DOCSLIB.ORG

Analog by Katherine Melissa Sifers a Thesis Submitted to the Faculty Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Analog by Katherine Melissa Sifers a Thesis Submitted to the Faculty Of Analog by Katherine Melissa Sifers AAS in Photography, January 2002, Ohio Institute of Photography and Technology BFA Photography, June 2005, Columbia College Chicago A Thesis submitted to The Faculty of Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Masters of Fine Arts May 15, 2011 Thesis directed by Bibiana Obler Assistant Professor of Art History Siobhan Rigg Assistant Professor of New Media © Copyright 2011 by Katherine Melissa Sifers All rights reserved ii Abstract of Thesis Analog This thesis seeks to explain the artist’s decision to work with seventeenth-century Dutch vanitas and memento mori still life painting as the primary influence upon her body of photographic still life. The thesis describes the connection the artist asserts between seventeenth-century Dutch culture and the contemporary American popular culture, politics and the current economic situation. The thesis also describes the artist’s interest in mysterum tremendum et fascinans and how that interest finds shape in her photographic production. The thesis delves into the artist’s relationship to object through an exploration of the opposing views of object and craft exemplified by the artist’s grandmothers. iii Table of Contents Abstract of Thesis.............................................................................................. iii List of Figures......................................................................................................v Analog ............................................................................................................ 1-15 Figures..........................................................................................................16-21 Bibliography.................................................................................................22-23 iv List of Figures Figure 1 J. Falk, Untitled ...................................................................................16 Figure 2 Katherine Sifers, Wilson and Hagman ...............................................16 Figure 3 Willem Claesz Heda, Banquet Piece with Mince Pie .......................17 Figure 4 Adriaen Coorte, Still Life with Asparagus and Red Currants ...........17 Figure 5 Katherine Sifers, after Coorte #3........................................................17 Figure 6 Willem Kalf, Still Life.........................................................................18 Figure 7 Katherine Sifers, after Kalf #13..........................................................18 Figure 8 Katherine Sifers, after Heda #10........................................................18 Figure 9 analog Installation view #1.................................................................19 Figure 10 analog Installation view #2...............................................................19 Figure 11 analog Installation view #3..............................................................20 Figure 12 analog Installation view #4...............................................................20 Figure 13 analog Installation view #5...............................................................21 Figure 14 analog Installation view #6...............................................................21 v Analog For as long as I can remember I have been preoccupied with the mystery that surrounds death. When I was born, many of my great-grandparents and their siblings were still alive, but when I was around the age of five these relatives started passing away, strangely always in the spring. As a child I thought that spring was when people died and all that remained of them were their possessions. For me these objects became relics that had been touched and transformed by use and were reminders of the transience of life. As an adult, I have made an effort to understand and come to terms with my overwhelming fear of death through exploring the work of artists, philosophers, writers, and filmmakers who deal with the subject in their own work. It was while reading Jacques Derrida’s The Gift of Death that I first encountered the term mysterum tremendum used to describe the fear of the mystery surrounding death. I was intrigued by the term. I investigated the origin of the phrase and found that Derrida was only discussing half of the phrase mysterium tremendum et fascinans. It was originally used by Rudolph Otto to describe the simultaneous feeling of fascination and overwhelming fear that occurs when contemplating death.1 I was elated to find the very feeling I experienced described so succinctly and to find that I was not alone in the experience. This feeling looms over and touches all aspects of my life. It shapes how I live and it has influenced the choices that I made throughout my life. My ever-present awareness of this mystery has fueled my search for scholarship and art that deal with being and mortality. 