Codart Courant 14 Codart Or Curse Blessing? Room Print University the of Leiden of Museum Florida Sarasota, Art, Work in with Figures: Progress In
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SIMON DE VOS (1603 – Antwerp – 1676)
CS0371 SIMON DE VOS (1603 – Antwerp – 1676) The Lamentation Signed and dated, lower left: S. D Vos. in et F 1644 Oil on panel, 14½ x 17⅝ ins. (36.8 x 44.8 cm) PROVENANCE With James A. Gorry, Dublin, until Anonymous sale, Christie’s, London, 6 October, 1950, lot 123 Anonymous sale, Christie’s, London, 9 July 2014, lot 159 (The Property of a Lady) Private collection, England, until 2021 Born in Antwerp in 1603, Simon de Vos studied with the portraitist Cornelis de Vos (1603- 1676) before enrolling as a master in the Antwerp Guild of St. Luke in 1620. Subsequently, he is thought to have rounded off his education with a trip to Italy. Although undocumented, a sojourn in Italy during the 1620s is the only plausible explanation for the stylistic similarities that exist between some of his early genre scenes and those of the German-born artist Johann Liss (c. 1595-1631), who was in Rome and Venice at that time. In any event, de Vos was back in his hometown by 1627, the year in which he married Catharina, sister of the still-life painter Adriaen van Utrecht (1599-1652). He remained in Antwerp for the rest of his life. In his early career, Simon de Vos painted mostly cabinet-sized genre scenes. He specialised in merry company subjects, whose style and composition recall similar works by such Dutch contemporaries as Antonie Palamedesz. (1601-1673), Dirck Hals (1591-1656) and Pieter Codde (1599-1678). After about 1640, he turned increasingly to biblical subjects that show the influence of Frans Francken the Younger (1581-1642), Peter Paul Rubens (1577-1640) and Anthony van Dyck (1599-1641). -
Hans Rottenhammer's Use of Networks in the Copper
arts Article Intermediaries and the Market: Hans Rottenhammer’s Use of Networks in the Copper Painting Market Sophia Quach McCabe Department of History of Art and Architecture, University of California, Santa Barbara, Santa Barbara, CA 93106, USA; [email protected] Received: 1 February 2019; Accepted: 16 June 2019; Published: 24 June 2019 Abstract: In Willem van Haecht’s Gallery of Cornelis van der Geest, The Last Judgment by the German artist Hans Rottenhammer stands prominently in the foreground. Signed and dated 1598, it is one of many copper panel paintings Rottenhammer produced and sent north of the Alps during his decade-long sojourn in Venice. That the work was valued alongside those of Renaissance masters raises questions about Rottenhammer’s artistic status and how the painting reached Antwerp. This essay examines Rottenhammer’s international market as a function of his relationships with artist-friends and agents, especially those in Venice’s German merchant community. By employing digital visualization tools alongside the study of archival documents, the essay attends to the intermediary connections within a social network, and their effects on the art market. It argues for Rottenhammer’s use of—and negotiation with—intermediaries to establish an international career. Through digital platforms, such as ArcGIS and Palladio, the artist’s patronage group is shown to have shifted geographically, from multiple countries around 1600 to Germany and Antwerp after 1606, when he relocated to Augsburg. Yet, the same trusted friends and associates he had established in Italy continued to participate in Rottenhammer’s business of art. Keywords: Hans Rottenhammer; social network; intermediaries; mediation; digital humanities; digital art history; merchants; art market; copper painting; Jan Brueghel the Elder 1. -
Un Univers Intime Paintings in the Frits Lugt Collection 1St March - 27 Th May 2012
Institut Centre culturel 121 rue de Lille - 75007 Paris Néerlandais des Pays-Bas www.institutneerlandais.com UN UNIVERS INTIME PAINTINGS IN THE FRITS LUGT COLLECTION 1ST MARCH - 27 TH MAY 2012 MAI 2012 Pieter Jansz. Saenredam (Assendelft 1597 - 1665 Haarlem) Choir of the Church of St Bavo in Haarlem, Seen from the Christmas Chapel , 1636 UN UNIVERS Paintings in the Frits INTIME Lugt Collection Press Release The paintings of the Frits Lugt Collection - topographical view of a village in the Netherlands. Fondation Custodia leave their home for the The same goes for the landscape with trees by Jan Institut Néerlandais, displaying for the first time Lievens, a companion of Rembrandt in his early the full scope of the collection! years, of whom very few painted landscapes are known. The exhibition Un Univers intime offers a rare Again, the peaceful expanse of water in the View of a opportunity to view this outstanding collection of Canal with Sailing Boats and a Windmill is an exception pictures (Berchem, Saenredam, Maes, Teniers, in the career of Ludolf Backhuysen, painter of Guardi, Largillière, Isabey, Bonington...), expanded tempestuous seascapes. in the past two years with another hundred works. The intimate interiors of Hôtel Turgot, home to the Frits Lugt Collection, do indeed keep many treasures which remain a secret to the public. The exhibition presents this collection which was created gradually, with great passion and discernment, over nearly a century, in a selection of 115 paintings, including masterpieces of the Dutch Golden Age, together with Flemish, Italian, French and Danish paintings. DUTCH OF NOTE Fig. -
