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HNA April 11 Cover-Final.Indd
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 28, No. 1 April 2011 Jacob Cats (1741-1799), Summer Landscape, pen and brown ink and wash, 270-359 mm. Hamburger Kunsthalle. Photo: Christoph Irrgang Exhibited in “Bruegel, Rembrandt & Co. Niederländische Zeichnungen 1450-1850”, June 17 – September 11, 2011, on the occasion of the publication of Annemarie Stefes, Niederländische Zeichnungen 1450-1850, Kupferstichkabinett der Hamburger Kunsthalle (see under New Titles) HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Dagmar Eichberger (2008–2012) HNA News ............................................................................1 Wayne Franits (2009–2013) Matt Kavaler (2008–2012) Personalia ............................................................................... 2 Henry Luttikhuizen (2009 and 2010–2014) Exhibitions -
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 ................................................................................................................. -
Luxury Low Countries
LUXURY LUXURY in the LOW LUXURY COUNTRIES the in in the e superflu, chose très nécessaire”, wrote Voltaire 1736 in COUNTRIES LOW LOW his poem Le mondain. Needless to say that luxury is much Lmore than merely materialised/solidified redundancy. Offering a first panoramic view on various manifestations of conspicuous material culture in a Netherlandish context from 1500 until the present, this study – rather than investigating self- COUNTRIES evident cases of luxury – aims to explore its boundaries and the different stages in which luxury is fabricated or sometimes only simulated. Thematically, the volume focuses on two major issues, i.e. collections and foodways as means of expression of prosperity and splendour, which will be discussed by an international group of scholars, emanating from disciplines such as archaeology, history, book and media studies, art history, linguistics, and historical (ed.) Rittersma Rengenier ethnology. With an afterword by Maxine Berg. MIScellaneous RefleCtions on NETHERlandish MaTERial CULTURE, 1500 to the PRESENT Rengenier Rittersma (ed.) www.vubpress.be 9 789054 875406 Miscellaneous Reflections on Netherlandish Material Culture, 1500 to the Present Rengenier C. Rittersma (ed.) © 2010 FARO. Flemish interface for cultural heritage Cover image: Adriaan de Lelie, De kunstgalerij van Jan Priemstraat 51, B-1000 Brussels Gildemeester Jansz in zijn huis aan de Herengracht te www.faronet.be Amsterdam, 1794-1795 www.pharopublishing.be © Rijksmuseum Amsterdam Editorial board: Marc Jacobs, Rengenier C. Rittersma, All rights reserved. No part of this book may be Peter Scholliers, Ans Van de Cotte reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, Final editors: Frederik Hautain & Ans Van de Cotte recording, or on any information, storage or retrieval system without permission of the publisher. -
The Gildemeesters a Family’S Strategies for Commercial Success and Upwards Social Mobility During the 18Th Century
Picture on front page: Daniel Gildemeester’s Sintra Palacio de Seteais, 19th century, artist unknown, www.serradesintra.net, visited on 22-08-2018. 