Rembrandt's Social Network
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Jacob Van Ruisdael Gratis Epub, Ebook
JACOB VAN RUISDAEL GRATIS Auteur: P. Biesboer Aantal pagina's: 168 pagina's Verschijningsdatum: 2002-04-13 Uitgever: Waanders EAN: 9789040096044 Taal: nl Link: Download hier Dutch Painting April 8 - 14 works 95 0. January 20 - 7 works 60 0. Accept No, rather not. Add to my sets. Share it on Facebook. Share on Twitter. Pin it on Pinterest. Back to top. Similarly at this early stage of his career he absorbed some influence of contemporary landscape painters in Haarlem such as Jan van Goyen, Allart van Everdingen, Cornelis Vroom and Jacob van Mosscher. We intend to illustrate this with a selection of eight earlier works by these artists. However, there are already some remarkable differences to be found. Ruisdael developed a more dramatic effect in the rendering of the different textures of the trees, bushes and plants and the bold presentation of one large clump of oak trees leaning over with its gnarled and twisted trunks and branches highlighted against the dark cloudy sky. Strong lighting hits a sandy patch or a sandy road creating dramatic colour contrasts. These elements characterize his early works from till It is our intention to focus on the revolutionary development of Ruisdael as an artist inventing new heroic-dramatic schemes in composition, colour contrast and light effects. Our aim is to follow this deveopment with a selection of early signed and dated paintings which are key works and and show these different aspects in a a series of most splendid examples, f. Petersburg, Leipzig, München and Paris. Rubens en J. Brueghel I. Ruisdael painted once the landscape for a group portrait of De Keyser Giltaij in: Sutton et al. -
In the Footsteps of the Dutch Masters by Rail
In the Footsteps of the Dutch Masters by Rail Travel Train Seats On the Eurostar legs of the journey you have Passports reserved seat and carriage numbers which are Please ensure your 10 year British Passport is not shown clearly on your ticket. There are no seat out of date and is valid for a full three months reservations between Brussels and The Hague, your beyond the duration of your visit. EU, Andorra, tour manager will have a group ticket for this Liechtenstein, Monaco, San Marino or Switzerland section of the journey. valid national identification cards are also acceptable for travel to the Netherlands. Baggage Visas As with most trains, passengers are responsible for British and EU passport holders are not required to carrying baggage onto and off the train. Baggage have a visa. can be stored on overhead shelves or at the entrance to the carriages. Trollies are available at St For all other passport holders please check the visa Pancras and Lille, but bags do need to be carried on requirements with the appropriate embassy. to the platform. Porters are sometimes but not always available at St Pancras. Dutch Embassy: 38 Hyde Park gate, London SW7 5DP. Tel: (0)20 7590 3200 or (09065) 508 916 (visa Travel Editions recommends a luggage delivery information line). Fax: (0)20 7581 348. service called thebaggageman, where your suitcase Email: [email protected]. can be picked up from your home before departure Website: www.netherlands-embassy.org.uk and delivered straight to your hotel; therefore Open Mon-Fri 0900-1700; 0900-1200 (for visa and removing the worry about carrying your cases onto passport section) and off the trains. -
I AMSTERDAM CITY MAP Mét Overzicht Bezienswaardigheden En Ov
