Uprooted Lives
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Alla Prima - Impasto
ALLA PRIMA - IMPASTO Block in color areas opaquely on the canvas and create volume and mass wet-in-wet. This process combines drawing, modeling and color all at once. The painting builds layers as they are adjusted and corrected, the process is not separated into distinct stages as with indirect painting. This technique is called “alla prima”(Italian for “at the first”). This is sometimes called direct painting. With this technique the painter will start with broad general strokes to get the general form. This is usually done with thin paint. Usually the darks are brought up first. Next paint is applied directly over this wet paint in thicker, more opaque layers. It is very important to keep the colors clean and the strokes accurate and decisive. It is very easy to make a muddy mess. The actual variations on this style are limitless. It may not necessarily be done in one sitting. One of the great masters of this style was Peter Paul Rubens. Wet-in-wet - or alla prima painting techniques, in which paintings are completed in one or two sessions without allowing layers to dry, do not require adherence to the "fat over lean" rule. Such paintings effectively form only one paint layer, so the rule does not apply. Impasto - Term for paint that is thickly applied to a canvas or panel so that it stands in relief and retains the marks of the brush or palette knife. Early panel paintings show little impasto, but with the adoption of oil painting on canvas, painters such as Titian and Rembrandt explored the possibilities of the technique. -
Chapter 5: Ceylon: Trade Or Territory?
Cover Page The handle http://hdl.handle.net/1887/59468 holds various files of this Leiden University dissertation Author: Odegard, Erik Title: Colonial careers : Johan Maurits van Nassau-Siegen, Rijckloff Volckertsz. van Goens and career-making in the Seventeenth-Century Dutch Empire Date: 2018-01-18 121 5. Ceylon: Trade or Territory? Van Goens and Ceylon as a challenge to Batavia’s dominance, 1655 -1670 In 1655-1656 Van Goens briefly returned in the Netherlands for the first time in twenty-seven years. Using his previous experience as a diplomat, merchant and soldier, he was able to convince the VOC directors to change course towards a more aggressive expansionist policy in South Asia. By 1656 he was set to return to Asia at the head of a large fleet, with the aim of finally ejecting the Portuguese from Ceylon, Malabar and, if at all possible, Diu. This proved to be the start of an entanglement with Ceylon that would last until 1675, when he returned to Batavia. Ceylon captivated Van Goens and, even in Batavia, the major debates centered on what place the island should take in the VOC’s now sizable Asian domains, and what th e official policy should be in relation to the interior kingdom of Kandy. This chapter will focus on the first fifteen years of this period, 1655-1670, when Van Goens was to a large extent able to dictate the VOC’s policies on Ceylon and Southern India. While on Ceylon, Van Goens faced three questions: how should the VOC rule its parts of the island? What should be the relationship between the Ceylon government and the surrounding polities, both on Ceylon with Kandy, as well as with the neighboring states in Southern India? Thirdly, how should Ceylon relate to the neighboring VOC commands of Surat, Vengurla, Coromandel and Bengal? Van Goens came up with answers to all these questions and attempted to put them into practice, thus shaping the VOC’s posture in the area for the next century and more. -
Re-Creating Home British Colonialism, Culture And
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by South East Academic Libraries System (SEALS) RE-CREATING HOME BRITISH COLONIALISM, CULTURE AND THE ZUURVELD ENVIRONMENT IN THE NINETEENTH CENTURY Jill Payne Thesis submitted in fulfilment of the requirements of the degree of Master of Arts Supervisor: Professor Paul Maylam Rhodes University Grahamstown May 1998 ############################################## CONTENTS LIST OF ILLUSTRATIONS ..................................... p. ii ACKNOWLEDGEMENTS ...................................... p.iii PREFACE ................................................... p.iv ABSTRACT .................................................. p.v I: INTRODUCTION ........................................ p.1 II: ROMANCE, REALITY AND THE COLONIAL LANDSCAPE ...... p.15 III: LAND USE AND LANDSCAPE CHANGE .................... p.47 IV: ADVANCING SETTLEMENT, RETREATING WILDLIFE ........ p.95 V: CONSERVATION AND CONTROL ........................ p.129 VI: CONCLUSION ........................................ p.160 BIBLIOGRAPHY ............................................ p.165 i ############################################## LIST OF ILLUSTRATIONS Figure i. Map of the Zuurveld ............................... p.10 Figure ii. Representation of a Bushman elephant hunt ........... p.99 Figure iii: Representation of a colonial elephant hunt ........... p.100 ii ############################################## ACKNOWLEDGEMENTS My grateful thanks must go firstly to Professor Paul Maylam. In overseeing -
