Van Marum – Empiricism and Empire
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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. -
ADRIAAN VAN DER WILLIGEN 1766-1841 Lia Van Der Heijden
ADRIAAN VAN DER WILLIGEN 1766-1841 SCHRIJVER, LIEFHEBBER EN CRITICUS VAN HET TONEEL ROND 1800. Lia van der Heijden ADRIAAN VAN DER WILLIGEN 1766-1841 SCHRIJVER, LIEFHEBBER EN CRITICUS VAN HET TONEEL ROND 1800. Lia van der Heijden Doctoraalscriptie Historische Letterkunde Begeleider: André Hanou Instituut voor Neerlandistiek Universiteit van Amsterdam 25 augustus 1995 Illustratie: Detail van een afbeelding van Adriaan van der Willigen en Roeland van Eynden, gemaakt door J.E. Marcus in april 1815. Collectie Gemeentearchief Tilburg. INHOUD VERANTWOORDING 5 AFKORTINGEN 6 INLEIDING 7 I. BIOGRAFIE 12 Biografische gegevens tot 1795 12 Van der Willigen als politicus 19 Genootschapsleven en onderwijs 27 II. VAN DER WILLIGENS BETROKKENHEID BIJ HET TONEEL ROND 1800 33 Liefhebberij-toneel 34 Professioneel toneel 35 III. VAN DER WILLIGENS TONEELSTUKKEN 37 Selico 38 Claudine 42 Recommandatiebrieven 45 Willem en Klaartje of de voorbeeldige pastoor 47 De oude verliefde dichter alleen 49 IV. REIZEN 52 Frankrijk 52 Italië 58 Engeland 60 Duitsland 61 V. TONEELOPVATTINGEN BINNEN DE GENOOTSCHAPPEN 63 De Wijngaardranken 63 Democriet 65 VI. EXPLICIETE VERWIJZINGEN NAAR TONEELKUNDIGE WERKEN IN VAN DER WILLIGENS DAGBOEK 71 Lof der Tooneeldichtkunde 71 Verhandeling over den invloed van den schouwburg op het zedenlyk karakter 72 VII. TWEE TONEELKRITISCHE TIJDSCHRIFTEN ROND 1800 75 De Tooneelmatige Roskam 75 De Tooneelkijker 76 VIII. VAN DER WILLIGENS TONEELOPVATTING: EEN PLAATSBEPALING 79 LITERATUUR 81 SAMENVATTING 86 VERANTWOORDING In het Gemeentearchief van Tilburg bevinden zich twee dozen met materiaal uit de nalatenschap van Adriaan van der Willigen (1766-1841), afkomstig uit de collectie van Lambert G. de Wijs.1 Dat deze documenten in Tilburg hun plek hebben gevonden, is, hoewel Van der Willigen het grootste gedeelte van zijn leven in Haarlem verbleef, niet verwonder- lijk. -
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 ................................................................................................................. -
"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. -
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. -
Lorentz – Function Follows Form and Theory Leads to Experiment
Cover Page The handle http://hdl.handle.net/1887/22522 holds various files of this Leiden University dissertation. Author: Weiss, Martin Paul Michael Title: The masses and the muses : a history of Teylers Museum in the Nineteenth Century Issue Date: 2013-11-27 The Masses and the Muses A History of Teylers Museum in the Nineteenth Century Front cover: The Oval Room, drawing by Johan Conrad Greive, 1862 (Teylers Museum, Haarlem, DD042b) Back cover: The First Art Gallery, drawing by Johan Conrad Greive, 1862 (Teylers Museum, Haarlem, DD042d) The Masses and the Muses A History of Teylers Museum in the Nineteenth Century Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van de Rector Magnificus prof. mr. C.J.J.M. Stolker, volgens besluit van het College voor Promoties te verdedigen op woensdag 27 november 2013 klokke 15.00 uur door Martin Paul Michael Weiss geboren te Hannover in 1985 Promotiecommissie Prof. Dr. F.H. van Lunteren (promotor, Universiteit Leiden) Prof. Dr. D. van Delft (Universiteit Leiden) Prof. Dr. P.J. ter Keurs (Universiteit Leiden) Dr. D.J. Meijers (Universiteit van Amsterdam) Prof. dr. W.W. Mijnhardt (Universiteit Utrecht) Prof. Dr. H.J.A. Röttgering (Universiteit Leiden) Prof. Dr. L.T.G. Theunissen (Universiteit Utrecht) Dr. H.J. Zuidervaart (Huygens Instituut voor Nederlandse Geschiedenis) Prof. Dr. R. Zwijnenberg (Universiteit Leiden) Acknowledgements This PhD was not written in isolation. Throughout the course of this project I received an unquantifiable amount of support – intellectual, financial and moral – from innumerable colleagues and friends. Some of them I hope to be able to acknowledge here. -
