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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. -
Die Schaede Is Soo Groot Ende Excessyff' '
‘Die schaede is soo groot ende excessyff’ Maatregelen tegen geweld en geweldsdreiging op de Europese zeehandelsroutes van de Republiek, 1600-1630 Liesbeth Sparks 1 Scriptie Vroegmoderne Geschiedenis - Universiteit Utrecht - 3-7-2008 - Student: 0042498 - Begeleider: Oscar Gelderblom 2 Voor Madelief 3 4 Inhoudsopgave Voorwoord 9 Lijst van tabellen 11 Inleiding 13 H1 De handel van de Republiek in Europa 1580-1650 18 1. Oorzaken voor de Nederlandse handelsexpansie 1580-1620 19 2. Belangrijkste Europese handelsroutes 23 2.1 De Oostzeevaart 24 2.2 De westvaart 29 2.3 De straatvaart 31 3. Concluderend 33 H2 Geweldsrisico’s voor de Nederlandse handel in Europa 1600-1630 36 1. Theorie: relatie tussen geweld en staatsversterking 36 2. Staatsgeweld: militair 38 2.1 Indirect militair geweld: Baltisch gebied 39 2.2 Direct militair geweld: Spanje 41 3. Staatsgeweld: economisch 42 3.1 Economische dreiging: Baltisch gebied 42 3.2 Economische oorlogvoering: Spanje 44 4. Gedelegeerd staatsgeweld: kaapvaart 50 4.1 Duinkerkse kapers 51 4.2 Spaanse kapers 56 4.3 Kaapvaart in de Oostzee 57 5 5. Buitenstatelijk geweld: zeeroof 58 5.1 Engelse piraten 59 5.2 Geval apart: Barbarije 62 6. Concluderend 64 H3 Publieke oplossingen voor geweldsrisico’s: preventie 67 1. Oplossingen voor geweld: preventie of compensatie? 67 2. ‘Defensieve’ preventie: konvooiering, patrouilles en bewapening 69 2.1 Konvooisysteem en patrouilles 69 2.2 Verplichte bewapening 74 3. ‘Offensieve’ preventie: van diplomatie tot militaire actie 75 3.1 Diplomatie 75 3.2 Politieke druk en militaire dreiging 81 Baltisch gebied: politieke allianties en militaire dreiging 81 Duinkerkse kapers: politieke druk 83 3.3 Militaire actie 84 Duinkerkse kapers: Blokkade en militaire expedities 85 Engelse zeerovers: Nederlandse oorlogsschepen op jacht 90 Spanje: galeien en andere militaire acties 91 Barbarijse zeerovers: strafexpedities 94 H4 Private oplossingen voor geweldsrisico’s: compensatie en preventie 98 1. -
DALMI WORKING PAPERS on ART & MARKETS the Artistic Migration
DALMI Working Paper No. 15231 DALMI WORKING PAPERS ON ART & MARKETS The Artistic Migration Between Mechelen and Delft (1550–1625) Fiene Leunissen Working Paper no. 15231 https://www.dukedalmi.org/wp-content/uploads/15231-Working-Paper.pdf DUKE ART, LAW & MARKETS INITIATIVE 114 S. Buchanan Blvd. Campus Box 90766 Durham, NC 27708 May 2015 DALMI working papers are circulated for discussion and comment purposes. They have not been peer-reviewed. © 2015 by Fiene Leunissen. All rights reserved. Leunissen May 2015 DALMI Working Paper No. 15231 The Artistic Migration Between Mechelen and Delft (1550–1625) Fiene Leunissen DALMI Working Paper No. 15231 May 2015 ABSTRACT Mechelen (Malines) is a small city in present-day Belgium, positioned between Antwerp and Brussels, along the river the Dijle. While most people today have never heard anything about this city or its history, this small town was once one of the most important cities in the Low Countries. It was also hub for the production of watercolor paintings. During the religious turmoil in the second half of the 16th century a large portion of artists fled the city to find a better life in other European cities. One of these places was Delft, were a group of 24 Mechelen artists settled. In this paper we look at the lives of these artists to better understand the knowledge circulation between the north and the south at the turn of the 17th century. Keywords: Art Markets, Mechelen, Delft, Seventeenth Century JEL: Z11 Leunissen May 2015 DALMI Working Paper No. 15231 Leunissen May 2015 DALMI Working Paper No. -
Encyklopédia Kresťanského Umenia
Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Hapi - 1.jeden zo štyroch synov egyptského boha Hóra, ochranca kanop, prevteľujúci sa do posvätného zvieraťa - býka; Hapi bol aj služobníkom a pozemským vtelením boha Ptaha; neskoršie spájaný aj s kultom Usíreva (pozri Osirapis); zobrazovaný ako býk so slnečným kotúčom medzi rohami, s orlími krídlami na šiji a plášťom cez chrbát (pozri monštrá); symbol plodnosti; tiež boh severu a boh vetra severného; pozri bohovia plodnosti; egyptskí bohovia 2.v gréčtine Apis 3.meno pre egypt. boha Nílu; pozri Hopej 4.v stredoveku častý heraldický motív (hlava) http://cs.wikipedia.org/wiki/Hapi_(syn_Hora) http://cs.wikipedia.org/wiki/Hapi_(b%C5%AFh_z%C3%A1plav) happening - angl. – „udalosť, náhodná príhoda“; jedna z foriem akčného umenia po 2.svetovej vojne, zdôrazňujúca samotný tvorivý proces, založený na kolektívnosti a improvizácii s cieľom vtiahnuť diváka do deja a šokovať ho absurditou (tým sa líši napr. od