Vincent's Homeland
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Indeling Van Nederland in 40 COROP-Gebieden Gemeentelijke Indeling Van Nederland Op 1 Januari 2019
Indeling van Nederland in 40 COROP-gebieden Gemeentelijke indeling van Nederland op 1 januari 2019 Legenda COROP-grens Het Hogeland Schiermonnikoog Gemeentegrens Ameland Woonkern Terschelling Het Hogeland 02 Noardeast-Fryslân Loppersum Appingedam Delfzijl Dantumadiel 03 Achtkarspelen Vlieland Waadhoeke 04 Westerkwartier GRONINGEN Midden-Groningen Oldambt Tytsjerksteradiel Harlingen LEEUWARDEN Smallingerland Veendam Westerwolde Noordenveld Tynaarlo Pekela Texel Opsterland Súdwest-Fryslân 01 06 Assen Aa en Hunze Stadskanaal Ooststellingwerf 05 07 Heerenveen Den Helder Borger-Odoorn De Fryske Marren Weststellingwerf Midden-Drenthe Hollands Westerveld Kroon Schagen 08 18 Steenwijkerland EMMEN 09 Coevorden Hoogeveen Medemblik Enkhuizen Opmeer Noordoostpolder Langedijk Stede Broec Meppel Heerhugowaard Bergen Drechterland Urk De Wolden Hoorn Koggenland 19 Staphorst Heiloo ALKMAAR Zwartewaterland Hardenberg Castricum Beemster Kampen 10 Edam- Volendam Uitgeest 40 ZWOLLE Ommen Heemskerk Dalfsen Wormerland Purmerend Dronten Beverwijk Lelystad 22 Hattem ZAANSTAD Twenterand 20 Oostzaan Waterland Oldebroek Velsen Landsmeer Tubbergen Bloemendaal Elburg Heerde Dinkelland Raalte 21 HAARLEM AMSTERDAM Zandvoort ALMERE Hellendoorn Almelo Heemstede Zeewolde Wierden 23 Diemen Harderwijk Nunspeet Olst- Wijhe 11 Losser Epe Borne HAARLEMMERMEER Gooise Oldenzaal Weesp Hillegom Meren Rijssen-Holten Ouder- Amstel Huizen Ermelo Amstelveen Blaricum Noordwijk Deventer 12 Hengelo Lisse Aalsmeer 24 Eemnes Laren Putten 25 Uithoorn Wijdemeren Bunschoten Hof van Voorst Teylingen -
Oral History Interview with Edward B. Thomas, 1983 April 28-May 10
Oral history interview with Edward B. Thomas, 1983 April 28-May 10 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Edward B. Thomas on April 28 & May 10, 1983. The interview took place in Seattle, Washington, and was conducted by John Olbrantz for the Archives of American Art, Smithsonian Institution. Interview DATE: APRIL 28, 1983 [Tape 1] JOHN OLBRANTZ: Ed, can you tell me a little bit about your background, where you were born, your early childhood experiences, your parents, who your father was, who your mother was, how they came to live in this part of the country? EDWARD THOMAS: Well, I was born in Cosmopolis, Washington, and many times when I've come through customs, when I was much younger and especially at the Mexican border, they would say, "Where were you born?" and I'd say, "Cosmopolis, Washington," they'd say, "Look, bud! Don't get funny with us." (laughter) But there actually is such a place as Cosmopolis, Washington. Nobody had any particular influence upon me, I would say, in my younger years as far as becoming interested in art, and particularly teaching art. I had a very severe illness when I was four and five years old and was confined to bed a lot, and so people brought me tablets and color crayons and pencils and stuff like that. -
Gemeenten Roosendaal, Bergen Op Zoom, Halderberge, Etten-Leur, Moerdijk, Rucphen, Steenbergen, Woensdrecht En Zundert
persbericht Gemeenten Roosendaal, Bergen op Zoom, Halderberge, Etten-Leur, Moerdijk, Rucphen, Steenbergen, Woensdrecht en Zundert Datum: 1 maart 2018 Portefeuillehouder: Van Poppel Onderwerp: West Brabant West maakt grote stappen in goede Jeugdzorg ‘Handel alsof het je eigen kind is’ In december 2017 sloten de negen gemeenten Bergen op Zoom, Halderberge, Etten-Leur, Moerdijk, Roosendaal, Rucphen, Steenbergen, Woensdrecht en Zundert overeenkomsten met zeven zorgcombinaties jeugdzorg voor de hoog complexe zorg. Deze overeenkomsten zijn het resultaat van de nieuwe koers die de negen gemeenten sinds 2015 varen na de transitie in het sociaal domein. De zeven zorgcombinaties hebben slagvaardige ketens in de jeugdzorg gevormd die uitgaan van het belang van het kind. Geen aanbesteding In West Brabant West zijn grote stappen gemaakt in het resultaatgericht werken. In 2017 was de mogelijkheid om te kiezen voor de traditionele aanbesteding vanuit de gemeenten. Dat deden zij niet. Elke zorgaanbieder met passend aanbod kan nu opdrachten krijgen. Een groot