Reserve Number: E14 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of Semester
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Plekken Van Plezier
Plekken van plezier Open Monumentendagen 14 & 15 september Haarlem - 1 Welkom in Haarlem Op de voorkant van dit programmaboekje prijkt zwembad De Houtvaart. Een prachtige plek van plezier in onze monumentenstad Haarlem. Dit jaar staat dan ook de amusementswaarde van monumenten centraal tijdens Open Monumentendagen, met als thema ‘Plekken van plezier’. Naar welke monumentale plekken gingen en gaan mensen voor hun plezier? Ik vind het belangrijk dat onze monumenten bewaard en beschermd blijven. Dat ze bezocht en bewonderd kunnen worden en dat ze ons leren wie we zijn en waar we vandaan komen. Veel vrijwilligers werken actief mee aan de organisatie en uitvoering van de Open Monumentendagen; vanaf deze plek wil ik iedereen hartelijk bedanken voor hun inzet. In dit boekje vindt u informatie over bijzondere monumenten in Haarlem die hun deuren voor u openen. Een mooie selectie van monumenten voor ontspanning, vermaak en vrije tijd. Ik wens u een plezierig weekend vol verrassende ervaringen toe! Floor Roduner, wethouder Monumenten en Erfgoed - 2 Plekken van plezier Hoe hebben mensen zich in de loop der eeuwen vermaakt en welke monumenten zijn daarvoor het decor of het podium geweest? Deze vragen zijn leidend geweest bij het samenstellen van dit programma boekje. In Haarlem zijn volop historische ‘plekken van plezier’ te vinden zoals theaters, musea, parken, markten en sportclubs. Al in de middeleeuwen zijn er plekken in Haarlem aan te wijzen die centraal staan voor vermaak. Zo had Haarlem als eerste stad ter wereld een heus sportveld, de ‘Baen’. Hier werden vanaf de 14de eeuw Oudhollandse spellen gespeeld. Een andere bekende plek van plezier is de Haarlemmerhout, een immense groene oase aan de zuidkant van de stad. -
CORNELIS CORNELISZ. VAN HAARLEM (1562 – Haarlem – 1638)
CORNELIS CORNELISZ. VAN HAARLEM (1562 – Haarlem – 1638) _____________ The Last Supper Signed with monogram and dated 1636, lower centre On panel – 14¾ x 17⅜ ins (37.4 x 44.2 cm) Provenance: Private collection, United Kingdom since the early twentieth century VP 3691 The Last Supperi which Christ took with the disciples in Jerusalem before his arrest has been a popular theme in Christian art from the time of Leonardo. Cornelis van Haarlem sets the scene in a darkened room, lit only by candlelight. Christ is seated, with outstretched arms, at the centre of a long table, surrounded by the twelve apostles. The artist depicts the moment following Christ’s prediction that one among the assembled company will betray him. The drama focuses upon the reactions of the disciples, as they turn to one another, with gestures of surprise and disbelief. John can be identified as the apostle sitting in front of Christ who, as the gospel relates, ‘leaned back close to Jesus and asked, “Lord, who is it?”ii and Andrew, an old man with a forked beard, can be seen at the right-hand end of the table. Only Judas, recognisable by the purse of money he holds in his right handiii, turns away from the table and casts a shifty glance towards the viewer. The bread rolls on the table and the wine flagon held by the apostle on the right make reference to the sacrament of the eucharist. This previously unrecorded painting, dating from 1636, is a late work by Cornelis van Haarlem and is characteristic of the moderate classicism which informed his work from around 1600 onwards. -
Sztuki Piękne)
