Abraham Meeting the Lord and Two Angels: Making the Case for Ferdinand Bol and Workshop
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Rembrandt Van Rijn
Rembrandt van Rijn 1606-1669 REMBRANDT HARMENSZ. VAN RIJN, born 15 July er (1608-1651), Govaert Flinck (1615-1660), and 1606 in Leiden, was the son of a miller, Harmen Ferdinand Bol (1616-1680), worked during these Gerritsz. van Rijn (1568-1630), and his wife years at Van Uylenburgh's studio under Rem Neeltgen van Zuytbrouck (1568-1640). The brandt's guidance. youngest son of at least ten children, Rembrandt In 1633 Rembrandt became engaged to Van was not expected to carry on his father's business. Uylenburgh's niece Saskia (1612-1642), daughter Since the family was prosperous enough, they sent of a wealthy and prominent Frisian family. They him to the Leiden Latin School, where he remained married the following year. In 1639, at the height of for seven years. In 1620 he enrolled briefly at the his success, Rembrandt purchased a large house on University of Leiden, perhaps to study theology. the Sint-Anthonisbreestraat in Amsterdam for a Orlers, Rembrandt's first biographer, related that considerable amount of money. To acquire the because "by nature he was moved toward the art of house, however, he had to borrow heavily, creating a painting and drawing," he left the university to study debt that would eventually figure in his financial the fundamentals of painting with the Leiden artist problems of the mid-1650s. Rembrandt and Saskia Jacob Isaacsz. van Swanenburgh (1571 -1638). After had four children, but only Titus, born in 1641, three years with this master, Rembrandt left in 1624 survived infancy. After a long illness Saskia died in for Amsterdam, where he studied for six months 1642, the very year Rembrandt painted The Night under Pieter Lastman (1583-1633), the most impor Watch (Rijksmuseum, Amsterdam). -
ICLIP & MAIL Tornadoes Rip Path of Death
PAGE SIXTEEN - EVENING HERALD. Tues.. April 10, 1978 Frank and Emaat EDUCATIONAL TV DINNERS T H f t Y ' P E *'epueArioN AL" i B c n u s B Police Malting Plans Panel Passes Measure Residents Not in Tune Caldwell Stops RSox, r- 1 IF y o u BAT O N E, For the Energy Crisis To Create Gaming Czar To Song of the Rails Jackson Sparks Yanks Page 3 Page 10 Y o u 'L l S e Page 12 Page 13 N B x r t i m b . Strv/CM O lltr td 31 S » n lc 0M OUtrad 31 Painting-Papering 32 Building Contracting 33 E X P E R T PAIN T IN G and INCOME TAX .) P. LEWIS & SON- Interior LEON CIESZYNSKI LANDSCAPING Specializlnf; and Exterior painting, paper BUILDER- New Homes. Ad THW/ti 4-10 Haudipfitpr PREPARATION in Exterior House Painting. hanging, rcmcxieling. carpen ditions. Remodeling. Rec Tree pruning, spraying, try. Fully insured 649-9658. Rooms. 'Garages, FHtchenq Fair Tonight, mowing, wcemng. Call 742- Remodeled. Ceilings. Bath Dogs-BIrdt-Pelt 43 Apaifmentt For Bant 53 Wanted to Bent 57 Autos For Sale 61 ftliSINESS A INDIVIDUAL 7947. ' PERSONAL Paperhanging Tile. Dormers, Roofing Sunny Thursday INCOiME TAXES For particular people, by Residential or Commercim, COCKER SPANIEL THREE BEDROOM USED GAR SPECULS Dick. Call 643-5703 anytime, 649-4291. PUPPIES - AKC Registered. DUPLEX- Stove, I’HEPAHKD - In the com- 1975 nyMOUTH D U tm Details on page 2 Inrl of your home or office, Have shots. Great Easter refrigerator, dishwasher. I'/z TEACHERS- Experienced baths. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
The Circumcision 1661 Oil on Canvas Overall: 56.5 X 75 Cm (22 1/4 X 29 1/2 In.) Framed: 81.3 X 99 X 8.2 Cm (32 X 39 X 3 1/4 In.) Inscription: Lower Right: Rembrandt
