Jan Lievens (Leiden 1607 – 1674 Amsterdam)
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The Leiden Collection Catalogue, 2Nd Ed
Rembrandt van Rijn (Leiden 1606 – 1669 Amsterdam) How to cite Bakker, Piet. “Rembrandt van Rijn” (2017). In The Leiden Collection Catalogue, 2nd ed. Edited by Arthur K. Wheelock Jr. New York, 2017–20. https://theleidencollection.com/artists/rembrandt-van-rijn/ (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. According to Rembrandt’s first biographer, Jan Jansz. Orlers (1570–1646), the most famous Dutch painter of the seventeenth century was born in Leiden on 15 July 1606, the ninth child of the miller Harmen Gerritsz van Rijn (1568–1630) and the baker’s daughter Neeltje Willemsdr van Suydtbrouck (ca. 1568–1640).[1] The painter grew up in the Weddesteeg, across from his father’s mill. He attended the Latin school in Leiden, and his parents enrolled him in the University of Leiden when he was fourteen, “so that upon reaching adulthood he could use his knowledge for the service of his city and the benefit of the community at large.”[2] This, however, did not come to pass, for Rembrandt’s ambitions lay elsewhere, “his natural inclination being for painting and drawing only.”[3] His parents took him out of school in 1621, allowing him to follow his passion. They apprenticed him to Jacob Isaacsz van Swanenburgh (1571–1638), who had just returned from Italy, “with whom he stayed for about three years.”[4] It is during this time that Rembrandt probably painted his earliest known works: Stone Operation (Allegory of Touch), Three Musicians (Allegory of Hearing), and Unconscious Patient (Allegory of Smell).[5] Rembrandt moved to Amsterdam in 1625 to complete his training with the leading painter of his day, Pieter Lastman (1583–1633), with whom, according to Arnold Houbraken, he stayed for six months.”[6] When Rembrandt returned to Leiden, he set up his own workshop in his parents’ house. -
Pictorial Real, Historical Intermedial. Digital Aesthetics and the Representation of History in Eric Rohmer's the Lady And
ACTA UNIV. SAPIENTIAE, FILM AND MEDIA STUDIES, 12 (2016) 27–44 DOI: 10.1515/ausfm-2016-0002 Pictorial Real, Historical Intermedial. Digital Aesthetics and the Representation of History in Eric Rohmer’s The Lady and the Duke Giacomo Tagliani University of Siena (Italy) E-mail: [email protected] Abstract. In The Lady and the Duke (2001), Eric Rohmer provides an unusual and “conservative” account of the French Revolution by recurring to classical and yet “revolutionary” means. The interpolation between painting and film produces a visual surface which pursues a paradoxical effect of immediacy and verisimilitude. At the same time though, it underscores the represented nature of the images in a complex dynamic of “reality effect” and critical meta-discourse. The aim of this paper is the analysis of the main discursive strategies deployed by the film to disclose an intermedial effectiveness in the light of its original digital aesthetics. Furthermore, it focuses on the problematic relationship between image and reality, deliberately addressed by Rohmer through the dichotomy simulation/illusion. Finally, drawing on the works of Louis Marin, it deals with the representation of history and the related ideology, in order to point out the film’s paradoxical nature, caught in an undecidability between past and present. Keywords: Eric Rohmer, simulation, illusion, history and discourse, intermediality, tableau vivant. The representation of the past is one of the domains, where the improvement of new technologies can effectively disclose its power in fulfilling our “thirst for reality.” No more cardboard architectures nor polystyrene stones: virtual environments and motion capture succeed nowadays in conveying a truly believable reconstruction of distant times and worlds. -
Proquest Dissertations