Impressionist and Modern Art Introduction Art Learning Resource – Impressionist and Modern Art
art learning resource – impressionist and modern art Introduction art learning resource – impressionist and modern art This resource will support visits to the Impressionist and Modern Art galleries at National Museum Cardiff and has been written to help teachers and other group leaders plan a successful visit. These galleries mostly show works of art from 1840s France to 1940s Britain. Each gallery has a theme and displays a range of paintings, drawings, sculpture and applied art. Booking a visit Learning Office – for bookings and general enquires Tel: 029 2057 3240 Email: [email protected] All groups, whether visiting independently or on a museum-led visit, must book in advance. Gallery talks for all key stages are available on selected dates each term. They last about 40 minutes for a maximum of 30 pupils. A museum-led session could be followed by a teacher-led session where pupils draw and make notes in their sketchbooks. Please bring your own materials. The information in this pack enables you to run your own teacher-led session and has information about key works of art and questions which will encourage your pupils to respond to those works. Art Collections Online Many of the works here and others from the Museum’s collection feature on the Museum’s web site within a section called Art Collections Online. This can be found under ‘explore our collections’ at www.museumwales.ac.uk/en/art/ online/ and includes information and details about the location of the work. You could use this to look at enlarged images of paintings on your interactive whiteboard. -
Beschryvinge Van De Kaap Der Goede Hoope. Deel I
Beschryvinge van de Kaap der Goede Hoope. Deel I François Valentijn editie P. Serton, R. Raven-Hart, W.J. de Kock en E.H. Raidt bron François Valentijn, Beschryvinge van de Kaap der Goede Hoope. Deel I (eds. P. Serton, R. Raven-Hart, W.J. de Kock en E.H. Raidt). Van Riebeeck-Vereniging, Kaapstad 1971 Zie voor verantwoording: http://www.dbnl.org/tekst/vale003besc01_01/colofon.php © 2011 dbnl / erven P. Serton / erven R. Raven-Hart / erven W.J. de Kock / E.H. Raidt VIII Lys van Illustrasies Portret van François Valentyn ii Titelblad van die oorspronklike uitgawe iii Kaart van de Kaap der Goede Hoope 34 Saldanhabaay te vinden in de Beschryving onder No. 38 A 50 De Kaap in Platte Grond 66 Gezicht van Kaap der Goede Hoope 67 Thuin der Compagnie aan de Kaap 130 Kaart van die tog van Simon van der Stel 378 François Valentijn, Beschryvinge van de Kaap der Goede Hoope. Deel I IX List of Illustrations Portrait of François Valentyn ii Title page of the original edition iii Map of the Cape of Good Hope 34 Saldanha Bay to be found in the Description under No. 38 A 50 Lay-Out of the Cape 66 View of the Cape of Good Hope 67 Garden of the Company at the Cape 130 Map of the Journey of Simon van der Stel 378 François Valentijn, Beschryvinge van de Kaap der Goede Hoope. Deel I X Voorwoord Die Raad van die Van Riebeeck-Vereniging het heelwat moeilikhede ondervind in sy pogings om 'n herdruk te besorg van die beskrywing van die Kaap die Goeie Hoop wat in die vyfde en laaste deel van François Valentyn* se omvattende Oud en Nieuw Oost-Indiën verskyn. -
A Brief History of Wine in South Africa Stefan K
European Review - Fall 2014 (in press) A brief history of wine in South Africa Stefan K. Estreicher Texas Tech University, Lubbock, TX 79409-1051, USA Vitis vinifera was first planted in South Africa by the Dutchman Jan van Riebeeck in 1655. The first wine farms, in which the French Huguenots participated – were land grants given by another Dutchman, Simon Van der Stel. He also established (for himself) the Constantia estate. The Constantia wine later became one of the most celebrated wines in the world. The decline of the South African wine industry in the late 1800’s was caused by the combination of natural disasters (mildew, phylloxera) and the consequences of wars and political events in Europe. Despite the reorganization imposed by the KWV cooperative, recovery was slow because of the embargo against