DOCSLIB.ORG

Corpus Rubenianum Ludwig Burchard

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Corpus Rubenianum Ludwig Burchard CORPUS RUBENIANUM •fHt—Si! i'ftA J I' , - t LUDWIG BURCHARD PART XXIV THE COSTUME BOOK KRISTIN LOHSE BELKIN ARCADEim CORPUS RUBENIANUM LUDWIG BURCHARD AN ILLUSTRATED CATALOGUE RAISONNÉ OF THE WORK OF PETER PAUL RUBENS BASED ON THE MATERIAL ASSEMBLED BY THE LATE DR. LUDWIG BURCHARD IN TWENTY-SIX PARTS SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE "NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN VAN DE xvide EN xvude EEUW” .-a. d'HULST, President - F. B a u d o u in , Secretary - r . pandeiaers, Treasurer N. DE POORTER, G. GEPTS, H. LIEBAERS, J.K . STEPPE, C. VAN DE VELDE, H. VLIEGHE SCIENTIFIC ASSISTANCE: P. HUVENNE, M. VANDENVEN THE COSTUME BOOK KRISTIN LOHSE BELKIN BRUSSELS - ARCADE - MCMLXXX NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN m DE IMeTNlE 17ie EEUW To F.G. Grossmann in gratitude COPYRIGHT IN ANTWERP, BELGIUM, BY MERCATORFONDS, 1980 PRINTED IN BELGIUM - LEGAL DEPOSIT D I978/0721/88 ISBN 2-8005-0124-3 (2-8005-0036-0 complete edition) CONTENTS FOREWORD VII LIST OF ILLUSTRATIONS I SOURCES OF PHOTOGRAPHS 13 ABBREVIATIONS 1 5 AUTHOR’S PREFACE 21 INTRODUCTION 23 I. RUBENS AS COPYIST 23 II. THE COSTUME BOOK 32 I. PROVENANCE 32 II. MAJOR SOURCES 34 III. RECONSTRUCTION OF THE ORIGINAL COSTUME BOOK 4 3 IV. AUTHORSHIP AND DATING 48 V. PURPOSE AND LATER USE 50 CATALOGUE RAISONNÉ 6l INDEXES: I. COLLECTIONS 181 II. SUBJECTS 18 3 III. OTHER WORKS BY RUBENS MENTIONED IN THE TEXT 18 9 IV. NAMES AND PLACES 1 92 PLATES 209 FOREWORD The reader who is familiar with the organization of the Corpus Rubenianum Ludwig Burchard will have noticed that there is a change in the title of Part XXIV , which is now called The Coftume Book. In previous announcements it was entitled Copies and Adaptations from Renaissance and later Art ills and no separate Part on the Coftume Book was planned. In faCt, it was our intention to include the latter in Part XXIV. However, it appeared that Mrs. KriStin Lohse Belkin's Study not only had become more extensive than we had expected but that, moreover, it showed that the copies after earlier models which Rubens has collected in the Coftume Book have a distinctive character. They are not to be confused with his other copies after works by Renaissance and later artists nor with his adaptations thereof. This consideration has led us to publish the Coftume Book separately as Part X X IV of the series. Consequently, we had to change the numbering of the subsequent Parts to read as follows : XXV. COPIES AND ADAPTATIONS FROM RENAISSANCE AND LATER ARTISTS. XXVI. DRAWINGS NOT RELATED TO THE ABOVE SUBJECTS. ADDENDA AND CORRIGENDA. INDEXES. The manuscript of Mrs. Belkin’s thorough and original study was submitted in early 1977. Unfortunate circumstances, for which the author was not responsi­ ble, have delayed considerably the publication of the present book. Conse­ quently, the literature on Rubens which has appeared since then has not been taken into consideration. We hope that henceforth the publication of the Corpus Rubenianum will resume its regular pace. F. Baudouin R.-A. d’HulSt Keeper of the Art Hid or y Museums President of the "Nationaal Centrum of the City of Antwerp voor de Platiische Kunden van de i6de en de iyde eeuw’’ THE COSTUME BOOK LIST OF ILLUSTRATIONS 1. Rubens, Louis de Mâle and Baldwin V of Flanders (No. i). London, British Museum 2. Tomb of Louis de Mâle, drawing {de Succa, f° 77) 3. Two Angels with a Helmet, drawing {de Succa, f° 76T, detail) 4. Coat of Arms of Simon de Mirabello, drawing {de Succa, f° 85*, detail) 5. A. van Wijnendaele, Coat of Arms of Simon de Mirabello, drawing. Ghent, City Archives 6. Baldwin