1 Todd A. Gooch, The Numinous and Modernity: An Interpretation of Rudolf Otto's Philosophy of Religion, (Berlin: De Gruyter, 2000) 1 In relation to my work, the most important art historical precedent in which life and death are addressed is seventeenth-century Dutch memento mori and vanitas still life paintings. These painting address the relationship between life and death in a language of things. The first memento mori painting I encountered hangs in the Indianapolis Museum of Art. J. Falk’s Untitled (1629) follows the conventions of the genre and consists of an arrangement of two skulls, a bone, a single red rose, and a smoking oil lamp. [Fig. 1] An inscription in Latin below the painted objects reads, "All that is human is smoke, shadow, vanity and the picture of a stage.”2 My interest in this painting was not based solely on its obvious allusion to death, but also on the use of objects in the painting to communicate the concept of mortality. This painting introduced me to the idea that objects can represent meaning beyond their function or identity and convey specific intention. Memento mori and vanitas paintings are composed of objects that have gained meaning from both organized religion and popular culture. Religion is a major influence on how societies construct their behavior toward life, death, and mourning; however, because of the violent history of organized religion, I am not interested in making work that derives its meaning and context from religious conventions. The inability to communicate over secular and religious issues can be observed historically and presently in the relationships between the three Abrahamic religions. Derrida refers to them as “religions of the Book, the religions of the races of Abraham,” i.e. Judaism, Christianity, and Islam. 3 All three religions developed from similar roots and were shaped by ambiguous texts. Despite the inherent parallels of their 2 J. Falk, Untitled (1629), Original Latin “Omnia humana Fumus, umbra, vanitas et imaginem adhuc.” 3 Jacques Derrida, The Gift of Death, (Chicago: University of Chicago, 1995), 64. 2 foundations, there has not been strong philosophical agreement between these religions or even within their various sects. Instead these religions have a long history of cycling between uneasy peace and violence. It is difficult for me to understand how these systems created by man for coping with the mystery and the fear of death have become the major causes of structural and physical violence throughout history and into the present. Because of this violence, it is important for me to find a method of communication that can speak to the brevity of life in a secular and spiritual manner as opposed to relying on religion. Northern Renaissance painting grew out of a tradition of depicting religious themes overtly and continued to produce objects of religious and moral contemplation but in a radically different and revolutionary form in the still life and genre scenes of the seventeenth century. Depiction of the sacred and mysterious is just part of what I believe these artists were considering while creating these paintings and I am inclined to work with still life despite my resistance to organized religion. Prior to the seventeenth century, the painting of northern Europe focused mainly on biblical or historical motifs and was often funded by the Catholic Church or by other religious organizations. Dutch separation from the Holy Roman Empire allowed for a new pictorial relationship with faith and led to the shift away from illustrative, biblically themed works toward the depictions of everyday life that typify Dutch paintings.4 Religious tensions within the region were not resolved by the Dutch people securing freedom to practice their preferred Christian beliefs. Western Europe was occupied by both Protestants and Catholics, creating an environment of internal, structural, and 4 Norman Bryson, “Abundance” in Looking at the Overlooked: Four Essays on Still Life Painting, (London, UK: Reaktion, 2001), 115-117. 3 physical violence; Holland was no exception.5 These are the secular and religious underpinnings of the environment within which vanitas and memento mori still life painting motifs developed. In the midst of the Reformation, Dutch culture wrestled with how to balance faith and spiritual views with its ever-increasing material wealth. In his essay, “Abundance,” Norman Bryson writes about the cultural change brought about by abundant access to goods: “Dutch still life painting is a dialogue between this newly affluent society and its material possessions.”6 My own relationship to objects
Load more

Recommended publications
  • De Schilder Janssens, Een Navolger Van Pieter De