2 The Gildemeesters A family’s strategies for commercial success and upwards social mobility during the 18th century Leonoor Inger Wesseling 22 augustus 2018 3 Inhoudsopgave INTRODUCTION 5 Historiography 7 Commercial family networks and family firms 8 Foreign Merchant Communities in Lisbon 10 Consuls and Diplomacy 12 Theoretical Approaches 15 Entrepreneurship 15 New Diplomatic History 17 Portfolio Capitalists 19 The Biographical Turn 19 Sources 20 The structure of this thesis 21 Chapter 1 - The firm Gildemeester&Co., 1705-1745 24 The Gildemeesters in Utrecht 24 Social capital and marital relations 26 The beginning of Jan Gildemeester’s career, 1721-1735 29 The firm Gildemeester&Co, 1728-1745 32 Conclusion 33 Chapter 2 - The Consuls, 1740-1780 34 Dutch-Portuguese bilateral relations, 1640-1705 35 The Consul and the Resident 37 Jan Gildemeester and residents Jan Van Til and Charles Francois Bosch de la Calmette 39 Case study: The Problematic 1750s 42 Justification of the case study: the years 1752-1755 43 Four grievances of the Dutch Nation 44 Economic consular agency 50 The consulship and the family 54 Conclusion 57 Chapter 3 - the international diamond trade 59 The Pombaline Reforms and their implications for the diamond trade 59 Reforms in the mining and trading of diamonds 61 The diamond contractors 1753-1759 62 Daniel Gildemeester and the Diamond Contract 65 The conditions of the contract, 1761-1771 69 The proposal of diamonds in banking 70 Gildemeester’s bargaining position 72 Personal Connections 74 Jan Gildemeester and Jan Janszoon’s activities in Amsterdam 79 Epilogue 81 CONCLUSION 84 REFERENCES 87 Archives/Repositories 87 Printed historical sources 87 Scholarly Publications 88 4 INTRODUCTION In 1785, Lieutenant Cornelis de Jong van Rodenburgh visited Portugal’s capital. -
Tischbein Und Die Kunst Des "Goldenen Zeitalters"
Anhang Transkriptionen zur Niederlande-Reise Tischbeins Autobiographie. Originalmanuskript (1811) Landesmuseum für Kunst und Kulturgeschichte Oldenburg, PT 26, S. 22–31 [Seitenwechsel: 22] Nun war aber die trenung von meinem liebend Freund W. ein harter Kampf. Ich lid unaus sprechlig, und er auch. Aber es muste sein. Schmerzhaft war der Abschied von ihm und so so vieler guter Freunde. Sinnlos stieg ich in den Wagen und ich kam nach langer zeit erst wieder zu mir selbst. Die Gegenstände der Nathur ermunterten mich nach und nach. Beson der die großen bäume in Ostfriesland, Eichen und Linden, auf einigen hatt man drey Etagen über ein ander de Äste mit thielen belegt, wo geselschaft darauf gegeben wurde. Einen baum zeigte nun der Postlilion und sagte mir es sey der wunder baum genand. [X] Es war eine buche, wo Kazenkraut an dem Stam fest ein genomen hatte gewachsen, und war bis auf den Gipfel hinauf gestiege und hatte sich auch in den meisten Ästen verbreidet, sodas er den ganzen baum fast eingenomen hatte, nur einige Äste aus genomen, wo man nur eben anse hen konde das es eine buche sey [Einschub: X und ieder Postilgon führe seine Pasaschiers zu ihm. Und hild dar stille das sie ihn sehen könden und noch nie sey ein reisender gewesen der welcher dergleichen baum mer gesehen, auch kene ihn keiner, was es für ein baum sey] in ostfriesland ist viele heide öde gegent aber doch komt man zu stellen, wo die Vegitaron ser igig ist, und man trift bäum von schönem Wuchs und Grösse an, so auch die Menschen Männer wie Riessen, auch das fieh ist gros, besonders die Schweine mit grossen hänge ohren. -
1 820 Het Ac H Ttiende-Eeuwse Fa M Il Iepor Tret
MUSEUM VAN LOON ADRIAAN DE LELIE 1755 – 1820 HET ACHTTIENDE-EEUWSE FAMILIEPORTRET Museum Van Loon Van Loon Museum Een gezin in het park van de buitenplaats Elswout de buitenplaats Elswout park van in het Een gezin , 1799 Olieverf op doek, 85 x 111 cm, Rijksmuseum Twenthe, Enschede Twenthe, cm, Rijksmuseum x 111 op doek, 85 1799 Olieverf , Adriaan De Lelie en Egbert van Drielst, Lelie en Egbert De Adriaan Overveen bij de Lelie behoort zonder meer tot de belangrijkste portretschilders Adriaan en na een studietijd in Antwerpen van zijn tijd. Zijn wieg stond in Tilburg en Düsseldorf vestigde hij zich definitief in Amsterdam. Daar wist hij Met zijn al snel door te dringen in de kringen van de gegoede burgerij. oog