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Academic Rhapsodies
EDITED BY SOPHIA HENDRIKX MEREL OUDSHOORN LIEKE SMITS TIM VERGEER Arts in Society Academic Rhapsodies IIO1 | ARTS IN SOCIETY EDITORIAL BOARD Sophia Hendrikx, Merel Oudshoorn, Lieke Smits, Tim Vergeer LAYOUT Tatiana Kolganova COVER IMAGE © Marion Bracq (2019) Arts in Society. Academic Rhapsodies, 2020. ISBN/EAN: 978-90-9032417-3 OPEN ACCESS STATEMENT All content of this work is available immediately upon publication. Our policy aligns with Creative Common License CC BY-NC-ND: we welcome all readers to download and share the content of this publication freely, as long as the author and publication are appropriately credited. Content cannot however be altered or used commercially. DISCLAIMER Statements of fact and opinion in the articles are those of the respective authors and not necessarily of the editors, or LUCAS. Neither LUCAS, nor the editors of this publication make any representation, explicit or implied, in respect of the accuracy of the material in this publication and cannot accept any responsibility or liability for any errors or omissions that may be made. EDITED BY SOPHIA HENDRIKX, MEREL OUDSHOORN, LIEKE SMITS, TIM VERGEER Arts in Society Academic Rhapsodies IIO3 | ARTS IN SOCIETY contents Introduction 1 Collection and reproduction Small worlds: The miniature logic of the seventeenth-century 5 Dutch dollhouse Jun P. Nakamura Authenticity vs 3D reproduction: Never the twain shall meet? 21 Liselore Tissen Texts and readers To read or not to read: Textual vs media interpretation 42 Andrea Reyes Elizondo To delight and instruct: -
The Miniaturist
Enter the dollhouse of mystery The Miniaturist Anya Taylor-Joy, Romola Garai and Alex Hassell star in an adaptation of Jessie Burton’s gripping bestseller on MASTERPIECE Sundays, September 9 - 23, 2018 on PBS Golden Age Amsterdam comes alive in all its opulence and repressed sensuality in an adaptation of Jessie Burton’s bestselling novel The Miniaturist, starring Anya Taylor- Joy (Split, The Witch), Romola Garai (Churchill’s Secret, The Hour) and Alex Hassell (Genius: Picasso, Suburbicon). Gorgeously filmed on location in The Netherlands and the U.K., the three-part drama airs Sundays, September 9 - 23 at 9pm ET on MASTERPIECE on PBS. Taylor-Joy plays a young bride who receives mysterious packages from a reclusive maker of miniatures—tiny objects that appear to predict the future. The Miniaturist also features Paapa Essiedu (A Midsummer Night’s Dream, Utopia), Hayley Squires (I, Daniel Blake; Call the Midwife) and Emily Berrington (Humans, The Inbetweeners 2). Critics were captivated when the miniseries recently aired in the U.K. The Telegraph (London) applauded it as “an evocative, spellbinding drama big on atmosphere,” and in another review compared the production to “a Daphne Du Maurier potboiler as painted by Vermeer.” The Guardian (London) praised The Miniaturist as “mesmerizing.” Set in 1686, when the Dutch Republic was one of the world’s richest and religiously zealous nations, The Miniaturist captures the paradox of extreme wealth combined with puritanical abhorrence of the pleasure that riches make possible. Petronella Oortman (Taylor-Joy), called Nella, is the unwitting victim of this clash of values. A naïve eighteen-year-old from a bankrupt aristocratic family in the provinces, she is wooed by Johannes Brandt (Hassell), a handsome and prosperous merchant looking for a wife. -
November 2014 Newsletter
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 31, No. 2 November 2014 Jacob Jordaens, Merry Company, c. 1644. Watercolor over black chalk, heightened with white gouache, 21.9 x 23.8 cm. The J. Paul Getty Museum, Los Angeles. Exhibited at The Getty Center, Los Angeles, October 14, 2014 – January 11, 2015. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President – Amy Golahny (2013-2017) Lycoming College Williamsport PA 17701 Vice-President – Paul Crenshaw (2013-2017) Providence College Department of Art History 1 Cummingham Square Providence RI 02918-0001 Treasurer – Dawn Odell Lewis and Clark College 0615 SW Palatine Hill Road Portland OR 97219-7899 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Contents Board Members President's Message .............................................................. 1 HNA News ............................................................................1 Lloyd DeWitt (2012-2016) Stephanie Dickey (2013-2017) Personalia ............................................................................... 4 Martha Hollander (2012-2016) Boston Conference Photos ....................................................5 Walter Melion (2014-2018) Exhibitions ......................................................................... -
Providing a Voice for the Other: Marginalization in British Historical Fiction on the Dutch Golden Age