V of Flanders, drawing {de Succa, f° 77v, detail) 7. Rubens, William of Normandy, Arnulf II of Flanders and Eight Other Noblemen (No. 2). London, British Museum 8. Man in Armour, drawing {de Succa, f° 100, detail) 9. Man with Helmet, drawing {de Succa, f° 98, detail) 10. Two Men in Armour, drawing {de Succa, f° 89, detail) 11. William of Normandy, drawing {de Succa, f° 96) 12. Jean de Croy, drawing {de Succa, f° 98T, detail) 13. Arnulf 11 of Flanders, drawing {de Succa, f° 84, detail) 14. Baldwin IV of Flanders, drawing {de Succa, £° 83v, detail) 15. Man with Helmet, drawing {de Succa, f° 99^, detail) 16. A Knight, drawing (de Succa, f° 99, detail) 17. Anonymous, Baldwin IV of Flanders, painting (detail). Ghent, Bijloke Museum 18. Anonymous, Arnulf 11 of Flanders, painting (detail). Ghent, Bijloke Museum 19. Rubens, Anthony of Burgundy (No. 3). London, British Museum 20. Rubens, Jean II de Croy and Josse de Lalaing (No. 4). London, British Museum 21. Rubens, Jean de Croy and Five Other Noblemen (No. 5). London, British Museum 22. After de Succa, Anthony of Burgundy, engraving (H. Barlandus, Ducum Brabantiae Chronica, Antwerp, 1600) 23. Rubens, Margaret of Alsace, Baldwin V of Hainault and Nine Studies of Head• Dresses (No. 6). London, British Museum 24. After Rubens, Studies of Heads, drawing. Hamburg, Kunfthalle 25. H. Vogtherr, Nine Male Heads, woodcut (KunBbiichlin, Strasbourg, 1537) 26. Anonymous, A Lady Playing a Portable Organ, drawing. Paris, Louvre 27. Margaret of Alsace, drawing (de Succa, f° 82* detail) 28. Baldwin V of Flanders and Margaret of Alsace, drawing (de Succa, f° 83, detail) 29. Rubens, Walburga de Meurs and Marguerite de Craon (No. 7). London, British Museum 30. Margaret of Brabant, drawing (Recueil à'Arras, f° 55) 31. Margaret of Flanders, drawing (Recueil d’Arras, f° 53) 32. Anne de Jauche, drawing (Recueil d’Arras, f° 213) 33. Philippe de Lalaing, drawing (Recueil d’Arras, f° 122) 34. Rubens, Jacqueline de Luxembourg, Anne de Jauche, Philippa de Lalaing and Bonne de Vieuville (No. 8). London, British Museum 35. Bonne d’Abbeville, drawing,(Recueil d’.Arras, f° 184) 36. Isabella of Bourbon, drawing (Recueil d’Arras, f° 63) 37. W. Vrelant (?), Charles the Bold and Isabella of Bourbon, miniature. Copenhagen, Kongelige Bibliotek 38. Rubens, Raas van Gavere, Antoinette de Baux, Jeanne d’Escornaix and Two Uni­ dentified Women (No. 9). London, British Museum 39. Agnes de Bourbon, drawing (de Succa, f° 79T, detail) 40. Marguerite de Clisson, drawing (Recueil d’Arras, f° 47) 41. After Rubens, Madonna and Saints, painting. Pommersfelden, Schloss Weissenftein 42. Rubens, Yolande de Barbançon, Guillaume de Jauche and Three Other Figures (No. 10). London, British Museum 43. Guillaume de Jauche, drawing (Recueil d’Arras, f° 209) 44. Catherine de Molembais, drawing (Recueil d’Arras, f° 119 ) 45. School of Rubens, Alboin and Rosamond, painting. Vienna, Kunfthiftorisches Museum 46. Rubens, Guillaume de Bretagne and Emperor Frederick 111 (No. 11) . London, British Museum 2 47- MaSter of the Habsburgs, Adoration of the Magi, painting (detail), Vienna, KunSthiStorisches Museum 48. After the Master of Frankfort, Adoration of the Magi, painting (detail). Stuttgart, Staatsgalerie 49. MaSter of Frankfort, Adoration of the Magi, painting (detail). Antwerp, Konink­ lijk Museum voor Schone KunSten 50. Rubens, Mary of Cleves and Anna of Hungary (No. 12). London, British Museum 51. Mary of Cleves, drawing (de Succa, f° 8ov, detail) 52. Anonymous, Anna of Hungary and Ferdinand of AuHria, woodcut (detail) 53. After J. Seisenegger, Anna of Hungary, painting. Budapest, Szépmüvészeti Muzeum 54. Rubens, Guillaume de Ligne, Adrienne de Hallewyn and Seven Other Noble Personnages (No. 13). London, British Museum 