I AMSTERDAM CITY MAP mét overzicht bezienswaardigheden en ov nieuwe hemweg westerhoofd nieuwe hemweg Usselincx-haven westerhoofd FOSFAATWEG METHAANWEG haven FOSFAATWEG Usselincx- A 8 Zaandam/Alkmaar D E F G H J K L M N P N 2 4 7 Purmerend/Volendam Q R A B C SPYRIDON LOUISWEG T.T. VASUMWEG 36 34 MS. OSLOFJORDWEG Boven IJ 36 WESTHAVENWEG NDSM-STR. 34 S118 K BUIKSLOOTLAAN Ziekenhuis IJ BANNE Buiksloot HANS MEERUM TERWOGTWEG KLAPROZENWEG D R R E 38 T I JDO J.J. VAN HEEKWEG O O N 2 4 7 Purmerend/Volendam Q KRAANSPOOR L RN S101 COENHAVENWEG S LA S116 STREKKERWEG K A I SCHEPENLAAN N 34 U Buiksloterbreek P B SCHEPENLAAN 36 NOORD 1 36 MT. LINCOLNWEG T.T. VASUMWEG KOPPELINGPAD ABEBE BIKILALAAN N SEXTANTWEG FERRY TO ZAANSTAD & ZAANSE SCHANS PINASSTRAAT H. CLEYNDERTWEG A 1 0 1 PAPIERWEG SPYRIDON LOUISWEG MARIËNDAAL NIEUWE HEMWEG COENHAVENWEG B SPYRIDON LOUISWEG SINGEL M U K METAAL- 52 34 34 MT. ONDINAWEG J Ring BEWERKER-I SPYRIDON LOUISWEG I KS K 38 DECCAWEG LO D J 36 36 MARIFOONWEG I ELZENHAGEN- T L map L DANZIGERKADE MARJOLEINSTR. D E WEG A 37 Boven IJ R R 36 K A RE E 38 SPELDERHOLT VLOTHAVENWEG NDSM-LAAN E 34 N E METHAANWEG K K A M Vlothaven TT. NEVERITAWEG 35 K RADARWEG 36 R Ziekenhuis FOSFAATWEG MS. VAN RIEMSDIJKWEG Stadsdeel 38 H E MARIËNDAALZILVERBERG J 36 C T Noord HANS MEERUM TERWOGTWEG 38 S O Sportcomplex IJDOORNLAAN 34 J.J. VAN HEEKWEG S101 K D L S N A H K BUIKSLOOTLAAN BUIKSLOTERDIJK SPELDERHOLT NSDM-PLEIN I 34 BUIKSLOTERDIJK A Elzenhage KWADRANTWEG M L U MINERVAHAVENWEG SLIJPERWEG J. -
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 ................................................................................................................. -
Print Format
Allaert van Everdingen (Alkmaar 1621 - Amsterdam 1675) Month of August (Virgo): The Harvest brush and grey and brown wash 11.1 x 12.8 cm (4⅜ x 5 in) The Month of August (Virgo): The Harvest has an extended and fascinating provenance. Sold as part of a complete set of the twelve months in 1694 to the famed Amsterdam writer and translator Sybrand I Feitama (1620-1701), it was passed down through the literary Feitama family who were avid collectors of seventeenth-century Dutch works on paper.¹ The present work was separated from the other months after their 1758 sale and most likely stayed in private collections until 1936 when it appeared in Christie’s London saleroom as part of the Henry Oppenheimer sale. Allaert van Everdingen was an exceptional draughtsman who was particularly skilled at making sets of drawings depicting, with appropriate images and activities, the twelve months of the year.² This tradition was rooted in medieval manuscript illumination, but became increasingly popular in the context of paintings, drawings and prints in the sixteenth century.³ In the seventeenth century, the popularity of such themed sets of images began to wane, and van Everdingen’s devotion to the concept was strikingly unusual. He seems to have made at least eleven sets of drawings of the months, not as one might have imagined, as designs for prints, but as artistic creations in their own right. Six of these sets remain intact, while Davies (see lit.) has reconstructed the others, on the basis of their stylistic and physical characteristics, and clues from the early provenance of the drawings. -
JAN JOSEFSZ. VAN GOYEN (Leiden 1596 – 1656 the Hague)