MAGIS Brugge
Artl@s Bulletin Volume 7 Article 3 Issue 2 Cartographic Styles and Discourse 2018 MAGIS Brugge: Visualizing Marcus Gerards’ 16th- century Map through its 21st-century Digitization Elien Vernackt Musea Brugge and Kenniscentrum vzw, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the Digital Humanities Commons, and the Medieval History Commons Recommended Citation Vernackt, Elien. "MAGIS Brugge: Visualizing Marcus Gerards’ 16th-century Map through its 21st-century Digitization." Artl@s Bulletin 7, no. 2 (2018): Article 3. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Cartographic Styles and Discourse MAGIS Brugge: Visualizing Marcus Gerards’ 16th-century Map through its 21st-century Digitization Elien Vernackt * MAGIS Brugge Project Abstract Marcus Gerards delivered his town plan of Bruges in 1562 and managed to capture the imagination of viewers ever since. The 21st-century digitization project MAGIS Brugge, supported by the Flemish government, has helped to treat this map as a primary source worthy of examination itself, rather than as a decorative illustration for local history. A historical database was built on top of it, with the analytic method called ‘Digital Thematic Deconstruction.’ This enabled scholars to study formally overlooked details, like how it was that Gerards was able to balance the requirements of his patrons against his own needs as an artist and humanist Abstract Marcus Gerards slaagde erin om tot de verbeelding te blijven spreken sinds hij zijn plan van Brugge afwerkte in 1562. -
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. -
Bruegel Notes Writing of the Novel Began October 20, 1998
Rudy Rucker, Notes for Ortelius and Bruegel, June 17, 2011 The Life of Bruegel Notes Writing of the novel began October 20, 1998. Finished first fully proofed draft on May 20, 2000 at 107,353 words. Did nothing for a year and seven months. Did revisions January 9, 2002 - March 1, 2002. Did additional revisions March 18, 2002. Latest update of the notes, September 7, 2002 64,353 Words. Table of Contents Table of Contents .................................................................................................... 1 Timeline .................................................................................................................. 9 Painting List .......................................................................................................... 10 Word Count ........................................................................................................... 12 Title ....................................................................................................................... 13 Chapter Ideas ......................................................................................................... 13 Chapter 1. Bruegel. Alps. May, 1552. Mountain Landscape. ....................... 13 Chapter 2. Bruegel. Rome. July, 1553. The Tower of Babel. ....................... 14 Chapter 3. Ortelius. Antwerp. February, 1556. The Battle Between Carnival and Lent......................................................................................................................... 14 Chapter 4. Bruegel. Antwerp. February, -
The Intersection of Art and Ritual in Seventeenth-Century Dutch Visual Culture
Picturing Processions: The Intersection of Art and Ritual in Seventeenth-century Dutch Visual Culture By © 2017 Megan C. Blocksom Submitted to the graduate degree program in Art History and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Dr. Linda Stone-Ferrier Dr. Marni Kessler Dr. Anne D. Hedeman Dr. Stephen Goddard Dr. Diane Fourny Date Defended: November 17, 2017 ii The dissertation committee for Megan C. Blocksom certifies that this is the approved version of the following dissertation: Picturing Processions: The Intersection of Art and Ritual in Seventeenth-century Dutch Visual Culture Chair: Dr. Linda Stone-Ferrier Date Approved: November 17, 2017 iii Abstract This study examines representations of religious and secular processions produced in the seventeenth-century Northern Netherlands. Scholars have long regarded representations of early modern processions as valuable sources of knowledge about the rich traditions of European festival culture and urban ceremony. While the literature on this