    DE SCHILDER JANSSENS, EEN NAVOLGER VAN PIETER DE HOOCH. DOOR DR. C. HOFSTEDE DE GROOT. P de belangrijke tentoonstelling van schilderijen van oude meesters, welke in het najaar van 1889 door den Kunstverein te Leipzig gehouden werd, trok een oud-hollandsch bin- nenhuis zonder stoffage, doch met sterk invallend zonlicht, uit de ccliectie van' den heer EDUARD BROCKHAUS de algemeene aandacht. Het was onder Nr. 119 van den catalogus als een werk van PIETER DE HOOCH tentoongesteld en deze toekenning scheen op den eersten blik vol- komen juist. 1) Zag men echter nader toe, dan ontdekte men links boven de deur eene oude en echte handteekening: JANSSENS, welke geen andere opvatting toeliet, dan dat ze den naam van den schilder aangaf. Wie was echter die onbe- kende JANSSENS ?i Toch niet, zoo vroeg BREDIUS in zijn bericht over de tentoon- stelling (Zeitschrift fiir bildende Kunst, 1890, blz. 132) de Vlaming ABRAHAM JANSSENS, de tijdgenoot van RUBENS?i Door een gelukkig toeval was schrijver dezes in staat, deze vraag voorloopig te beantwoorden en aan dezen meester eenige, 1) Men vergelijkede bijgaande afbeelding. 267 tot dusver algemeen als werken van PIETER DE HOOCH beschouwde stukken terug te geven. 1) Thans kan hij zijne mededeelingen in meer dan eene richting aanvullen en tevens eenige onjuistheden verbeteren. Wij beginnen met: , I. BIOGRAPHISCHE ONDERZOEKINGEN. JANSSENS, zoo luidde de naam des schilders van het schilderij bij den heer BROCKHAUS, een naam, die omstreeks dien tijd evenals JANSZEN, JANSZ niet veel meer zeide, dan dat de vader JAN of JOHANNES heette. Geen wonder derhalve, dat wij, op den zoek naar een kunstenaar van dien naam, uit de gewone hand- boeken zonder moeite een dozijn opdelven, welk aantal door de vondsten uit de archieven heden ten dage verdrievoudigd zou kunnen worden.
    [Show full text]
  • Glass in Paintings Art
    GLGLASSASS ININ PPAINTINGSAINTINGS Dutch, Flemish and German still life by Sofia Jennifer Teodori Simon Luttichuys, oils on wood, 1650-1660 The period ranging between the beginning of the seventeenth and the end of the eighteenth centuries can be considered the “golden era” for paintings featuring everyday objects, vases, flowers, fruit… in other words, still life. This term was born around the end of the seventeenth century to give a name to a new means of figurative expression which was mainly developed in the Netherlands, where artists were commissioned to paint tableware and splendid vases by the nobility. Here we look into some of the most beautiful pieces by Dutch, Flemish and German artists of that period. It is notable how glass has a special place in many paintings, and how often the mastery of the painters could be judged by the way they managed to catch the lightness, transparency and fragility of the glass objects. ntroduction The refined style of Flemish painters. Many of the latter, and Dutch painters is Jan Davidz. commonly believed to be Three cultural areas are quite characterized by the intensity of de Heem, oils German, were in actual fact Isimilar from a stylistic point of on wood, the visual stimulus, the richness Flemish, and for religious view, and these include the of effects, the ability to capture 1640-1645 motives were refugees, whilst southern and northern regions and express the sophisticated others were their immediate of the Netherlands and the colours and plays of light on descendants (Binoit, Soreau, German areas that were mostly models.
    [Show full text]
  • Willem Kalf [PDF]
    Willem Kalf Oil Paintings Willem Kalf [Dutch painterr, 1619 - 1693] LobHorn picture ID 31397-Willem Kalf-LobHorn Oil Painting ID: 31397 | Order the painting NautiDet picture ID 31398-Willem Kalf-NautiDet Oil Painting ID: 31398 | Order the painting Still Life With Silver Bowl Glasses And Fruit picture ID 31399-Willem Kalf-Still_Life_With_Silver_Bowl_Glasses_And_Fruit Oil Painting ID: 31399 | Order the painting Silver picture ID 31400-Willem Kalf-Silver Oil Painting ID: 31400 | Order the painting Still Life picture ID 31401-Willem Kalf-Still Life1 Oil Painting ID: 31401 | Order the painting Still Life picture ID 31402-Willem Kalf-Still Life2 Oil Painting ID: 31402 | Order the painting 1/3 Still Life picture ID 31403-Willem Kalf-Still Life3 Oil Painting ID: 31403 | Order the painting Still Life With Lemon Oranges And Glass Of Wine picture ID 31404-Willem Kalf-Still_Life_With_Lemon_Oranges_And_Glass_Of_Wine Oil Painting ID: 31404 | Order the painting Still Life With A Late Ming Ginger Jar picture ID 31405-Willem Kalf-Still_Life_With_A_Late_Ming_Ginger_Jar Oil Painting ID: 31405 | Order the painting Still Life With A Nautilus Cup picture ID 31406-Willem Kalf-Still_Life_With_A_Nautilus_Cup Oil Painting ID: 31406 | Order the painting Total 1 page, [1] Willem Kalf (Nationality : Dutch painterr, 1619 - 1693) Willem Kalf was a Dutch painter who specialized in still lifes. Later in his life, Kalf became an art dealer and appraiser. Willem Kalf was born in Rotterdam, in 1619. He was previously thought to have been born in 1622, but H. E. van Gelder’s important archival research has established the painter’s correct place and date of birth.