the Apartheid regime. Since the 1990s, a large number of new wineries – often, small family operations – have been created. South African wines are now available in many markets. Some of these wines can compete with the best in the world. Stefan K. Estreicher received his PhD in Physics from the University of Zürich. He is currently Paul Whitfield Horn Professor in the Physics Department at Texas Tech University. His biography can be found at http://jupiter.phys.ttu.edu/stefanke. One of his hobbies is the history of wine. He published ‘A Brief History of Wine in Spain’ (European Review 21 (2), 209-239, 2013) and ‘Wine, from Neolithic Times to the 21st Century’ (Algora, New York, 2006). The earliest evidence of wine on the African continent comes from Abydos in Southern Egypt. -
University of Hawai`I at Mānoa Department of Economics Working Paper Series
University of Hawai`i at Mānoa Department of Economics Working Paper Series Saunders Hall 542, 2424 Maile Way, Honolulu, HI 96822 Phone: (808) 956 -8496 www.economics.hawaii.edu Working Paper No. 18-2 The Khoikhoi Population, 1652-1780:A Review of the Evidence and Two New Estimates By Sumner La Croix March 2018 The Khoikhoi Population, 1652-1780: A Review of the Evidence and Two New Estimates Sumner La Croix Dept. of Economics, University of Hawai‘i-Mānoa March 7, 2018 Abstract Fourie and Green construct estimates of the KhoiKhoi popuLation over the 1652- 1780 period using benchmarKs for the initiaL and terminaL Khoi popuLations and benchmarKs for the punctuated popuLation decLines from smaLLpox epidemics in 1713 and 1755. I review the evidence underLying each of the four popuLation benchmarKs and argue for a revised 1780 benchmarK. QuaLitative evidence also points to a higher rate of popuLation decLine between 1652 and 1723 and a smaLLer rate of decLine between 1723 and 1780. Using the Fourie-Green methodoLogy and adopting 3 of their 4 popuLation benchmarKs, I deveLop two revised estimates of the Khoi popuLation to suppLement the originaL Fourie and Green estimates. JEL: N17, J10 & J11 Keywords: Khoi; KhoiKhoi; San; Cape CoLony; smaLLpox; popuLation decLine AcKnowLedgements: I am indebted to FranK Lewis and Alan Dye for insightfuL comments on an earLier draft. 1 In 1652 the Dutch East India Company (VOC) estabLished an outpost in the Southwestern Cape where its passing East Indies fleet couLd stop to refresh suppLies of food and water, ilL saiLors couLd recover, and ship repairs couLd be made. -
The Dutch Governor, Jan Van Riebeeck Settled in South Africa in 1652 and Planted the First Vines of French Origin in 1655 in the Cape Town Area
The Dutch Governor, Jan van Riebeeck settled in South Africa in 1652 and planted the first vines of French origin in 1655 in the Cape Town area. His successor was Simon van der Stel, a well-travelled man with exposure to wine growing in Europe. What is seen today as the first geographical indication in South Africa, came about when Van der Stel established the Groot Constantia wine farm in 1685 where wines so produced were selected by people such as Napoleon of France, Frederick of Prussia and Bismarck of Germany. Incidentally, my home town in South Africa is Stellenbosch, named after Simon van der Stel who, after his retirement, decided to remain permanently in South Africa. A few years later French Huguenots arrived in the Cape and imported into South Africa French skills and traditions in wine making, settling in the town of Franschhoek and introducing French family names. The South African wine environment was rapidly expanding - geographically inland far beyond Constantia valley - through the inclusion of European names and descriptions. The skills of the Dutch and the French were employed to select the best wine growing areas, based on soil, climate and location, and so gave birth to what is seen today as the intellectual property of South Africa. For the sake of completeness, one should mention that South Africa was occupied by the British from time-to-time (a century from 1806 onwards) and separate from other achievements, they promoted exports from their colony and introduced certain quality control measures i.e. the birth of South African product legislation. -
Jan Van Riebeeck, De Stichter Van GODEE MOLSBERGEN Hollands Zuid-Afrika
