Cornelis Drebbel (1572-1633)
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“Cornelis Drebbel (Alkmaar 1572 – Londen 1633): Kloeck Verstant, Een Pronck Der Wereldt”
Histechnica – Vereniging Vrienden van KIVI – het Academisch Erfgoed van de TU Delft Afdeling Geschiedenis der Techniek Programma commissaris: dr.ir. P.Th.L.M. van Woerkom, tel. 070 – 30 70 275, e-mail [email protected] Secretaris Histechnica: ir. H. Boonstra, tel. 070 – 38 73 808, e-mail [email protected] Secretaris KIVI afd. Geschiedenis der Techniek: ir. A. de Liefde, tel. 070 – 39 66 999, e-mail [email protected] Delft, 10 maart 2019 Geachte leden, De besturen van de vereniging Histechnica en van de KIVI afdeling Geschiedenis der Techniek hebben het genoegen u uit te nodigen tot het bijwonen van een voordracht te houden door de heer H. van Onna, met titel: “Cornelis Drebbel (Alkmaar 1572 – Londen 1633): Kloeck Verstant, een pronck der Wereldt” > Datum: zaterdag 13 april 2019. > Plaats: Science Centre van de TU Delft, Mijnbouwstraat 120, 2628 RX Delft. > Programma: 10.00 uur: Gebouw open; ontvangst met koffie 10.10 uur: Algemene Leden Vergadering van leden van de vereniging Histechnica gevolgd door: 11:00 uur: Voordracht door de heer H. van Onna (Tweede Drebbel Genootschap). 11:45 uur: Pauze. 12:15 uur: Vervolg van voordracht / afsluitende discussie. 12:45 uur: Einde bijeenkomst. U bent met uw introducé’s van harte welkom. Aan het bijwonen van de voordracht zijn geen kosten verbonden. U wordt vriendelijk verzocht zich tevoren aan te melden, uiterlijk zaterdag 6 april 2019. > Hoe aanmelden: - leden van KIVI : aanmelden via de KIVI website (www.kivi.nl) - leden van Histechnica : aanmelden via [email protected] Zaterdag 13 april 2019 > Samenvatting van de voordracht Vandaag vertel ik u over het Cornelis Drebbel, natuurfilosoof en inventor, ‘de Edison in zijn tijd’. -
Full Press Release
Press Contacts Patrick Milliman 212.590.0310, [email protected] Alanna Schindewolf 212.590.0311, [email protected] THE MORGAN HOSTS MAJOR EXHIBITION OF MASTER DRAWINGS FROM MUNICH’S FAMED STAATLICHE GRAPHISCHE SAMMLUNG SHOW INCLUDES WORKS FROM THE RENAISSANCE TO THE MODERN PERIOD AND MARKS THE FIRST TIME THE GRAPHISCHE SAMMLUNG HAS LENT SUCH AN IMPORTANT GROUP OF DRAWINGS TO AN AMERICAN MUSEUM Dürer to de Kooning: 100 Master Drawings from Munich October 12, 2012–January 6, 2013 **Press Preview: Thursday, October 11, 10 a.m. until 11:30 a.m.** RSVP: (212) 590-0393, [email protected] New York, NY, August 25, 2012—This fall, The Morgan Library & Museum will host an extraordinary exhibition of rarely- seen master drawings from the Staatliche Graphische Sammlung, Munich, one of Europe’s most distinguished drawings collections. On view October 12, 2012– January 6, 2013, Dürer to de Kooning: 100 Master Drawings from Munich marks the first time such a comprehensive and prestigious selection of works has been lent to a single exhibition. Johann Friedrich Overbeck (1789–1869) Italia and Germania, 1815–28 Dürer to de Kooning was conceived in Inv. 2001:12 Z © Staatliche Graphische Sammlung München exchange for a show of one hundred drawings that the Morgan sent to Munich in celebration of the Staatliche Graphische Sammlung’s 250th anniversary in 2008. The Morgan’s organizing curators were granted unprecedented access to the Graphische Sammlung’s vast holdings, ultimately choosing one hundred masterworks that represent the breadth, depth, and vitality of the collection. The exhibition includes drawings by Italian, German, French, Dutch, and Flemish artists of the Renaissance and baroque periods; German draftsmen of the nineteenth century; and an international contingent of modern and contemporary draftsmen. -
Interiors and Interiority in Vermeer: Empiricism, Subjectivity, Modernism