    [Show full text]
  • Navolger Van Willem Kalf of Mogelijk Claes Bergoijs
    202577 navolger van Willem Kalf of mogelijk Claes Bergoijs Stilleven met schelp, porseleinen schotel met vrucht en glaswerk, 1655-1668 Frankfurt am Main, Städel Museum, inv./cat.nr. [..] Afbeeldingsnummer 0000253055 Afmetingen: 2339x2996 pixels Verder zoeken in RKDimages Naam kunstenaar Kalf, Willem Naam kunstenaar Bergoijs, Claes Naam kunstenaar Striep, Christiaen Naam kunstenaar Janssens genaamd Elinga, Pieter Afgekorte literatuur Grisebach 1974 Afgekorte literatuur Grimm 1988 Afgekorte literatuur Sander/Brinkmann 1995 Afgekorte literatuur Krempel/Neumeister 2005- Afgekorte literatuur Sander 2008 Collectieplaats Amsterdam Collectieplaats Frankfurt am Main Collectie Kunsthandel P. de Boer Collectie Städel Museum Onderwerpstrefwoorden stilleven Onderwerpstrefwoorden op een houten blad of tafel Onderwerpstrefwoorden tafelkleed Onderwerpstrefwoorden franje Onderwerpstrefwoorden gedreven zilveren schaal Onderwerpstrefwoorden schelp Onderwerpstrefwoorden sinaasappel (vrucht) Onderwerpstrefwoorden roemer Onderwerpstrefwoorden fluitglas Onderwerpstrefwoorden façon de Venise Onderwerpstrefwoorden Wan Li-schotel Onderwerpstrefwoorden Wanli Onderwerpstrefwoorden wijnglas Object gegevens Objectcategorie schilderij Drager/materiaal doek, olieverf Vorm/maten staande rechthoek 59,8 x 47,5 cm Signatuur/opschrift Informatie over de signatuur, datering, opschrift of merk op de voor- of achterzijde van het kunstwerk draagt signatuur linksonder: W. KALF. erg dik, ligt op het craquele, vals Huidige toeschrijving navolger van Willem Kalf of mogelijk Claes
    [Show full text]
  • Netherlands / ART the 10 Most Important Old Masters in Dutch
    Netherlands / ART The 10 Most Important Old Masters in Dutch Painting by Samuel Spencer, CultureTrip.com https://theculturetrip.com/europe/the-netherlands/articles/the-10-most-important-old-masters- in-dutch-painting/ From stunning originals like Hieronymus Bosch through to the Dutch Golden Age of the 1650s, The Netherlands produced countless masterpieces across every category of painting. Most are familiar with towering figures like Rembrandt or Vermeer, but there is more to an art movement than two figures. From an internationally successful woman to Dürer’s great Dutch rival, the country has so much to offer art fans. Explore Holland with our guide to its best Old Masters. Rembrandt van Rijn (1606-1669) Perhaps the greatest and most famous portrait painter of all time, Rembrandt van Rijn was a master of observation, chiaroscuro and, perhaps most importantly, brutal honesty, as seen in his most famous works, the self-portraits. Critics and scholars disagree over how many he undertook, but whatever the actual number, it is a staggering collection including approximately 45 paintings, 30 etchings and seven drawings. These depict the ravages of time on the artist’s face without any sense of vanity, and are heartbreaking if seen in succession. His Biblical scenes and etchings are also superb, but it is those portraits that are his legacy. Johannes Vermeer (1632-1675) Virtually ignored in his own time, Vermeer is now truly considered an Old Master. Like many from the Golden Age of Dutch Painting, Vermeer’s fascination was light, and the faithful and beautiful reproduction of it on canvas. This can best be seen on his most famous work Girl With a Pearl Earring, in which the interplay of light upon the various fabrics and the wonderful reflection shining on that pearl earring make it one of the masterpieces of western art.