55. Guillaume de Ligne, drawing (Recueil d’Arras, f° 185) 56. Adrienne de Hallewyn, drawing (Recueil d’Arras, f° 186) 57. Jean de Flandres, drawing (Recueil d'Arras, f° 58) 58. Marie de Ville, drawing (Recueil d’Arras, f° 177) 59. Jean de la Hamayde, drawing (Recueil d’Arras, f° 212) 60. Marguerite de Maingoval, drawing (Recueil d’Arras, f° 112 ) 61. Colard d’Ongnies, drawing (Recueil d'Arras, f° 223) 62. Guilbert de Lannoy, drawing (Recueil d'Arras, f° 118 ) 63. J. van Eyck, Baudouin de Lannoy, painting. Berlin, Staatliche Museen 64. Baudouin de Lannoy, drawing (Recueil d'Arras, f° 109) 65. Jean de Hainault, drawing (Recueil d'Arras, f° 27) 66. Anonymous, Margaret of Flanders, painting. Lille, Musée des Beaux-Arts 67. Rubens, Jean de Hainault and His Wife (No. 14). London, British Museum 68. Rubens, Hawking Scene (No. i4v). London, British Museum 69. Falconers, tapeStry, c. 1445. Minneapolis, Institute of Arts 70. Falconers, tapeStry, c. 1430-35 (detail). London, Victoria and Albert Museum 71. Deer Hunt, tapeStry, c. 1445-50 (detail). London, Viâoria and Albert Museum 3 72. ? A. van Dyck, Hawking Party, grisaille sketch. Present whereabouts unknown 73. Rubens, Eusiache de Morcamp and His Wife, Willem van der Bie, His Wife and Children (No. 15). London, British Museum 74. Eudache de Morcamp and His Wife, drawing (de Succa, f° 93v) 75. Willem van der Bie and His Wife, drawing (de Succa, f° 94) 76. Willem van der Bie’s Sons, drawing (de Succa, f° 94v) 77. Willem van der Bie’s Daughters, drawing (de Succa, f° 95) 78. John IV of Burgundy, drawing (de Succa, f° 11, detail) 79. Anna of Bedford, drawing (de Succa, f° 80, detail) 80. Mary of Savoy and Margaret of Savoy, drawing (de Succa, f° 79v, detail) 81. Rubens, Mary of Savoy, Margaret of Savoy, Anna of Bedford and John IV of Burgundy (No. 16). London, British Museum 82. Rubens, Jacqueline of Bavaria, Isabella of Portugal and Three Other Noblewomen (No. 17). London, British Museum 83. Jacqueline of Bavaria and Isabella of Portugal, drawing (de Succa, f° 7) 84. Ogiva of Luxembourg, drawing (de Succa, f° 83*, detail) 85. A. van Wijnendaele, Baldwin IV of Flanders and Ogiva of Luxembourg, drawing. Ghent, City Archives 86. Margaret of Bavaria, drawing (de Succa, f° 83, detail) 87.
Load more

Recommended publications
  • Josephine Mary Alexander Phd Thesis
    THE THEME OF THE WISE AND FOOLISH VIRGINS AS PART OF THE LAST JUDGEMENT ICONOGRAPHY IN FLANDERS AND ITALY IN THE LATE 15TH AND THE 16TH CENTURIES Josephine Mary Alexander A Thesis Submitted for the Degree of MPhil at the University of St Andrews 1981 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/15249 This item is protected by original copyright ABSTRACT The parable of the Wise and Foolish Virgins is told in Matthew's Gospel, Ch.25, v1-13, as an allegory of the Last Judgement. This thesis sets out to examine firstly, how closely the parable is related to the iconography of the Last Judgement in the art of the 15th and 16th centuries; secondly to demonstrate how its inter­ pretation came to be broadened by association with other biblical themes, themselves part of the Last Judgement iconography. Part I traces the origins and develop­ ment of the theme from early Christian times to the 15th century. In these early sources the artistic tradition of linking the parable to the Last Judgement was first established; the Wise and Foolish Virgins were also linked with Ecclesia and Synagogue and with the Virtues and Vices; and the typological tradition of biblical illustration broadened the theme further by pairing it with other biblical feasts. Appendix I is a handlist of the Wise and Foolish Virgins up till the late 15th century and it illustrates how popular the theme had become by the Middle Ages.
