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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. -
George Hendrik Breitner
110374 George Hendrik Breitner Gezicht op het Rokin vanuit Arti et Amicitiae te Amsterdam Amsterdam, Stedelijk Museum Amsterdam Afbeeldingsnummer 0000152931 Afmetingen: 4859x3686 pixels Verder zoeken in RKDimages Naam kunstenaar Breitner, George Hendrik Collectieplaats Den Haag Collectieplaats Amsterdam Collectie Bendien, C. Collectie Stedelijk Museum Amsterdam Onderwerpstrefwoorden stadsgezicht Onderwerpstrefwoorden straat Onderwerpstrefwoorden lantaarn Onderwerpstrefwoorden topografie Afgebeelde plaats Amsterdam Object gegevens Objectcategorie tekening Drager/materiaal papier, houtskool Vorm/maten liggende rechthoek 21,5 x 27,5 cm Huidige toeschrijving George Hendrik Breitner Datering Exacte of globale datering van het kunstwerk; de zoekmarges van het werk in deze database staan tussen haakjes. 1898 - 1918 Gedurende deze periode bekleedde Breitner diverse functies binnen het bestuur van Arti et Amicitiae Amsterdam Onderwerp Titel Titel of de benaming van het kunstwerk. Deze kan verschillen van de titel die in (recente) publicaties wordt gegeven. Gezicht op het Rokin vanuit Arti et Amicitiae te Amsterdam Engelse titel View of the Rokin from Arti et Amicitiae Onderwerpstrefwoorden stadsgezicht, straat, lantaarn, topografie Afgebeelde plaats Amsterdam Herkomst Collectie(s) private collection C. Bendien, The Hague/Almelo Stedelijk Museum Amsterdam, Amsterdam in bruikleen van C. Bendien, Den Haag 1957 - gesignaleerd Tentoonstellingen en literatuur Literatuur Museumjournaal 3 (1957/1958), p. 104-107 Beelddocumentatie Beelddocumentatie Standplaats -
Van Gogh Museum
JV_01_65 03-06-2008 16:25 Pagina 1 VAN G OGH MUSEUM JAARVERSLAG 2007 JV_01_65 03-06-2008 16:25 Pagina 2 JV_01_65 06-06-2008 14:39 Pagina 3 Inhoud 5 Voorwoord Raad van Toezicht 11 Inleiding directie 19 Museumcollectie 31 Onderzoek 37 Publicaties 41 Tentoonstellingen 55 Educatie en communicatie Bijlagen 67 Financiële verslaglegging 82 Museum Mesdag 83 Van Gogh Museum Enterprises BV 84 Partners en sponsoren 86 Bezoekcijfers 86 Aanwinsten 87 Tijdelijke bruiklenen aan tentoonstellingen 91 Tentoonstellingen 92 Museumpublicaties 93 Programma vrijdagavonden 97 Programma zondaglezingen 100 Activiteiten medewerkers • Publicaties • Lezingen • Nevenactiviteiten 106 Medewerkers 113 Annual Report 2007 (English) JV_01_65 03-06-2008 16:25 Pagina 4 JV_01_65 03-06-2008 16:25 Pagina 5 Voorwoord Raad van Toezicht Het Van Gogh Museum en Museum Mesdag hebben een meervoudige missie: zij streven er niet alleen naar hun collecties optimaal te behe- ren en te ontwikkelen, maar de werken ook tentoon te stellen en voor een zo ruim mogelijk publiek toegankelijk maken. De grondslag van al die activiteiten is het wetenschappelijk onderzoek. Wegens een nijpend tekort aan mensen en middelen is het voor hedendaagse musea alles- behalve vanzelfsprekend om wetenschappelijk werk te verrichten. Wij zijn dan ook trots dat het jaar 2007 voor het Van Gogh Museum bijzon- der rijk was aan onderzoeksinitiatieven en wetenschappelijke publica- ties, met zelfs de lancering van een nieuwe wetenschappelijke serie: Van Gogh Studies. De tentoonstellingen, de vaste collectie en de vele activiteiten in het Van Gogh Museum trokken dit jaar weer een massa geïnteresseerden aan: met ruim 1,55 miljoen bezoekers kwam het Van Gogh Museum in 2007 in de groep van de 25 meest bezochte musea ter wereld terecht. -
Simonis & Buunk
2019 / 2020 Gekleurd Gekleurd Gekleurd grijs grijs SIMONIS & BUUNK SIMONIS & BUUNK EEN KEUR AAN KUNST cover Haagse School_2019_bs.indd 1 06-11-19 16:00 Gekleurd grijs Verkooptentoonstelling Haagse School zaterdag 30 november 2019 t/m zaterdag 4 januari 2020 Dinsdag t/m zaterdag van 11-17 uur en op afspraak open zondagen: 1, 15 en 29 december van 11-17 uur Een collectie schilderijen en aquarellen van de Haagse School. Voor prijzen en foto’s met lijst: simonisbuunk.nl SIMONIS & BUUNK EEN KEUR AAN KUNST 19e eeuw Notaris Fischerstraat 30 20e eeuw Notaris Fischerstraat 19 Fischerhuis Notaris Fischerstraat 27 Buiten exposities om geopend dinsdag t/m zaterdag 11-17 uur en op afspraak Notaris Fischerstraat 30, 6711 BD Ede +31 (0) 318 652888 [email protected] www.simonisbuunk.nl cover Haagse School_2019_bs.indd 2 06-11-19 16:00 Predicaat ‘meesterlijk’ Frank Buunk Als ik aan de Haagse School denk dan komt het jaar trouwe halfjaarlijkse bezoeken aan zijn goede vriend 1976 in mijn herinnering, toen ik voor het eerst over Scheen thuis kwam. de vloer kwam bij Rien Simonis als aanbidder van Kunsthandelaar Pieter Scheen, samensteller van de zijn oudste dochter Mariëtte. Al snel raakte ik ook ‘Rode Scheen’, was toen een begrip in kunstkringen. geboeid door de anekdotes uit de kunstwereld die In zijn kunsthandel aan de Zeestraat 50, recht mijn aanstaande schoonvader in geuren en kleuren tegenover het Panorama Mesdag, presenteerde hij kon vertellen. Pieter Scheen passeerde vaak de revue vanaf de jaren 50 schilderijen uit de Romantische in de sterke verhalen waarmee schoonvader na zijn School en de Haagse School. -
Reserve Number: E14 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of Semester
Reserve Number: E14 Name: Spitz, Ellen Handler Course: HONR 300 Date Off: End of semester Rosenberg, Jakob and Slive, Seymour . Chapter 4: Frans Hals . Dutch Art and Architecture: 1600-1800 . Rosenberg, Jakob, Slive, S.and ter Kuile, E.H. p. 30-47 . Middlesex, England; Baltimore, MD . Penguin Books . 1966, 1972 . Call Number: ND636.R6 1966 . ISBN: . The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or electronic reproductions of copyrighted materials. Under certain conditions specified in the law, libraries and archives are authorized to furnish a photocopy or electronic reproduction of copyrighted materials that is to be "used for...private study, scholarship, or research." You may download one copy of such material for your own personal, noncommercial use provided you do not alter or remove any copyright, author attribution, and/or other proprietary notice. Use of this material other than stated above may constitute copyright infringement. http://library.umbc.edu/reserves/staff/bibsheet.php?courseID=5869&reserveID=16583[8/18/2016 12:48:14 PM] f t FRANS HALS: EARLY WORKS 1610-1620 '1;i no. l6II, destroyed in the Second World War; Plate 76n) is now generally accepted 1 as one of Hals' earliest known works. 1 Ifit was really painted by Hals - and it is difficult CHAPTER 4 to name another Dutch artist who used sucli juicy paint and fluent brushwork around li this time - it suggests that at the beginning of his career Hals painted pictures related FRANS HALS i to Van Mander's genre scenes (The Kennis, 1600, Leningrad, Hermitage; Plate 4n) ~ and late religious paintings (Dance round the Golden Calf, 1602, Haarlem, Frans Hals ·1 Early Works: 1610-1620 Museum), as well as pictures of the Prodigal Son by David Vinckboons. -
During the Seventeenth Century, Dutch Portraits Were Actively Commissioned by Corporate Groups and by Individuals from a Range of Economic and Social Classes
Cambridge University Press 978-1-107-69803-1 - Public Faces and Private Identities in Seventeenth-Century Holland: Portraiture and the Production of Community Ann Jensen Adams Frontmatter More information PUBLIC FACES AND PRIVATE IDENTITIES IN SEVENTEENTH-CENTURY HOLLAND During the seventeenth century, Dutch portraits were actively commissioned by corporate groups and by individuals from a range of economic and social classes. They became among the most important genres of painting. Not merely mimetic representations of their subjects, many of these works create a new dialogic rela- tionship with the viewer. In this study, Ann Jensen Adams examines four portrait genres – individuals, family, history portraits, and civic guards. She analyzes these works in relation to inherited visual traditions; contemporary art theory; chang- ing cultural beliefs about the body, sight, and the image itself; and current events. Adams argues that as individuals became unmoored from traditional sources of identity, such as familial lineage, birthplace, and social class, portraits helped them to find security in a self-aware subjectivity and the new social structures that made possible the “economic miracle” that has come to be known as the Dutch Golden Age. Ann Jensen Adams is associate professor of art history at the University of California, Santa Barbara. A scholar of Dutch painting, she curated the exhibi- tion Dutch Paintings from New York Private Collections (1988) and edited Rembrandt’s “Bathsheba Reading David’s Letter” (1998). She has contributed essays to numer- ous exhibition catalogues and essay collections including Leselust. Niederl¨andische Malerei von Rembrandt bis Vermeer (1993), Landscape and Power (1994), Looking at Seventeenth-Century Dutch Painting: Realism Reconsidered (1997), Renaissance Culture and the Everyday (1999), and Love Letters: A Theme in Dutch Seventeenth-Century Genre Painting (2003) and published articles in The Art Bulletin and the Nederlands Kunsthistorisch Jaarboek. -
