition we also like to thank the sponsoring publishers, who will exhibit books on Thursday. This conference would not have been possible without the efforts of numerous individuals. -
Intermodal Freight Transport Key Statistical Data 1 D Ζ JJC · 3 1992-1997
ζ o o Ui Oí Intermodal freight transport key statistical data 1 D ζ JJC · 3 1992-1997 THEME 7 Transport eurostat STATISTICAL OFFICE OF THE EUROPEAN COMMUNITIES L-2920 Luxembourg — Tél. 4301-1 — Télex COMEUR LU 3423 B-1049 Bruxelles, rue de la Loi 200 — Tél. 299 11 11 A great deal of additional information on the European Union is available on the Internet. It can be accessed through the Europa server (http://europa.eu.int). Cataloguing data can be found at the end of this publication. Luxembourg: Office for Official Publications of the European Communities, 1999 ISBN 92-828-7307-2 © European Communities, 1999 Printed in Luxembourg PRINTED ON WHITE CHLORINE-FREE PAPER τ» O κ C LU σι σι Ci Intermodal freight transport key statistical data 1992-1997 # * EUROPEAN Δ THEME 7 COMMISSION eurOStat le^iiJ Transport Preface This publication is the first step to publish existing non-harmonised statistical data on intermodal freight transport concerning the European Union. The publication will be progressively improved in the future when more data on intermodal transport becomes available. All comments and suggestions to improve this publication are welcome and should be sent to the following address: European Commission Statistical Office of the European Communities Unit OS/C/2 Jean Monnet Building, Rue Alcide de Gasperi L-2920 Luxembourg e-mail: [email protected] Ξ£ EU Intermodal Freight Transport eurostat TABLE OF CONTENTS Introduction 7 Executive summary 8 Intermodal transport key data 10 General situation and trends of transport -
Charles A. Whitaker Auction Co. October 29-30 Session Two Lot 549-1244
Charles A. Whitaker Auction Co. October 29-30 Session Two Lot 549-1244 549 FRENCH CHINOISERIE BROCADE SILK, c. 1740-1750. Four small panels including one pieced, having ivory pattern on raspberry ground. Three pieces 24 wide x 15 1/2, 26 and 31. One 28 1/2 x 17. Holes and tears, fair. $57.50 550 LOT of SILK TEXILES, 18th C. Consisting of a red velvet panel, cushion cover and valance, the valance having shield-form tabs (applique and tassels removed), and a panel with narrow stripes in cream, dusty rose, yellow and green on a tiny checked weave. Fair. $34.50 551 THREE PRINTED COTTON PANELS, 19th C. One striped in teal with small white leaves and white with red and tan botehs, probably Persian. One English floral print. Both excellent. One large pieced panel with pomegranate trees, probably Indian, (oxidizing browns, mends and tears) poor. $103.50 552 BEADED NEEDLEWORK VICTORIAN BELL PULL. Wool flowers with beaded foliage on a ground of crystal beads having a Bohemian glass finial. (Glass cracked, backing shattered, minor bead loss) needlework intact, fair. $230.00 553 LOT of ASSORTED SMALL BEAD and NEEDLEWORK, 18th-19th C. Including two 18th C. petit point rectangles of figures in landscapes, three rectangles of needlework birds, a silk satin embroidered bag having gilt metal doves and chenille bell tassels, two framed 18th C embroideries: one eagle in tree, one basket of fruit. Good-excellent. $345.00 554 TWO PIECED SILK TEXTILES with FLORAL BROCADE, 18th C. Dusty pink damask bedcover with a serpentine floral in pastel hues, backed in blue silk, (some splits, mostly at seams). -
Franciscus Junius: Philology and the Survival of Antiquity in the Art of Northern Europe
Franciscus Junius: Philology and the survival of Antiquity in the art of northern Europe Review of: Art and Antiquity in the Netherlands and Britain. The Vernacular Arcadia of Franciscus Junius (1591 - 1677) by Thijs Weststeijn, Leiden and Boston: Brill, 2015, 452 pp., 178 colour & b/w illus. €129,00/ $164.00, ISBN13: 9789004283619, E-ISBN: 9789004283992 Ann Jensen Adams The early modern Dutch claimed as their forbearers the Batavians, a Germanic tribe described by Tacitus as located in the far reaches of the Roman Empire. Writings about art produced by the seventeenth-century descendants of these provincial peoples were proud but defensive as they continued to treat Rome as the centre of civilization. In 1632 Constantijn Huygens, secretary to northern Netherlands stadtholder Prince Frederik Henry, confided to his diary that he wished the promising artists Rembrandt van Rijn and Jan Lievens had travelled to Italy to learn from the art of antiquity and the Renaissance masters who had absorbed its lessons. But, he noted, the two young men felt that there were plenty of Italian works to be seen conveniently enough in The Netherlands. He then lavished praise on a figure of Judas by Rembrandt that he felt powerfully expressed the kind of universal truths promulgated by Latin art. Indeed, he wrote, ‘[... ] all honor to you, Rembrandt! To have brought Ilium – even all of Asia Minor – to Italy was a lesser feat than for a Dutchman [...] to have captured for The Netherlands the trophy of artistic excellence from Greece and Italy.’1 Through the first three quarters of the twentieth century this ambivalent stance toward the art of northern Europe has run like a red thread through art history as it developed as a professional discipline identified with, and defined by, the Italian Renaissance’s revival of antiquity. -
ARTIST Is in Caps and Min of 6 Spaces from the Top to Fit in Before
FRANS JANSZ. POST (c. 1612 – Haarlem - 1680) A Landscape in Brazil Signed, lower left: F. POST On panel, 8 x 10½ ins. (20.3 x 26.6 cm) Provenance: European private collection By descent within the family since the eighteenth century Literature: Q. Buvelot, ‘Review of P. and B. Correa do Lago, Frans Post, 1612- 1680; ‘catalogue raisonné, in The Burlington Magazine, vol. CL, no. 1259, February 2008, p. 117, n. 2 VP4713 The Haarlem painter Frans Post occupies a unique position in Dutch seventeenth-century art. The first professionally trained European artist to paint the landscape of the New World, as far as we know, he devoted his entire production to views of Brazil. In 1630, the Dutch seized control of the Portuguese settlement in north-eastern Brazil. The young Prince Johan Maurits of Nassau-Siegen (1604-1679) was appointed Governor General of the new territory and charged with establishing a secure footing for the Dutch West India Company. On 25 October 1636, he set sail for South America accompanied by a team of artists and scientists, including the landscapist Frans Post and the figure painter Albert Eckhout (c. 1610-1665). The expedition arrived at Recife in January the following year. Post remained there for seven years, during which time he made a visual record of the flora and fauna, as well as the topography of the region, before returning to the Netherlands in 1644. Yet of the many paintings and drawings made during his South American sojourn, only seven paintings and a sketchbook, preserved in the Scheepvaart Museum, in Amsterdam, survive today. -
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. -
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam .................................................................................................................