By Jan Steen. Rhetoricians, Jan Steen the Rome Inn Already Existed in Jan Steen’S Time

Total Page:16

File Type:pdf, Size:1020Kb

By Jan Steen. Rhetoricians, Jan Steen the Rome Inn Already Existed in Jan Steen’S Time WALKING ROUTE Jan Steen DISCOVER THE VILLAGE OF Jan Steen Take a walk through the historic centre of the village of Warmond and discover how it is featured in the work of Jan Steen. Did you know that this Dutch master painted several of his world-famous works in his Warmond years? You will learn more about the symbolism used and daily life in the Golden Age. On the route you will also find various cafés and restaurants. Follow the corona rules! 1,5 m Jan Steen’s house START ON OUR WAY De Krogt car park , behind Het Trefpunt theatre, accessible via Laan van Oostergeest, 2361 GA Warmond. ACCESSIBILITY Public transport: By train you can travel via Leiden Centraal Station or Sassenheim station. Bus 50 goes to Warmond from both stations. Get off at Warmundastraat or De Baan . See 9292.nl/en. By car: On the A44 take the Warmond exit. In Warmond turn right at the meadow with the stork’s nest in it onto Laan van Oostergeest. Turn left Immediately to park for free. You can also park on Gemeentehaven . This is where the walk ends. WHEELCHAIR The walk is easily accessible for wheelchair and walking-frame users. CHARGING POINTS Electric bikes: at Het Wapen van Warmond restaurant or the tourist information office (‘VVV’) on Gemeentehaven. Electric car: at the tourist information office. Jan Steen was born in Leiden in 1626. He grew up in a wealthy family. His parents had a brewery, which meant that they belonged to the well-to-do bourgeoisie. He received a good education at the Latin school which Rembrandt also went to and after that he went to university. However, that did not last long. Jan wanted to paint. He went to Utrecht to learn the trade from the German master painter Nicolaus Knüpfer. He was admitted to the Utrecht St Lucas painters’ guild and earned the title of master painter. Jan went to The Hague to work with the Leiden painter Jan van Goyen, and INTRODUCTION moved into his house. On 3 October 1649, Jan married Jan van Goyen’s daughter. He was 23 years old. After 5 years, Jan moved to Delft with his love Grietje (Margriet van Goyen) and their children. There they used a loan to buy the De Slanghe inn. This gave them a steady source of income alongside painting. Shortly after they had bought it, there was a huge explosion in one of the gunpowder rooms in the centre. As a result, people avoided the centre of Delft and the business was badly affected. After two years they sold the inn and they moved, in debt, to Warmond. d a p L I H S E S L E L E R - G D g A T I J a S K a P O k L D n G E t e E R u i B W D F O O Buitenkaag H T A A R T S H E L L E G E A T S I M P O E - L D L R S E R I - T D S F D R A A T S O N E O A R H L D I I S T RA AT J K E W - E ME E R L E I DS W E Ringvaart van de Z G V Haarlemmermeerpolder K a n V R D I J P a A S L O T E l l a N U I G n d H t l a a I N D n U S P A T R L L A N I E - N208V N D A A a n T - L N A L A A N M E P a J U L I A I D O N l l a O A n R N N d 3 NOORDWIJKERHOUT L A A A t N A l a V E R I J L . a A B A L G A n N R N L K T P E R E K A K - A S A K I L . D J E L I R C A R n L E E N A A T D a A N B L T C S K L a T A A l R A S k L E N I N L r D V E N N L A . E E of f a A V h N . t A HA s P KA J u G E H T 's-Gravenwater N Z A A D k R RT C J A r U E A D J a I I N E N P E W S P O N A R T H O F V L AA N - Jonkman N r A l - . e T R e R A g S N E L g E D T A a N n J.P G A . A K i E W A A L s . N F K I R N A L T F L T H K S O R G W I AG O U L G E A ER K a V H E E E N R L L V g . N E A A N O e E U R - T O r P t F N L R u S D i L W E n E R e S . M L U n E E A A U N R G N - R P E D L R I I N N K E N D O S N R N A E E P H W S L L A O S A S E SASSENHEIM L I E A N E S N I A N A A E N - I K N A R R A N S AG N D L E B F L N A E R I R E - . I K S L L N J N N U A P L E V . I N I A E A - N K M L A A R N U A G A W D S E T L S R A O T - L - F K L S A R g A T A KAGERPLEIN A E O A e - M T T N E R M N R L w N D K O A A I A A I EX J M A T A e AL T H A N L . - X I . A n W J U E A n U R . R A T R J P Á L P A e A A I A P T M N a S R I A r S M R M R L k T A l a S E T A N a S n N S R S E A E U N N I - T M A E R A . A N V U S A L A A A A R N T L N T I L M C U D R . F E R X E L P N N A I N T R O N R U B T R O N S A E A E S R R S T I S T C A E R A R S Dieperpoel T H S R W M A C L V R A H LEY T A T A R O O E A L N . A N E O A G I N A R U T W I L H E L M . H S R H E E D T C N E S T T E V M . N B S L A S R N S - T O S R T A E S B T I R E D B N E M I J . A T U O - D M - W . N LA E H S O H A A E E L I A n N G L S U R B G H O A P G N a U R L A E T L S R J O a A T l I C A R N A T L H A E N G A T A T D S A A L N A N K P T R S r J T A A - A i A A M n I Z V s A A S e L R A M M N n R L - R D . h T N F S E L . N n A O S E O O R H M E a E H T K P OE N R A M a N S D K E i D N PLEZ E - O E J A I E L r R S N R D K I I O R d I E I E A n C A S D N o T L G - N E R R A A A M A D C A L R N A T A LA U E Z A A N R U N I G A L L H N Kaag N I O E F T K S U TR L P H F G A E L K N Y S I I a A T R E r o T A A T - L A U . G N I s N Y E I C - H W D R HOOGH R S L E K I T E N N O R D E T N S N T E TEIJLINGEN O O F T E E G N A E M P V B E N O L- A O .
