Evolution and Ambition in the Career of Jan Lievens (1607-1674)
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Print He Made After the Latter Work, All Date to 1638
Fighting Card Players and Death ca. 1638 oil on canvas Jan Lievens 67 x 84.9 cm (Leiden 1607 – 1674 Amsterdam) Signed and dated lower right: J. Lievens JL-107 © 2021 The Leiden Collection Fighting Card Players and Death Page 2 of 7 How to cite Wheelock, Arthur K., Jr. “Fighting Card Players and Death” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/fighting-card-players-and-death/ (accessed October 02, 2021). A PDF of every version of this entry is available in this Online Catalogue's Archive, and the Archive is managed by a permanent URL. New versions are added only when a substantive change to the narrative occurs. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Fighting Card Players and Death Page 3 of 7 In 1635 Jan Lievens moved from London to Antwerp, perhaps expecting that Comparative Figures the arrival of the new governor-general of the Southern Netherlands, the Cardinal-Infante Ferdinand, would usher in a period of peace and prosperity beneficial to the arts.[1] Lievens soon joined the local painters’ guild and settled into a community of artists who specialized in low-life genre scenes, landscapes, and still lifes, among them Adriaen Brouwer (1605/6–38), Jan Davide de Heem (1606–83/84), David Teniers the Younger (1610–90), and Jan Cossiers (1600–71). In 1635, Brouwer depicted these artists in a tavern scene, Smokers, in the Metropolitan Museum of Art (fig 1).[2] The most inspirational of them for Lievens was Brouwer, who apparently encouraged Lievens to depict, once again, rough peasant types comparable to those he Fig 1. -
Railway Employee Records for Colorado Volume Iii
RAILWAY EMPLOYEE RECORDS FOR COLORADO VOLUME III By Gerald E. Sherard (2005) When Denver’s Union Station opened in 1881, it saw 88 trains a day during its gold-rush peak. When passenger trains were a popular way to travel, Union Station regularly saw sixty to eighty daily arrivals and departures and as many as a million passengers a year. Many freight trains also passed through the area. In the early 1900s, there were 2.25 million railroad workers in America. After World War II the popularity and frequency of train travel began to wane. The first railroad line to be completed in Colorado was in 1871 and was the Denver and Rio Grande Railroad line between Denver and Colorado Springs. A question we often hear is: “My father used to work for the railroad. How can I get information on Him?” Most railroad historical societies have no records on employees. Most employment records are owned today by the surviving railroad companies and the Railroad Retirement Board. For example, most such records for the Union Pacific Railroad are in storage in Hutchinson, Kansas salt mines, off limits to all but the lawyers. The Union Pacific currently declines to help with former employee genealogy requests. However, if you are looking for railroad employee records for early Colorado railroads, you may have some success. The Colorado Railroad Museum Library currently has 11,368 employee personnel records. These Colorado employee records are primarily for the following railroads which are not longer operating. Atchison, Topeka & Santa Fe Railroad (AT&SF) Atchison, Topeka and Santa Fe Railroad employee records of employment are recorded in a bound ledger book (record number 736) and box numbers 766 and 1287 for the years 1883 through 1939 for the joint line from Denver to Pueblo. -
Gary Schwartz
Gary Schwartz A Corpus of Rembrandt Paintings as a Test Case for Connoisseurship Seldom has an exercise in connoisseurship had more going for it than the world-famous Rembrandt Research Project, the RRP. This group of connoisseurs set out in 1968 to establish a corpus of Rembrandt paintings in which doubt concer- ning attributions to the master was to be reduced to a minimum. In the present enquiry, I examine the main lessons that can be learned about connoisseurship in general from the first three volumes of the project. My remarks are limited to two central issues: the methodology of the RRP and its concept of authorship. Concerning methodology,I arrive at the conclusion that the persistent appli- cation of classical connoisseurship by the RRP, attended by a look at scientific examination techniques, shows that connoisseurship, while opening our eyes to some features of a work of art, closes them to others, at the risk of generating false