    [Show full text]
  • Die Beischriften Des Peter Paul Rubens
    Die Beischriften des Peter Paul Rubens Überlegungen zu handschriftlichen Vermerken auf Zeichnungen Dissertation zur Erlangung der Würde des Doktors der Philosophie des Fachbereichs Kulturgeschichte und Kulturkunde der Universität Hamburg vorgelegt von Veronika Kopecky aus Wien Hamburg und London 2008 / 2012 1. Gutachter: Prof. Dr. Martin Warnke 2. Gutachter: Prof. Dr. Charlotte Schoell-Glass Datum der Disputation: 16. April 2008 Tag des Vollzugs der Promotion: 02. Juli 2008 Textband Vorwort 2 Danksagung 6 Einleitung 8 Die Unterschrift 11 Signatur und Fälschung, Zuschreibung und Bewertung 11 Der Adressat der Beischrift I. Die Auftragszeichnung 14 Inschriften und Inschriftenträger 15 Form. Von der Vorgabe zur Zeichnung, von der Zeichnung zum Werk 18 Farb- und Materialangaben, Maße und Gewichte 19 Der Adressat der Beischrift II. Anleitungen für ausführende Künstler 22 Inhalt. Die Erweiterung des Sichtbaren 24 Der Adressat der Beischrift III. Der künstlerische Monolog 25 Identifikation und Titel 26 Ort und Zeit 31 Das Zitat. Inhalt, Interpretation und Stimmung 33 Zusammenhanglose und unleserliche Beischriften 35 Die Beischrift bei Rubens 38 Die Zeichnung in Rubens’ Werkstatt 39 Erudizione ed eloquenza 41 Rubens’ Handschrift 48 Sprachhierarchie und Höflichkeit 49 Die Signatur des Rubens 55 Zuschreibungen 57 Der Adressat der Beischrift I. Die Auftragszeichnung 58 Inschriften 59 Formales bei Rubens. Farbe, Material und Größe 64 Kopien nach der Antike. Vom Antiquarius zum Archäologen 69 Nützliches und Wesentliches. Der Adressat der Beischrift II. Anleitungen und Hinweise 73 Der kürzeste Weg von der Idee zum Werk. Die erläuternde Beischrift 78 Identifikationen 78 Beschreibungen des Inhalts 81 Vorausblick und Auswahlmöglichkeiten 82 Veränderungen und Ergänzungen 86 Das Literaturzitat 93 Offene Fragen. Unleserliche und zusammenhanglose Beischriften 102 Endnoten 107 Vorwort Zeichnen und Malen sind kreative Prozesse, die mit einer Idee beginnen und für deren Ausführung es der Hand bedarf.
    [Show full text]
  • CHG Library Book List
    CHG Library Book List (Belgium), M. r. d. a. e. d. h. (1967). Galerie de l'Asie antérieure et de l'Iran anciens [des] Musées royaux d'art et d'histoire, Bruxelles, Musées royaux d'art et dʹhistoire, Parc du Cinquantenaire, 1967. Galerie de l'Asie antérieure et de l'Iran anciens [des] Musées royaux d'art et d'histoire by Musées royaux d'art et d'histoire (Belgium) (1967) (Director), T. P. F. H. (1968). The Metropolitan Museum of Art Bulletin: Volume XXVI, Number 5. New York: Metropolitan Museum of Art (January, 1968). The Metropolitan Museum of Art Bulletin: Volume XXVI, Number 5 by Thomas P.F. Hoving (1968) (Director), T. P. F. H. (1973). The Metropolitan Museum of Art Bulletin: Volume XXXI, Number 3. New York: Metropolitan Museum of Art (Ed.), A. B. S. (2002). Persephone. U.S.A/ Cambridge, President and Fellows of Harvard College Puritan Press, Inc. (Ed.), A. D. (2005). From Byzantium to Modern Greece: Hellenic Art in Adversity, 1453-1830. /Benaki Museum. Athens, Alexander S. Onassis Public Benefit Foundation. (Ed.), B. B. R. (2000). Christian VIII: The National Museum: Antiquities, Coins, Medals. Copenhagen, The National Museum of Denmark. (Ed.), J. I. (1999). Interviews with Ali Pacha of Joanina; in the autumn of 1812; with some particulars of Epirus, and the Albanians of the present day (Peter Oluf Brondsted). Athens, The Danish Institute at Athens. (Ed.), K. D. (1988). Antalya Museum. İstanbul, T.C. Kültür ve Turizm Bakanlığı Döner Sermaye İşletmeleri Merkez Müdürlüğü/ Ankara. (ed.), M. N. B. (Ocak- Nisan 2010). "Arkeoloji ve sanat. (Journal of Archaeology and Art): Ölümünün 100.Yıldönümünde Osman Hamdi Bey ve Kazıları." Arkeoloji Ve Sanat 133.