ARTICLE Received 20 Feb 2017 | Accepted 11 May 2017 | Published 12 Jul 2017 DOI: 10.1057/palcomms.2017.68 OPEN Interiors and interiority in Vermeer: empiricism, subjectivity, modernism Benjamin Binstock1 ABSTRACT Johannes Vermeer may well be the foremost painter of interiors and interiority in the history of art, yet we have not necessarily understood his achievement in either domain, or their relation within his complex development. This essay explains how Vermeer based his interiors on rooms in his house and used his family members as models, combining empiricism and subjectivity. Vermeer was exceptionally self-conscious and sophisticated about his artistic task, which we are still laboring to understand and articulate. He eschewed anecdotal narratives and presented his models as models in “studio” settings, in paintings about paintings, or art about art, a form of modernism. In contrast to the prevailing con- ception in scholarship of Dutch Golden Age paintings as providing didactic or moralizing messages for their pre-modern audiences, we glimpse in Vermeer’s paintings an anticipation of our own modern understanding of art. This article is published as part of a collection on interiorities. 1 School of History and Social Sciences, Cooper Union, New York, NY, USA Correspondence: (e-mail: [email protected]) PALGRAVE COMMUNICATIONS | 3:17068 | DOI: 10.1057/palcomms.2017.68 | www.palgrave-journals.com/palcomms 1 ARTICLE PALGRAVE COMMUNICATIONS | DOI: 10.1057/palcomms.2017.68 ‘All the beautifully furnished rooms, carefully designed within his complex development. This essay explains how interiors, everything so controlled; There wasn’t any room Vermeer based his interiors on rooms in his house and his for any real feelings between any of us’. -
Circle of Hendrick Goltzius, Study of a Male Lumpsucker
Circle of Hendrick Goltzius, Study of a Male Lumpsucker Carina Fryklund Curator, Old Master Drawings and Paintings Art Bulletin of Nationalmuseum Stockholm Volume 22 Art Bulletin of Nationalmuseum, Stockholm, © Stockholms Auktionsverk, Stockholm Graphic Design is published with generous support from (Fig. 5, p. 35) BIGG the Friends of the Nationalmuseum. © Royal Library of Belgium, Brussels (Fig. 2, p. 38) Layout Nationalmuseum collaborates with © Teylers Museum, Haarlem (Fig. 3, p. 39) Agneta Bervokk Svenska Dagbladet and Grand Hôtel Stockholm. © Biblioteca Apostolica Vaticana, Shelfmark: We would also like to thank FCB Fältman & Riserva.S.81(int.2) (Fig. 2, p. 42) Translation and Language Editing Malmén. © Galerie Tarantino, Paris (Figs. 3–4, p. 43) Gabriella Berggren, Erika Milburn and © Wikimedia Commons/Public Domain Martin Naylor Cover Illustration (Figs. 3–4, pp. 46–47) Anne Vallayer (1744–1818), Portrait of a Violinist, © National Library of Sweden, Stockholm Publishing 1773. Oil on canvas, 116 x 96 cm. Purchase: (Figs. 5–6, pp. 48–49) Janna Herder (Editor) and Ingrid Lindell The Wiros Fund. Nationalmuseum, NM 7297. © Uppsala Auktionskammare, Uppsala (Publications Manager) (Fig. 1, p. 51) Publisher © Landsarkivet, Gothenburg/Johan Pihlgren Art Bulletin of Nationalmuseum is published Berndt Arell, Director General (Fig. 3, p. 55) annually and contains articles on the history and © Västergötlands museum, Skara (Fig. 4, p. 55) theory of art relating to the collections of the Editor © Svensk Form Design Archive/Centre for Nationalmuseum. Janna Herder Business History (Fig. 2, p. 58) © Svenskt Tenn Archive and Collection, Nationalmuseum Editorial Committee Stockholm (Fig. 4, p. 60) Box 16176 Janna Herder, Linda Hinners, Merit Laine, © Denise Grünstein (Fig. -
EXPLORE the DEEP Submersibles Product Overview When Your Dive Commencesyou Willbecompletely Most Private Andluxuriousplacesintheworld
EXPLORE THE DEEP submersibles product overview A NEW HORIZON For centuries mankind has explored and conquered the surrounded by the ocean while enjoying the luxury and surface of our oceans. More recently we have begun safety of a one-atmospheric environment, making you want doing the same in the wondrous world beneath the waves. to stay submerged for hours. Then out of the shimmering Owning a U-Boat Worx submersible makes exploring the depths shapes start to appear. The pilot hands you the depths of the uncharted subsea realm an effortless pleasure. MANTA controller allowing you to set a course to the contours on the horizon. With 90% of the oceans still When boarding our submersibles you step into one of the unexplored, you have embarked on a voyage of discovery to most private and luxurious places in the world. find reefs, drop-offs to the dark depths, unique marine life, When your dive commences you will be completely shipwrecks and underwater