Sebastian Borowicz Rozdział VII W stronę realizmu – wiek XVII (sztuki piękne) „Nikt bardziej nie upodabnia się do szaleńca niż pijany”1079. „Mistrzami malarstwa są ci, którzy najbardziej zbliżają się do życia”1080. Wizualna sekcja starości Wiek XVII to czas rozkwitu nowej, realistycznej sztuki, opartej już nie tyle na perspektywie albertiańskiej, ile kepleriańskiej1081; to również okres malarskiej „sekcji” starości. Nigdy wcześniej i nigdy później w historii europejskiego malarstwa, wyobrażenia starych kobiet nie były tak liczne i tak różnicowane: od portretu realistycznego1082 1079 „NIL. SIMILIVS. INSANO. QVAM. EBRIVS” – inskrypcja umieszczona na kartuszu, w górnej części obrazu Jacoba Jordaensa Król pije, Kunsthistorisches Museum, Wiedeń. 1080 Gerbrand Bredero (1585–1618), poeta niderlandzki. Cyt. za: W. Łysiak, Malarstwo białego człowieka, t. 4, Warszawa 2010, s. 353 (tłum. nieco zmienione). 1081 S. Alpers, The Art of Describing – Dutch Art in the Seventeenth Century, Chicago 1993; J. Friday, Photography and the Representation of Vision, „The Journal of Aesthetics and Art Criticism” 59:4 (2001), s. 351–362. 1082 Np. barokowy portret trumienny. Zob. także: Rembrandt, Modląca się staruszka lub Matka malarza (1630), Residenzgalerie, Salzburg; Abraham Bloemaert, Głowa starej kobiety (1632), kolekcja prywatna; Michiel Sweerts, Głowa starej kobiety (1654), J. Paul Getty Museum, Los Angeles; Monogramista IS, Stara kobieta (1651), Kunsthistorisches Museum, Wiedeń. 314 Sebastian Borowicz po wyobrażenia alegoryczne1083, postacie biblijne1084, mitologiczne1085 czy sceny rodzajowe1086; od obrazów o charakterze historycznodokumentacyjnym po wyobrażenia należące do sfery historii idei1087, wpisujące się zarówno w pozy tywne1088, jak i negatywne klisze kulturowe; począwszy od Prorokini Anny Rembrandta, przez portrety ubogich staruszek1089, nobliwe portrety zamoż nych, starych kobiet1090, obrazy kobiet zanurzonych w lekturze filozoficznej1091 1083 Bernardo Strozzi, Stara kobieta przed lustrem lub Stara zalotnica (1615), Музей изобразительных искусств им. -
During the Seventeenth Century, Dutch Portraits Were Actively Commissioned by Corporate Groups and by Individuals from a Range of Economic and Social Classes
Cambridge University Press 978-1-107-69803-1 - Public Faces and Private Identities in Seventeenth-Century Holland: Portraiture and the Production of Community Ann Jensen Adams Frontmatter More information PUBLIC FACES AND PRIVATE IDENTITIES IN SEVENTEENTH-CENTURY HOLLAND During the seventeenth century, Dutch portraits were actively commissioned by corporate groups and by individuals from a range of economic and social classes. They became among the most important genres of painting. Not merely mimetic representations of their subjects, many of these works create a new dialogic rela- tionship with the viewer. In this study, Ann Jensen Adams examines four portrait genres – individuals, family, history portraits, and civic guards. She analyzes these works in relation to inherited visual traditions; contemporary art theory; chang- ing cultural beliefs about the body, sight, and the image itself; and current events. Adams argues that as individuals became unmoored from traditional sources of identity, such as familial lineage, birthplace, and social class, portraits helped them to find security in a self-aware subjectivity and the new social structures that made possible the “economic miracle” that has come to be known as the Dutch Golden Age. Ann Jensen Adams is associate professor of art history at the University of California, Santa Barbara. A scholar of Dutch painting, she curated the exhibi- tion Dutch Paintings from New York Private Collections (1988) and edited Rembrandt’s “Bathsheba Reading David’s Letter” (1998). She has contributed essays to numer- ous exhibition catalogues and essay collections including Leselust. Niederl¨andische Malerei von Rembrandt bis Vermeer (1993), Landscape and Power (1994), Looking at Seventeenth-Century Dutch Painting: Realism Reconsidered (1997), Renaissance Culture and the Everyday (1999), and Love Letters: A Theme in Dutch Seventeenth-Century Genre Painting (2003) and published articles in The Art Bulletin and the Nederlands Kunsthistorisch Jaarboek. -