CS0349 JAN JOSEFSZ. VAN GOYEN (Leiden 1596 – 1656 The Hague) The Ferry Signed and dated, lower centre: I V:GO…EN 1625 Oil on panel, 17¾ x 36⅝ ins. (45.1 X 93 cm) PROVENANCE H. Charles Erhardt, 151 Clapham Road, London His deceased sale, Christie’s, London, 19 June 1931, lot 29 (130 gns. to the following) With Julius Singer, Prague Dr. Erwin Langweil (1880-1954), Prague, from whom confiscated in 1943 as Reichseigentum and presented to, Böhmosch-Mährische Landegalerie, Prague, from where recovered in 1950 and placed in the following, Strahov Refectory Collecting Point Národni Galerie, Prague, 1961 (inv. no. D0-6031) Restituted to the heirs of Dr. Erwin Langweil, represented by Mondex Corporation of Toronto, Canada, 29 October 2018 Private collection, United Kingdom, 2019 EXHIBITED Prague, The National Gallery, Sbirka starého uměni, 1960, no. 277. Prague, The National Gallery, Sbirka starého uměni. Seznam vystavených děl, 1971, no. 266. Bratislava, 1981, no. 13. Tokyo, Metropolitan Art Museum; Kyoto, Municipal Museum of Art, Bruegel and Netherlandish Painting from the National Gallery, Prague, 20 March-7 May 1990, no. 48. LITERATURE H. van de Waal, Jan van Goyen, Amsterdam, 1941, p. 11, illustrated. A. Bengtsson, Studies on the Rise of Realistic Landscape Painting in Holland 1610-1625, Stockholm, 1952, p. 72. E. Filla, Jan van Goyen, Prague, 1959, illustrated. J. Šip, Dutch Painting, Prague, 1961, no. 45 J. Šip,’ Úvaha o realism v krajinářstvi tvorbě Nizozemi‘, Výtvarné uměni, XIV, 1964, p. 175. J. Šip, Holandské krajinářské 17. Stoleti, Prague, 1965, no. 44. A. Dobrzycka, Jan van Goyen, Posen, 1966, pp. -
On Brabant Rubbish, Economic Competition, Artistic Rivalry, And
UvA-DARE (Digital Academic Repository) On Brabant rubbish, economic competition, artistic rivalry and the growth of the market for paintings in the first decades of the seventeenth century Sluijter, E.J. Publication date 2009 Document Version Final published version Published in Journal of Historians of Netherlandish Art Link to publication Citation for published version (APA): Sluijter, E. J. (2009). On Brabant rubbish, economic competition, artistic rivalry and the growth of the market for paintings in the first decades of the seventeenth century. Journal of Historians of Netherlandish Art, 1(2). http://jhna.org/index.php/volume-1-issue-2/72- vol1issue2/109-on-brabant-rubbish-economic-competition-artistic-rivalry-and-the-growth-of- the-market-for-paintings-in-the-first-decades-of-the-seventeenth-century General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:30 Sep 2021 HOME VOLUME 1: ISSUE 2 PAST ISSUES SUBMISSIONS ABOUT JHNA SUPPORT JHNA CONTACT search.. -
Biblical and Jewish Motives in Art from Renaissance Till Contemporary Times
Biblical and Jewish motives in art from Renaissance till contemporary times. The Tower of Babel, Pieter Brueghel the Elder, Bereshit/Genesis 11:1-9. Biblical and Jewish motives in art from Renaissance till contemporary times Biblical and Jewish Motives in Art from Renaissance till Contemporary Times. During the Renaissance 17th century c.e. great non-Jewish Grand Masters in the painting art have contributed a great part in the distribution of themes from the Tanach around the globe. It is to be said that these great Grand Masters created these art works in Christian influence and were commissioned by the church. The Grand Masters in painting art are some notably Rembrandt, Rubens, Michelangelo and many others.Aside Biblical artwork made by the Grand Masters from the Renaissance throughout the industrial revolution 19th century c.e. Jewish artwork made by Jewish artists came at the beginning of the 19th century c.e., artists as Maurycy Gottlieb. These artists will be mentioned in this essay as Jewish art work from the 20th century c.e. as Marc Chagall, Chaim Gross and others. I wrote this essay in full awareness that, in contradiction with any book about Jewish art, it would be more consulted and probably read. But art has always interested me and to see it combined with my interests in Judaism is a fascinating and encouraging experience. It is the ideal introduction and announcement of the Tanach towards everyone. This essay would be written with explanatory and information but it will consist mostly with images of these wonderful and beautiful artwork. -
