April 2010 Newsletter
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
Antwerp, Belgium
ANTWERP, BELGIUM The Little Gem of Flanders Hotel Market Snapshot February 2017 H O T E L S 1 Hotel De Witte Lelie (Source: © Hotel) Antwerp, Belgium Hotel Market Snapshot, February 2017 HIGHLIGHTS City of the famous Flemish painter Peter Paul Rubens, Antwerp ANTWERP - Key Facts & Figures (2015) is the largest urban area in the Flanders region, the second Population 513 570 most important petrochemical centre in the world after GDP (In million €) € 43 000 Houston, Texas and its port is the second most noteworthy in GDP per capita € 83 700 Europe. Lying on the banks of the river Scheldt, the city GDP growth +1.1% positions itself as one of the major commercial hubs in Europe, Unemployment 6.8% strategically located between the two metropolitan areas of Tourism Arrivals 1 078 148 Antwerp-Brussels-Ghent and the Randstad conurbation in the Netherlands. The city is also the world’s diamond capital and an Overnight Stays 1 924 155 1 increasingly important international fashion centre. % Leisure Tourism 51.9% % Business Tourism1 48.1% Antwerp’s notoriety for leisure and business tourism is rooted in % Domestic Tourism1 31.5% the city’s dynamism, rich architectural and historical heritage % International Tourism1 68.5% as well as its strong artistic links and its well-diversified Number of Hotels 57 attractions and infrastructure offer. Number of Hotel Rooms 4 438 The growing interest of international hotel groups and investors 1Based on overnight stays for the city has led us to choose Antwerp as the subject of our Sources: Statbel, Europa.eu, Oxford Economics, Antwerp Tourism Office, BNP Paribas Real Estate Hotels new Hotel Market Snapshot. -
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. -
Downloaded from Brill.Com09/28/2021 10:23:11PM Via Free Access Notes to Chapter 1 671
Notes 1 Introduction. Fall and Redemption: The Divine Artist 1 Émile Verhaeren, “La place de James Ensor Michelangelo, 3: 1386–98; Summers, Michelangelo dans l’art contemporain,” in Verhaeren, James and the Language of Art, 238–39. Ensor, 98: “À toutes les périodes de l’histoire, 11 Sulzberger, “Les modèles italiens,” 257–64. ces influences de peuple à peuple et d’école à 12 Siena, Church of the Carmines, oil on panel, école se sont produites. Jadis l’Italie dominait 348 × 225 cm; Sanminiatelli, Domenico profondément les Floris, les Vaenius et les de Vos. Beccafumi, 101–02, no. 43. Tous pourtant ont trouvé place chez nous, dans 13 E.g., Bhabha, Location of Culture; Burke, Cultural notre école septentrionale. Plus tard, Pierre- Hybridity; Burke, Hybrid Renaissance; Canclini, Paul Rubens s’en fut à son tour là-bas; il revint Hybrid Cultures; Spivak, An Aesthetic Education. italianisé, mais ce fut pour renouveler tout l’art See also the overview of Mabardi, “Encounters of flamand.” a Heterogeneous Kind,” 1–20. 2 For an overview of scholarship on the painting, 14 Kim, The Traveling Artist, 48, 133–35; Payne, see the entry by Carl Van de Velde in Fabri and “Mescolare,” 273–94. Van Hout, From Quinten Metsys, 99–104, no. 3. 15 In fact, Vasari also uses the term pejoratively to The church received cathedral status in 1559, as refer to German art (opera tedesca) and to “bar- discussed in Chapter Nine. barous” art that appears to be a bad assemblage 3 Silver, The Paintings of Quinten Massys, 204–05, of components; see Payne, “Mescolare,” 290–91. -
Kunstmuseum Liechtenstein
Job Advertisement The Kunstmuseum Liechtenstein (Liechtenstein Museum of Fine Arts), which is organised as a foundation under public law, is the internationally-renowned museum of the Principality of Liechtenstein for the art of the 20th and 21st centuries. Along with several other museums in the heart of the Alps, it is characterised by the specialist profile of its content and its representative function. Since 2015, its offering has been enriched by the collection of the Hilti Art Foundation in an extension building. Starting from 1st July 2021, we are seeking a new Director at the Kunstmuseum Liechtenstein to succeed the current post holder, who is retiring. Director (m/f) We offer a committed and innovative individual a challenging remit with many