    [Show full text]
  • How to Show Pictures to Children
    NYPL RESEARCH LIBRARIES 3 3433 07099049 8 AA r ^j\f YOTlK U"Bl""B.Irf T\LDtfro&i^ rrgaoMboo {*toi bj Br»ua, Clcm.iit i t'u. JuUa Andrew i Sun, So. THE HOLY NIGHT (DETAIL) Dresden Gallery HOW TO SHOW PICTURES TO CHILDREN ~h BY V ESTELLE M. HTJHLL AUTHOR OF THE RIVERSU)E ABT SERIES BOSTON NEW YORK CHICAGO HOUGHTON MIFFLIN COMPANY cW^. •p R KQNS COPYRIGHT, 1914, BY ESTELLE M. HURLL • • • • • • C • • • • *» • • • • • • ' • • • • • • • - • • • '.:•. CAMBKIUGK . MASSACHUSETTS U . S . A To J. C. H. WHOSE HELP, ENCOURAGEMENT AND CRITICISM HAVE MADE THE IMPOSSIBLE POSSIBLE ,001 *5»J '* i ,>JJ1 ' ») > 1 1 > B » ,' • i J O \» ^1 ) ) > ) 1 ) 1' T 1 , 1 »• ) >»»<>, > . » ^ 1 »>>«»» JJ >j' »' PREFACE The first suggestion for this little book came from Miss Elizabeth MeCracken, editor of Home Progress, whose enthusiasm and sympathy have been a con- stant inspiration. In her wide correspondence with mothers in regard to the training of children, she dis- covered the need of a book giving practical advice about pictures for children. A similar report came from the libraries, where the same need had long been noticed at the consulting-desks. The call from art educators and pubhc school teachers has been equally urgent. As the custom of hanging pictures in the schoolroom has become almost universal, the demand has arisen for helpful information in matters of art. I am especially grateful to Mr. Henry Turner Bailey, editor of the School Arts Magazine, and Mr. James Frederick Hopkins, director of the Massachusetts Normal Art School, for their words of encouragement and counsel.
    [Show full text]
  • Songs by Artist
    Songs by Artist Title Title (Hed) Planet Earth 2 Live Crew Bartender We Want Some Pussy Blackout 2 Pistols Other Side She Got It +44 You Know Me When Your Heart Stops Beating 20 Fingers 10 Years Short Dick Man Beautiful 21 Demands Through The Iris Give Me A Minute Wasteland 3 Doors Down 10,000 Maniacs Away From The Sun Because The Night Be Like That Candy Everybody Wants Behind Those Eyes More Than This Better Life, The These Are The Days Citizen Soldier Trouble Me Duck & Run 100 Proof Aged In Soul Every Time You Go Somebody's Been Sleeping Here By Me 10CC Here Without You I'm Not In Love It's Not My Time Things We Do For Love, The Kryptonite 112 Landing In London Come See Me Let Me Be Myself Cupid Let Me Go Dance With Me Live For Today Hot & Wet Loser It's Over Now Road I'm On, The Na Na Na So I Need You Peaches & Cream Train Right Here For You When I'm Gone U Already Know When You're Young 12 Gauge 3 Of Hearts Dunkie Butt Arizona Rain 12 Stones Love Is Enough Far Away 30 Seconds To Mars Way I Fell, The Closer To The Edge We Are One Kill, The 1910 Fruitgum Co. Kings And Queens 1, 2, 3 Red Light This Is War Simon Says Up In The Air (Explicit) 2 Chainz Yesterday Birthday Song (Explicit) 311 I'm Different (Explicit) All Mixed Up Spend It Amber 2 Live Crew Beyond The Grey Sky Doo Wah Diddy Creatures (For A While) Me So Horny Don't Tread On Me Song List Generator® Printed 5/12/2021 Page 1 of 334 Licensed to Chris Avis Songs by Artist Title Title 311 4Him First Straw Sacred Hideaway Hey You Where There Is Faith I'll Be Here Awhile Who You Are Love Song 5 Stairsteps, The You Wouldn't Believe O-O-H Child 38 Special 50 Cent Back Where You Belong 21 Questions Caught Up In You Baby By Me Hold On Loosely Best Friend If I'd Been The One Candy Shop Rockin' Into The Night Disco Inferno Second Chance Hustler's Ambition Teacher, Teacher If I Can't Wild-Eyed Southern Boys In Da Club 3LW Just A Lil' Bit I Do (Wanna Get Close To You) Outlaw No More (Baby I'ma Do Right) Outta Control Playas Gon' Play Outta Control (Remix Version) 3OH!3 P.I.M.P.