To Emile Bernard. Arles, Monday, 30 July 1888
To Emile Bernard. Arles, Monday, 30 July 1888. Monday, 30 July 1888 Metadata Source status: Original manuscript Location: New York, Thaw Collection, The Morgan Library & Museum Date: Assuming that Van Gogh honoured his promise to write again soon, the present letter dates from shortly after the previous one to Bernard (letter 649, of 29 July). The opening words accordingly appear to be an immediate continuation of their discussion about painting, while the drawings that Bernard had sent are examined at the end. Van Goghs new model, Joseph Roulin, who posed for him on 31 July, is not mentioned, despite the fact that the importance of painting portraits is stressed in this letter. On the assumption that he would have told Bernard about Roulins portrait if he had already painted it, as he did Theo and Willemien in letters 652 and 653, both of 31 July, we have dated this letter Monday, 30 July 1888. Additional: Original [1r:1] Mon cher copain Bernard. Tu admettras, jen doute aucunement, que ni toi ni moi ne puissions avoir de Velasquez et de Goya une ide complte de ce quils etaient comme homme et comme peintres, car ni toi ni moi navons vu lEspagne, leur pays et tant de belles choses qui sont restes dans le midi. Nempche que ce que lon en connait cest dj quelque chse. 1 Va sans dire que pour les gens du nord, Rembrandt en tte, il est excessivement dsirable de connatre, en jugeant ces peintres, et leur oeuvre dans toute son tendue, et leur pays et lhistoire un peu intime et serre de lpoque et des moeurs de lantique pays. -
The Unification of Violence and Knowledge in Cornelis Van Haarlem’S Two Followers of Cadmus Devoured by a Dragon
History of Art MA Dissertation, 2017 Ruptured Wisdom: The Unification of Violence and Knowledge in Cornelis van Haarlem’s Two Followers of Cadmus Devoured by a Dragon Cornelis van Haarlem, Two Followers of Cadmus Devoured by a Dragon, 1588 History of Art MA – University College London HART G099 Dissertation September 2017 Supervisor: Allison Stielau Word Count: 13,999 Candidate Number: QBNB8 1 History of Art MA Dissertation, 2017 Ruptured Wisdom: The Unification of Violence and Knowledge in Cornelis van Haarlem’s Two Followers of Cadmus Devoured by a Dragon Striding into the wood, he encountered a welter of corpses, above them the huge-backed monster gloating in grisly triumph, tongue bedabbled with blood as he lapped at their pitiful wounds. -Ovid, Metamorphoses, III: 55-57 Introduction The visual impact of the painting Two Followers of Cadmus Devoured by a Dragon (figs.1&2), is simultaneously disturbing and alluring. Languidly biting into a face, the dragon stares out of the canvas fixing the viewer in its gaze, as its unfortunate victim fails to push it away, hand resting on its neck, raised arm slackened into a gentle curve, the parody of an embrace as his fight seeps away with his life. A second victim lies on top of the first, this time fixed in place by claws dug deeply into the thigh and torso causing the skin to corrugate, subcutaneous tissue exposed as blood begins to trickle down pale flesh. Situated at right angles to each other, there is no opportunity for these bodies to be fused into a single cohesive entity despite one ending where the other begins. -
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. -
