The Dutch Republic As a Bourgeois Society
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The Leiden Collection
Slaughtered Pig ca. 1660–62 Attributed to Caspar Netscher oil on panel 36.7 x 30 cm CN-104 © 2017 The Leiden Collection Slaughtered Pig Page 2 of 8 How To Cite Wieseman, Marjorie E. "Slaughtered Pig." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. © 2017 The Leiden Collection Slaughtered Pig Page 3 of 8 Seventeenth-century Netherlandish images of slaughtered oxen and pigs Comparative Figures have their roots in medieval depictions of the labors of the months, specifically November, the peak slaughtering season. The theme was given new life in the mid-sixteenth century through the works of the Flemish painters Pieter Aertsen (1508–75) and Joachim Beuckelaer (ca. 1533–ca. 1574), who incorporated slaughtered and disemboweled animals in their vivid renderings of abundantly supplied market stalls, and also explored the theme as an independent motif.[1] The earliest instances of the motif in the Northern Netherlands come only in the seventeenth century, possibly introduced by immigrants from the south. During the early 1640s, the theme of the slaughtered animal—split, splayed, and Fig 1. Barent Fabritius, suspended from the rungs of a wooden ladder—was taken up by (among Slaughtered Pig, 1665, oil on others) Adriaen (1610–85) and Isack (1621–49) van Ostade, who typically canvas, 101 x 79.5 cm, Museum Boijmans van Beuningen, situated the event in the dark and cavernous interior of a barn, stable, or Rotterdam, inv. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Righteous Citizens: The Lynching of Johan and Cornelis DeWitt,The Hague, Collective Violens, and the Myth of Tolerance in the Dutch Golden Age, 1650-1672 Permalink https://escholarship.org/uc/item/2636q95m Author DeSanto, Ingrid Frederika Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Righteous Citizens: The Lynching of Johan and Cornelis DeWitt, The Hague, Collective Violence, and the Myth of Tolerance in the Dutch Golden Age, 1650-1672. A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Ingrid Frederika DeSanto 2018 ABSTRACT OF DISSERTATION Righteous Citizens: The Lynching of Johan and Cornelis DeWitt, The Hague, Collective Violence, and the Myth of Tolerance in the Dutch Golden Age, 1650-1672 by Ingrid Frederika DeSanto Doctor of Philosophy in History University of California, Los Angeles Professor Margaret C Jacob, Chair In The Hague, on August 20 th , 1672, the Grand Pensionary of Holland, Johan DeWitt and his brother Cornelis DeWitt were publicly killed, their bodies mutilated and hanged by the populace of the city. This dissertation argues that this massacre remains such an unique event in Dutch history, that it needs thorough investigation. Historians have focused on short-term political causes for the eruption of violence on the brothers’ fatal day. This work contributes to the existing historiography by uncovering more long-term political and social undercurrents in Dutch society. In doing so, issues that may have been overlooked previously are taken into consideration as well. -
Ontdek Schilder, Tekenaar Jan Victors
80890 Jan Victors man / Noord-Nederlands schilder, tekenaar Naamvarianten In dit veld worden niet-voorkeursnamen zoals die in bronnen zijn aangetroffen, vastgelegd en toegankelijk gemaakt. Dit zijn bijvoorbeeld andere schrijfwijzen, bijnamen of namen van getrouwde vrouwen met of juist zonder de achternaam van een echtgenoot. Victoor, Jan Victoors, Jan Victor, Jan Victors, Johan Victors, Johannes Victers, Joannes Fictor, Johannes Victors, Jan Louisz. Kwalificaties schilder, tekenaar was 'ziekentrooster' (visitor of the sick) Nationaliteit/school Noord-Nederlands Geboren Amsterdam 1619-06/1619-06-13 baptized 13 June 1619 Overleden Oost-Indië (hist.) 1676-09/1677-12 traveled as 'ziekentrooster' to East India in the service of the OIC and died there Familierelaties in dit veld wordt een familierelatie met één of meer andere kunstenaars vermeld. half-brother of Jacobus (Jacomo) Victors; notice of marriage 28 February 1642, 22 years old, with Jannetie Bellers; they had 7 children (De Vries 1886); father of Victor Victorsz. Deze persoon/entiteit in andere databases 137 treffers in RKDimages als kunstenaar 5 treffers in RKDlibrary als onderwerp 1104 treffers in RKDexcerpts als kunstenaar 42 treffers in RKDtechnical als onderzochte kunstenaar Verder zoeken in RKDartists& Geboren 1619-06 Sterfplaats Oost-Indië (hist.) Plaats van werkzaamheid Amsterdam Kwalificaties schilder Kwalificaties tekenaar Materiaal/techniek olieverf Onderwerpen genrevoorstelling Onderwerpen herbergscène Onderwerpen portret Onderwerpen christelijk religieuze voorstelling Onderwerpen boerengenre Biografische gegevens Werkzaam in Hier wordt vermeld waar de kunstenaar (langere tijd) heeft gewerkt en in welke periode. Ook relevante studiereizen worden hier vermeld. Amsterdam 1640 - 1676-01 c. 1640-1676 Relaties met andere kunstenaars Leerling van In dit veld worden namen van leraren of leermeesters vermeld. -
The Art Market in the Dutch Golden