hills and valleys. © Cosimo Malesci - www.cosimomalesci.com A HERITAGE INSPIRED ABOUT BY EXPLORERS U-BOAT WORX IIt’s human nature to satisfy our curiosity even at 1,700 meters At U-Boat Worx we do everything possible to give you the best and safest below the surface. Since time immemorial, mankind has attempted diving experience possible. Since our start in 2005 we have grown to to discover and conquer the underwater world. The first records of become the largest private submersible builder in the world. Our large these attempts date back before the time of Christ, to the time of fleet consists of nine different models, and has changed the standards for the Assyrian. -
Review of Vermeer and the Art of Painting, by Arthur K. Wheelock, Jr
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College History of Art Faculty Research and Scholarship History of Art 1997 Review of Vermeer and the Art of Painting, by Arthur K. Wheelock, Jr. Christiane Hertel Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/hart_pubs Part of the History of Art, Architecture, and Archaeology Commons Custom Citation Hertel, Christiane. Review of Vermeer and the Art of Painting, by Arthur K. Wheelock, Jr. Renaissance Quarterly 50 (1997): 329-331, doi: 10.2307/3039381. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/hart_pubs/2 For more information, please contact [email protected]. REVIEWS 329 Arthur K. Wheelock, Jr. Vermeer of paintlayers, x-rays, collaged infrared and the Art of Painting. New Ha- reflectograms,and lab reports - to ven and London: Yale University guide the readerthrough this process. Press, 1995. 143 pls. + x + 201 pp. The pedagogicand rhetorical power of $45. Wheelock's account lies in the eye- This book about Vermeer'stech- openingskill with which he makesthis nique of paintingdiffers from the au- processcome alivefor the reader.The thor'searlier work on the artistby tak- way he accomplishesthis has every- ing a new perspectiveboth on Vermeer thingto do with his convictionthat by as painterand on the readeras viewer. understandingVermeer's artistic prac- Wheelockinvestigates Vermeer's paint- tice we also come to know the artist. ing techniquesin orderto understand As the agentof this practiceVermeer is his artisticpractice and, ultimately, his alsothe grammaticalsubject of most of artisticmind. -
Lawrence W. Nichols: the Paintings of Hendrick Goltzius (1558-1617). a Monograph and Catalogue Raisonné (= Aetas Aurea, Vol. XX
Lawrence W. Nichols: The Paintings of Hendrick Goltzius (1558-1617). A Monograph and Catalogue Raisonné (= Aetas Aurea, vol. XXII), Doornspijk: Davaco Publishers 2013 ISBN-13: 978-90-70288-28-0, 466 pages, 207 plates, € 275 Reviewed by: Christian Tico Seifert, Scottish National Gallery, Edinburgh This book has been long awaited and, to say it straightaway, the wait has been worthwhile. Hot on the heels of Marjolein Leesberg’s superb New Hollstein volumes on Hendrick Goltzius’s prints, Lawrence Nichols has finally published his magisterial monograph on the painter Goltzius.[1] It is a hefty, clothbound volume, beautifully designed and printed. The book opens with a chapter on the tantalising but crucial question why Goltzius in 1600, aged forty-two and famous across Europe as the most skilful engraver of his age, lay down the burin for- ever to take up brushes and oil paint. Nichols, rightly in my view, dismisses poor health and failing eyesight as the main reasons for Goltzius decision. However, it should be remembered that the one-year-old Goltzius had been severely burnt in an accident that left his right hand crippled for life. Decades of printmaking could have exhausted the strength of his hand. Certainly, holding pen and brush is physically easier than controlling the burin on a copper plate. Nichols carefully examines Goltzius’s prints and drawings and detects a ‘lifelong predilection for tonal gradation, if not actual color’ (21). His portrait drawings in red and black chalks, heightened with white and subtly washed, show him as a sensitive colourist, and his chiaroscuro woodcuts demonstrate his interest as a printmaker in colour. -
Cornelis Cornelisz, Who Himself Added 'Van Haarlem' to His Name, Was One of the Leading Figures of Dutch Mannerism, Together
THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com Cornelis Cornelisz van Haarlem (Haarlem 1562 – 1638) Venus, Cupid and Ceres Oil on canvas 38 x 43 in. (96.7 x 109.2 cm.) Signed with monogram and dated upper right: ‘CH. 1604’ Provenance Private collection, New York Cornelis Cornelisz, who himself added ‘van Haarlem’ to his name, was one of the leading figures of Dutch Mannerism, together with his townsman Hendrick Goltzius and Abraham Bloemaert from Utrecht. He was born in 1562 in a well-to-do Catholic family in Haarlem, where he first studied with Pieter Pietersz. At the age of seventeen he went to France, but at Rouen he had to turn back to avoid an outbreak of the plague and went instead to Antwerp, where he remained for a year with Gilles Coignet. The artist returned to Haarlem in 1581, and two years later, in 1583, he received his first important commission for a group portrait of a Haarlem militia company (now in the Frans Hals Museum, Haarlem). From roughly 1586 to 1591 Cornelis, together with Goltzius and Flemish émigré Karel van Mander formed a sort of “studio brotherhood” which became known as the ‘Haarlem Academy’. In the 1590’s he continued to receive many important commissions from the Municipality and other institutions. Before 1603, he married the daughter of a Haarlem burgomaster. In 1605, he inherited a third of his wealthy father-in-law’s estate; his wife died the following year. From an illicit union with Margriet Pouwelsdr, Cornelis had a daughter Maria in 1611. -
Re-Entangling the Thermometer: Cornelis Drebbel's Description Of
Nuncius 28 (2013) 243–275 brill.com/nun Re-entangling the Thermometer: Cornelis Drebbel’s Description of his Self-regulating Oven, the Regiment of Fire, and the Early History of Temperature Vera Keller Robert D. Clark Honors College, University of Oregon, USA [email protected] Abstract A new, illustrated source, “Drebbel’s Description of his Circulating Oven,” sheds light on the thermostatic oven of Cornelis Drebbel (1572-1633), a Dutch alchemist, engineer, and philosopher active in Holland, Zeeland, London and Prague. The “Description” survives in two German copies. It describes two new inventions, a “Judicium” (which we might call a thermometer) and a “Regimen” (which we might call a feedback control mechanism). It thus engages longstanding debates concerning the invention of the thermometer. More fundamentally, it engages the relationship of artisanality and philosophy. The “Description” highlights the entangled origins of both instruments, which emerged through combined concerns of alchemy, engineering, philosophy, and natural magic. In the early seventeenth century, the term “thermometer” indicated an object with a more expansive role than it later would. The later emergence of a distinct scientific instrument industry, separating previously entangled roles, has colored subsequent views of such instruments and their makers. Keywords thermometer, Cornelis Drebbel, feedback control, instrument 1. Introduction: The Self-regulating Oven between Theory and Practice Much ink has been spilled over the early history of the thermometer. A never before studied text describing the self-regulating oven of Cornelis Drebbel (1572-1633) has the potential to shed new light on that history. Cornelis Drebbel of Alkmaar in North Holland trained as an engraver with his brother-in-law, the famed artist Hendrick Goltzius. -
Art As Communication: Y the Impact of Art As a Catalyst for Social Change Cm
capa e contra capa.pdf 1 03/06/2019 10:57:34 POLYTECHNIC INSTITUTE OF LISBON . PORTUGAL C M ART AS COMMUNICATION: Y THE IMPACT OF ART AS A CATALYST FOR SOCIAL CHANGE CM MY CY CMY K Fifteenth International Conference on The Arts in Society Against the Grain: Arts and the Crisis of Democracy NUI Galway Galway, Ireland 24–26 June 2020 Call for Papers We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, creative practice showcases, virtual posters, or virtual lightning talks. Returning Member Registration We are pleased to oer a Returning Member Registration Discount to delegates who have attended The Arts in Society Conference in the past. Returning research network members receive a discount o the full conference registration