De Onstuimige Wateren Van Porcellis Frans Hals Museum Verwerft Zeegezicht Van Groot Pionier
VERZAMELGEBIED GESTEUND SCHILDERKUNST 17DE EEUW De onstuimige wateren van Porcellis Frans Hals Museum verwerft zeegezicht van groot pionier Goed bewaard gebleven en representatieve Jan Porcellis (ca. 1584-1632) is een van de meest schilderijen van de vernieuwende zeeschilder geprezen marineschilders uit de 17de eeuw. Schilder- Jan Porcellis komen zelden op de markt. biograaf Samuel van Hoogstraten noemde hem in 1678 ‘dien grooten Raphel [Raphael] in ’t zeeschildren’.1 Toen ik afgelopen voorjaar bij een handelaar Aan het begin van de 17de eeuw bracht hij een revolutie een bijzonder vroeg en uitzonderlijk goed in de schilderkunst teweeg. Volgens de schilder en bewaard gebleven stuk van hem tegenkwam, kunstenaarsbiograaf Arnold Houbraken is de in de was ik dan ook enthousiast: dit was een Zuidelijke Nederlanden geboren Porcellis in Haarlem in de leer geweest bij de beroemde zeeschilder buitenkans voor het Frans Hals Museum. Hendrick Vroom (1562/63-1640), die aan het begin De directeur pikte mijn voorstel op en mede van de Gouden Eeuw domineerde in de Hollandse dankzij de Vereniging Rembrandt, die onze marineschilderkunst.2 spoedaanvraag direct honoreerde en daarmee voor een vliegwieleffect in de fondsenwerving ’T SCHUIMENDE PEKEL zorgde, kan het Frans Hals Museum nu Vroom staat bekend om zijn imposante, kleurrijke voorstellingen vol anekdotische details. Porcellis op grootse wijze het verhaal vertellen over daarentegen introduceerde samenhang: hij toonde de pionier Porcellis en zijn belang voor de schepen in perspectivisch overtuigende verhouding tot ontwikkeling van de (zee)schilderkunst. elkaar, vermengde zijn kleuren en sorteerde daarmee Het schilderij sluit hiermee naadloos aan bij een ruimtelijk effect, waarmee hij ook weerscondities het collectieverhaal van het museum dat in tastbaar maakte: opstekende en vertrekkende stormen, het teken staat van artistieke vernieuwing. -
Amsterdam: on the Road with Rembrandt
Amsterdam: On the road with Rembrandt As the National Gallery opens a major exhibition, Jonathan Lorie travels to the Old Master's home JONATHAN LORIE MONDAY 13 OCTOBER 2014 127 PRINT A A A 'It's like getting to know Rembrandt as a friend," whispers Celeste as she smears black ink across the fine lines of the copper plate. "People come here and watch me making these prints and sometimes they cry." Autumn light falls through a leaded window into the room where the master once worked. "I think it's because he put so much emotion into his pictures." She cranks the plate through a wooden printing press where it bites into a sheet of creamy paper. When we peel them apart, what I'm holding in my hand is the closest thing I will ever get to owning a Rembrandt etching. Out of the page stares a portrait of his wife, Saskia, a curly-haired woman in the second year of their marriage, with a quiet smile and patient eyes. It is signed and dated 1636. We are standing in Amsterdam's Rembrandt House Museum – the actual house where the couple lived in his heyday as a fashionable painter of the Dutch Golden Age. I have come here to explore his world, as a major exhibition of his later works opens at the National Gallery in London. And you can't get any closer to the great man than wandering the 17th-century rooms of his home. I am shown around by the curator, Dr David de Witt. -