    [Show full text]
  • Download PDF Van Tekst
    De Gulden Passer. Jaargang 78-79 bron De Gulden Passer. Jaargang 78-79. Vereniging van Antwerpse Bibliofielen, Antwerpen 2000-2001 Zie voor verantwoording: https://www.dbnl.org/tekst/_gul005200001_01/colofon.php Let op: werken die korter dan 140 jaar geleden verschenen zijn, kunnen auteursrechtelijk beschermd zijn. i.s.m. 7 [De Gulden Passer 2000-2001] Woord vooraf Ruim een halve eeuw geleden begon de bibliograaf Prosper Arents aan de realisatie van zijn vermetel plan om de bibliotheek van Pieter Pauwel Rubens virtueel te reconstrueren. In 1961 publiceerde hij in Noordgouw een bondig maar nog steeds lezenswaardig verslag over de stand, op dat ogenblik, van zijn werkzaamheden onder de titel De bibliotheek van Pieter Pauwel Rubens. Toen hij in 1984 op hoge leeftijd overleed, had hij vele honderden titels achterhaald, onderzocht en bibliografisch beschreven. Persklaar kon men zijn notities echter allerminst noemen, iets wat hij overigens zelf goed besefte. In 1994 slaagden Alfons Thijs en Ludo Simons erin onderzoeksgelden van de Universiteit Antwerpen / UFSIA ter beschikking te krijgen om Arents' gegevens electronisch te laten verwerken. Lia Baudouin, classica van vorming, die deze moeilijke en omvangrijke taak op zich nam, beperkte zich niet tot het invoeren van de titels, maar heeft ook bijkomende exemplaren opgespoord, Arents' bibliografische verwijzingen nagekeken en aangevuld en de uitgegeven correspondentie van P.P. Rubens opnieuw gescreend inzake lectuurgegevens. Een informele werkgroep, bestaande uit Arnout Balis, Frans Baudouin, Jacques de Bie, Pierre Delsaerdt, Marcus de Schepper, Ludo Simons en Alfons Thijs, begeleidde L. Baudouin bij haar ‘monnikenwerk’. Na het verstrijken van het mandaat van de onderzoekster bleef toch nog heel wat werk te verrichten om het geheel persklaar te maken.
    [Show full text]
  • Governor Visits Oswego State
    2013 - 2014 • Residence Hall ROOM A3 Relay for Life Housing Selection Campus Center hosts fundraiser for cancer research Friday, April 5, 2013 • THE INDEPENDENT STUDENT NEWSPAPER OF OSWEGO STATE UNIVERSITY • www.oswegonian.com VOLUME LXXVIII ISSUE VII On the Web Governor visits Oswego State Andrew Cuomo performs ceremonial budget signing in Sheldon Hall, promotes accomplishments Seamus Lyman “It has truly been an honor to work side the aisle from the governor, the lieutenant Asst. News Editor by side with Gov. Cuomo and his team and governor, there’s a lot of things I don’t real- [email protected] I thank him for his dedication to ensure that ly agree with them, I’ve got to say they have Gov. Andrew Cuomo visited Oswego our SUNY system of higher education and brought leadership and professionalism to State on a victory lap around New York af- all of the universities and colleges through- New York State,” Barclay said. ter passing his third consecutive state bud- out New York State continue to be the best When Cuomo made his way to the get on time. in the nation,” Stanley said. podium, he joked about the priorities of Several members of local and state Duffy spoke of the changes the governor the government. government attended the event, including is making in Albany. He described the at- “The first priority that we have to ad- Lt. Gov. Robert Duffy, Assemblyman Will mosphere in the state’s government. dress is, we have to unite as one, stand to- Barclay, R-Pulaski, Sen. David Valesky, D- “It’s people working together, there’s gether, and we have to defeat Michigan this Oneida, and Oswego Mayor Tom Gillen to a spirit of collegiality, it’s both sides of the weekend, and go Syracuse,” Cuomo said.