impressions and incorrect judgments.As for the concept of authorship, I will show that the early RRP entertained an anachronistic and fatally puristic notion of what constitutes authorship in a Dutch painting of the seventeenth century,which skewed nearly all of its attributions. These negative judgments could lead one to blame the RRP for doing an inferior job. But they can also be read in another way. If the members of the RRP were no worse than other connoisseurs, then the failure of their enterprise shows that connoisseurship was unable to deliver the advertised goods. I subscribe to the latter conviction. This paper therefore ends with a proposal for the enrichment of Rembrandt studies after the age of connoisseurship. -
Openeclanewfieldinthehis- Work,Ret
-t horizonte Beitràge zu Kunst und Kunstwissenschaft horizons Essais sur I'art et sur son histoire orizzonti Saggi sull'arte e sulla storia dell'arte horizons Essays on Art and Art Research Hatje Cantz 50 Jahre Schweizerisches lnstitut flir Kunstwissenschaft 50 ans lnstitut suisse pour l'étude de I'art 50 anni lstituto svizzero di studi d'arte 50 Years Swiss lnstitute for Art Research Gary Schwartz The Clones Make the Master: Rembrandt in 1ó50 A high point brought low The year r65o was long considerecl a high point ot w-atershed fcrr Rem- a painr- orandt ls a painter. a date of qrear significance in his carecr' Of ng dated ,65o, n French auction catalogue of 18o6 writes: 'sa date prouve qu'il était dans sa plus grande force'" For John Smith, the com- pl.. of ih. firr, catalogue of the artistt paintings in r836, 165o was the golden age.' This convictíon surl ived well into zenith of Rembranclt's (It :]re tnentieth centufy. Ifl 1942, Tancred Borenius wfote: was about r65o one me-v sa)i that the characteristics of Rembrandt's final manner Rosenberg in r.rr e become cleady pronounced.'l 'This date,'wroteJakob cat. Paris, ro-rr r8o6 (l'ugt 'Rembrandt: life and wotk' (r9+8/ ry64),the standard texl on the master 1 Sale June t)).n\t.1o. Fr,,m thq sxns'6rjp1 rrl years, 'can be called the end of his middle period, or equallv Jt :,r many the entrv on thc painting i n the Corpns of this ''e11, the beginning of his late one.'a Bob Haak, in 1984, enriched Renbrandt paintings, r'ith thanks to the that of Rcmbrandt Research Project for show-ing ,r.rqe b1, contrasting Rembrandt's work aftet mid-centurl' with to me this and other sections of the draft 'Rembrandt not only kept his distance from the new -. -
Het Gulden Cabinet Van De Edel Vry Schilderconst Cornelis De Bie, Het Gulden Cabinet Van De Edel Vry Schilderconst 244
Het gulden cabinet van de edel vry schilderconst Cornelis de Bie bron Cornelis de Bie, Het gulden cabinet van de edel vry schilderconst. Jan Meyssens, Juliaen van Montfort, Antwerpen 1662 Zie voor verantwoording: http://www.dbnl.org/tekst/bie_001guld01_01/colofon.php © 2014 dbnl 1 Het gulden cabinet vande edele vry schilder-const Ontsloten door den lanck ghevvenschten Vrede tusschen de twee mach- tighe Croonen van SPAIGNIEN EN VRANCRYCK, Waer-inne begrepen is den ontsterffe- lijcken loff vande vermaerste Constminnende Geesten ENDE SCHILDERS Van dese Eeuvv, hier inne meest naer het leven af-gebeldt, verciert met veel ver- makelijcke Rijmen ende Spreucken. DOOR Cornelis de Bie Notaris binnen Lyer. Cornelis de Bie, Het gulden cabinet van de edel vry schilderconst 3 Den geboeyden Mars spreckt op d'uytleggingh van de titel plaet. WEl wijckt dan mijne Macht, en Raserny ter sijden? Moet mijne wreetheyt nu dees boose schant-vleck lijden? Dat ick hier ligh gheboyt en plat ter aert ghedruckt, Ontrooft van Sweert en Schilt, t'gen' my is af-geruckt? Alleen door liefdens kracht, die Vranckrijck heeft ontsteken, Die door het Echts verbont compt al mijn lusten breken, Die selffs de wreetheyt ben, wordt hier van liefd' gheplaegt, Den dullen Orloghs Godt wordt van den Peys verjaeght. Ach! d' Edel Fransche Trouw: (aen Spaenien verbonden:) Die heeft m' allendigh Helt in ballinckschap ghesonden. K' en heb niet eenen vriendt, men danckt my spoedigh aff Een jeder my verstoot, ick sien ick moet in't graff. Nochtans sal menich mensch mijn ongeluck beclaghen Die was ghewoon door my heel Belgica te plaeghen, Die was ghewoon met my te liggen op het landt Dat ick had uyt gheput door mijnen Orloghs brandt, De deught had ick verjaeght, en liefdens kracht ghenomen Midts dat mijn fury was in Neder-landt ghecomen Tot voordeel vanden Frans, die my nu brenght in druck En wederleyt mijn jonst, fortuyn en groot gheluck. -