Press Release (PDF)
YA L E U N I V E R S I T Y A R T PRESS For Immediate Release GALLERY RELEASE September 26, 2014 AN OUTSTANDING LOAN TO THE YALE UNIVERSITY ART GALLERY OF 30 DUTCH 17TH-CENTURY PAINTINGS FROM THE ROSE-MARIE AND EIJK VAN OTTERLOO COLLECTION New Haven, Conn., September 26, 2014—The tremendous commercial and political success enjoyed by the Dutch Republic during the 17th century led to an unprecedented period of cultural, artistic, and scientific accomplishment in the Netherlands. This era is generally considered the Golden Age of Dutch art, when painters developed a range of new styles and subjects and achieved levels of quality unparalleled by any other European school at the time. Already coveted by collectors in 18th-century Britain, paintings by the Dutch masters have been the object of fierce competition among Jacob van Ruisdael, View of Haarlem, ca. 1670–75. Oil on canvas. Rose-Marie and Eijk van Otterloo French, German, and American collectors since the middle of the Collection 19th century, and today they command pride of place on the walls of museums and galleries around the world. Over the past two decades, Rose-Marie and Eijk van Otterloo have assembled one of the most magnificent private collections of 17th-century Dutch art in the world, comprising superb examples of nearly all the major categories of subject matter explored by artists of the time: portraits, landscapes, church interiors, still lifes, genre scenes, and more. All of the works in the van Otterloo collection are distinguished by their remarkable quality, enviable condition, and dazzling display of pictorial craft. -
In the United States District Court for the District of South Carolina Charleston Division
2:18-cv-03123-BHH Date Filed 11/19/18 Entry Number 1 Page 1 of 59 IN THE UNITED STATES DISTRICT COURT FOR THE DISTRICT OF SOUTH CAROLINA CHARLESTON DIVISION § BRUCE BERG, AS HEIR TO BENJAMIN § KATZ, A PARTNER IN FIRMA D. KATZ § § Case No. ___________________2:18-cv-3123-BHH Plaintiff, § § v. § § KINGDOM OF THE NETHERLANDS; § MINISTRY OF EDUCATION, CULTURE & § JURY TRIAL DEMANDED SCIENCE OF THE NETHERLANDS; § CULTURAL HERITAGE AGENCY OF THE § NETHERLANDS; MUSEUM HET § REMBRANDTHUIS, A/K/A REMBRANDT § HOUSE MUSEUM; MUSEUM BOIJMANS § VAN BEUNINGEN; FRANS HALS MUSEUM; § CENTRAAL MUSEUM; MUSEUM § CATHARIJNECONVENT; RIJKSMUSEUM; § RIJKSMUSEUM TWENTHE; DORDRECHTS § MUSEUM; MUSEUM DE LAKENHAL; § MUSEUM GOUDA; MUSEUM VOOR § RELIGIEUZE KUNST; § BONNEFANTENMUSEUM; HET § NOORDBRABANTSMUSEUM; LIMBURGS § MUSEUM; PALEIS HET LOO; MUSEUM § ONS’ LIEVE HEER OP SOLDER; STICHTING § BIJBELS MUSEUM; MUSEUM ROTTERDAM; § MUSEUM HET PRINSENHOF; HISTORISCH § CENTRUM HET MARKIEZENHOF, § § Defendants. § COMPLAINT 2:18-cv-03123-BHH Date Filed 11/19/18 Entry Number 1 Page 2 of 59 TABLE OF CONTENTS I. Introductory Statement.........................................................................................................1 II. Parties ...................................................................................................................................4 A. Plaintiff ....................................................................................................................4 B. Defendants ...............................................................................................................5