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Rembrandt van Rijn Dutch, 1606 - 1669 The Circumcision 1661 oil on canvas overall: 56.5 x 75 cm (22 1/4 x 29 1/2 in.) framed: 81.3 x 99 x 8.2 cm (32 x 39 x 3 1/4 in.) Inscription: lower right: Rembrandt. f. 1661 Widener Collection 1942.9.60 ENTRY The only mention of the circumcision of Christ occurs in the Gospel of Luke, 2:15–22: “the shepherds said one to another, Let us now go even unto Bethlehem.... And they came with haste, and found Mary and Joseph, and the babe lying in a manger.... And when eight days were accomplished for the circumcising of the child, his name was called Jesus.” This cursory reference to this most significant event in the early childhood of Christ allowed artists throughout history a wide latitude in the way they represented the circumcision. [1] The predominant Dutch pictorial tradition was to depict the scene as though it occurred within the temple, as, for example, in Hendrick Goltzius (Dutch, 1558 - 1617)’ influential engraving of the Circumcision of Christ, 1594 [fig. 1]. [2] In the Goltzius print, the mohel circumcises the Christ child, held by the high priest, as Mary and Joseph stand reverently to the side. Rembrandt largely followed this tradition in his two early etchings of the subject and in his 1646 painting of the Circumcision for Prince Frederik Hendrik (now lost). [3] The Circumcision 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century The iconographic tradition of the circumcision occurring in the temple, which was almost certainly apocryphal, developed in the twelfth century to allow for a typological comparison between the Jewish rite of circumcision and the Christian rite of cleansing, or baptism. -
Rembrandt Remembers – 80 Years of Small Town Life
Rembrandt School Song Purple and white, we’re fighting for you, We’ll fight for all things that you can do, Basketball, baseball, any old game, We’ll stand beside you just the same, And when our colors go by We’ll shout for you, Rembrandt High And we'll stand and cheer and shout We’re loyal to Rembrandt High, Rah! Rah! Rah! School colors: Purple and White Nickname: Raiders and Raiderettes Rembrandt Remembers: 80 Years of Small-Town Life Compiled and Edited by Helene Ducas Viall and Betty Foval Hoskins Des Moines, Iowa and Harrisonburg, Virginia Copyright © 2002 by Helene Ducas Viall and Betty Foval Hoskins All rights reserved. iii Table of Contents I. Introduction . v Notes on Editing . vi Acknowledgements . vi II. Graduates 1920s: Clifford Green (p. 1), Hilda Hegna Odor (p. 2), Catherine Grigsby Kestel (p. 4), Genevieve Rystad Boese (p. 5), Waldo Pingel (p. 6) 1930s: Orva Kaasa Goodman (p. 8), Alvin Mosbo (p. 9), Marjorie Whitaker Pritchard (p. 11), Nancy Bork Lind (p. 12), Rosella Kidman Avansino (p. 13), Clayton Olson (p. 14), Agnes Rystad Enderson (p. 16), Alice Haroldson Halverson (p. 16), Evelyn Junkermeier Benna (p. 18), Edith Grodahl Bates (p. 24), Agnes Lerud Peteler (p. 26), Arlene Burwell Cannoy (p. 28 ), Catherine Pingel Sokol (p. 29), Loren Green (p. 30), Phyllis Johnson Gring (p. 34), Ken Hadenfeldt (p. 35), Lloyd Pressel (p. 38), Harry Edwall (p. 40), Lois Ann Johnson Mathison (p. 42), Marv Erichsen (p. 43), Ruth Hill Shankel (p. 45), Wes Wallace (p. 46) 1940s: Clement Kevane (p. 48), Delores Lady Risvold (p. -
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. -
The Morgan to Present More Than Ninety Drawings by Rembrandt and Other Important Dutch Artists This Winter
Press Contacts Patrick Milliman 212.590.0310, [email protected] Alanna Schindewolf 212.590.0311, [email protected] THE MORGAN TO PRESENT MORE THAN NINETY DRAWINGS BY REMBRANDT AND OTHER IMPORTANT DUTCH ARTISTS THIS WINTER WORKS ARE FROM THE PRIVATE COLLECTION OF CLEMENT C. MOORE AND WILL BE EXHIBITED TOGETHER FOR THE FIRST TIME Rembrandt’s World: Dutch Drawings from the Clement C. Moore Collection January 20–April 29, 2012 **Press Preview: Thursday, January 19, 10 a.m. until noon** RSVP: (212) 590-0393, [email protected] New York, NY, January 6, 2012—Bolstered by its recent political independence, economic prosperity, and maritime supremacy, the Dutch Republic witnessed an artistic flourishing during the seventeenth century, known as the Dutch Golden Age. The Morgan Library & Museum presents over ninety drawings by some of the preeminent artists of the period—among them Rembrandt Harmensz. van