Providing a Voice for the Other: Marginalization in British Historical Fiction on the Dutch Golden Age Rebecca Verhoeve 4109058 Literature Today, English Track MA Thesis 20 ECTS Rosalinde Supheert 18 January 2019 Rebecca Verhoeve 1 Contents 1. Abstract 2 2. Introduction 3-8 3. Chapter 1: A Case Study of The Miniaturist 9-16 4. Chapter 2: A Case Study of Tulip Fever 17-24 5. Chapter 3: A Case Study of Girl with a Pearl Earring 25-34 6. Conclusion 35-40 7. Works Cited 41-43 8. Appendix A 44-45 9. Appendix B 46-48 10. Appendix C 49 Rebecca Verhoeve 2 Abstract The genre of historical fiction has received much critical attention lately. Scholars, such as Linda Hutcheon and Jerome de Groot, have found that historical novels can reinstall the marginalized in historical narratives. While sub-genres like the Neo-Victorian novel have already been researched, the sub-genre of Dutch Golden Age novels has so far received little attention. Through a close-reading of three bestselling British historical novels on the Dutch Golden Age, and a study of relevant theory on the genre of historical fiction in relation to marginalization, this paper attempts to show how British historical fiction on the Dutch Golden Age provides a voice for the Other, stripping the golden era of its lustre. It contains three case studies of The Miniaturist by Jessie Burton, Tulip Fever by Deborah Moggach, and Girl with a Pearl Earring by Tracy Chevalier, which argue that these novels heavily underline female marginalization and use appropriated works of Dutch Golden Age art to achieve this. -
Family Life in Dutch Art of the Seventeenth Century
Family Life in Dutch art of the seventeenth century By Eriko Taira [Master of Philosophy Faculty of Arts University of Glasgow] Christie’s Education London Master’s Programme September 2000 © Eriko Taira ProQuest Number: 13818856 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818856 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 ( GLASGOW u n iv e r s it y LIBRARY: , To my parents and my sister Minako Abstract Since I begun to study history of art I have become intrigued by seventeenth century Dutch art. Especially, Dutch genre paintings showing various images of family life made me remember my childhood with my parents and sister, evoking a nostalgic contemplation. The depiction of family life seen in Dutch art might not be faithful records of real experiences, but I have come to think there is something inherently appealing to the human morals or ideals toward family life, beyond any cultural differences, underneath seventeenth century Dutch art. The exhibition, the GLORY OF THE GOLDEN AGE Painting, Sculpture and Decorative Art, now taking place in the Rijksmuseum Amsterdam, inspired me to construct this thesis. -
Uit Verre Streken Guus Röell & Dickie Zebregs GUUS RÖELL & DICKIE ZEBREGS Uit Verre Streken from Distant Shores
Uit verre streken Guus Röell & Dickie Zebregs GUUS RÖELL & DICKIE ZEBREGS Uit verre streken from distant shores Colonial Art and Antiques, Exotica, Natural History and Scientific Taxidermy. The Age of European Exploration, 17th - 19th century Amsterdam & Maastricht, December 2020 s a c i r e m A e th d an Europe 1 A rare and fine terrestrial table-globe by Johann Gabriel Doppelmayr (1671-1750) Nuremberg, 1728 GLOBUS TERRESTRIS in quo locorum situs terraeque facies, secundum praecipuas celeberrimorum nostri oevi Astronomorum et Geographorum observationes opera IOH. GABR. DOPPELMAIERI Mathem. Prof. Publ. Norib. Exhibentur, concinnatus á Ioh. George. Puschnero Chalcographo Norib. A.C. 1728 Diam. 31.7 cm The globe is made up of twelve engraved and finely hand- coloured gores laid onto a hollow paper-mâché and plaster sphere, the equatorial and meridian of Ferro graduated in individual degrees and labelled every 5°, the Polar and Tropic circles graduated in degrees but not labelled, the ecliptic graduated in individual days of the houses of the Zodiac with names and sigils and labelled every ten days. In the Southern Pacific a second cartouche surrounded by portraits of the various famous explorers. The tracks of several explorers are also shown. Many more interesting details and descriptions can be found on this globe. A stamped brass hour dial and pointer sits on top of the engraved brass meridian circle graduated in four quadrants, fitted in a darkened oak Dutch- style stand. The octagonal horizon with beautifully hand-coloured engraved paper showing degrees of amplitude and azimuth in four quadrants, days of the month with Saint’s Days and days of the Zodiac and wind directions. -
Adventures, Treks, Exiles & Migration