Mars and Venus Surprised by Vulcan
Joachim Wtewael MARS AND VENUS SURPRISED BY VULCAN Joachim Wtewael MARS AND VENUS SURPRISED BY VULCAN Anne W. Lowenthal GETTY MUSEUM STUDIES ON ART Malibu, California Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Joachim Wtewael (Dutch, 1566-1638). Cynthia Newman Bohn, Editor Mars and Venus Surprised by Vulcan, Amy Armstrong, Production Coordinator circa 1606-1610 [detail]. Oil on copper, Jeffrey Cohen, Designer 20.25 x 15.5 cm (8 x 6/8 in.). Malibu, J. Paul Getty Museum (83.PC.274). © 1995 The J. Paul Getty Museum 17985 Pacific Coast Highway Frontispiece: Malibu, California 90265-5799 Joachim Wtewael. Self-Portrait, 1601. Oil on panel, 98 x 74 cm (38^ x 29 in.). Utrecht, Mailing address: Centraal Museum (2264). P.O. Box 2112 Santa Monica, California 90407-2112 All works of art are reproduced (and photographs provided) courtesy of the owners unless otherwise Library of Congress indicated. Cataloging-in-Publication Data Lowenthal, Anne W. Typography by G & S Typesetting, Inc., Joachim Wtewael : Mars and Venus Austin, Texas surprised by Vulcan / Anne W. Lowenthal. Printed by C & C Offset Printing Co., Ltd., p. cm. Hong Kong (Getty Museum studies on art) Includes bibliographical references and index. ISBN 0-89236-304-5 i. Wtewael, Joachim, 1566-1638. Mars and Venus surprised by Vulcan. 2. Wtewael, Joachim, 1566-1638 — Criticism and inter- pretation. 3. Mars (Roman deity)—Art. 4. Venus (Roman deity)—Art. 5. Vulcan (Roman deity)—Art. I. J. Paul Getty Museum. II. Title. III. Series. ND653. W77A72 1995 759-9492-DC20 94-17632 CIP CONTENTS Telling the Tale i The Historical Niche 26 Variations 47 Vicissitudes 66 Notes 74 Selected Bibliography 81 Acknowledgments 88 TELLING THE TALE The Sun's loves we will relate. -
Ohvz-Haarlem Gratuliert Unseren Osnabrücker Kollegen!
OHvZ-Haarlem gratuliert unseren Osnabrücker Kollegen! 90. Geburtstag des Vereins f. Philatelie u. Numismatik „Niedersachsen“ September 2018 1 Der Briefmarkenverein ‚Op Hoop van Zegels‘ in Haarlem (die Niederlande), gratuliert der Schwesterngemeinschaft in Osnabrück zum 90-jährigen Jubiläum! Der Verein in Haarlem bereitet derzeit eine Online-Präsentation über die Postgeschichte von Haarlem und seiner Umgebung (Süd Kennemerland) vor. Teil dieser Website ist die Darstellung von Haarlem und Haarlemmers auf Briefmarken. Der bekannteste Haarlemmer ist Frans Hals und Gemälde von Frans Hals sind auf Briefmarken aus verschiedenen Ländern zu finden. Anlässlich des Osnabrücker Jubiläums haben wir mit diesen Frans Hals Briefmarken ein kleines Geschenk gemacht. “Frans Hals (* zwischen 1580 und 1585 in Antwerpen; † 10. August 1666 in Haarlem) war ein niederländischer Maler. Er wird zu den bedeutendsten Porträtmalern gezählt… Frans Hals war vermutlich in Haarlem bis 1603 Lehrling des Malers Carel van Mander. 1610 wurde er in die Lukasgilde, die örtliche Malergilde von Haarlem, aufgenommen…Frans Hals werden nach dem Werkverzeichnis von Seymour Slive (1974) 222 Gemälde zugeordnet, hinzu kommen 20 Gemälde, die als verschollen betrachtet werden. 81 weitere Gemälde wurden ihm zugeschrieben, diese Zuschreibungen werden jedoch kritisch betrachtet oder abgelehnt. Sein frühestes datierbares gesichertes Werk, das Bildnis des Jacobus Zaffius, stammt aus dem Jahre 1611.. Den Höhepunkt seines Frühwerkes bildet das Festmahl der Offiziere der Sankt Georgs-Schützengilde von 1616.. Außerdem schuf er Genrebilder von Trinkern, Zigeunern und Frauen bei ihrer Arbeit, dazu kommen auch viele Kinderbildnisse wie zum Beispiel Der Rommelpotspieler. Ab dem Jahre 1626 wandelte sich Frans Hals’ Stil, zum Teil wohl angeregt durch Einflüsse der Utrechter Caravaggisten..Große Lebendigkeit und treffende Charakterisierung zeichnen seine mit kühnem Pinselstrich ausgeführten, skizzenhaft wirkenden Gemälde aus (beispielsweise Malle Babbe). -