Rijn and his followers Ferdinand Bol and Gerbrand van den Eeckhout; Abraham Bloemaert; Aelbert Cuyp; and Jan van Goyen—in an exhibition titled Rembrandt’s World: Dutch Drawings from the Clement C. Moore Collection, on view from January 20 through April 29, 2012. The Dutch Republic of the seventeenth century was a federation of seven states—Holland, Zeeland, Gelderland, Utrecht, Friesland, Overijssel, and Groningen. The exhibition focuses on artists who worked primarily in their native lands, rather than those whose careers took them to France, Italy, or elsewhere abroad, and highlights the broad spectrum of subjects— portraiture, marine views, landscapes, biblical Rembrandt Harmensz. van Rijn (1606–1669) St. Peter Preaching (?) and mythological narratives, genre scenes, and Black chalk All works: Clement C. -
Rembrandt's 1654 Life of Christ Prints
REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St. -
Acquisitions the Print Room*
60 the rijks museum bulletin Acquisitions The Print Room* • huigen leeflang • Early Coloured Woodcuts from a Swiss Private Collection he heirs of a Swiss collector recently gave a number of print rooms, including the Rijksmuseum’s, first T refusal in the acquisition of his outstanding collection of early woodcuts. The most expensive items were already well represented in the Rijksprentenkabinet or were beyond reach financially, like a set of sublime impressions of the Apocalypse by Albrecht Dürer (acquired by the National Gallery in Washington). After careful consultation with the Rijksmuseum endorsed by enthusiasts and collectors for a long and with support from various funds, the print time, so until recently relatively few examples of room of Museum Boijmans Van Beuningen, coloured prints were to be found in the Rijks- which specializes in drawings and prints from prentenkabinet, apart from in its collections of the German Renaissance, bought two exceptional topographical and popular prints and in its modest sets of woodcuts of mercenaries and Turks holdings of early woodcuts. To do justice to the (Peter van der Coelen, Mercenaries and Turks. A widespread historical phenomenon of the hand- Recovered Treasure from the German Renaissance, coloured print, it has for some years been the Rotterdam 2009). The Rijksmuseum chose five Rijksprentenkabinet’s policy to focus on acquiring rare coloured woodcuts. exceptional examples of this phenomenon. The Since printmaking was discovered around purchase from the estate of the Swiss collector is 1420, hand-colouring prints continued to be a in line with this ambition. common practice until well into the nineteenth Purchasing early prints is also among the special century. -
Abstracts of Amsterdam 2010 Conference Workshops
HNA in Amsterdam - "Crossing Boundaries" Workshop Summaries Rethinking Riegl Jane Carroll [email protected] Alison Stewart [email protected] In 1902, Alois Riegl wrote the Urquelle for all subsequent studies of Northern European group portraits, Das holländische Gruppenporträt. In that work, Riegl expanded art history beyond the contemporary emphasis on formalism and stylistic evolution. Drawing upon his interest in the relationship of objects within a work, Riegl asked his readers to expand that idea to include the viewer of art as an active participant in the understanding of visual works, an element he called “attentiveness.” In short, Riegl's book crossed the accepted boundary of what art history could consider and made viewing art a living exchange between present and past, and between viewer and object. Since its publication, all who have dealt with group portraiture have had to come into dialogue with Riegl’s book. In 1999, the Getty responded to a revived interest in Riegl's theories and republished The Group Portraiture of Holland in a new translation with historical introduction by Wolfgang Kemp. This reissuing increased the accessibility of Riegl’s work and reintroduced him to new generations of art historians. Prompted by that volume, we would like to gather together a group of scholars before the extensive collection of group portraits in the Amsterdams Historisch Museum. The venue of their Great Hall seems a perfect spot in which to reexamine the larger claims of Riegl’s work, and discuss current understandings of Dutch group portraiture. In keeping with the conference theme, we will explore how this genre crosses such boundaries as public vs. -