    [Show full text]
  • Representation of Food and Feasting in Seventeenth-Century Dutch Pronkstillevens (1640-1672) Supervisor: Dr
    Dan Vy Tran Representation of Food and Feasting in Seventeenth-Century Dutch Pronkstillevens (1640-1672) Supervisor: Dr. Harry Mount – Department of History, Philosophy and Religion Abstract This study investigates the meaning of foods in pronkstillevens and the reasons for their appeal to mid-seventeenth-century beholders based on both primary and secondary sources. While Svetlana Alpers argued that still lifes evoked visual pleasure, Eddy de Jongh pointed out their hidden symbolism. Pronkstillevens also offered cultural insights and reflected socio-economic conditions of seventeenth-century Netherlands. Julie Berger Hochstrasser claimed that the primacy of Dutch trade was a key to understanding Dutch still life. The major finding of this research is that pronkstillevens were captivating, especially for a mercantile class, because of their exquisite lifelikeness, the representation of admirable affluence and the association to powerful commerce. Pronkstillevens (Sumptuous Cultural Significance still lifes) first emerged in the Humanist interests: Foods may have been appreciated for their earthly 1640s. They were characterised nature and for the sake of study triggered by Renaissance ideals.7 by large compositions of Conspicuous consumption: Comestibles are brought out of their extravagant banquets, featuring natural habitat to suggest utilisation and are displayed within an abstract lavish foods and pronk artefacts space to embody wealth.8 (Fig. 2) such as intricate silverware, Food customs: Pronkstillevens indicated eating habits of the rich in the gold goblets and Chinese 1600s, for example, white bread was the food of the rich.9 porcelains.1 (Fig. 1) Health benefits: Cold oysters can be digested more easily when they Figure 1. Jan Davidsz. de Heem, A Table of are paired with lemons and the lemon can prevent eaters from being Desserts, 1640.
    [Show full text]
  • WILLEM KALF (Rotterdam 1619 – 1693 Amsterdam) a Barn Interior
    VP4913 WILLEM KALF (Rotterdam 1619 – 1693 Amsterdam) A Barn Interior with an old Woman and a Still Life of Vegetables Signed and dated, upper left, above the fireplace: KALF 1644 Oil on copper, 6½ x 5½ ins. (16.5 x 13.9 cm) PROVENANCE Private collection, The Netherlands, before 1977 Anonymous sale (‘The Property of a Gentleman’), Christie’s, London, 2 December 1977, lot 43 With Robert Noortman Gallery, London and Maastricht, April 1978-81 (advertised in Die Weltkunst, 1981, no. 17) Private Collection, U.S.A., by 1994 With S. Galitch, Nyon, Switzerland, 1994 With P. de Boer, Amsterdam, 20 October 2000 With David Koetser, Zurich and New York, 6 April 2003-2006 Private collection, The Netherlands, until 2019 EXHIBITED Robert Noortman Gallery, London, A selection of important paintings by old and modern masters from our 1981 collection, 1981, no. 9 LITERATURE F. G. Meijer, ‘Katalog der Werke von Willem Kalf’, in Gemaltes Licht. Die Stilleben von Willem Kalf 1619-1693, F. G. Meijer, J. Giltaij and P. van den Brink (eds.), exh. cat., Museum Boijmans Van Beuningen, Rotterdam & Suermondt-Ludwig-Museum, Aachen, 2006-2007, cat. no. A6, reproduced p. 160. In a humble peasant interior, a woman with rough-hewn features is seated by the fire, cutting up a large cabbage with a knife. A cauldron hangs over a bright flame in the hearth, and a washing line is suspended from a rudimentary mantel above: a bunch of candles hangs from a nail in the wall. Resting on the floor by the woman are a glazed earthenware bowl and large basket filled with a pumpkin, a gourd and some more greens.