ZEST Festival 2013 Education Pack FAR FROM HOME: ADVENTURES, TREKS, EXILES & MIGRATION The Zest Festival was created in 2012 to celebrate Cross curriculum unit for the 300th anniversary of the Zuytdorp shipwreck and the cultural heritage of the Dutch East India Trading primary and secondary Company (VOC) in Western Australia. Each year the Zest Festival highlights the cultural contribution of a students on the Dutch East country along the VOC trading route. In 2012 we India Trading Company, South discovered all things Dutch, and in 2013 we will focus on South African connections to the VOC and to African and Australian heritage. Western Australia. The Zest Festival is more than a community fun day. It includes the commissioning and exhibition of art, the sharing of stories and poems, discovering new music and foods, and university research. est Festival EDUCATION PROGRAM In 2012 Kalbarri District School, in partnership with the Kalbarri Development Association and the ARC Centre of Excellence for the History of Emotions, Europe 1100 – 1800 (CHE), developed an engaging semester of Dutch and Shipwreck themed classwork for years F-10. In 2013, we are inviting your school or class to be involved! The following pages outline a variety of suggested classroom activities around the themes of South Africa, VOC, and Western Australia. Participating in this program is free of charge and open to all WA schools. IMPLEMENTATION At each activity description there are links: Australian Curriculum Zest Festival Context For more information Lesson Idea Please note this is not an exhaustive list of curriculum links or activities, and we encourage teachers to assess or adjust the activities to suit their class. -
Thursday, March 23, 2006 Time: 8:45–10:15 Room: Corintia Panel Title: Renaissance Medals and Coins I Organizer: Arne R
Thursday, March 23, 2006 8:45–10:15 AM Date: Thursday, March 23, 2006 Time: 8:45–10:15 Room: Corintia Panel Title: Renaissance Medals and Coins I Organizer: Arne R. Flaten, Coastal Carolina University Chair: Charles Rosenberg, University of Notre Dame Presenter: Stephen K. Scher, Independent Scholar Paper Title: Reggio Emilia, Milan, and the Mannerist Medal in Italy Abstract: In the entire history of medallic art there is little that can compare with the curious and fantastic group of medals centered upon Reggio Emilia in the sixteenth century. With an oblique reference to Leone Leoni’s medal of Ippolita Gonzaga and the similar piece by Jacopo da Trezzo, the Emilian medallists, whose work is usually uniface and cast in a lead alloy, produced a series of portraits of great originality. Both male and female subjects are clothed in agitated, filmy garments, and, in the case of the latter, with richly coiffed hair as if they were participating in some elaborate court masque. Often they are presented on pedestals following the form of ancient busts, with arms cut off just below the shoulder. This paper will attempt to discover the sources of such fascinating imagery as an element of Italian Mannerist art, and explain its presence in the medallic context. Presenter: Raymond B. Waddington, University of California, Davis Paper Title: Breaking News: Representing the Other on Portrait Medals Abstract: One purpose of the portrait medal has always been to make accessible the faces of famous people, whether from the past or in the present. During an age of exploration and increasing crosscultural encounters, a particular and neglected function was the representation of foreigners. -
How Vermeer and His Generation Stole the Thunder of the Golden Age
UHLENBECK LECTURE 32 How Vermeer and his Generation Stole the Thunder of the Golden Age Gary Schwartz Netherlands Institute for Advanced Study in the Humanities and Social Sciences Meijboomlaan 1, 2242 PR Wassenaar, the Netherlands T: +31-(0)70-512 27 00 E: [email protected] I: www.nias.knaw.nl The thirty-second Uhlenbeck Lecture was held in Wassenaar on 23 June 2014 NIAS, Wassenaar, 2014/1 ISBN 978-90-71093-73-9 ISSN 921-4372; 32 (c) NIAS 2014. No part of this publication may be reproduced without written permission from the publisher. NIAS is an Institute of the Royal Netherlands Academy of Arts and Sciences (KNAW) UHLENBECK LECTURE 32 How Vermeer and his Generation Stole the Thunder of the Golden Age On the 27th of June in the year 1988, the Prime Minister of the Netherlands, Ruud Lubbers, returned home from a conference in Hannover at which important steps were taken toward European economic integration. In a press conference he said that economic union had been brought a step closer to realization, but that he was worried about the repercussions this might have for the cultural sphere. Lubbers feared that far going European integration would lead to a situation in which Europeans would end up watching American series on Japanese televisions. His message was picked up by a shrewd Dutch academic, the late Douwe Fokkema, who mobilised this “culture scare” to obtain funding from the Netherlands Organisation for Scientific Research (NWO) and set up the largest research project in the humanities that had ever been seen in our country. -
Imagined Domesticities in Early Modern Dutch Dollhouses* Susan