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam ................................................................................................................. -
Entertaining Genre of Matthijs Naiveu - Depicting Festivities and Performances at the Dawn of the ‘Theatre Age’
Research Master Thesis Art History of the Low Countries in its European Context Entertaining genre of Matthijs Naiveu - depicting festivities and performances at the dawn of the ‘Theatre Age’. Student: Adele-Marie Dzidzaria 0507954 Supervisor: Prof. Dr. Rudi Ekkart Utrecht University 2007 Table of contents Introduction....................................................................................................................3 1 Biography/Overview of Naiveu’s oeuvre ..............................................................5 1.1 From Leiden to Amsterdam...........................................................................5 1.2 From early genre to theatrical compositions..................................................8 1.3 Portraiture ....................................................................................................14 2 Historiographic context/ Theatricality in genre painting.....................................19 3 Naiveu’s genre paintings – innovating on old subjects and specialising in festivities..............................................................................................................24 4 Theatrical paintings - thematic sources and pictorial models..............................32 4.1 Out-door festivities and performances.........................................................32 4.2 In-door celebrations and amusements..........................................................56 5 Conclusion ...........................................................................................................62 -
Let's Review the Principles of Design
Let’s Review the Principles of Design BUMPERC Balance – Visual Weight Symmetrical Balance Asymmetrical Balance Radial Balance Balance – Visual Weight Balance – Examples of Alexander Calder’s Work Balance – Visual Weight Radial Balance – Example: A Mandala Sanskrit: म赍डल Maṇḍala, 'circle' Unity – Harmony - They look as though they belong together - The prefix “uni” means the same One of the Greatest Scams to Ever Rock the Art World List of known forgeries by Han van Meegeren:[60][61][62] •A counterpart to Laughing Cavalier after Frans Hals (1923) once the subject of a scandal in The Hague in 1923, its present whereabouts are unknown. •The Happy Smoker after Frans Hals (1923) hangs in the Groninger Museum in the Netherlands •Man and Woman at a Spinet 1932 (sold to Amsterdam banker, Dr. Fritz Mannheimer) •Lady reading a letter[63] 1935–1936 (unsold, on display at the Rijksmuseum.) •Lady playing a lute and looking out the window[64] 1935–1936 (unsold, on display at the Rijksmuseum.) •Portrait of a Man[65] 1935–1936 in the style of Gerard ter Borch (unsold, on display at the Rijksmuseum.) •Woman Drinking (version of Malle Babbe[66] 1935–1936 (unsold, on display at the Rijksmuseum.) •The Supper at Emmaus, 1936–1937 (sold to the Boymans for 520,000 – 550,000 guldens, about $300,000 or $4 Million today) •Interior with Drinkers 1937–1938 (sold to D G. van Beuningen for 219,000 – 220,000 guldens about $120,000 or $1.6 million today) •The Last Supper I, 1938–1939 •Interior with Cardplayers 1938 - 1939 (sold to W. van der Vorm for 219,000 – 220,000 guldens $120,000 or $1.6 million today) •The Head of Christ, 1940–1941 (sold to D G.