aantal zorgaanbieders hebben zorgcombinaties gevormd waarmee zij een volledig aanbod kunnen bieden voor de hoog complexe zorg aan onze jeugd. Lef De wijze waarop de zorgaanbieders de samenwerking hebben gezocht met elkaar is vernieuwend en getuigt van lef. Zij zijn koploper in Nederland. Medewerkers op de werkvloer krijgen de ruimte voor het leveren van maatwerk aan cliënten. Dit alles kan alleen als alle partijen op elkaar durven vertrouwen. Deze nieuwe wijze van samenwerking roept natuurlijk in de praktijk vragen op waar antwoorden op gevonden moeten worden. Ook die oplossingen vinden zij samen; aan de overlegtafels. De vraag van het kind Het zorgstelsel in Bergen op Zoom, Halderberge, Etten-Leur, Moerdijk, Roosendaal, Rucphen, Steenbergen, Woensdrecht en Zundert is gericht op de vraag van de cliënt en niet op het aanbod van de zorgaanbieders. -
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2017 Inhoud Woord vooraf 03 Bericht van de Raad van Toezicht 04 Facts & figures 08 Onze bezoekers 09 Tentoonstellingen 15 Educatie 18 Collectie 21 De onderneming 22 Financiële gegevens 28 Bijlagen 30 Aanwinsten 30 Uitgaande bruiklenen 31 Toezicht en directie 32 Culturele samenwerking 33 Partners 34 Colofon 35 1 Woord vooraf Sinds de heropening van Het Noordbrabants Museum in mei 2013 heeft Het Noordbrabants Museum een sterke ontwikkeling doorgemaakt. Dankzij het mooie en goed gelegen museumcomplex, de verzorgde presentaties van kunst en erfgoed, de gevarieerde programmering, de kundige en gastvrije medewerkers en de actieve communicatie is het museum zichtbaarder dan ooit tevoren. Het succes van 2016, het jaar waarin de expositie Jheronimus Bosch tot een nauwelijks te evenaren bezoekersrecord leidde, vormde een hoogtepunt binnen de geschetste ontwikkeling. Het succes van de achter ons liggende jaren heeft ons als directie en medewerkers nog meer bewust gemaakt van de grote mogelijkheden en was eind 2016 dan ook aanleiding opnieuw naar de plannen voor de komende jaren te kijken, onze ambities helder te definiëren en het beleid voor de komende jaren bij te stellen. Concreet betekent dat nóg meer aandacht voor onze bezoekers, nóg meer aandacht voor aantrekkelijke en gevarieerde exposities en presentaties, versterking van de collectie door de verwerving van topstukken en een nog robuustere organisatie met als resultaat een verdere groei van onze bezoekersaantallen. Onze verwachtingen voor 2017 werden echter enigszins getemperd door het gegeven dat een jaar van louter successen over het algemeen wordt gevolgd door een jaar waarin de resultaten tegenvallen of op zijn minst weinig opzienbarend zijn. Die aanname bleek niet juist. -
Van Gogh Museum Journal 2002
Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh. -
Vincent Van Gogh Experienced Another Devastating Life Event
STUDYING ART, FEELING PAIN 0. STUDYING ART, FEELING PAIN - Story Preface 1. EARLY LIFE 2. AN ARTIST IS BORN 3. STUDYING ART, FEELING PAIN 4. THE FIRST MASTERPIECE 5. THE PARIS YEARS 6. INFLUENCE of JAPANESE ART 7. EARLY LIFE in ARLES 8. THE BANDAGED EAR 9. VINCENT at SAINT-REMY 10. THE ATTACKS CONTINUE 11. PAINTING in AUVERS-sur-OISE 12. WORRIES and TURMOIL 13. VINCENT COMMITS SUICIDE 14. THE SADNESS WILL LAST FOREVER Vincent painted “The Vicarage at Nuenen,” where his parents were living in 1885, between the months of September and October that year. The original is now owned by the van Gogh Museum in Amsterdam. Nuenen is located in the south-central area of The Netherlands. To study art, van Gogh moved to Brussels where he was financially supported by his father and younger brother Theo. But Vincent didn't really like formal training in an academic setting, and scholars dispute whether he was actually accepted by the Ecole des Beaux-Art in Brussels. He made progress on his own, however, as he studied - and copied - works by his favorite artist, Jean-François Millet, such as The Sower and Angelus. Before getting too far ahead of himself, Vincent also studied the basics. Charles Bargue, a Frenchman, had designed courses which Vincent ferociously practiced. He told Theo that Exercises au fusain (how to use your pencil) and Cours de dessin (the drawing course, republished in 2003) were especially helpful. Only a few of his drawings from this time period survive. Brussels, in 1881, was an expensive place to live. -