creative possibilities. The profile of the role includes, in particular: ▪ Responsibility for the artistic and commercial management of the museum ▪ Maintenance, expansion and research of the collection ▪ Planning, conceptualisation and implementation of an imaginative and high-quality exhibition and publication programme at the international level ▪ Responsibility for the operation of the museum and its staff What we expect: ▪ A degree in history of art or an advanced level of expertise in modern and contemporary art with proven curatorial experience ▪ Experience and networking in the international museum environment ▪ Strong conceptual, communicative and organisational skills with team-based management experience in the museums sector ▪ Willingness to take up residence in Liechtenstein and to maintain contacts in the Rhine Valley region Please send your application byMarch 9, 2020 to www.jobs.leadershipservices.at Our consultant from Deloitte, Flora Kuras (+43 1 537 00 2536), will be pleased to respond to your questions. -
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. -
New Perspectives on Pieter Bruegel the Elder's Journey To
KATRIEN LICHTERT New perspectives on Pieter Bruegel the Elder’s journey to Italy (c. 1552-1554/1555)* Bruegel’s journey in context: I Fiamminghi and the south Pieter Bruegel the Elder (c. 1528-1569) travelled to Italy at a time when journeys to the south were becoming increasingly popular; from the second half of the sixteenth cen- tury onwards, the majority of well-established Northern European artists made such a voyage. In Italy they were called Fiamminghi,1 and while some of them travelled out of personal interests, the main reasons were visiting the ruins of classical antiquity and getting acquainted with the works of the Italian masters. Rome was very popular since it combined the best of both worlds and a visit to the Eternal City was often the under- lying reason for undertaking such journeys. It is well known that Jan Gossart (1478-1532) travelled to Italy in 1508-1509, accompanying his patron Philip of Burgundy on a diplo- matic mission.2 After his return to the Netherlands, Gossart played an important pioneer- ing role in introducing the Italian Renaissance idiom in the Low Countries.3 Other well-known artists travelling to Italy prior to Bruegel were Jan van Scorel (1495-1562) and his pupil Maarten van Heemskerck (1498-1574). Both painters played a decisive role in the introduction and propagation of the classical in the Low Countries and they copiously integrated Roman architecture and sculpture in their own works based on sketches which were made on the spot. Long after their return to the Netherlands these antique ruins and sculptures proved to be fruitful sources of inspiration for both artists. -
Thesis, University of Amsterdam 2011 Cover Image: Detail of Willem Van Mieris, the Lute Player, 1711, Panel, 50 X 40.5 Cm, London, the Wallace Collection
UvA-DARE (Digital Academic Repository) Imitation and innovation: Dutch genre painting 1680-1750 and its reception of the Golden Age Aono, J. Publication date 2011 Document Version Final published version Link to publication Citation for published version (APA): Aono, J. (2011). Imitation and innovation: Dutch genre painting 1680-1750 and its reception of the Golden Age. 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:30 Sep 2021 Imitation and Innovation Dutch Genre Painting 1680-1750 and its Reception of the Golden Age Imitation and Innovation: Dutch Genre Painting 1680-1750 and its Reception of the Golden Age Ph.D. thesis, University of Amsterdam 2011 Cover image: detail of Willem van Mieris, The Lute Player, 1711, panel, 50 x 40.5 cm, London, The Wallace Collection. -
THE BERNARD and MARY BERENSON COLLECTION of EUROPEAN PAINTINGS at I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls
THE BERNARD AND MARY BERENSON COLLECTION OF EUROPEAN PAINTINGS AT I TATTI Carl Brandon Strehlke and Machtelt Brüggen Israëls GENERAL INDEX by Bonnie J. Blackburn Page numbers in italics indicate Albrighi, Luigi, 14, 34, 79, 143–44 Altichiero, 588 Amsterdam, Rijksmuseum catalogue entries. (Fig. 12.1) Alunno, Niccolò, 34, 59, 87–92, 618 Angelico (Fra), Virgin of Humility Alcanyiç, Miquel, and Starnina altarpiece for San Francesco, Cagli (no. SK-A-3011), 100 A Ascension (New York, (Milan, Brera, no. 504), 87, 91 Bellini, Giovanni, Virgin and Child Abbocatelli, Pentesilea di Guglielmo Metropolitan Museum altarpiece for San Nicolò, Foligno (nos. 3379 and A3287), 118 n. 4 degli, 574 of Art, no. 1876.10; New (Paris, Louvre, no. 53), 87 Bulgarini, Bartolomeo, Virgin of Abbott, Senda, 14, 43 nn. 17 and 41, 44 York, Hispanic Society of Annunciation for Confraternità Humility (no. A 4002), 193, 194 n. 60, 427, 674 n. 6 America, no. A2031), 527 dell’Annunziata, Perugia (Figs. 22.1, 22.2), 195–96 Abercorn, Duke of, 525 n. 3 Alessandro da Caravaggio, 203 (Perugia, Galleria Nazionale Cima da Conegliano (?), Virgin Aberdeen, Art Gallery Alesso di Benozzo and Gherardo dell’Umbria, no. 169), 92 and Child (no. SK–A 1219), Vecchietta, portable triptych del Fora Crucifixion (Claremont, Pomona 208 n. 14 (no. 4571), 607 Annunciation (App. 1), 536, 539 College Museum of Art, Giovanni di Paolo, Crucifixion Abraham, Bishop of Suzdal, 419 n. 2, 735 no. P 61.1.9), 92 n. 11 (no. SK-C-1596), 331 Accarigi family, 244 Alexander VI Borgia, Pope, 509, 576 Crucifixion (Foligno, Palazzo Gossaert, Jan, drawing of Hercules Acciaioli, Lorenzo, Bishop of Arezzo, Alexeivich, Alexei, Grand Duke of Arcivescovile), 90 Kills Eurythion (no. -
Dutch and Flemish Art in Russia
Dutch & Flemish art in Russia Dutch and Flemish art in Russia CODART & Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie) Amsterdam Editors: LIA GORTER, Foundation for Cultural Inventory GARY SCHWARTZ, CODART BERNARD VERMET, Foundation for Cultural Inventory Editorial organization: MARIJCKE VAN DONGEN-MATHLENER, Foundation for Cultural Inventory WIETSKE DONKERSLOOT, CODART English-language editing: JENNIFER KILIAN KATHY KIST This publication proceeds from the CODART TWEE congress in Amsterdam, 14-16 March 1999, organized by CODART, the international council for curators of Dutch and Flemish art, in cooperation with the Foundation for Cultural Inventory (Stichting Cultuur Inventarisatie). The contents of this volume are available for quotation for appropriate purposes, with acknowledgment of author and source. © 2005 CODART & Foundation for Cultural Inventory Contents 7 Introduction EGBERT HAVERKAMP-BEGEMANN 10 Late 19th-century private collections in Moscow and their fate between 1918 and 1924 MARINA SENENKO 42 Prince Paul Viazemsky and his Gothic Hall XENIA EGOROVA 56 Dutch and Flemish old master drawings in the Hermitage: a brief history of the collection ALEXEI LARIONOV 82 The perception of Rembrandt and his work in Russia IRINA SOKOLOVA 112 Dutch and Flemish paintings in Russian provincial museums: history and highlights VADIM SADKOV 120 Russian collections of Dutch and Flemish art in art history in the west RUDI EKKART 128 Epilogue 129 Bibliography of Russian collection catalogues of Dutch and Flemish art MARIJCKE VAN DONGEN-MATHLENER & BERNARD VERMET Introduction EGBERT HAVERKAMP-BEGEMANN CODART brings together museum curators from different institutions with different experiences and different interests. The organisation aims to foster discussions and an exchange of information and ideas, so that professional colleagues have an opportunity to learn from each other, an opportunity they often lack. -
PROVISIONAL PROGRAM HNA Conference 2022
PROVISIONAL PROGRAM HNA Conference 2022 Amsterdam and The Hague, Netherlands HNA CONFERENCE 2022 Amsterdam and The Hague 2-4 June 2022 Program committee: Stijn Bussels, Leiden University (chair) Edwin Buijsen, Mauritshuis Suzanne Laemers, RKD – Netherlands Institute for Art History Judith Noorman, University of Amsterdam Gabri van Tussenbroek, University of Amsterdam | City of Amsterdam Abbie Vandivere, Mauritshuis and University of Amsterdam KEYNOTE LECTURES ClauDia Swan, Washington University A Taste for Piracy in the Dutch Republic 1 The global baroque world was a world of goods. Transoceanic trade routes compounded travel over land for commercial gain, and the distribution of wares took on global dimensions. Precious metals, spices, textiles, and, later, slaves were among the myriad commodities transported from west to east and in some cases back again. Taste followed trade—or so the