Title Connection Between Rough Brushstrokes and Vulgar Subjects in Seventeenth-Century Netherlandish Paintings Author(S) Fukaya
Connection between Rough Brushstrokes and Vulgar Subjects Title in Seventeenth-Century Netherlandish Paintings Author(s) Fukaya, Michiko Citation Kyoto Studies in Art History (2017), 2: 55-71 Issue Date 2017-04 URL https://doi.org/10.14989/229460 © Graduate School of Letters, Kyoto University and the Right authors Type Departmental Bulletin Paper Textversion publisher Kyoto University 55 Connection between Rough Brushstrokes and Vulgar Subjects in Seventeenth-Century Netherlandish Paintings Michiko Fukaya 1. Introduction Karel van Mander stated in his Schilder-boeck that painters at the time were accustomed to applying their paint more thickly than before; hence, their paintings were made seemingly of stone relief.1 At the same time, he used the terms “uneven and rough (oneffen en rouw)” and “beautifully, neat and clear (schoon, net en blijde)” as two contrasting manners in the application of paint.2 His comment is followed by a well-known passage referring to Titian’s earlier style, executed “with incredible neatness (met onghelooflijcke netticheyt)” and his later one, “with stains and rough strokes (met vlecken en rouw’ streken)”. In 1604, when van Mander was writing the above passage, it was uncommon among Netherlandish painters to paint so thickly that their paintings might be compared to a relief. Nevertheless, in Lives of the Northern Painters, van Mander mentioned two painters who applied their paint so thick that the canvas could not be rolled or had to be scraped off,3 although such rough manner was more tightly connected to the Italian style. In any event, the dichotomy of the neatness and the roughness of application of the paint was introduced into Netherlandish art theory at the time. -
Henry, Duke of Gloucester C
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Adriaen Hanneman Dutch, c. 1603/1604 - 1671 Henry, Duke of Gloucester c. 1653 oil on canvas overall: 104.8 x 87 cm (41 1/4 x 34 1/4 in.) framed: 128.91 x 111.13 x 11.43 cm (50 3/4 x 43 3/4 x 4 1/2 in.) Andrew W. Mellon Collection 1937.1.51 ENTRY The splendidly dressed youth in this three-quarter-length portrait looks out assuredly at the viewer. With a commanding gesture, he rests his right hand on a baton before him while he turns to his left and places his near hand over the hilt of a gold-topped rapier. His buff-colored doublet, richly brocaded with gold and silver threads, has split sleeves that reveal a white blouse with large, pleated cuffs. His breastplate is crossed by a blue ribbon that lies under his flat, white collar and tassel. The broadly painted brown rock cliff behind him and the distant landscape vista to the left provide a neutral background for this elegant figure. The identities both of the sitter and of the artist who painted him have been the subject of much speculation in the literature. [1] Descamps, the first to mention the painting while it was in the possession of Count Heinrich von Brühl (1700–1763) in Dresden, identified the work as a portrait of Willem II by Adriaen Hanneman. [2] Smith cataloged it in 1831 as a portrait by Sir Anthony van Dyck (Flemish, 1599 - 1641), and most, although not all, subsequent writers followed suit. -
Illustrated and Descriptive Catalogue and Price List of Stereopticons
—. ; I, £3,v; and Descriptive , Illustrated ;w j CATALOGUE AND PRICE LIST- t&fs — r~* yv4 • .'../-.it *.•:.< : .. 4^. ; • ’• • • wjv* r,.^ N •’«* - . of . - VJ r .. « 7 **: „ S ; \ 1 ’ ; «•»'•: V. .c; ^ . \sK? *• .* Stereopticons . * ' «». .. • ” J- r . .. itzsg' Lantern Slides 1 -f ~ Accessories for Projection Stereopticon and Film Exchange W. B. MOORE, Manager. j. :rnu J ; 104 to no Franlclin Street ‘ Washington . (Cor. CHICAGO INDEX TO LANTERNS, ETC. FOR INDEX TO SLIDES SEE INDEX AT CLOSE OF CATALOGUE. Page Acetylene Dissolver 28 Champion Lantern 3g to 42 “ Gas 60 Check Valve S3 •* 1 • .• Gas Burner.... ; 19 Chemicals, Oxygen 74, 81 ** < .' I j Gas Generator.. ; 61 to 66 Chirograph 136 “ Gas Generator, Perfection to 66 64 Chlorate of Potash, tee Oxygen Chemicals 74 Adapter from to sire lenses, see Chromatrope.... 164 Miscellaneous....... 174 Cloak, How Made 151 Advertising Slides, Blank, see Miscellaneous.. 174 ** Slides 38010,387 " Slides 144 Color Slides or Tinters .^140 “ Slides, Ink for Writing, see Colored Films 297 Miscellaneous, 174 Coloring Films 134 “ Posters * *...153 " Slides Alcohol Vapor Mantle Light 20A v 147 Combined Check or Safety Valve 83 Alternating.Carbons, Special... 