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 -
Künstler-Inventare; Register
KUNSTLER-INVENTARE Digitized by the Internet Archive in 2011 with funding from University of Toronto http://www.archive.org/details/regknstlerinvenOObred KÜNSTLER-INVENTARE URKUNDEN ZUR GESCHICHTE DER HOLLÄNDISCHEN KUNST ten ten DES XVIte », XVII UND XVIII JAHRHUNDERTS HERAUSGEGEBEN VON Dr. A. BREDIUS UNTER MITWIRKUNG VON Dr. O. HIRSCHMANN REGISTER HAAG MARTINUS NIJHOFF 1922 975685 INHALT SEITE. Alphabetisches Verzeichnis der Inventare i Verzeichnis der Abbildungen 14 Erläuterungen zum gebrauch der Register 16 Abkürzungen 18 Personenregister . .: 19 Ortsregister 145 Druckfehler und Corrigenda 149 Alphabetisches Verzeichnis der Inventare. Seite Aertsz, Dirck. Das Nachlass-Inventar von II 601 Abrahamsz, Joost. Inventar von VI 1801 Agges, Jan. Das Nachlass-Inventar von III 852 Amsterdamer Waisenkammer. Versteigerung der. (Mit Urkunden über die Familie de Kaersgieter) . VI 2050 Anthonissen, Hendrick van d\ Inventar von. (Mit Urkunden über Arnoldus Anthonissen) II 626 Ariensz, Joris. Inventar von IV 1470 Backer, TjerkAdriaensz. Das Nachlass-Inventar von. (Mit Urkunden über Steven van Goor und Willem Strycker) IV 1241 Bakhuysen, Ludolph. Bilder im Besitze von. .1 100 Bay, Adriaen Jansz. Inventar von I 99 Balkeneynde, Maerten Adriaensz. Das Nachlass- inventar von. (Mit Urkunden über Floris van Schoo- ten und Jacob Wynants) V 1604 Barentsz, Dirck. Aus dem Nachlass von II 636 Basse, Jan. Das Nachlass-Inventar von I 127 Beckx, David. Das Nachlass-Inventar von. (Mit Ur- kunden zu Herman und Josua Breckerveld) . , IV 1267 Becx II, Jeronimus. Inventar von. (Mit Urkunden über Jasper, Jeronimus III und Johannes Becx). .VI 2006 Beerstraten, Johannes. Das Nachlass-Inventar von. III 814 Beyeren, Leendert Cornelisz van. Das Nachlass- inventar von I 250 Bellevois, Jacob. Inventar von .V 1648 Beringh, Johan Hendrik. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Hapi - 1.jeden zo štyroch synov egyptského boha Hóra, ochranca kanop, prevteľujúci sa do posvätného zvieraťa - býka; Hapi bol aj služobníkom a pozemským vtelením boha Ptaha; neskoršie spájaný aj s kultom Usíreva (pozri Osirapis); zobrazovaný ako býk so slnečným kotúčom medzi rohami, s orlími krídlami na šiji a plášťom cez chrbát (pozri monštrá); symbol plodnosti; tiež boh severu a boh vetra severného; pozri bohovia plodnosti; egyptskí bohovia 2.v gréčtine Apis 3.meno pre egypt. boha Nílu; pozri Hopej 4.v stredoveku častý heraldický motív (hlava) http://cs.wikipedia.org/wiki/Hapi_(syn_Hora) http://cs.wikipedia.org/wiki/Hapi_(b%C5%AFh_z%C3%A1plav) happening - angl. – „udalosť, náhodná príhoda“; jedna z foriem akčného umenia po 2.svetovej vojne, zdôrazňujúca samotný tvorivý proces, založený na kolektívnosti a improvizácii s cieľom vtiahnuť diváka do deja a šokovať ho absurditou (tým sa líši napr. od performance, ktorá má formu divadelného predstavenia bez tvorivej účasti diváka); medzná forma tvorby, ktorá nesmeruje ku klasickému typu trvácneho výtvarného diela, ale má povahu akcie (umelé vytváranie udalostí, logicky nespojených a situovaných do životnej reality (akcia síce pripravená, ale nevyskúšaná, realizovaná laikmi); termín prvý raz použitý A.Kaprowom koncom 50.rokov v New Yorku pri akcii nazvanej 16 happeningov v šiestich dieloch, ktorá bola považovaná za predobraz zásad ďalších akcií; v 60.rokoch rozvinutý v USA a západnej Európe; napriek tomu happening nie je celkom novým prvkom tvorby, poznal ho aj stredovek; v happeningu možné nájsť prvky futurizmu, dadaizmu, surrealizmu, pop-artu (pozri Archizoom Associanti), inšpiráciu divadlom, hudbou, literatúrou, tancom; čiastočne sociálne a politicky kritický, ale aj s rysmi nihilizmu, anarchizmu a antiumenia; pozri procedurálne umenie, gestická maľba, event art, multimediálne umenie, Burning Man schéma: abstraktný expresionizmus (po 2.sv.vojne): akčné umenie/performance akčná maľba/action paiting dripping dip paiting happening tachizmus a art informel J. -