voor detail en verfijnde palet was hij een veelgevraagd portrettist. Notabelen, bankiers, notarissen, officieren, hoogleraren en vermogende allen lieten zich door de schilder vereeuwigen. De Lelie heeft koopmannen: zo letterlijk een gezicht gegeven aan het Amsterdam van zijn tijd. In deze eerste publicatie gewijd aan De Lelie wordt een beeld geschetst van zijn van deze portretten en wordt ingegaan op de karakteristieken en met voorgangers familieportretten. Ook wordt zijn werk vergeleken en Laquy. Tischbein Regters, tijdgenoten, zoals Tibout Josephina de Fouw HET ACHTTIENDE-EEUWSE FAMILIEPORTRET 3 1 De familie van Jan van Loon (1725-1792), 1786 en 1797 Olieverf op doek, 65 x 80 cm 4 ADRIaaN DE LELIE 1755 – 1820 VOORWOORD Eén van de belangrijkste redenen van Jonkheer Professor Maurits van Loon (1923-2006) voor de oprichting van het museum was zijn wens de grote collectie portretten van zijn familie bijeen te houden. -
Ken Spelman Rare Books of York
Ken Spelman Rare Books of York Catalogue Seventy Nine Art, Architecture & Design recent acquisitions of books, manuscripts & objects July 2014 Catalogued, photographed, typeset and published in-house at 70 Micklegate, York. Ken Spelman Books Ltd 70 Micklegate, York YO1 6LF www.kenspelman.com tel: + 44 (0)1904 624414 email: [email protected] rare 17th century instructions for colouring and scenting artificial flowers 1. R., F.L.D.T. Secrets pour Teindre la Fleur d’Immortelle en diverses couleurs, avec la maniere de la cultiver. Pour faire des pastes de differentes odeurs, fort agreables. Et pour contrefaire du Marbre au naturel, propre pour toute sorte d’ouvrages figurez. 77, [1]p. First edition. A very good copy in contemporary vellum boards, backstrip almost imperceptibly repaired. Some slight browning, and early stamp to the title-page. 12mo. Paris. Charles de Sercy. 1690. £495.00 ~ Rare, the last copy we sold was nearly 25 years ago. The work is attributed to Le P. Louis Dadolle. Manuscript orders for the cleaning of “the tapestry hangings in his Majesties Drawing Room at Kensington.” 2. VILLIERS, Edward., 1st Earl of Jersey, Knight Marshal of the Royal Household. A warrant addressed to Earl Montague, Master of the Great Wardrobe, requiring him to give orders for the cleaning “the tapestry hangings in his Majesties Drawing Room at Kensington also for harnishing and mending all the frames of the looking glasses, tables, stands, chayrs, stools and cabinets in all the lodgings there...” Folded folio sheet, with docket title on the rear panel. Some slight dustiness but in very good condition. -
Faces of Europe: Academic Art and New Direction
Faces of Europe: Academic art and new direction The Faces of Europe is a unique online exhibition that explores a different aspect of Europe’s artistic heritage through the eyes of artists and their inspirations. Academic art and new direction is our fifth chapter of Faces of Europe. th This chapter explores neoclassical styles from the 19 century and artists who pursued artistic directions of their own. Every month from now until September, we’ll publish a new chapter of Faces of Europe on Europeana Art History Collections. Chapter five includes 11 works selected from amongst the 29 participating countries. Below, you’ll find of these works presented listed by country in alphabetical order. The Art Gallery of Jan Gildemeester Jansz| Adriaan de Lelie 1794-1795 | Rijksmuseum , PD Countries Institution Artist Artwork Délégation générale à la numérisation des Belgium patrimoines culturels FrançoisJoseph Navez Sainte Cécile de Rome Czech Republic Moravian Gallery in Brno Joža Uprka Ride of the Kings Denmark Den Hirschsprungske Samling Christoffer Wilhelm Eckersberg A nude woman doing her hair