topic is immense, images of processions produced in the seventeenth-century Northern Netherlands have received comparatively limited scholarly analysis. One of the reasons for this gap in the literature has to do with the prevailing perception that Dutch processions, particularly those of a religious nature, ceased to be meaningful following the adoption of Calvinism and the rise of secular authorities. This dissertation seeks to revise this misconception through a series of case studies that collectively represent the diverse and varied roles performed by processional images and the broad range of contexts in which they appeared. Chapter 1 examines Adriaen van Nieulandt’s large-scale painting of a leper procession, which initially had limited viewership in a board room of the Amsterdam Leprozenhuis, but ultimately reached a wide audience through the international dissemination of reproductions in multiple histories of the city. -
"Flemish" Hats Or, Why Are You Wearing a Lampshade? by BRIDGET WALKER
Intro to Late Period "Flemish" Hats Or, Why Are You Wearing a Lampshade? BY BRIDGET WALKER An Allegory of Autumn by Lucas Van Valkenborch Grietje Pietersdr Codde by Adriaen (1535-1597) Thomasz. Key, 1586 Where Are We Again? This is the coast of modern day Belgium and The Netherlands, with the east coast of England included for scale. According to Fynes Moryson, an Englishman traveling through the area in the 1590s, the cities of Bruges and Ghent are in Flanders, the city of Antwerp belongs to the Dutchy of the Brabant, and the city of Amsterdam is in South Holland. However, he explains, Ghent and Bruges were the major trading centers in the early 1500s. Consequently, foreigners often refer to the entire area as "Flemish". Antwerp is approximately fifty miles from Bruges and a hundred miles from Amsterdam. Hairstyles The Cook by PieterAertsen, 1559 Market Scene by Pieter Aertsen Upper class women rarely have their portraits painted without their headdresses. Luckily, Antwerp's many genre paintings can give us a clue. The hair is put up in what is most likely a form of hair taping. In the example on the left, the braids might be simply wrapped around the head. However, the woman on the right has her braids too far back for that. They must be sewn or pinned on. The hair at the front is occasionally padded in rolls out over the temples, but is much more likely to remain close to the head. At the end of the 1600s, when the French and English often dressed the hair over the forehead, the ladies of the Netherlands continued to pull their hair back smoothly. -
Jaarverslag 2017 Jaarverslag
Jaarverslag 2017 Jaarverslag 2017 Stichting Nederlands Literatuurmuseum en en Literatuurarchief Literatuurmuseum Stichting Nederlands Literatuurarchief Prins Willem-Alexanderhof 5 2595 BE Den Haag Postbus 90515, 2509 LM Den Haag telefoon 070 333 9666 Op de hoogte blijven? Volg ons: @litmuseum en/of @kinderboekenmus Stichting Nederlands Literatuurmuseum en www.literatuurmuseum.nl www.kinderboekenmuseum.nl Literatuurarchief Voorwoord 5 Aanwinsten 7 Archief Literatuurmuseum.nl 10 Onderzoek en wetenschap 13 Publicaties 14 6 Bruiklenen 15 Erfgoedinspectie en plannen 15 Literatuurmuseum en Tentoonstellingen 17 Educatie 21 Kinderboekenmuseum Evenementen 24 Marketing en Publieksbereik 28 16 Samenwerking 32 Organisatie Raad van Toezicht 36 Personeel 36 35 Financiën en cultureel Ondernemerschap 41 Huisvesting 41 ondernemerschap Prestatiedoelstellingen 41 39 Aanwinsten 42 Bijlagen Schenkers en bruikleengevers 48 42 Voorwoord at een jaar en wat een hoog bezoekcijfer: Met de komst van een hoofd Collecties W101.014 om precies te zijn. Ruim 50 % per 1 februari 2018 zullen deze plannen meer dan het aantal bezoekers van vorig jaar. voortvarend worden uitgevoerd. Het feit dat Een geweldige prestatie, vooral ook omdat de het museum nog altijd kampt met financiële gemiddelde toename van het museumbezoek in problemen als gevolg van de forse structurele Nederland 8,7% bedroeg. bezuinigingen in 2012 zullen we maar modieus als een ‘uitdaging’ typeren. Het is natuurlijk maar de vraag of deze aantallen in 2018 geconsolideerd kunnen De huisvesting ten slotte legde ook in het worden. Daar zullen we niettemin hard aan verslagjaar een groot beslag op de tijd. werken. De cijfers zijn in ieder geval een Bovendien frustreerde de onzekerheid op bemoedigende steun in de rug om de ingeslagen huisvestingsgebied de bedrijfsvoering in weg te vervolgen. -
A Landscape with a Convoy on a Wooded Track Under Attack Oil on Panel 44 X 64 Cm (17⅜ X 25¼ In)