The Discomfort of Evening
MARIEKE LUCAS RIJNEVELD The Discomfort of Evening Translated by Michele Hutchison Restlessness gives wings to the imagination. MAURICE GILLIAMS It is written, ‘I am making all things new!’ But the chords are a clothesline of grief, Razor-sharp gusts snap the faith Of he who would flee this cruel start. Ice rain beats blossom to a glassy pulp, A cur shakes his pelt bone-dry in the violence. from THE COLLECTED POEMS OF JAN WOLKERS (2008) Contents Title Page Epigraph PART I 1 2 3 4 PART II 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 PART III 1 2 3 4 5 6 7 8 9 10 11 12 13 About the Author Copyright PART I 1 I was ten and stopped taking off my coat. That morning, Mum had covered us one by one in udder ointment to protect us from the cold. It came out of a yellow Bogena tin and was normally used to prevent dairy cows’ teats from getting cracks, calluses and cauliflower-like lumps. The tin’s lid was so greasy you could only screw it off with a tea-towel. It smelled of stewed udder, the thick slices I’d sometimes find cooking in a pan of stock on our stove, sprinkled with salt and pepper. They filled me with horror, just like the reeking ointment on my skin. Mum pressed her fat fingers into our faces like the round cheeses she patted to check whether the rind was ripening. Our pale cheeks shone in the light of the kitchen bulb, which was encrusted with fly shit. -
George Hendrik Breitner (1857-1923) Was Among the Most Successful Dutch Painters of the Nineteenth Century
George Hendrik Breitner (1857-1923) was among the most successful Dutch painters of the nineteenth century. Well known for his paintings of city scenes, a series of young women dressed in kimonos, cavalrymen and horses, Breitner also depicted cats in his sketches, paintings, and photo- graphs. Breitner was a cat lover: cats were always roaming around in his house and in his studio. This book contains a selection of his sketches and photographs of cats. George Hendrik Breitner Born in Rotterdam in 1857, George Hendrik Breitner began his studies at the Academy of Art, The Hague, in 1876. There he met painters of the Hague School who, influenced by the French Barbizon painters, preferred realism to romanticism. Soon known for his ability to paint horses, Breitner was hired by Hendrik Willem Mesdag in 1881 to paint the horses in his renowned panorama painting of Scheveningen, which can still be visited today in a specially built rotund gallery in The Hague. A year later Breitner befriended Vincent van Gogh, with whom he often went sketching in and around The Hague. Attracted by its vibrant artistic and cultural life spurred by a revival of economic growth, Breitner moved to Amsterdam in 1886. Here Breitner captured the city’s street life in many of his paintings. Horses remained an important subject for the artist, but he soon replaced his caval- ry horses with those pulling carts and trams. He often took his sketchbook on his walks through the town and, from around 1890, he would also take his Kodak camera out with him to capture scenes that would find their way into his paintings. -
Detki V Kletke: the Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry
Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Morse, Ainsley. 2016. Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493521 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry A dissertation presented by Ainsley Elizabeth Morse to The Department of Slavic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Slavic Languages and Literatures Harvard University Cambridge, Massachusetts April 2016 © 2016 – Ainsley Elizabeth Morse. All rights reserved. Dissertation Advisor: Professor Stephanie Sandler Ainsley Elizabeth Morse Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry Abstract Since its inception in 1918, Soviet children’s literature was acclaimed as innovative and exciting, often in contrast to other official Soviet literary production. Indeed, avant-garde artists worked in this genre for the entire Soviet period, although they had fallen out of official favor by the 1930s. This dissertation explores the relationship between the childlike aesthetic as expressed in Soviet children’s literature, the early Russian avant-garde and later post-war unofficial poetry. -