Vaderlandsche cuituurgeschiedenis PATRIA in monografieen onder redactie van Dr. J. H. Kernkamp Er is nagenoeg geen Nederlander, die niet op een of andere wijze door zijn levensonderhoud verbonden is met ons koloniaal rijk overzee, en die niet belang- stelling zou hebben voor de mannen, die dit rijk hielpen stichten. Dr. E. C. Een deter is Jan van Riebeeck, de Stichter van GODEE MOLSBERGEN Hollands Zuid-Afrika. Het zeventiende-eeuwse avontuurlijke leven ter zee en te land, onder Javanen, Japanners, Chinezen, Tonkinners, Hotten- Jan van Riebeeck totten, de koloniale tijdgenoten, hun voortreffelijke daden vol moed en doorzicht, hun woelen en trappen en zijn tijd oxn eer en geld, het zeemans lief en leed, dat alles Een stuk zeventiende-eeuws Oost-Indie maakte hij mee. Zijn volharding in het tot stand brengen van wat van grote waarde voor ons yolk is, is spannend om te volgen. De zeventiende-eeuwer en onze koloniale gewesten komen door dit boek ons nader door de avonturen. van de man, die blijft voortleven eeuwen na zijn dood in zijn Stichting. P. N. VAN KAMPEN & LOON N.V. AMSTERDAM MCMXXXVII PAT M A JAN VAN RIEBEECK EN ZIJN TIJD PATRIA VADERLANDSCHE CULTUURGESCHIEDENIS IN MONOGRAFIEEN ONDER REDACTIE VAN Dr. J. H. KERNKAMP III Dr. E. C. GODEE MOLSBERGEN JAN VAN RIEBEECK EN ZIJN TIJD Een stuk zeventiende-eeuws Oost-Indie 1937 AMSTERDAM P. N. VAN KAMPEN & ZOON N.V. INHOUD I. Jeugd en Opvoeding. Reis naar Indio • • . 7 II. Atjeh 14 III. In Japan en Tai Wan (= Formosa) .. .. 21 IV. In Tonkin 28 V. De Thuisreis 41 VI. Huwelijk en Zeereizen 48 VII. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Egg Tempera Technique
EGG TEMPERA MISCONCEPTIONS By Koo Schadler "Egg tempera is a simple, cheap, easy-to-use technique that produced gorgeous effects...Yet nobody seems to know it." Robert Vickrey (1926-2011) There are many misconceptions regarding egg tempera, and reasons for their existence and persistence. A superficial understanding of tempera limits its potential. This handout hopes to dispel some of the myths. THE REASONS FOR MISCONCEPTIONS Reason #1: The Influence of the Renaissance Egg tempera reached its peak of popularity and achievement in the early Renaissance (approximately 1400- 1450) in Italy, and is notably associated with that time and place. Most Italian, early Renaissance paintings present a less naturalistic, more idealized rendering of the world: minimal light and shadow effects; more high-key (light) values; purer, less dirtied color; cooler color temperatures; less fully three-dimensional forms. For the most part these visual choices are not inevitable to egg tempera. Instead they reflect the less realistic, more spiritually oriented medieval perspective still present in early 1400s Italy (consequently changed by the Renaissance). Because most of these paintings were done in egg tempera, people presume the medium (rather than the culture and its thinking) accounts for this aesthetic. Misconceptions also arise from egg tempera’s association with Italian Renaissance working methods. Masters and guilds taught a successful but prescribed way of developing a painting. Its not the only way to work in tempera, but often is presented as such. Reason #2: Egg Tempera’s Disappearance Renaissance artists aspired to increasing realism in images. Oil painting has advantages (described in Misconception #7) over tempera in depicting the material world and, by the late 1400s, oil became the predominate medium of the Renaissance. -
Uprooted Lives
UL No. 07 In Memoriam: Florida Mythologizing the ‘Hottentot’ practice of infanticide - Dutch colonial intervention & the rooting out of Cape aboriginal custom Uprooted Lives Biographical Excursions into the lives of the Cape of Good Hope's Earliest Colonial Inhabitants Mansell G Upham Uprooted Lives Unfurling the Cape of Good Hope’s Earliest Colonial Inhabitants (1652-1713) Mansell G Upham Uprooted Lives is an occasional series published by Remarkable Writing on First Fifty Years http://www.e-family.co.za/ffy/ui45.htm © Mansell G Upham Editor: Delia Robertson Distribution Rights: Mansell Upham and Remarkable Writing on First Fifty Years Image on Cover used with kind permission of the National Library of South Africa Uprooted Lives Unfurling the Cape of Good Hope’s Earliest Colonial Inhabitants (1652-1713) Mansell G. Upham For min Far, min Mor og min søstre Tak for altid væsen … Preface Timon: Earth, yield me roots He digs Who seeks for better of thee, sauce his palate With thy most operant poison. What is here? Gold? Yellow, glittering, precious gold? No, gods, I am no idle votarist. Roots, you clear heavens! Thus much of this will make Black white, foul fair, wrong right, Base noble, old young, coward valiant. Ha, you gods! Why this? What, this, you gods? Why, this Will lug your priests and servants from your sides, Pluck stout men’s pillows from below their heads. This yellow slave Will knit and break religions, bless th’accursed, Make the hoar leprosy adored, place thieves, And give them title, knee and approbation, With senators on the bench.