    [Show full text]
  • Flemish, Netherlandish and Dutch Painting in The
    THEMATIC ROUTES Flemish, The Thyssen-Bornemisza Collection offers a step by step history of the evolution of painting in the Low Countries from the 15th to the 20th centuries, Netherlandish including an outstanding group of works from the 17th century, which is a and Dutch school of painting poorly represented in other Spanish collections. In order to pursue this subject, the present route will introduce the artists Painting in in question through fourteen selected paintings. It starts with works from the 15th century when the spread of the use of the oil technique offered the Thyssen- painters a new way of representing reality and one in which detail and Bornemisza precision were fundamental. This is evident in the works by Jan van Eyck, Collection Rogier van der Weyden, Hans Memling, Joachim Patinir and others. From the late 16th century and throughout the 17 th century a range of Almudena Rodríguez Guridi subjects began to be depicted by artists working in both the Southern Provinces (Flanders) and the Northern Provinces. The Thyssen-Bornemisza Collection has paintings by the leading Flemish artists of this period — Rubens, Van Dyck and Anthonis Mor — as well as a notably compre- hensive collection of paintings by Dutch artists — Frans Hals, Rembrandt, Nicolas Maes, Jacob van Ruisdael and Willem Kalf — who worked in genres such as portraiture, scenes of daily life, landscape and still life. These themes were all particularly popular with middle-class mercantile clients who were interested in decorating their houses with works of this type, resulting in a flourishing art market in Dutch cities.
    [Show full text]
  • Primary Teachers' Notes 2011-12
    PRIMARY TEACHERS’ NOTES 2011–12 STILL LIFE WITH THE DRINKING-HORN OF THE SAINT SEBASTIAN ARCHERS’ GUILD, LOBSTER AND GLASSES, ABOUT 1653 WILLEM KALF (1619–1693) © The National Gallery, London © The National Gallery, ABOUT THE ARTIST The pewter plate beneath the lobster is tilted up on a patterned carpet regarded as far too valuable to be laid Willem Kalf was born in Rotterdam in 1619. Little is known on the floor. This and the white napkin draw our attention of his early life and training, but by the age of 22 he was to the marble table, which is supported by a sculpted figure working in Paris, where he specialised in painting humble of Cupid, the god of love. Finally, just catching the light in interiors. After five years he returned to Holland where the bottom left is the side of a chair. he married Cornelia Pluvier, a talented calligrapher, glass engraver, poet and musician. They settled in Amsterdam The drinking-horn of the Saint Sebastian Archers’ Guild in 1653, and probably the same year he made this painting. He began to specialise in pronkstilleven or ostentatious still This drinking-horn, made in 1565, still exists and is on show lifes for which he is famous. Kalf stopped painting by the at the Historisch Museum in Amsterdam. It belonged to age of 50, but he continued as an art dealer until his death the Saint Sebastian Archers who were the likely patrons in 1693. of the painting. On special occasions the officers would gather to feast and the horn would be filled with wine Arnold Houbraken, an early biographer, described Kalf as and ceremoniously passed among them.
    [Show full text]
  • Cultural Reflections on Porcelain in the 17Th-Century Netherlands
    Cultural reflections on porcelain in the 17th-century Netherlands Cultural reflections on porcelain in the 17th-century Netherlands, Amsterdam, Delft, JAPANESE PORCELAIN, Delfts, M. S. van Aken-Fehmers, Geschiedenis van een nationaal product, Netherlands, Gemeentemuseum Den Haag, Dutch Republic, Vossius, Willem Kalf, H. Lunsingh Scheurleer, 17th-century, 18th century, China, L. Schledorn, pp, M. S. van AkenFehmers, material constitution, Dutch Delftware, WP Amsterdam, J. van Campen, University of Amsterdam, Juriaen van Streeck, Chinese paintings, Oosters porselein Delfts, Dutch Golden Age, Rijksmuseum Amsterdam, Chinese porcelain, Johannes Pontanus, medicinal properties, medicinal qualities, Asia, porcelain dish, Middle Kingdom, Ehrenfried Walter von Tschirnhaus, Chinese community, Johannes Vermeer, Hieronymus Cardanus, Seventeenth-Century Netherlands Weststeijn, Julius Caesar Scaliger, Jan Evertsen Kloppenburch, cultural significance, Southern Netherlands, Seventeenth-Century Netherlands, Delfts Blauw, Chinese ceramics, De Pauw, Leiden University, History of Art, Anna Charlotte Amalie, Sir Francis Child, de Nederlanden, Magdalena Wilhelmina, Princess Caroline Louise von HessenDarmstadt, Cornelis de Pauw, Adri van der Meulen, Jan Franssen Bruyningh, Gemeentearchief Rotterdam, Prince John William Friso, Charles Frederick von Baden-Durlach, Antwerp University, Chinese civilisation, Bestandskatalog der Verwaltung, T. van Swieten, intention.76 De Pauw, porcelain painters, household wares, Amsterdam University Press, Stadsarchief Amsterdam,
    [Show full text]
  • Democratising the Rijksmuseum Why Did the Rijksmuseum Make Available Their Highest Quality Material Without Restrictions, and What Are the Results?