Andreas Schelfhout Onsterfelijk Schoon De Landschappen Van Andreas Schelfhout (1787-1870) En Zijn Leerlingen SIMONIS&BUUNK KUNSTHANDEL
SIMONIS &BUUNK EEN KEUR AAN KUNST IJsgezichten Zomerlandschappen Strandgezichten Marines Andreas Schelfhout Onsterfelijk schoon De landschappen van Andreas Schelfhout (1787-1870) en zijn leerlingen SIMONIS&BUUNK KUNSTHANDEL Andreas Schelfhout Onsterfelijk schoon De landschappen van Andreas Schelfhout (1787-1870) en zijn leerlingen Andreas ‘Andries’ Schelfhout Den Haag 1787-1870 Jonge terriër op kussen, paneel 32,1 x 27,3 cm, gesigneerd en gedateerd ’47. Herkomst: veiling Frederik Muller & Cie., Amsterdam. Omslag: Andreas ‘Andries’ Schelfhout Schaatsvolk en trekslede op een bevroren vaart (detail) zie pag. 13 Andreas ‘Andries’ Schelfhout Winterlandschap met sprokkelaarster en boer in een punter Andreas ‘Andries’ Schelfhout Een vroege winter Den Haag 1787-1870 Winterlandschap met sprokkelaarster en boer in In het begin van zijn loopbaan schilderde Schelfhout reeds in de eerste werken zijn een punter, paneel 51 x 73 cm, en exposeerde Andreas Schelfhout zelden eigenheid. Zo zijn de figuren, belangrijk als gesigneerd en te dateren ca. 1815. het onderwerp waardoor hij zo beroemd verhalend element, in Schelfhouts land- geworden is: wintertaferelen. Tijdgenoten schappen vanaf het begin kleiner in aantal en critici waren aanvankelijk namelijk meer dan in 17e-eeuwse (winter)voorstellingen, gecharmeerd van zijn zomerlandschappen. waardoor de grootsheid van landschap en Bovenstaande winter is geschilderd wolkenluchten benadrukt wordt. Slechts omstreeks 1815, het jaar waarin Schelfhout twee keer eerder verwierven wij een zo zijn vierjarige opleiding tot kunstschilder vroeg wintergezicht van Schelfhout, in bij de Haagse toneeldecorateur J.H.A.A. 1987 en 1998. Onze ‘ontdekking’ van een Breckenheijmer afsloot. Hoewel de invloed vroege winter in 1998 was een van de van 17e-eeuwse landschappen op zijn gelukkigste ‘wapenfeiten’ uit ons bestaan vroege schilderijen onmiskenbaar is toont (pag. -
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 ................................................................................................................. -
BARTHOLOMEUS JOHANNES VAN HOVE (The Hague 1790 – the Hague 1880)
BARTHOLOMEUS JOHANNES VAN HOVE (The Hague 1790 – The Hague 1880) De Grote Houtpoort, Haarlem signed on the boat in the lower right B. VAN HOVE oil on panel 1 19 /8 x 26 inches (48.6 x 66 cm.) PROVENANCE Lady V. Braithwaite Lady V. Braithwaite, Eighteenth and Nineteenth Century Paintings and Drawings, Sotheby’s, London, May 17, 1967, lot 90, where bought by M. Newman, Ltd., London Frost & Reed Ltd., London Vixseboxse Art Galleries, Inc., Cleveland Heights, Ohio Private Collection, Ohio, until 2015 LITERATURE The Connoisseur, volume 166, September 1967, p. XLIV, in an advertisement for M. Newman, Ltd., London, reproduced E. Bénézit, “Bartholomeus-Johannes van Hove” in Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, volume 5, Libraire Gründ, Paris, 1976, p. 634 In a large panel, under radiant skies, the old fortifications of Haarlem abut the Spaarne River. The Grote Houtpoort rises majestically in the foreground, dominating the scene with its weathervane reaching to the composition’s edge. The Kalistoren Tower, used for the storage of gunpowder, is in the middle with the Kleine Houtpoort visible in the distance. Built in 1570, the Grote Houtpoort was at the end of the Grote Houtstraat, one of the main roads from the Grote Markt that led outside the city walls. Beyond the gate lay the wooded area, called the Haarlemmerwoud. The temperature is mild, over the arched bridge of the Grote Houtpoort, residents contentedly stroll, conversed or stop to admire the view. Below boatmen propel their craft across glass-like waters with shimmering reflections and floating swans. The sense of well-being pervades this orderly view of the city’s great landmarks that dominate its skyline.