    [Show full text]
  • Triple J Hottest 100 of the Decade Voting List: AZ Artists
    triple j Hottest 100 of the Decade voting list: A-Z artists ARTIST SONG 360 Just Got Started {Ft. Pez} 360 Boys Like You {Ft. Gossling} 360 Killer 360 Throw It Away {Ft. Josh Pyke} 360 Child 360 Run Alone 360 Live It Up {Ft. Pez} 360 Price Of Fame {Ft. Gossling} #1 Dads So Soldier {Ft. Ainslie Wills} #1 Dads Two Weeks {triple j Like A Version 2015} 6LACK That Far A Day To Remember Right Back At It Again A Day To Remember Paranoia A Day To Remember Degenerates A$AP Ferg Shabba {Ft. A$AP Rocky} (2013) A$AP Rocky F**kin' Problems {Ft. Drake, 2 Chainz & Kendrick Lamar} A$AP Rocky L$D A$AP Rocky Everyday {Ft. Rod Stewart, Miguel & Mark Ronson} A$AP Rocky A$AP Forever {Ft. Moby/T.I./Kid Cudi} A$AP Rocky Babushka Boi A.B. Original January 26 {Ft. Dan Sultan} Dumb Things {Ft. Paul Kelly & Dan Sultan} {triple j Like A Version A.B. Original 2016} A.B. Original 2 Black 2 Strong Abbe May Karmageddon Abbe May Pony {triple j Like A Version 2013} Action Bronson Baby Blue {Ft. Chance The Rapper} Action Bronson, Mark Ronson & Dan Auerbach Standing In The Rain Active Child Hanging On Adele Rolling In The Deep (2010) Adrian Eagle A.O.K. Adrian Lux Teenage Crime Afrojack & Steve Aoki No Beef {Ft. Miss Palmer} Airling Wasted Pilots Alabama Shakes Hold On Alabama Shakes Hang Loose Alabama Shakes Don't Wanna Fight Alex Lahey You Don't Think You Like People Like Me Alex Lahey I Haven't Been Taking Care Of Myself Alex Lahey Every Day's The Weekend Alex Lahey Welcome To The Black Parade {triple j Like A Version 2019} Alex Lahey Don't Be So Hard On Yourself Alex The Astronaut Not Worth Hiding Alex The Astronaut Rockstar City triple j Hottest 100 of the Decade voting list: A-Z artists Alex the Astronaut Waste Of Time Alex the Astronaut Happy Song (Shed Mix) Alex Turner Feels Like We Only Go Backwards {triple j Like A Version 2014} Alexander Ebert Truth Ali Barter Girlie Bits Ali Barter Cigarette Alice Ivy Chasing Stars {Ft.
    [Show full text]
  • RIW 141|04 Presseblätter Engl.Indd
    PETER PAUL RUBENS (1577–1640) 28 June 1577 Peter Paul Rubens is born in Siegen in German Westphalia to Jan Rubens and Maria Pypelinckx, the sixth of seven children. His father is a lawyer from Antwerp who had received his training in Italy. In 1568 Jan Rubens is forced to flee with his family to Cologne because of his Calvinist beliefs. He subsequently becomes advisor to Anna of Saxony, the wife of William of Orange. 1587 Following the death of Jan Rubens the family returns to Antwerp. 1588–91 Rubens receives a classical education in Antwerp. 1591 Begins his training as a painter in the studio of his uncle. 1592 Apprenticed to Tobias Verhaeght in Antwerp, afterwards to Adam van Noort. 1594–98 Apprenticed to the Romanist artist Otto van Veen. 1598 Completes his apprenticeship and enters the Guild of St Luke in Antwerp as a master painter. 1598–1600 Works in the studio of Otto van Veen. 1600 Leaves for Italy, becoming court painter to Duke Vincenzo Gonzaga in Mantua. 1601 Arrives in Rome, extensive study of the works of Michelangelo, Titian, Tintoretto and Caravaggio. Entrusted with commissions by the former cardinal Archduke Albert, who had married the Spanish Infanta Isabella in 1599. 1602 In Genoa, Padua and Venice. 1603 Entrusted with a diplomatic mission by the Gonzagas to the Spanish court in Valladolid. 1604/05 In Mantua. 1606 Return to Rome. Lodges there with his brother, Philip, who is also a painter and between 1605 and 1607 was secretary and librarian to Cardinal Ascanio Colonna. 1608 Informed that his mother is gravely ill he returns immediately to Antwerp.
    [Show full text]
  • DOMESTIC OBJECTS in YORK C.1400–1600 Consumption, Neighbourhood and Choice
    DOMESTIC OBJECTS IN YORK c.1400–1600 Consumption, Neighbourhood and Choice Lisa Jane Howarth Liddy, MA PhD University of York History August 2015 Abstract Focusing on object assemblages as revealed by documentary and archaeological sources, this thesis explores the material culture of fifteenth- and sixteenth-century York households. It examines the range of objects available to York residents while investigating the ways in which they were used and displayed and the values attributed to them. The first chapter introduces the key research questions, concerning the nature of object assemblages, change over time and interdisciplinarity. It discusses the data sets used and contains an overview of the historiography of urban material culture and household archaeology in England. The second chapter explains the methodology adopted, including prosopographical scoping of the individuals whose possessions have informed this work. Using information provided by surviving buildings and probate inventories, the third chapter investigates the size and composition of York houses, focusing on the ways in which object assemblages inform the spaces found within. It argues that rooms were defined by their contents rather than their physical structure or placement, and challenges the definition and timing of “rebuilding” within the city. The fourth and fifth chapters explore various types of value attributed to object assemblages. The fourth chapter concentrates on financial value as assigned in inventories and revealed by discard practices, and advocates consideration of functional value, leading to an examination of specialization of work and organization of production. The fifth chapter focuses on affective value as revealed through testamentary description, proposing an original methodology for applying the history of emotions to material culture.