    Democratising the Rijksmuseum Why did the Rijksmuseum make available their highest quality material without restrictions, and what are the results? Joris Pekel, Europeana Foundation Democratising the Rijksmuseum. Contents Introduction 4 The Rijksmuseum and their online presence 5 Rijksmuseum in Europeana 6 Apps4Netherlands and the Open Cultuur Data challenge 6 Quality control 8 Put the material where the users are 8 Rijksstudio 9 Out of copyright works 9 Digitising public domain works and copyright 10 Restricting access to public domain works 10 From Creative Commons to public domain 11 Different sizes for different prices 11 Sustainability of image bank 12 Public domain and business models 13 Conclusion 14 About the author 15 2/15 ’There is not a single physical space where all our heritage can be shown, but on the internet you can.’1 1 Lizzy Jongma during interview 03/02/2014 Front page image: Still Life with Silver Ewer, Willem Kalf, 1655 – 1660. Public Domain. To be found at https://www.rijksmuseum.nl/en/collection/SK-A-199 3/15 Introduction Europeana is a trusted source for cultural heritage. Its goal is to give everyone access to all of Europe’s heritage with as few restrictions as possible. To achieve this, Europeana believes a thriving and healthy public domain is essential and therefore advocates that digital representations of public domain works should be freely accessible. However, this is not an easy decision to make for the cultural institutions themselves, especially when they profit from the sale of these images. In 2011, the Rijksmuseum in the Netherlands started releasing images of public domain works online.
    [Show full text]
  • Primary Teachers' Notes 2011-12
    PRIMARY TEACHERS’ NOTES 2011–12 STILL LIFE WITH THE DRINKING-HORN OF THE SAINT SEBASTIAN ARCHERS’ GUILD, LOBSTER AND GLASSES, ABOUT 1653 WILLEM KALF (1619–1693) © The National Gallery, London © The National Gallery, ABOUT THE ARTIST The pewter plate beneath the lobster is tilted up on a patterned carpet regarded as far too valuable to be laid Willem Kalf was born in Rotterdam in 1619. Little is known on the floor. This and the white napkin draw our attention of his early life and training, but by the age of 22 he was to the marble table, which is supported by a sculpted figure working in Paris, where he specialised in painting humble of Cupid, the god of love. Finally, just catching the light in interiors. After five years he returned to Holland where the bottom left is the side of a chair. he married Cornelia Pluvier, a talented calligrapher, glass engraver, poet and musician. They settled in Amsterdam The drinking-horn of the Saint Sebastian Archers’ Guild in 1653, and probably the same year he made this painting. He began to specialise in pronkstilleven or ostentatious still This drinking-horn, made in 1565, still exists and is on show lifes for which he is famous. Kalf stopped painting by the at the Amsterdam Museum in Amsterdam. It belonged to age of 50, but he continued as an art dealer until his death the Saint Sebastian Archers who were the likely patrons in 1693. of the painting. On special occasions the officers would gather to feast and the horn would be filled with wine Arnold Houbraken, an early biographer, described Kalf as and ceremoniously passed among them.
    [Show full text]