The Art Market in the Dutch Art 1600–1700 Dutch Golden Age The first great free market economy for art This painting is occurred in the Dutch Republic of the 1600s. an example of the This republic was the most wealthy and “history painting” urbanized nation at the time. Its wealth was category. based on local industries such as textiles and breweries and the domination of the global trade market by the Dutch East India Company. This economic power translated into a sizeable urban middle class with disposable income to purchase art. As a result of the Protestant Reformation, and the absence of liturgical painting in the Protestant Church, religious patronage was no longer a major source of income for artists. Rather than working on commission, artists sold their paintings on an open market in bookstores, fairs, and through dealers. (c o n t i n u e d o n b a c k ) Jan Steen (Dutch, 1626–1679). Esther, Ahasuerus, and Haman, about 1668. Oil on canvas; 38 x 47 1/16 in. John L. Severance Fund 1964.153 Dutch Art 1600–1700 Still-life paintings like this one were often less expen- sive than history paintings. (c o n t i n u e d f r o m f r o n t ) This open market led to the rise in five major categories of painting: history painting, portraiture, scenes of everyday life, landscapes, and still-life paintings. The most prized, most expensive, and often largest in scale were history or narrative paintings, often with biblical or allegorical themes. -
Open Access Version Via Utrecht University Repository
Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p. -
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. -
A Short History of Holland, Belgium and Luxembourg
A Short History of Holland, Belgium and Luxembourg Foreword ............................................................................2 Chapter 1. The Low Countries until A.D.200 : Celts, Batavians, Frisians, Romans, Franks. ........................................3 Chapter 2. The Empire of the Franks. ........................................5 Chapter 3. The Feudal Period (10th to 14th Centuries): The Flanders Cloth Industry. .......................................................7 Chapter 4. The Burgundian Period (1384-1477): Belgium’s “Golden Age”......................................................................9 Chapter 5. The Habsburgs: The Empire of Charles V: The Reformation: Calvinism..........................................10 Chapter 6. The Rise of the Dutch Republic................................12 Chapter 7. Holland’s “Golden Age” ..........................................15 Chapter 8. A Period of Wars: 1650 to 1713. .............................17 Chapter 9. The 18th Century. ..................................................20 Chapter 10. The Napoleonic Interlude: The Union of Holland and Belgium. ..............................................................22 Chapter 11. Belgium Becomes Independent ...............................24 Chapter 13. Foreign Affairs 1839-19 .........................................29 Chapter 14. Between the Two World Wars. ................................31 Chapter 15. The Second World War...........................................33 Chapter 16. Since the Second World War: European Co-operation: -
The Dutch Golden Age and Globalization: History and Heritage, Legacies and Contestations Joop De Jong Maastricht University
Macalester International Volume 27 Global Citizenship: Human Rights, Urban Diversity, and Environmental Challenges (FDIS 2011: Article 7 The Hague) December 2011 The Dutch Golden Age and Globalization: History and Heritage, Legacies and Contestations Joop de Jong Maastricht University Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation de Jong, Joop (2011) "The Dutch Golden Age and Globalization: History and Heritage, Legacies and Contestations," Macalester International: Vol. 27, Article 7. Available at: http://digitalcommons.macalester.edu/macintl/vol27/iss1/7 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. The Dutch Golden Age and Globalization: History and Heritage, Legacies and Contestations Joop de Jong I. Context In 1579, seven of the seventeen Provinces of the Netherlands unenthusiastically declared their independence from the Habsburg King of Spain, to form the United Provinces, also known as the Union or the Dutch Republic. The new country achieved full international recognition in 1648, even though many states recognized its sovereignty much earlier. The Dutch Republic was small in both size and population. It covered more or less the same territory as the present Dutch state, and had approximately 1.5 million inhabitants in 1600, and about 1.9 million by 1700.1 In 1600, France had 18 million inhabitants, Spain (including Portugal) 11 million, and Great Britain 7 million.2 The province of Holland contributed some 45 percent of the country’s total population. -
PROVISIONAL PROGRAM HNA Conference 2022
PROVISIONAL PROGRAM HNA Conference 2022 Amsterdam and The Hague, Netherlands HNA CONFERENCE 2022 Amsterdam and The Hague 2-4 June 2022 Program committee: Stijn Bussels, Leiden University (chair) Edwin Buijsen, Mauritshuis Suzanne Laemers, RKD – Netherlands Institute for Art History Judith Noorman, University of Amsterdam Gabri van Tussenbroek, University of Amsterdam | City of Amsterdam Abbie Vandivere, Mauritshuis and University of Amsterdam KEYNOTE LECTURES ClauDia Swan, Washington University A Taste for Piracy in the Dutch Republic 1 The global baroque world was a world of goods. Transoceanic trade routes compounded travel over land for commercial gain, and the distribution of wares took on global dimensions. Precious metals, spices, textiles, and, later, slaves were among the myriad commodities transported from west to east and in some cases back again. Taste followed trade—or so the story tends to be told. This lecture addresses the traffic in global goods in the Dutch world from a different perspective—piracy. “A Taste for Piracy in the Dutch Republic” will present and explore exemplary narratives of piracy and their impact and, more broadly, the contingencies of consumption and taste- making as the result of politically charged violence. Inspired by recent scholarship on ships, shipping, maritime pictures, and piracy this lecture offers a new lens onto the culture of piracy as well as the material goods obtained by piracy, and how their capture informed new patterns of consumption in the Dutch Republic. Jan Blanc, University of Geneva Dutch Seventeenth Century or Dutch Golden Age? Words, concepts and ideology Historians of seventeenth-century Dutch art have long been accustomed to studying not only works of art and artists, but also archives and textual sources. -