THE RISE OF THE COURTIER-ARTIST: THE POLITICAL CAREERS OF PETER PAUL RUBENS AND DIEGO VELAZQUEZ IN PHILIP IV'S SPAIN A Thesis Presented to The Faculty of Graduate Studies of The University of Guelph by NICOLE GRIEVE In partial fulfillment of requirements For the degree of Master of Arts January, 2008 © Nicole Grieve, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-41824-6 Our file Notre reference ISBN: 978-0-494-41824-6 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. this thesis. Neither the thesis Ni la these ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent etre imprimes ou autrement may be printed or otherwise reproduits sans son autorisation. -
Rembrandt in Southern California Exhibition Guide
An online exhibition exploring paintings by Rembrandt in Southern California. A collaboration between The Exhibition Rembrandt in Southern California is a virtual exhibition of paintings by Rembrandt Harmensz. van Rijn (Dutch, 1606–1669) on view in Southern California museums. This collaborative presentation offers a unique guide to exploring these significant holdings and provides information, suggested connections, and points of comparison for each work. Southern California is home to the third-largest assemblage of Rembrandt paintings in the United States, with notable strength in works from the artist’s dynamic early career in Leiden and Amsterdam. Beginning with J. Paul Getty’s enthusiastic 1938 purchase of Portrait of Marten Looten (given to LACMA in 1953; no. 9 in the Virtual Exhibition), the paintings have been collected over 80 years and are today housed in five museums, four of which were forged from private collections: the Hammer Museum, the J. Paul Getty Museum, and the Los Angeles County Museum of Art (LACMA) in Los Angeles; the Norton Simon Museum in Pasadena; and the Timken Museum of Art in San Diego. In addition, Rembrandt in Southern California provides insight into the rich holdings of etchings and drawings on paper by the master in museums throughout the region. Together, Southern California’s drawn, etched and painted works attest to the remarkable range of Rembrandt’s achievement across his long career. Self-Portrait (detail), about 1636–38. Oil on panel, 24 7/8 x 19 7/8 in. (63.2 x 50.5 cm). The Norton Simon Foundation, Pasadena, F.1969.18.P 1 NO. -
Rembrandt Self Portraits
Rembrandt Self Portraits Born to a family of millers in Leiden, Rembrandt left university at 14 to pursue a career as an artist. The decision turned out to be a good one since after serving his apprenticeship in Amsterdam he was singled out by Constantijn Huygens, the most influential patron in Holland. In 1634 he married Saskia van Uylenburgh. In 1649, following Saskia's death from tuberculosis, Hendrickje Stoffels entered Rembrandt's household and six years later they had a son. Rembrandt's success in his early years was as a portrait painter to the rich denizens of Amsterdam at a time when the city was being transformed from a small nondescript port into the The Night Watch 1642 economic capital of the world. His Rembrandt painted the large painting The Militia Company of Captain Frans Banning Cocq historical and religious paintings also between 1640 and 1642. This picture was called De Nachtwacht by the Dutch and The gave him wide acclaim. Night Watch by Sir Joshua Reynolds because by the 18th century the picture was so dimmed and defaced that it was almost indistinguishable, and it looked quite like a night scene. After it Despite being known as a portrait painter was cleaned, it was discovered to represent broad day—a party of musketeers stepping from a Rembrandt used his talent to push the gloomy courtyard into the blinding sunlight. boundaries of painting. This direction made him unpopular in the later years of The piece was commissioned for the new hall of the Kloveniersdoelen, the musketeer branch of his career as he shifted from being the the civic militia. -
The Leiden Collection Catalogue, 3Rd Ed