performance, ktorá má formu divadelného predstavenia bez tvorivej účasti diváka); medzná forma tvorby, ktorá nesmeruje ku klasickému typu trvácneho výtvarného diela, ale má povahu akcie (umelé vytváranie udalostí, logicky nespojených a situovaných do životnej reality (akcia síce pripravená, ale nevyskúšaná, realizovaná laikmi); termín prvý raz použitý A.Kaprowom koncom 50.rokov v New Yorku pri akcii nazvanej 16 happeningov v šiestich dieloch, ktorá bola považovaná za predobraz zásad ďalších akcií; v 60.rokoch rozvinutý v USA a západnej Európe; napriek tomu happening nie je celkom novým prvkom tvorby, poznal ho aj stredovek; v happeningu možné nájsť prvky futurizmu, dadaizmu, surrealizmu, pop-artu (pozri Archizoom Associanti), inšpiráciu divadlom, hudbou, literatúrou, tancom; čiastočne sociálne a politicky kritický, ale aj s rysmi nihilizmu, anarchizmu a antiumenia; pozri procedurálne umenie, gestická maľba, event art, multimediálne umenie, Burning Man schéma: abstraktný expresionizmus (po 2.sv.vojne): akčné umenie/performance akčná maľba/action paiting dripping dip paiting happening tachizmus a art informel J. -
In Laudem Jubalis"
"In Laudem Jubalis" 't Lof van Jubal en 't Lof Iubals , twee madrigaal- en motetbundels uit 1643 en 1645 door Cornelis Tymensz. Padbrué (1592 - 1670) Aagje Pabbruwe I N H O U D S O P G A V E blz. Inleiding 5 I Haarlem in de eerste helft van de zeventiende eeuw 6 Historisch, sociologisch, economisch, politiek en religieus - Haarlem in de eerste helft van de zeventiende eeuw 6 -De stad Haarlem 6 - De Gouden Eeuw in Haarlem 6 - Rijk en arm 7 - Stadsbestuur 8 - Schutterijen 8 - Katholicisme en reformatie 8 - De kunsten in Haarlem in de eerste helft van de zeventiende eeuw 9 - Beeldende kunsten 9 - Bouwkunst 10 - Letterkunde 10 - Muziek en zangkunst 11 II Cornelis Thymenszn. Padbrué 13 - Inleiding 13 - Levensbeschrijving 13 - Herkomst en familie 13 - Opvoeding en scholing 14 - Stadsspeelman 15 - Eerste gedrukte compositie 16 - Geloofsovertuiging 17 - Padbrué en Vondel 18 - De jaren veertig 19 - Sociale leven en financiële status 23 - Laatste levensjaren 25 2 III Composities van Cornelis Thymenszn. Padbrué 26 - Composities toegeschreven aan Padbrué 29 - Heruitgaven 30 - Compositie Padbrué als inspiratie 31 - Werk van Padbrué in buitenlandse bibliotheken 31 - Madrigaalkunst en algemene stijlkenmerken van Padbrué's composities 32 - Madrigaalkunst 32 - Algemene stijlkenmerken van Padbrué's composities 32 - Druk en verkoop van Padbrué's composities 34 - Drukkers 34 - Plantijnse notentypen 35 - Oplages 35 - Broer Jansz. en zijn Catalogus universalis 36 - Boekverkopers en hun catalogi 36 - Prijzen 37 - Stemboekjes 37 - De Amsterdamse tak van de familie -
A Study of the Hybrid Genre of Seventeenth-Century Dutch Family
Familial Identity and Site Specificity: A Study of the Hybrid Genre of Seventeenth-Century Dutch Family-Landscape Portraiture By © 2017 Denise Giannino M.A., University College London, 2005 M.A., Florida State University, 2006 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: Linda Stone-Ferrier David Cateforis Stephen Goddard Anne D Hedeman William Keel Date Defended: 3 November 2017 ii The dissertation committee for Denise Giannino certifies that this is the approved version of the following dissertation: Familial Identity and Site Specificity: A Study of the Hybrid Genre of Seventeenth-Century Dutch Family-Landscape Portraiture Chair: Linda Stone-Ferrier Date Approved: 3 November 2017 iii Abstract In the seventeenth century, the proliferation of Dutch family portraits among the broad middle class was a distinctive facet of artistic production. Within this visual trend, the vast majority of such paintings present the sitters in outdoor environs rather than the domestic sphere. This dissertation focuses on such images and adopts the term “family-landscape portrait” to highlight the hybrid nature of the images that commemorate a particular family within a specific locale. I consider the particularities of seventeenth-century Dutch family-landscape portraiture as a separate pictorial genre and attend to the ways in which these images construct identity and generate meaning, including through the blending of portraiture and landscape conventions. In order to investigate the complex meanings of family-landscape portraits, this dissertation will consider the images from the perspective of the biographical circumstances of the sitters’ lives; contemporary cultural, socioeconomic and political issues that inflect the choice of symbols or locale; and the pictorial traditions from which the images stem. -
Proefschrift