Radicalreformationlookinside.Pdf
Habent sua fata libelli Volume XV of Sixteenth Century Essays & Studies Charles G. Nauert, Jr., General Editor Composed by Paula Presley, NMSU, Kirksville, Missouri Cover Design by Teresa Wheeler, NMSU Designer Printed by Edwards Brothers, Ann Arbor, Michigan Text is set in Bembo II 10/12 Volume XV Sixteenth Century Essays & Studies Copyright© 1992 by Truman State University Press (previously Sixteenth Century Journal Publishers, Inc.), Kirksville, Missouri USA. All rights reserved. This book has been brought to publication with the generous support of Truman State University (previously Northeast Missouri State University). First edition ©1962, Westminster Press, Philadelphia. Second edition, titled La Reforma Radical, ©1983, Fondo de Cultura Económica, Mexico. Permission is gratefully acknowledged by Westminster Press to reprint the Introduction to the first edition and to Fondo de Cultura Económica to reprint the Introducción to the Spanish edition. Cover image: Permission for use of the Siege of Münster by Erhard Schoen granted by Abaris Books. Library of Congress Cataloging-in-Publication Data Williams, George Huntston, 1914–2000 The radical Reformation / by George Huntston Williams. – 3rd ed., rev. and expanded. p. cm. – (Sixteenth century essays & studies ; v. 15). Includes bibliographical references and index. ISBN 978-0-94354-983-5 (alk. paper; Pbk) — ISBN 978-1-61248-041-1 (ebook) 1. Reformation. 2. Anabaptists. 1. Title. II Series. BR307 W5 270.6-dc20 92-6071 CIP No part of this work may be reproduced or transmitted in any format by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, without permission in writing from the publisher. -
Michael Sweerts (1618-1664) and the Academic Tradition
ABSTRACT Title of Document: MICHAEL SWEERTS (1618-1664) AND THE ACADEMIC TRADITION Lara Rebecca Yeager-Crasselt, Doctor of Philosophy, 2013 Directed By: Professor Arthur K. Wheelock, Jr., Department of Art History and Archaeology This dissertation examines the career of Flemish artist Michael Sweerts (1618-1664) in Brussels and Rome, and his place in the development of an academic tradition in the Netherlands in the seventeenth century. Sweerts demonstrated a deep interest in artistic practice, theory and pedagogy over the course of his career, which found remarkable expression in a number of paintings that represent artists learning and practicing their profession. In studios and local neighborhoods, Sweerts depicts artists drawing or painting after antique sculpture and live models, reflecting the coalescence of Northern and Southern attitudes towards the education of artists and the function and meaning of the early modern academy. By shifting the emphasis on Sweerts away from the Bamboccianti – the contemporary group of Dutch and Flemish genre painters who depicted Rome’s everyday subject matter – to a different set of artistic traditions, this dissertation is able to approach the artist from new contextual and theoretical perspectives. It firmly situates Sweerts within the artistic and intellectual contexts of his native Brussels, examining the classicistic traditions and tapestry industry that he encountered as a young, aspiring artist. It positions him and his work in relation to the Italian academic culture he experienced in Rome, as well as investigating his engagement with the work of the Flemish sculptor François Duquesnoy (1597-1643) and the French painter Nicholas Poussin (1594-1665). The breadth of Sweerts’ artistic and academic pursuits ultimately provide significant insight into the ways in which the Netherlandish artistic traditions of naturalism and working from life coalesced with the theoretical and practical aims of the academy.