Poor Relief in the Dutch Republic and the Case of Berkel En Rodenrijs, 1745-1812’
François Janse van Rensburg Student no. 5499313 ‘Poor Relief in the Dutch Republic and the Case of Berkel en Rodenrijs, 1745-1812’ Submission on 17 August 2015 Abstract: During the early modern period the poor relief systems of the Dutch Republic were the most elaborate and generous forms of poor relief found anywhere in the world. Poor relief in the Dutch Republic was provided by a myriad of different organizations including churches, civic governments, guilds, private institutions of poor relief, and semi-public administrative boards. Although civic governments played an important role in the provision of poor relief, it remained a limited role and civic governments preferred to delegate responsibility over poor relief to existing institutions. Provincial governments, aside from Friesland, and the national government of the Dutch Republic played even less of a role in the provision of poor relief. The Dutch Republic resisted most attempts at centralized control over poor relief, even as other cities and eventually countries in Europe reformed their own poor relief systems to come under state control. According to the influential theorist, Abram de Swaan, this lack of centralization should have resulted in a complete collapse of Dutch poor relief systems. However, as later scholars have argued, Dutch poor relief systems thrived and survived without coming under direct state control until the 20th century. In light of the failure of De Swaan’s model, alternative models of poor relief in the Dutch Republic have been proposed, but a universally accepted theory has not yet emerged, partially as a result of several insufficiently studied themes in poor relief in the Dutch Republic. -
Whose Golden Age? on a Term That's Not Fit for Purpose. Tom Van Der Molen
Whose Golden Age? On A Term That's Not Fit For Purpose. Tom van der Molen In the Netherlands, the term Golden Age is widely used to refer to the period that roughly coincides with the seventeenth century. At that time the Republic of the Seven United Provinces was an economic and military world power. The term Golden Age became fashionable during the nineteenth century, when history was put into a nationalist context and the country had to unite, particularly around pride in heroes and supposed boom times. Now, two centuries later, that pride is fiercely criticized. Nineteenth-century monuments and street names that put this period and its heroes on a pedestal are being attacked. Even though it's subject to criticism, the term Golden Age is meanwhile still being used, including by the museum where I work as a curator—the Amsterdam Museum. We use that term routinely, primarily because it's become so embedded that everyone seems to understand what it's about. The term has a long history, however, and consequently a variety of associations. It's time to explore those associations and ask why we still use the term. And whether that's still a good idea. My Golden Age I'm an art historian specializing in seventeenth-century painting. My job in the Amsterdam Museum has exposed me to subjects far from art and far from that century, but my base remains Amsterdam, painting and the seventeenth century. I used the term ‘Golden Age’ all the time myself. It was the name of courses I took as a student; I came across the term in books and exhibitions and was never challenged to review it critically. -
Thesis | December 2013
Master Thesis | December 2013 a Peasant Quest A search for identification, characterization, and contextualization of late seventeenth-century Dutch Peasant Genre Painting (1670-1700) Teun (A.P.M.) Bonenkamp | 3036731 Research Master | Art History of the Low Countries in its European Context Utrecht University | The Netherlands Supervisor | prof. dr. P.A. Hecht Table of contents Introduction ....................................................................................................................................................... 3 Defining the subject ...................................................................................................................................................... 4 Structure ........................................................................................................................................................................... 6 Chapter 1 | Peasant genre painting 1600-1670 .................................................................................... 8 Adriaen Brouwer (1605/06-1638) ....................................................................................................................... 9 Adriaen van Ostade (1610-1685) ........................................................................................................................ 11 In Van Ostade’s footsteps ........................................................................................................................................ 13 Conclusion ....................................................................................................................................................................