UvA-DARE (Digital Academic Repository) Constantijn Huygens, de kunst en het hof Broekman, I. Publication date 2010 Document Version Final published version Link to publication Citation for published version (APA): Broekman, I. (2010). Constantijn Huygens, de kunst en het hof. 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:09 Oct 2021 Constantijn Huygens, de kunst en het hof Inge Broekman • Op woensdag 17 november 2010 om 12:00 uur verdedig ik Constantijn Huygens, de kunst en het hof mijn proefschrift Constantijn Huygens, de kunst en het hof In de aula van de Universiteit van Amsterdam (Oude Lutherse Kerk, ingang Singel 411, hoek Spui, te Amsterdam). Graag nodig ik u uit om bij de verdediging Constantijn Huygens, de kunst en het hof van mijn proefschrift aanwezig te zijn. -
Goede Nacht: Images of the Night in Seventeenth-Century Dutch Visual Culture by © 2019 Reilly Oliver Winston Shwab Submitted To
Goede Nacht: Images of the Night in Seventeenth-Century Dutch Visual Culture by © 2019 Reilly Oliver Winston Shwab 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: Linda Stone-Ferrier, Ph.D. _______________________________________ Stephen Goddard, Ph.D. _______________________________________ David Cateforis, Ph.D. _______________________________________ John Pultz, Ph.D. _______________________________________ Megan Kaminski Date defended: July 8, 2019 The dissertation committee for Reilly Shwab certifies that this is the approved version of the following dissertation: Goede Nacht: Images of the Night in Seventeenth-Century Dutch Visual Culture _______________________________________ Chair: Linda Stone-Ferrier, Ph.D. Date approved: July 8, 2019 ii Abstract Goede Nacht: Images of the Night in Seventeenth-Century Dutch Visual Culture provides a comprehensive study of depictions of the night in Dutch art from seventeenth century, and of a number of different ways in which contemporary understandings of the nighttime informed artistic practice throughout the northern Netherlands. The dramatic increase in the production of such pictures, the impressive diversity of their compelling subjects, and their exquisite visual appeal demand scholarly attention. To better understand this complex topic, analysis focuses on the most frequently represented subject matter in Dutch nocturnal imagery—religious scenes, urban fires, labor and leisure—and contextualizes the meanings and functions of the remarkable pictures within relevant historical, religious, socio-economic and cultural associations and circumstances. The wide range of depicted subjects demonstrates the richness of such imagery and engages the sometimes conflicting cultural perceptions of the night among the Dutch at this time. -
Fluctuations in the Painting Production in the 17Th-Century Netherlands
arts Article Innovative Exuberance: Fluctuations in the Painting Production in the 17th-Century Netherlands Weixuan Li 1,2 1 Huygens Institute of Netherlands History, 1001 EW Amsterdam, The Netherlands; [email protected] 2 School of Historical Studies, University of Amsterdam, 1012 WX Amsterdam, The Netherlands Received: 11 January 2019; Accepted: 13 June 2019; Published: 18 June 2019 Abstract: The surprising and rapid flowering of Dutch art and the Dutch art market from the late 16th century to the mid-17th century have propelled scholars to quantify the volume of production and to determine the source of its growth. However, existing studies have not explored the use of known paintings to specify and visualize the fluctuations of painting production in the Dutch Republic. Employing data mining techniques to leverage the most comprehensive datasets of Netherlandish paintings (RKD), this paper visualizes and analyzes the trend of painting production in the Northern Netherlands throughout the 17th-century. The visualizations verify the existing observations on the market saturation and industry stagnation in 1630–1640. In spite of this market condition, the growth of painting production was sustained until the 1660s. This study argues that the irrational risk-taking behavior of painters and the over-enthusiasm for painting in the public created a “social bubble” and the subsequent contraction of the production was a market correction back to a stable state. However, these risk-taking attitudes during the bubble time spurred exuberant artistic innovations that highlight the Dutch contribution to the development of art. Keywords: painting production; Dutch Golden Age; social bubble; data visualization; big data; behavioral analysis; decision-making under risk; uncertainty 1. -
The Leiden Collection Catalogue, 2Nd Ed