Imagined Domesticities in Early Modern Dutch Dollhouses 47 Imagined Domesticities in Early Modern Dutch Dollhouses* Susan Broomhall Early modern prescriptive literature about household spatial and social ordering primarily informs us of elite male views. Few contemporary sources exist to suggest women’s notions about these issues. Early modern dollhouses could shed some light on the views of both sexes, as makers, patrons, and collectors of such objects. Such artefacts have rarely been considered a source for historic perceptions of households and family in scholarly analyses. In particular, by interpreting the meanings of extant structures, their furnishings, dolls, and surrounding documentation produced by the elite Dutch women who created and collected them in the seventeenth and eighteenth centuries, an important female-oriented vision of the idealised early modern household emerges. Between 1674 and 1743, a tiny group of wealthy Dutch women created and collected exquisitely crafted dollhouses. The phenomenon appears to represent, in the Netherlands, a unique form of curiosity cabinet specifically created for a small cohort of women. This essay seeks to explore what possession of dollhouses meant for the four elite Dutch women whose cabinets, furnishing and in some cases dolls, as well as surrounding documentation, are still extant.1 It analyses how ownership was displayed, valued, and memorialized by these women, in the context of the conventions established by earlier and contemporary dollhouses in Germany.2 In addition, it examines how houses could reflect the aspirations and identities of creators through demarcation of household space and notions of domesticity. The * I would like to thank Jet Pijzel-Dommisse, Heidi A. -
Jurriaan Andriessen, Behangselschilder
Afbeelding omslag: Jurriaan Andriessen, Behangsel met arcadisch landschap, ca. 1780-1790 (Cat.nr D15c), Engeland, Particuliere collectie (met dank aan Agnew’s, Londen) Afbeelding inzet: Jurriaan Andriessen, zelfportret, 1798 (afb.46), Amsterdam, KOG Ontwerp omslag: Caroline Bijvoet Jurriaan Andriessen (1742-1819) ‘behangselschilder’ Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van de Rector Magnificus Dr. D.D. Breimer, hoogleraar in de faculteit der Wiskunde en Natuurwetenschappen en die der Geneeskunde, volgens besluit van het College voor Promoties te verdedigen op 12 december 2006 klokke 13.45 uur door Richard Harmanni geboren te Assen in 1962 Promotiecommissie: promotoren Prof. dr. C.W. Fock Prof. dr. E.-J. Sluijter (UvA) referent Prof. dr. R.E.O. Ekkart (UU) overige leden Prof. dr. A.W.A. Boschloo Prof. dr. T.M. Eliëns In liefdevolle herinnering aan mijn vader Fokko Pieter Harmanni (*9-7-1923 / † 9-10-2000) INHOUDSOPGAVE DEEL I Voorwoord 9 Inleiding 11 Stand van het onderzoek naar Jurriaan Andriessen; Stand van het onderzoek naar de decoratieve schilderkunst; De bronnen; Doelstelling van dit onderzoek; Onderzoeksmethode; Opbouw van dit proefschrift - Noten inleiding 23 1. Leven en werken van Jurriaan Andriessen - 1) Achtergrond en gezinssituatie 27 Herkomst van de familie; Het gezin van Christoffel Andriessen en Stijntje Jansen; Schoonfamilie van Jurriaan Andriessen; Het gezin en de woonhuizen van Jurriaan Andriessen - 2) Andriessens leertijd en start van zijn loopbaan als kunstenaar 33 -
The Engagement of Carel Fabritius's Goldfinch of 1654 with the Dutch Window, a Significant Site of Neighborhood Social Exchang
Volume 8, Issue 1 (Winter 2016) The Engagement of Carel Fabritius’s Goldfinch of 1654 with the Dutch Window, a Significant Site of Neighborhood Social Exchange Linda Stone-Ferrier [email protected] Recommended Citation: Linda Stone-Ferrier, “The Engagement of Carel Fabritius’ Goldfinch of 1654 with the Dutch Window, a Significant Site of Neighborhood Social Exchange,” JHNA 8:1 (Winter 2016), DOI: 10.5092/jhna.2016.8.1.5 Available at http://www.jhna.org/index.php/vol-8-1-2016/325-stone-ferrier Published by Historians of Netherlandish Art: http://www.hnanews.org/ Terms of Use: http://www.jhna.org/index.php/terms-of-use Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 7:2 (Summer 2015) 1 THE ENGAGEMENT OF CAREL FABRITIUS’S GOLDFINCH OF 1654 WITH THE DUTCH WINDOW, A SIGNIFICANT SITE OF NEIGHBORHOOD SOCIAL EXCHANGE Linda Stone-Ferrier This article posits that Carel Fabritius’s illusionistic painting The Goldfinch, 1654, cleverly traded on the experience of a passerby standing on an actual neighborhood street before a household window. In daily discourse, the window func- tioned as a significant site of neighborhood social exchange and social control, which official neighborhood regulations mandated. I suggest that Fabritius’s panel engaged the window’s prominent role in two possible ways. First, the trompe l’oeil painting may have been affixed to the inner jamb of an actual street-side window, where goldfinches frequently perched in both paintings and in contemporary households.