before a mirror France Musée d'Orsay Gauguin Paul Femmes de Tahiti Kreeta Haapasalo Playing the Kantele in a Finland Finnish National Gallery Robert Wilhelm Ekman Peasant Cottage Greece National GalleryAlexandros Soutzos Museum Theodoros Vryzakis The Reception of Lord Byron at Missolonghi Latvia Latvian National Museum of Art Kārlis Hūns Young Gypsy Woman Lithuania Lithuanian Art Museum Kanutas Ruseckas Lithuanian Girl with Palm Sunday Fronds Netherlands Rijksmuseum George Hendrik Breitner Girl in a White Kimono Netherlands Rijksmuseum Adriaan de Lelie The Art Gallery of Jan Gildemeester Jansz Slovakia Slovak National Gallery Jozef Hanula Za frajerom . -
PDF Van Tekst
De Achttiende Eeuw. Jaargang 40 bron De Achttiende Eeuw. Jaargang 40. Z.n. [Uitgeverij Verloren], Hilversum 2008 Zie voor verantwoording: https://www.dbnl.org/tekst/_doc003200801_01/colofon.php Let op: werken die korter dan 140 jaar geleden verschenen zijn, kunnen auteursrechtelijk beschermd zijn. i.s.m. 5 [2008/1] Ger-manie Waar is Schills hoofd gebleven? Nederlands-Duitse culturele uitwisseling in de lange achttiende eeuw Hanco Jürgens en Inger Leemans Het eerste dat de beroemde Duitse reiziger Ludolf Wienbarg vroeg toen hij in Leiden aankwam was ‘wo habt ihr Schill's Kopf’? Waar is het hoofd van Ferdinand von Schill? De opzichters van het Leidse anatomische kabinet moesten het antwoord schuldig blijven: ‘Er ist seit einigen Jahren aus der Anatomie verschwunden, man weiß nicht wie, durch wen und wohin; vermuthlich hat ihn Jemand gestohlen’. ‘Das ist gut’, antwoordde Wienbarg, ‘so brauche ich nicht der Dieb zu sein’.1 Het zal niet vaak gebeurd zijn dat men in anatomische verzamelingen navraag kwam doen naar geprepareerd fysisch materiaal, dat immers doorgaans van criminelen of landlopers was. Maar Schill was een ander verhaal. Ferdinand von Schill was een Duitse militair die in 1809 een opstand tegen Napoleon ontketende in het noorden van Duitsland. Het lukte hem zelfs om met meer dan duizend medestanders Stralsund te bezetten. De opstand was - helaas? - geen lang leven beschoren: al snel werden de opstandelingen uit de stad geveegd door de ‘Franse’ legermacht van Napoleon, die voor een groot deel uit Nederlanders en Denen bestond.2 Het hoofd van de gesneuvelde Schill werd op bevel van de Franse veldheer door een Nederlandse Officier van Gezondheid van zijn romp gescheiden en op sterk water gezet, waarna het als oorlogstrofee aan Lodewijk Napoleon aangeboden zou worden. -
Der Kanon Des Kunsthändlers
Iris Yvonne Wagner Der Kanon des Kunsthändlers Jean-Baptiste Pierre Le Brun (1748–1813) Der Kanon des Kunsthändlers Jean-Baptiste Pierre Le Brun (1748–1813) INAUGURAL-DISSERTATION zur Erlangung der Doktorwürde des Fachbereichs Germanistik und Kunstwissenschaften der Philipps-Universität Marburg vorgelegt von Iris Yvonne Wagner aus Schwalmstadt Dresden 2018 Vom Fachbereich Germanistik und Kunstwissenschaften der Philipps-Universität Marburg als Dissertation angenommen am 7. Januar 2014 Tag der Disputation: 17. Juli 2014 Erstgutachter: Prof. Dr. Katharina Krause Zweitgutachter: Prof. Dr. Michael North Iris Yvonne Wagner Der Kanon des Kunsthändlers Jean-Baptiste Pierre Le Brun (1748–1813) Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar. Dieses Werk ist lizenziert unter einer Creative Commons Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0 International Lizenz. Originaldokument gespeichert auf dem Publikationsserver der Philipps-Universität Marburg http://archiv.ub.uni-marburg.de Korrektorat: Alexander Danz, Berlin Layout und Satz: Iris Yvonne Wagner, Dresden Umschlagabbildung: Adriaan de Lelie, Die Kunstgalerie von Jan Gildemeester Jansz, 1794 – 95, Öl auf Leinwand, 63,7 cm × 85,7 cm, Rijksmuseum, Amsterdam