Pieter Lastman (Amsterdam 1583 – 1633 Amsterdam) How to cite Bakker, Piet. “Pieter Lastman” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/pieter-lastman/ (archived June 2020). A PDF of every version of this biography 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. Pieter Lastman had the misfortune of being eclipsed by his most gifted pupil, Rembrandt van Rijn (1606–69). As a consequence, his work and reputation always stood in Rembrandt’s shadow. Lastman’s far-reaching influence is nevertheless visible in the early work of Rembrandt, who completed his training in a brief six months of 1625.[1] Lastman had previously trained another famous Leiden painter in Amsterdam, Jan Lievens (1607–74). Lievens moved to Amsterdam as a ten-year-old in 1617 and stayed in Lastman’s studio until 1621.[2] As Lievens and Rembrandt’s moves to Amsterdam suggest, Lastman was highly regarded in his day and his work was widely praised.[3] For instance, in 1618 the poet and diplomat Theodore Rodenburg (ca. 1574–1644) described him—together with Jan Pynas (1581–1631)—as the leading exponent of a new generation of Amsterdam history painters.[4] Most of them had visited Italy and in Rome had come under the influence of Adam Elsheimer (1578–1610), who, entirely counter to the prevailing mannerist fashion, produced small-scale history paintings with great attention to detail and realism. -
Chorein of the Pirate: on the Origin of the Dutch Seascape
Hendrick Cornelisz. Vroom. The Seventh Day of the Naval Battle between the Spanish Armada and the English Fleet , 1600 or 1601. Oil on canvas, 36 × 60.1 in. (91.4 x 152.8 cm). Tiroler Landesmuseum Ferdinandeum, Innsbruck, Austria. 6 doi:10.1162/GREY_a_00158 The Chorein of the Pirate: On the Origin of the Dutch Seascape BERNHARD SIEGERT “Maritime Space” Art history has traditionally understood the invention of the Dutch seascape around 1600 to be the result of a development within the history of style, in the course of which imaginary depth superseded the vertical surface of the image support, the low horizon superseded the cartographic perspective, the realistic representation of nature superseded religious themes, and concealed gradations of space were replaced by the continuous ground of the pictorial field. 1 The artist Allan Sekula, however, describes the invention of the seascape as a result of the entry of “maritime space” into history. 2 This “maritime space” is not an interior affair of art history but a new order of space in Carl Schmitt’s sense; that is, a new kind of nomos —a nomos of the sea. 3 This space is defined, first, by a preindustrial capitalism based on trade and primitive accumulation; second, by a shift of warfare from land to sea as well as by a claim for naval supremacy by the Dutch provinces; third, by cultural techniques like cartography and navigation; and fourth, by the integration of political repre - sentation and maritime motifs into a panoramic space. The seascape is not the result of a coming to terms with the problems of representing the immense spatial depth of the sea but is rather the result of a “spatial revolution.” What do we mean when we speak of “space”? Space in general does not exist independently of cultural tech - niques of space control, and maritime space in particular cannot be separated from the practice of navigation that has disclosed maritime space in the first place. -
Willem Van De Velde the Elder and Younger and the Four Days' Battle Stephen Smith Art History 431/531 Northern Baroque
Willem van de Velde the Elder and Younger and the Four Days’ Battle Stephen Smith Art History 431/531 Northern Baroque Art 1 In the traditional hierarchy of painting genres historical themes have long been understood to hold the highest rank. It can be argued that the most successful history painter paints his or her own time. The artist will always be the most familiar with what is immediately at hand and subsequently can provide a primary source of information. In the case of the Dutch marine painter Willem van de Velde the Elder the artist was present at many of the historical events he depicted. Van de Velde worked primarily in the medium of “pen paintings,” which allowed him to make quick sketches of the marine battles he witnessed. This technique also allowed him to create extremely detailed renderings that would be much harder to realize in oil painting. His son, Willem van de Velde the Younger would achieve a greater renowned than his father and be “perceived by his contemporaries as the nation’s leading painter of seascape and shipping.”1 Living in a time of particularly eventful maritime excursions the van de Veldes took full advantage of the opportunity to capture the thrill and adventure to be found on the high seas. Van de Velde the Elder often traveled with the Dutch navy in times of conflict and produced a number of onsite masterpieces including his three section horizontal rendering of the Four Days’ Battle, which was later used as a model for his son’s paintings of the same subject.