rate. ArtsInSociety.com/2020-Conference Conference Partner Fourteenth International Conference on The Arts in Society “Art as Communication: The Impact of Art as a Catalyst for Social Change” 19–21 June 2019 | Polytechnic Institute of Lisbon | Lisbon, Portugal www.artsinsociety.com www.facebook.com/ArtsInSociety @artsinsociety | #ICAIS19 Fourteenth International Conference on the Arts in Society www.artsinsociety.com First published in 2019 in Champaign, Illinois, USA by Common Ground Research Networks, NFP www.cgnetworks.org © 2019 Common Ground Research Networks All rights reserved. Apart from fair dealing for the purpose of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please visit the CGScholar Knowledge Base (https://cgscholar.com/cg_support/en). -
Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010
The Brilliant Line: Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010 When the first engravings appeared in southern Germany around 1430, the incision of metal was still the domain of goldsmiths and other metalworkers who used burins and punches to incise armor, liturgical objects, and jewelry with designs. As paper became widely available in Europe, some of these craftsmen recorded their designs by printing them with ink onto paper. Thus the art of engraving was born. An engraver drives a burin, a metal tool with a lozenge-shaped tip, into a prepared copperplate, creating recessed grooves that will capture ink. After the plate is inked and its flat surfaces wiped clean, the copperplate is forced through a press against dampened paper. The ink, pulled from inside the lines, transfers onto the paper, printing the incised image in reverse. Engraving has a wholly linear visual language. Its lines are distinguished by their precision, clarity, and completeness, qualities which, when printed, result in vigorous and distinctly brilliant patterns of marks. Because lines once incised are very difficult to remove, engraving promotes both a systematic approach to the copperplate and the repetition of proven formulas for creating tone, volume, texture, and light. The history of the medium is therefore defined by the rapid development of a shared technical knowledge passed among artists dispersed across Renaissance and Baroque (Early Modern) Europe—from the Rhine region of Germany to Florence, Nuremberg, Venice, Rome, Antwerp, and Paris. While engravers relied on systems of line passed down through generations, their craft was not mechanical. -
The Mechanics of Modernity in Europe and East Asia
The Mechanics of Modernity in Europe and East Asia This book provides a new answer to the old question of the 'rise of the west.' Why, from the eighteenth century onwards, did some countries embark on a path of sustained economic growth while others stagnated? For instance, Euro pean powers such as Great Britain and Germany emerged, whilst the likes of China failed to fulfil their potential. Ringmar concludes that, for sustained development to be possible, change must be institutionalised. The implications of this are brought to bear on issues facing the developing world today - with particular emphasis on Asia. Erik Ringmar teaches in the government department at the London School of Economics. He is the author of How We Survived Capitalism and Remained Almost Human (Anthem Books, 2005). Routledge explorations in economic history 1 Economic Ideas and Government Policy Contributions to contemporary economic history Sir Alec Caimcross 2 The Organization of Labour Markets Moderniry, culture and governance in Germany, Sweden, Britain and Japan Bo Strath 3 Currency Convertibility The gold standard and beyond Edited by Jorge Braga de Macedo, Barry Eichengreen and Jaime Reis 4 Britain's Place in the World A historical enquiry into import controls 1945-1960 Alan S. Milward and George Brennan 5 France and the International Economy From Vichy to the Treaty of Rome Frances M. B. Lynch 6 Monetary Standards and Exchange Rates M. C. Marcuzzo, L. Officer and A. Rosselli 7 Production Efficiency in Domesday England, 1086 John McDonal.d 8 Free Trade and its Reception 1815-1960 Freedom and trade: volume I Edited by Andrew Marrison 9 Conceiving Companies Joint-stock politics in Victorian England Timothy L.