Govaert Flinck (Kleve 1615 – 1660 Amsterdam) How to cite Bakker, Piet. “Govaert Flinck” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artists/govaert- flinck/ (accessed September 27, 2021). 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. © 2021 The Leiden Collection Powered by TCPDF (www.tcpdf.org) Govaert Flinck Page 2 of 8 Govaert Flinck was born in the German city of Kleve, not far from the Dutch city of Nijmegen, on 25 January 1615. His merchant father, Teunis Govaertsz Flinck, was clearly prosperous, because in 1625 he was appointed steward of Kleve, a position reserved for men of stature.[1] That Flinck would become a painter was not apparent in his early years; in fact, according to Arnold Houbraken, the odds were against his pursuit of that interest. Teunis considered such a career unseemly and apprenticed his son to a cloth merchant. Flinck, however, never stopped drawing, and a fortunate incident changed his fate. According to Houbraken, “Lambert Jacobsz, [a] Mennonite, or Baptist teacher of Leeuwarden in Friesland, came to preach in Kleve and visit his fellow believers in the area.”[2] Lambert Jacobsz (ca. 1598–1636) was also a famous Mennonite painter, and he persuaded Flinck’s father that the artist’s profession was a respectable one. Around 1629, Govaert accompanied Lambert to Leeuwarden to train as a painter.[3] In Lambert’s workshop Flinck met the slightly older Jacob Adriaensz Backer (1608–51), with whom he became lifelong friends. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Major Rembrandt Portrait Painting on Loan to the Wadsworth from the Rijksmuseum Amsterdam
FOR IMMEDIATE RELEASE Media Contact: Kim Hugo, (860) 838-4082 [email protected] Image file to accompany publicity of this announcement will be available for download at http://press.thewadsworth.org. Email to request login credentials. Major Rembrandt Portrait Painting on Loan to the Wadsworth from the Rijksmuseum Amsterdam Hartford, Conn. (January 21, 2020)—Rembrandt’s Titus in a Monk’s Habit (1660) is coming to Hartford, Connecticut. On loan from the Rijksmuseum in Amsterdam, the painting will be on view at the Wadsworth Atheneum Museum of Art from February 1 through April 30, 2020. Rembrandt van Rijn (1606–1669), recognized as one of the most important artists of his time and considered by many to be one of the greatest painters in European history, painted his teenage son in the guise of a monk at a crucial moment in his late career when he was revamping his business as a painter and recovering from bankruptcy. It has been fifty-three years since this painting has been on view in the United States making this a rare opportunity for visitors to experience a late portrait by the Dutch master among the collection of Baroque art at the Wadsworth renowned for its standout paintings by Rembrandt’s southern European contemporaries, Zurbarán, Oratio Gentileschi, and Caravaggio. While this painting has been infrequently seen in America, it exemplifies the dramatic use of light and dark to express human emotion for which Rembrandt’s late works are especially prized. “Titus in a Monk’s Habit is an important painting. It opens questions about the artist’s career, his use of traditional subjects, and the bold technique that has won him enduring fame,” says Oliver Tostmann, Susan Morse Hilles Curator of European Art at the Wadsworth. -
Helmich Von Tweenhuysen II
Helmich von Tweenhuysen II (Amsterdam c.1604 - Gdańsk 1673) Portrait of a Bearded Cleric oil on canvas 74 x 58.7 cm (29⅛ x 23⅛ in) Provenance: American Art Galleries, New York, 1903, no. 148. with Dowdeswell and Dowdeswells, London, 1899; with Eugene Fischhof, Paris; his sale, New York, Chickering Hall, 9th March 1900, no. 102; his sale, Paris, 16th May 1904, no. 24, (for Fr.1250); Jos. Monchen et al sale, Amsterdam, Frederk Muller & Cie, 30th April 1907, no. 114 (for fl. 1000). (All the above as by Jan Lievens) Literature: Hans Schneider, Jan Lievens: Sein Leben und Seine Werke (Bohn, 1932), p. 180, no. LXIX. Salomon Lilian: Old Masters 2013, (Amsterdam 2013), p.76, fig. 1. HIS INTRIGUING HALF-PORTRAIT IS A NEW addition to the small extant ouevre of Helmich van Tweenhuysen II. A bearded cleric of Eastern-European appearance looks directly out at the viewer with a penetrating gaze. He is dressed in a tall soft cap and dark Trobes, augmented by thick sash and a crucifix on a chain. Although his dress is relatively sober, the rich velvet of his cap, glinting colours of the chains around his neck and cap suggest that the sitter is a figure of wealth and importance. Currently the sitter’s identity remains elusive. He appears in another very similar portrait by van Tweenhuysen in the Muzeum Narodowe in Wroclaw, Poland. In the Wroclaw portrait, the sitter turns in the opposite direction, and his right hand rests upon a book, but he is dressed in the identical restrained but luxurious costume. -