story tends to be told. This lecture addresses the traffic in global goods in the Dutch world from a different perspective—piracy. “A Taste for Piracy in the Dutch Republic” will present and explore exemplary narratives of piracy and their impact and, more broadly, the contingencies of consumption and taste- making as the result of politically charged violence. Inspired by recent scholarship on ships, shipping, maritime pictures, and piracy this lecture offers a new lens onto the culture of piracy as well as the material goods obtained by piracy, and how their capture informed new patterns of consumption in the Dutch Republic. Jan Blanc, University of Geneva Dutch Seventeenth Century or Dutch Golden Age? Words, concepts and ideology Historians of seventeenth-century Dutch art have long been accustomed to studying not only works of art and artists, but also archives and textual sources. -
Museum Plantin- Moretus
MUSEUM PLANTIN- MORETUS GROUND FLOOR STAIRCASE WELCOME Welcome to the Plantin-Moretus Museum. This was the home and workplace of Chris- tophe Plantin and the Moretus family. For 300 years books were the heart and soul of this place, and they still are. Who lived here? Who worked here? What exactly did they print? What kind of know- ledge and ideas travelled from the house to the four corners of the world, beyond the frontiers of Europe? Downstairs you will meet Christophe Plan- tin: forefather, businessman, manager, hu- manist* and printer. Upstairs you can have a close look at the beautiful books that were printed in this house, from richly illustra- ted bibles to simple almanacs. Here and there you will see reproduc- tions of books that were printed on the premises. They are for you to pick up and enjoy. We wish you a pleasant visit. * From A to Z Humanism? Folio or quarto? What is a breviary? A number of terms need to be explained. At the back of the visitor guide 7 you will find a glossary. THE SMALL DRAWING ROOM 1 THE GOLDEN COMPASSES A 17th-century traveller describes the hous- es of wealthy Antwerp citizens as ‘...solid and constructed with good materials. They are beauti- ful too because they are built in long and straight lines. The entrance gates are adorned with car- vings and in the gardens there are sculptures.’ The Plantin-Moretus Museum is an exam- ple of such a solid and well-built house belonging to an affluent Antwerp family. It contains more than 30 rooms. -
The Craftsman Revealed: Adriaen De Vries, Sculptor
This page intentionally left blank The Craftsman Revealed Adriaen de Vries Sculptor in Bronze This page intentionally left blank The Craftsman Revealed Adriaen de Vries Sculptor in Bronze Jane Bassett with contributions by Peggy Fogelman, David A. Scott, and Ronald C. Schmidtling II THE GETTY CONSERVATION INSTITUTE Los ANGELES The Getty Conservation Institute Timothy P. Whalen, Director Jeanne Marie Teutónico, Associate Director, Programs The Getty Conservation Institute works internationally to advance conservation practice in the visual arts—broadly interpreted to include objects, collections, architecture, and sites. The Institute serves the conservation community through scientific research, education and training, model field projects, and the dissemination of the results of both its own work and the work of others in the field. In all its endeavors, the GCI focuses on the creation and delivery of knowledge that will benefit the professionals and organizations responsible for the conservation of the world's cultural heritage. Getty Publications 1200 Getty Center Drive, Suite 500 Los Angeles, California 90049-1682 www.getty.edu © 2008 J. Paul Getty Trust Gregory M. Britton, Publisher Mark Greenberg, Editor in Chief Tevvy Ball, Editor Sheila Berg, Copy Editor Pamela Heath, Production Coordinator Hespenheide Design, Designer Printed and bound in China through Asia Pacific Offset, Inc. FRONT COVER: Radiograph of Juggling Man, by Adriaen de Vries. Bronze. Cast in Prague, 1610–1615. J. Paul Getty Museum, Los Angeles. Inv. no. 90.SB.44. Library of Congress Cataloging-in-Publication Data Bassett, Jane. The craftsman revealed : Adriaen de Vries, sculptor in bronze / Jane Bassett ; with contributions by Peggy Fogelman, David A. Scott, and Ronald C.