Thermal Sustainability
$UFKLWHFWXUDO Liefooghe, M. 2019. Buildings for Bodies of Work: The Artist Museum After the Death and Return of the Author. Architectural Histories, +LVWRULHV 7(1): 12, pp. 1–13. DOI: https://doi.org/10.5334/ah.296 RESEARCH ARTICLE Buildings for Bodies of Work: The Artist Museum After the Death and Return of the Author Maarten Liefooghe Critiques of the cult of artists, life-and-work narratives, and the authority of authors over the meaning of their works not only unsettle the conventions of literary and art historical studies. They also challenge the importance of the artist museum and its architecture. Adopting Roland Barthes’ discussions of the ‘death’ and ‘return of the author’ of the late 1960s and early 1970s as a critical lens, this article examines how the architecture of artist museums reflects and contributes to the discursive construction of the resilient figure of the artist-author. To do so, the article compares the cultist make-up of the 19th- century Thorvaldsen Museum-Mausoleum (opened in 1848) with the resolutely work-centred museums of Van Gogh (1973) and Roger Raveel (1999). The architecture of the last two examples is significantly different, however. The Van Gogh Museum seemingly negates its monographic orientation, while the Raveel Museum amends a white cube logic with a reserved interpretation of artistic individuality and site-boundedness. Parallel to the institutional interpretation of a museum’s monographic mission, and the curators’ representation of the artist-life-work nexus in exhibitions, architecture is yet another element in a museum’s assemblage of an artist presented as a dead or revived author to its visitors. -
Authentieke Versie (PDF)
Nr. 45194 27 augustus STAATSCOURANT 2020 Officiële uitgave van het Koninkrijk der Nederlanden sinds 1814 Instellingsbesluit van de colleges van burgemeester en wethouders van de gemeenten Alphen-Chaam, Altena, Baarle-Nassau, Bergen op Zoom, Breda, Drimmelen, Etten-Leur, Geertruidenberg, Halderberge, Moerdijk, Oosterhout, Roosendaal, Rucphen, Steenbergen, Woensdrecht en Zundert houdende regels omtrent de instelling van de gemeenschappelijke regeling (Gemeenschappelijke Regeling voor Geweld in Afhankelijkheidsrelaties (GIA) en Meldpunt Crisiszorg West-Brabant) Bekendmaking Het college van burgemeester en wethouders van Breda maakt bekend dat de colleges van burgemeester en wethouders van de gemeenten Alphen-Chaam, Altena, Baarle-Nassau, Bergen op Zoom, Breda, Drimmelen, Etten-Leur, Geertruidenberg, Halderberge, Moerdijk, Oosterhout, Roosendaal, Rucphen, Steenbergen, Woensdrecht en Zundert de ‘Gemeenschappelijke regeling voor Veilig Thuis West-Brabant’ hebben gewijzigd in de ‘Gemeenschappelijke regeling inzake Geweld in afhankelijkheidsrelaties (GIA) en Meldpunt Crisiszorg West-Brabant’. Inwerkingtreding De wijziging treedt in werking met ingang van de dag na die van deze bekendmaking Tekst gemeenschappelijke regeling De colleges van burgemeester en wethouders van de gemeenten Alphen-Chaam, Altena, Baarle-Nassau, Bergen op Zoom, Breda, Drimmelen, Etten-Leur, Geertruidenberg, Halderberge, Moerdijk, Oosterhout, Roosendaal, Rucphen, Steenbergen, Woensdrecht en Zundert; gelet op: - de artikelen 1 en 8, vierde lid, van de Wet gemeenschappelijke -
Van Gogh Museum Journal 1995
Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions. -
Academic CV of Drs. Joris J. Van Zundert Version: 20170912 1235, 12 September 2017
Academic CV of Drs. Joris J. van Zundert version: 20170912_1235, 12 September 2017 Personal Information First names Joris Job Surname Van Zundert Date of birth Sunday 3 March 1972 Affiliation dept. of Literary Studies Huygens Institute for the History of the Netherlands Royal Netherlands Academy of Arts and Sciences Work address Oudezijds Achterburgwal 185 1012 DK Amsterdam Phone +31624461051 E-mail [email protected] [email protected] Twitter / Skype @brandaen / joris.van.zundert Web jorisvanzundert.net www.huygens.knaw.nl/vanzundert/?lang=en Education Drs. In Dutch Literature and Linguistics, Utrecht University, 2001 Supervisor: prof. Dr. Bart Besamusca Dissertation: ‘Screenplay for a Fox’, scholarly research based screen adaptation (script) of the Middle Dutch ‘Of the Fox Reynaert’ Research Positions 2016-pres.: Senior Researcher Humanities Computing, Huygens Institute for the History of the Netherlands—Royal Netherlands Academy of Arts and Sciences. 