Rembrandt Van Rijn Dutch / Holandés, 1606–1669
Dutch Artist (Artista holandés) Active Amsterdam / activo en Ámsterdam, 1600–1700 Amsterdam Harbor as Seen from the IJ, ca. 1620, Engraving on laid paper Amsterdam was the economic center of the Dutch Republic, which had declared independence from Spain in 1581. Originally a saltwater inlet, the IJ forms Amsterdam’s main waterfront with the Amstel River. In the seventeenth century, this harbor became the hub of a worldwide trading network. El puerto de Ámsterdam visto desde el IJ, ca. 1620, Grabado sobre papel verjurado Ámsterdam era el centro económico de la República holandesa, que había declarado su independencia de España en 1581. El IJ, que fue originalmente una bahía de agua salada, conforma la zona costera principal de Ámsterdam junto con el río Amstel. En el siglo XVII, este puerto se convirtió en el núcleo de una red comercial de carácter mundial. Gift of George C. Kenney II and Olga Kitsakos-Kenney, 1998.129 Jan van Noordt (after Pieter Lastman, 1583–1633) Dutch / Holandés, 1623/24–1676 Judah and Tamar, 17th century, Etching on laid paper This etching made in Amsterdam reproduces a painting by Rembrandt’s teacher, Pieter Lastman, who imparted his close knowledge of Italian painting, especially that of Caravaggio, to his star pupil. As told in Genesis 38, the twice-widowed Tamar disguises herself to seduce Judah, her unsuspecting father-in-law, whose faithless sons had not fulfilled their marital duties. Tamar conceived twins by Judah, descendants of whom included King David. Judá y Tamar, Siglo 17, Aguafuerte sobre papel acanalado Esta aguafuerte creada en Ámsterdam reproduce una pintura del maestro de Rembrandt, Pieter Lastman, quien impartió su vasto conocimiento de la pintura italiana, en especial la de Caravaggio, a su discípulo estrella. -
Art, Argento and the Rape-Revenge Film
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 13 | Autumn 2011 Title The Violation of Representation: Art, Argento and the Rape-Revenge Film Author Alexandra Heller-Nicholas Publication FORUM: University of Edinburgh Postgraduate Journal of Culture and the Arts Issue Number 13 Issue Date Autumn 2011 Publication Date 6/12/2011 Editors Dorothy Butchard & Barbara Vrachnas FORUM claims non-exclusive rights to reproduce this article electronically (in full or in part) and to publish this work in any such media current or later developed. The author retains all rights, including the right to be identified as the author wherever and whenever this article is published, and the right to use all or part of the article and abstracts, with or without revision or modification in compilations or other publications. Any latter publication shall recognise FORUM as the original publisher. FORUM | ISSUE 13 Alexandra Heller-Nicholas 1 The Violation of Representation: Art, Argento and the Rape-Revenge Film Alexandra Heller-Nicholas Swinburne University of Technology Considering the moral controversies surrounding films such as I Spit on Your Grave (Meir Zarch, 1976) and Baise-Moi (Virginie Despentes and Coralie Trinh-Thi, 2000), the rape-revenge film is often typecast as gratuitous and regressive. But far from dismissing rape-revenge in her foundational book Men, Women and Chain Saws: Gender in the Modern Horror Film (1992), Carol J. Clover suggests that these movies permit unique insight into the representation of gendered bodies on screen. In Images of Rape: The ‘Heroic’ Tradition and Its Alternatives (1999), art historian Diane Wolfthal demonstrates that contradictory representations of sexual violence co-existed long before the advent of the cinematic image, and a closer analysis of films that fall into the rape-revenge category reveals that they too resist a singular classification. -
Open Access Version Via Utrecht University Repository
Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p.