139 Comic and Mysterious Films 155 Allen Universal Focusing Lens 124, 125 Comparison of Portable Gas Outfits 93, 94 America, Wonders cf Description, 148 “Condensing Lens 128 Amet's Oro-Carbi Light 86 to 92, 94 " Lens Mounting 128 •Ancient Costumes ....! 131 Connections, Electric Lamp and Rheostat... 96, 97 Approximate Length of Focus 123 " Electric Stage 139 Arc Lamp 13 to 16 Costumes 130 to 152, 380 to 3S7 ** Lamp and Rheostat, How to Connect 96 Cover Glasses, see Miscellaneous ,....174 Arnold's Improved Calcium Light Outfit. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Righteous Citizens: The Lynching of Johan and Cornelis DeWitt,The Hague, Collective Violens, and the Myth of Tolerance in the Dutch Golden Age, 1650-1672 Permalink https://escholarship.org/uc/item/2636q95m Author DeSanto, Ingrid Frederika Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Righteous Citizens: The Lynching of Johan and Cornelis DeWitt, The Hague, Collective Violence, and the Myth of Tolerance in the Dutch Golden Age, 1650-1672. A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Ingrid Frederika DeSanto 2018 ABSTRACT OF DISSERTATION Righteous Citizens: The Lynching of Johan and Cornelis DeWitt, The Hague, Collective Violence, and the Myth of Tolerance in the Dutch Golden Age, 1650-1672 by Ingrid Frederika DeSanto Doctor of Philosophy in History University of California, Los Angeles Professor Margaret C Jacob, Chair In The Hague, on August 20 th , 1672, the Grand Pensionary of Holland, Johan DeWitt and his brother Cornelis DeWitt were publicly killed, their bodies mutilated and hanged by the populace of the city. This dissertation argues that this massacre remains such an unique event in Dutch history, that it needs thorough investigation. Historians have focused on short-term political causes for the eruption of violence on the brothers’ fatal day. This work contributes to the existing historiography by uncovering more long-term political and social undercurrents in Dutch society. In doing so, issues that may have been overlooked previously are taken into consideration as well. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. JOHANNES SWARTENHENGST (1644-1711): A DUTCH CARTESIAN IN THE HEAT OF BATTLE ESTER BERTRAND PHD THESIS UNIVERSITY OF EDINBURGH & FREE UNIVERSITY OF BRUSSELS 2014 2 JOHANNES SWARTENHENGST (1644-1711): A DUTCH CARTESIAN IN THE HEAT OF BATTLE ESTER BERTRAND The painting on the title page, entitled The Stallion, is by the accomplished Dutch painter of equestrian scenes, Philips Wouwerman (1619-1668). In agreement with the Creative Commons Licence this copy was retrieved from the following website: http://www.wouwerman.org/ PHD THESIS UNIVERSITY OF EDINBURGH & FREE UNIVERSITY OF BRUSSELS JUNE 2014 Funded by the Research Foundation Flanders (FWO), the Free University of Brussels, and the University of Edinburgh I, Ester Bertrand, hereby certify that this thesis, which is approximately 95.000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. -
Julius S. Held Papers, Ca
http://oac.cdlib.org/findaid/ark:/13030/kt3g50355c No online items Finding aid for the Julius S. Held papers, ca. 1921-1999 Isabella Zuralski. Finding aid for the Julius S. Held 990056 1 papers, ca. 1921-1999 Descriptive Summary Title: Julius S. Held papers Date (inclusive): ca. 1918-1999 Number: 990056 Creator/Collector: Held, Julius S (Julius Samuel) Physical Description: 168 box(es)(ca. 70 lin. ft.) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Research papers of Julius Samuel Held, American art historian renowned for his scholarship in 16th- and 17th-century Dutch and Flemish art, expert on Peter Paul Rubens, Anthony van Dyck, and Rembrandt. The ca. 70 linear feet of material, dating from the mid-1920s to 1999, includes correspondence, research material for Held's writings and his teaching and lecturing activities, with extensive travel notes. Well documented is Held's advisory role in building the collection of the Museo de Arte de Ponce in Puerto Rico. A significant portion of the ca. 29 linear feet of study photographs documents Flemish and Dutch artists from the 15th to the 17th century. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note The art historian Julius Samuel Held is considered one of the foremost authorities on the works of Peter Paul Rubens, Anthony van Dyck, and Rembrandt. -
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 .................................................................................................................