Inhalt Vorwort v Einleitung vii Forschungsstand, Quellenlage und Methode ix Französische Sammler – Curieux, Amateur, Connoisseur xvi Die niederländische Landschafts- und Genremalerei xviii I. Kunstmarkt, Kanon und Geschmack 23 Kunstproduktion, Kunsttheorie und Kunsthistoriografie 26 Kunstkritik 39 Öffentliche und private Ausstellungen 44 Kunstmarkt und Kanon 48 II. Le Bruns Aktivitäten im Kunsthandel und im Museum 59 Expertise und Auktionen 61 Die Galerie des Kunsthändlers 67 Die Einrichtung des Musée central des Arts 76 Überlegungen und Beobachtungen zum Nationalmuseum 85 Dominique Vivant Denon – der Konkurrent 93 Geschäftsreisen 97 III. -
Philip L. Hale
1 *A NEW book on Jan Vermeer of Delft, his life and art, based on the author's original work With 8 illustrations in colour and monochrome, including all of his known VERMEER paintings by PHILIP L. HALE Completed and Prepared for the Press by FREDERICK W. COBURN and RALPH T. HALE Jan Vermeer of Delft l\ few years ago Mr. Andrew W. Mellon is said to have paid $290,000 for one of Vermeer's paintings. Yet at a time not many- decades back his work was so little esteemed that occasionally names of other painters were substituted for Vermeer's in order to effect the sale of one of his pictures at a high price. Although in his forty- three years Vermeer had won prestige in his own seventeenth century Holland, his name for some reason was almost forgotten less than fifty years after his death, and his work did not again acquire significance in the eyes of the art world until the latter half of the nineteenth century. Even as re- cently as twenty-five years ago he was distinctly a "painter's painter," known to the average art lover, if at all, as a minor Dutch artist. Today, however, his work receives universal recognition. His pictures are esteemed more highly than those of many of the other masters. The value of the forty- one pictures definitely attributed to him is estimated at $25,000,000. From Vermeer, the unknown, he has come to be considered by Ver- meer enthusiasts as the greatest painter of all time. -
The Leiden Collection
Young Woman Feeding a Parrot 1663 Frans van Mieris oil on panel (Leiden 1635 – 1681 Leiden) 22.4 x 17.7 cm formerly signed and dated: “F.van Mieris fect Anno 1663” FM-112 Currently on view at: The National Gallery of Art, Washington D.C. © 2017 The Leiden Collection Young Woman Feeding a Parrot Page 2 of 17 How To Cite Buvelot, Quentin. "Young Woman Feeding a Parrot." In The Leiden Collection Catalogue. Edited by Arthur K. Wheelock Jr. New York, 2017. https://www.theleidencollection.com/archive/. This page is available on the site's Archive. PDF of every version of this page is available on the Archive, and the Archive is managed by a permanent URL. Archival copies will never be deleted. New versions are added only when a substantive change to the narrative occurs. © 2017 The Leiden Collection Young Woman Feeding a Parrot Page 3 of 17 Frans van Mieris’s fame derives from his interior genre scenes depicting Comparative Figures the daily affairs of wealthy Dutch citizens.[1] Many of these paintings consist of two people interacting with each other in some idle fashion, but, as in this stunning painting, he also portrayed single figures relaxing within their domestic spheres. Here, within this darkened room,[2] a richly dressed young woman with a fashionable hairstyle has just interrupted her needlework—a needle cushion is on her lap and a thimble is on one of her fingers—to feed the tame gray parrot sitting on one of the perches of a fine wooden stand. Parrots were kept as pets in the seventeenth century, and Van Mieris depicted them on other occasions in his genre scenes.[3] He may have Fig 1.