2012-2016: Researcher & Developer in Digital and Computational Humanities, Huygens Institute for the History of the Netherlands—Royal Netherlands Academy of Arts and Sciences. 2009-2012: Researcher Digital Humanities/Project Manager ‘Alfalab’, Royal Netherlands Academy of Arts and Sciences. 2005-2009: Department Head of IT R&D, Huygens Institute—Royal Netherlands Academy of Arts and Sciences. 2003-2005: Researcher and Scientific Programmer, Constantijn Huygens Institute for the Intellectual History In the Netherlands. 2001-2003: Scientific Programmer/Expert Digital Resources. Netherlands Institute for Scientific Information Services. Selected publications Single Author Zundert, J. J. van. (2016). Author, Editor, Engineer — Code & the Rewriting of Authorship in Scholarly Editing. Interdisciplinary Science Reviews, 40(4): 349–375. 10.1080/03080188.2016.1165453. -
Vincent Van Gogh in Arles
VINCENT VAN GOGH IN ARLES “Van Gogh sur la route de Tarascon” Known also as “The painter on his way to work”, July 1888, 48 x 44 cm Formerly in the Kaiser-Friedrich-Museum, Magdeburg, Germany (Destroyed by fire in 1945) https://commons.wikimedia.org/wiki/File:Vincent_Van_Gogh_0013.jpg A Walk-Around of Selected Sites L. M. Boring Membre de l’Association des Artistes Alpicois, Le Pecq 28 February 2019 Vincent Van Gogh arrived in Arles by train on Monday, February 20, 1888, with an idea to found an artist colony in the south “Wishing to see a different light, thinking that looking at nature under a bright sky might give us a better idea of the Japanese way of feeling and drawing. Wishing also to see this stronger sun, because one could not understand Delacroix’s pictures from the point of view of execution and technique without knowing it, and because one feels that the colors of the prism are veiled in the mist of the North.” Oddly and by happenstance, when he arrived, he found the countryside covered in snow, and among his first paintings were soft landscapes of snow covered fields. He found lodging in the Hotel-Restaurant Carrel, but his stay ended badly over a billing dispute after only two months. Vincent signed a lease on May 1st for a small four-room two-story semi-detached house on the Place Lamartine, not far from the train station. Its stucco exterior was bright ochre, and it became known by Van Gogh’s paintings as La Maison Jaune, the Yellow House. -
Taste Abbeyseng
Sample the 5 Trappists! Cross-border cycling route in Brabant and Flanders The Trappist region The Trappist region ‘The Trappists’ are members of the Trappist region; The Trappist order. This Roman Catholic religious order forms part of the larger Cistercian brotherhood. Life in the abbey has as its motto “Ora et Labora “ (pray and work). Traditional skills form an important part of a monk’s life. The Trappists make a wide range of products. The most famous of these is Trappist Beer. The name ‘Trappist’ originates from the French La Trappe abbey. La Trappe set the standards for other Trappist abbeys. The number of La Trappe monks grew quickly between 1664 and 1670. To this today there are still monks working in the Trappist brewerys. Trappist beers bear the label "Authentic Trappist Product". This label certifies not only the monastic origin of the product but also guarantees that the products sold are produced according the traditions of the Trappist community. More information: www.trappist.be Route booklet Sample the 5 Trappists Sample the 5 Trappists! Experience the taste of Trappist beers on this unique cycle route which takes you past 5 different Trappist abbeys in the provinces of North Brabant, Limburg and Antwerp. Immerse yourself in the life of the Trappists and experience the mystical atmosphere of the abbeys during your cycle trip. Above all you can enjoy the renowned Brabant and Flemish hospitality. Sample a delicious Trappist to quench your thirst or enjoy the beautiful countryside and the towns and villages with their charming street cafes and places to stay overnight.