("ARM"), 1960- 1964 Sabotage and the Question of the Ideological Subject Andries Du Toit Thesis Submitted in Fulfillment of the Requirements for the M.A
The National Committee for The National Committee for Liberation ("ARM"), 1960- 1964 Sabotage and the Question of the Ideological Subject Andries du Toit Thesis submitted in fulfillment of the requirements for the M.A. degree in History at the University of Cape Town For my Parents "All of us are living and thinking subjects. What I react against is the fact that there is a breach between social history and the history of ideas. Social historians are supposed to describe how people act without thinking, and historians of ideas are supposed to describe how people think without acting. Everybody both thinks and acts." Michel Foucault "To articulate the past historically does not mean to recognize it 'the way it really was' (Ranke). It means to seize hold of a memory as it flashes up at a moment of danger." Walter Benjamin Abstract Title The National Committee for Liberation ("ARM") 1960 - 1964: sabotage and the question of the ideological subject. Subject Matter The dissertation gives an account of the history of the National Committee for Liberation (NCL), an anti- apartheid sabotage organisation that existed between 1960 and 1964. The study is aimed both at narrating its growth and development in the context of South Africa in the 1950s and 1960s, and explaining its strategic and political choices. In particular, the reasons for its isolation from the broader struggle against Apartheid and its inability to transcend this isolation are investigated. Sources Discussion of the context of the NCL's development depended on secondary historical works by scholars such as Tom Lodge, Paul Rich, C. -
Rembrandt and the Dutch Catholics
REMBRANDT AND THE DUTCH CATHOLICS Shelley Perlove, University of Michigan Larry Silver, University of Pennsylvania The Dutch Republic of the seventeenth century was a rich stew of religious groups,1 including: the Reformed (Calvinist) Church, Remonstrants (Arminians), Mennonites (Anabaptists), Lutherans, Socinians, Collegiants, Quakers, Jews, and Catholics, among others. 2 But their encompassing cauldron, at times, heated up in fierce dissension, which led to discord not only between, but also within Protestant denominations.3 One major clash of religious beliefs within the Reformed (Calvinist) Church, the official church of the Republic, led in 1619 to the expulsion of a splinter group, the Remonstrants, from its ranks.4 The strict Calvinists of the Reformed Church declared the Remonstrants heretics, confiscated their property, and sent their ministers into exile-- among them Johannes Wtenbogaert, one of the founders of the Remonstrant church, portrayed in a painting and etching (1635) by Rembrandt.5 Socinians, the “heretical” religious group from Poland who disavowed the Trinity and opposed the divinity of Christ, were also the object of religious repression in Holland. Anti- Trinitarianism gained followers in Holland, especially in the late 1640s and 1650s, when Polish and German Socinians came to Amsterdam to escape persecution. Soon a number of Socinian publications appeared in Dutch, and shortly thereafter other groups, such as the Collegiants and Mennonites, were strongly suspected of this anti-Trinitarian “sickness,” which was called the most pernicious and “Jewish” of all Christian heresies.6 The States of Holland restricted Collegiant meetings in Amsterdam for this reason in 1652 and 1654, but their gatherings resumed in full force in 1655.