Sebastian Vrancx (Antwerp 1573 - Antwerp 1647) A Landscape with a Convoy on a Wooded Track under Attack oil on panel 44 x 64 cm (17⅜ x 25¼ in) Sebastian Vrancx was one of the first artists in the Netherlands to attempt battle scenes and A Landscape with Convoy on a Wooded Track under Attack offers an excellent example of his work. A wagon is under attack from bandits who have been hiding in the undergrowth on the right-hand side of the painting. The wagon has stopped as its driver flees for the safety of the bushes, whilst its occupants are left stranded inside. The wagon is guarded by three soldiers on horseback but in their startled state none have managed to engage their attackers. A line of bandits emerge from their hiding place and circle behind and around their victims, thus adding further to the confusion. Two figures remain in the bushes to provide covering fire and above them, perched in a tree, is one of their companions who has been keeping watch for the convoy and now helps to direct the attack. The scene is set in a softly coloured and brightly-lit landscape, which contrasts with the darker theme of the painting. Attack of Robbers, another scene of conflict, in the Hermitage, also possesses the decorative qualities and Vrancx’s typically poised figures, just as in A Landscape with a Convoy on a Wooded Track under Attack. A clear narrative, with travellers on horses attempting to ward off robbers, creates a personal and absorbing image. It once more reveals Vrancx’s delight in detailing his paintings with the dynamic qualities that make his compositions appealing on both an aesthetic and historical level. -
Recent Acquisitions (2006–20) at the Mauritshuis, the Hague
Recent acquisitions (2006–20) at the Mauritshuis, The Hague Supplement COVER_NOV20.indd 1 09/11/2020 09:41 Recent acquisitions (2006–20) at the Mauritshuis, The Hague he royal picture gallery mauritshuis in The 1. Paintings by Nicolaes Berchem reunited at the Mauritshuis. Hague is often likened to a jewellery box that contains (Photograph Ivo Hoekstra). nothing but precious diamonds. Over the past fifteen BankGiro Lottery and the Rembrandt Association, as well as individual years the museum has continued to search for outstanding benefactors, notably Mr H.B. van der Ven, who has helped the museum time works that would further enhance its rich collection of and again. That the privatised Mauritshuis – an independent foundation Dutch and Flemish old master paintings. A director who since 1995 – benefits from private generosity is proved by a great many wants to make worthwhile additions to a collection of such quality must gifts, including seventeenth-century Dutch landscapes by Jacob van Geel Taim very high indeed. The acquisitions discussed here were made during (Fig.5) and Cornelis Vroom (Fig.4), as well as works from the eighteenth the directorship of Frits Duparc, who in January 2008 retired as Director century: a still life by Adriaen Coorte (Fig.2) and a portrait of a Dutch after seventeen years at the museum, and his successor, Emilie Gordenker, sitter by the French travelling artist Jean-Baptiste Perronneau (Fig.16). who earlier this year left the Mauritshuis for a position at the Van Gogh New acquisitions are also supported by numerous other foundations and Museum, Amsterdam. The present Director of the Mauritshuis, Martine funds, all mentioned in the credit lines of individual works. -
Kansen Voor Cultuur Stedelijke Cultuurregio Zwolle, Deventer En Apeldoorn
1.1.1 Kansen voor Cultuur Stedelijke cultuurregio Zwolle, Deventer en Apeldoorn Annelies van der Horst en Justin de Kleuver Contactgegevens mei, 2018. Annelies van der Horst [email protected] +31 6 20874709 Justin de Kleuver [email protected] +31 6 43123460 DSP-groep RAPPORT ─ Kansen voor Cultuur 2 Inhoud Samenvatting 5 1 Vooraf 9 2 De kracht van de regio: uitgangspunten 13 4 Culturele ambities en culturele infrastructuur 19 5 Bevindingen 33 6 Analyse: sterkten en kansen 40 7 Aanbevelingen 47 Bijlagen Bijlage 1 Uitkomsten enquête 51 Bijlage 4 Opdrachtgevers, klankbordgroep en gesprekspartners 57 Bijlage 5 Documentatie 59 DSP-groep RAPPORT ─ Kansen voor Cultuur 3 DSP-groep RAPPORT ─ Kansen voor Cultuur 4 Samenvatting Aanleiding In haar brief van maart 2018 nodigt de Minister van OCW stedelijke regio’s uit om een Cultuurprofiel te maken. Het Cultuurprofiel is een eerste stap voor invloed van de regio’s op het cultuurbeleid van het Rijk met ingang van 2021 en de verdeling van rijkssubsidies. Voorafgaand daaraan wil de Minister in 2019 starten met een aantal proeftuinen voor samenwerking tussen rijk en regio. De Minister adviseert de andere overheden om voorafgaand aan het opstellen van het Cultuurprofiel een verkenning uit te voeren naar de stedelijke culturele regio en met behulp van die verkenning een keuze te maken voor de proposities die de regionaal samenwerkende overheden in het profiel presenteren. Sinds 2017 werken de gemeenten Zwolle, Deventer en Apeldoorn (ZDA) op een aantal onderwerpen samen. De ervaring met deze samenwerking is aanleiding voor de betrokken drie gemeenten om de verkenning naar de stedelijke culturele regio ook op de schaal van Zwolle, Deventer en Apeldoorn (ZDA) uit te laten voeren.