    [Show full text]
  • Page 1 February 2016 Edition by Song Title #Icanteven (I Can't Even)
    PAGE 1 FEBRUARY 2016 EDITION BY SONG TITLE #ICANTEVEN (I 31837 THE NEIGHBOURHOOD 187 VS FELIX (V) 30961 BOOTLEG CAN'T EVEN) (V) FT FRENCH MONTANA 19 YOU + ME (V) 27215 DAN & SHAY #SELFIE (V) 27946 THE CHAINSMOKERS 1901 (V) 23066 BIRDY $100 BILL (EXPLICIT) (V) 26811 JAY-Z 19-2000 (V) 24095 GORILLAZ (DON'T FEAR) THE REAPER BLUE OYSTER CULT (7 INCH EDIT) (V) 30394 1959 (V) 16532 LEE KERNAGHAN 1973 12579 JAMES BLUNT (I'D BE) A LEGEND RONNIE MILSAP IN MY TIME (V) 31396 1979 (V) 19860 SMASHING PUMPKINS (IF PARADISE IS) AMEN CORNER 1982 (V) 28398 RANDY TRAVIS HALF AS NICE (V) 32025 1983 (NINETEEN 21305 NEON TREES (WIN, PLACE OR SHOW) INTRUDERS EIGHTY THREE) (V) SHE'S A WINNER (V) 32232 1984 (V) 29718 DAVID BOWIE (YOU DRIVE ME) CRAZY BRITNEY SPEARS (ALBUM VERSION) (V) 31784 1985 (V) 2222 BOWLING FOR SOUP 1994 (V) 25845 JASON ALDEAN (YOU MAKE ME FEEL LIKE) 31218 ARETHA FRANKLIN A NATURAL WOMAN (V) 1999 8496 PRINCE MARTIN SOLVEIG 1999 (EXTENDED VERSION) PRINCE +1 (V) 32224 FT SAM WHITE 4347 19TH NERVOUS 0 TO 100 - THE CATCH DRAKE 9087 THE ROLLING STONES UP (EXPLICIT) (V) 30044 BREAKDOWN DESMOND DEKKER 1-LUV 6733 E-40 007 12105 & THE ACES 1ST MAN IN SPACE 23233 ALL SEEING I 1 - 2 - 3 (V) 20677 LEN BARRY (FIRST) (V) BONE THUGS N 1 2 3 O'LEARY (V) 17028 DES O'CONNOR 1ST OF THA MONTH 6874 HARMONY 1 TRAIN (V) 30741 A$AP ROCKY 2 BAD 6696 MICHAEL JACKSON 1, 2 STEP (V) 2181 CIARA FT MISSY ELLIOTT 2 BECOME 1 7451 SPICE GIRLS 1, 2, 3, 4 (SUMPIN' NEW) 7051 COOLIO 2 DOORS DOWN 13629 MYSTERY JETS 1, 2, 3, 4 (V) 3778 PLAIN WHITE T'S 2 HEARTS 12951 KYLIE MINOGUE
    [Show full text]
  • Rubenianum Fund
    2012 The Rubenianum Quarterly 2 The birthplace of Rubens Rubens and beyond Carl Van de Velde It would be as idiotic to deny that Rubens, When and where was Rubens born? Van Dyck and Jordaens are the dominating The question is in itself not very important, masters of seventeenth-century Flemish art as it but as long as it remains unanswered, it would be to deny that numerous other artists of can give rise to misunderstandings among considerable talent were active in their time who the general public, which has always been are worthy of our admiration. The Rubenianum interested in trivial questions. Therefore, plays a fundamental part in the research on the Centrum Rubenianum has reconsidered the available sources. This article presents the greatest names in Flemish art, but it is also an overview of the arguments. Detailed central to the study of artists who may be less results will be published shortly. famous, but whose contributions to Flemish In the caption to an etching showing art helped define its course. It is they who made Rubens’s portrait that was published our sixteenth and seventeenth centuries a true in Antwerp in 1649 by Jan Meyssens Golden Age: not a period in which artistic (1612–1670), he is said to have been born excellence was the domain of a few exceptional in Antwerp on the 28th of June 1577. personalities, but an age in which it seems to The likeness is based upon Paul Pontius’s engraving of 1630, but shows the artist have flourished like never before. In my own field of speciality, works on paper, J.
    [Show full text]