Recommended publications
  • Gabriel Metsu (Leiden 1629 – 1667 Amsterdam)
    Gabriel Metsu (Leiden 1629 – 1667 Amsterdam) How to cite Bakker, Piet. “Gabriel Metsu” (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/gabriel- metsu/ (accessed September 28, 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) Gabriel Metsu Page 2 of 5 Gabriel Metsu was born sometime in late 1629. His parents were the painter Jacques Metsu (ca. 1588–1629) and the midwife Jacquemijn Garniers (ca. 1590–1651).[1] Before settling in Leiden around 1615, Metsu’s father spent some time in Gouda, earning his living as a painter of patterns for tapestry manufacturers. No work by Jacques is known, nor do paintings attributed to him appear in Leiden inventories.[2] Both of Metsu’s parents came from Southwest Flanders, but when they were still children their families moved to the Dutch Republic. When the couple wed in Leiden in 1625, neither was young and both had previously been married. Jacquemijn’s second husband, Guilliam Fermout (d. ca. 1624) from Dordrecht, had also been a painter. Jacques Metsu never knew his son, for he died eight months before Metsu was born.[3] In 1636 his widow took a fourth husband, Cornelis Bontecraey (d. 1649), an inland water skipper with sufficient means to provide well for Metsu, as well as for his half-brother and two half-sisters—all three from Jacquemijn’s first marriage.
    [Show full text]
  • The Five Senses in Genre Paintings of the Dutch Golden Age
    The Five Senses in Genre Paintings of the Dutch Golden Age Kitsirin Kitisakon+ (Thailand) Abstract This article aims to study one of the most popular themes in 17th-Century Dutch genre paintings - the five senses - in its forms and religious interpretations. Firstly, while two means of representation were used to clearly illustrate the subject, some genre scenes could also be read on a subtle level; this effectively means that such five senses images can be interpreted somewhere between clarity and am- biguity. Secondly, three distinct religious meanings were identified in these genre paintings. Vanity was associated with the theme because the pursuit of pleasure is futile, while sin was believed to be committed via sensory organs. As for the Parable of the Prodigal Son, party scenes alluding to the five senses can be read as relating to the episode of the son having spent all his fortune. Keywords: Five Senses, Genre Painting, Dutch Golden Age, Prodigal Son + Dr. Kitsirin Kitisakon, Lecturer, Visual Arts Dept., Faculty of Fine and Applied Art, Chulalongkorn University, Thailand. The Five Senses… | 125 Introduction In the 16th and 17th Centuries, the five senses had never been more popular as subject matter for graphic art, especially in the Low Countries. Since Nordenfalk (1985), this theme has been occasionally discussed in monographs, catalogues of specific artists, or Dutch genre painting studies. Yet, an analysis of the modes of representation of the five senses seems to have been ignored, and there is a certain lack of fresh interest in their religious interpretations. From this observa- tion, this article aims to firstly examine how the five senses were represented in the Dutch genre paintings of the Golden Age, inspect how artists narrated them; secondly, reinvestigate how they can be religiously interpreted and propose deeper meanings which go beyond realistic appearance.
    [Show full text]
  • Dutch Art, 17Th Century
    Dutch Art, 17th century The Dutch Golden Age was a period in the history of the Netherlands, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. The first section is characterized by the Thirty Years' War, which ended in 1648. The Golden Age continued in peacetime during the Dutch Republic until the end of the century. The transition by the Netherlands to the foremost maritime and economic power in the world has been called the "Dutch Miracle" by historian K. W. Swart. Adriaen van Ostade (1610 – 1685) was a Dutch Golden Age painter of genre works. He and his brother were pupils of Frans Hals and like him, spent most of their lives in Haarlem. A01 The Painter in his Workshop 1633 A02 Resting Travelers 1671 David Teniers the Younger (1610 – 1690) was a Flemish painter, printmaker, draughtsman, miniaturist painter, staffage painter, copyist and art curator. He was an extremely versatile artist known for his prolific output. He was an innovator in a wide range of genres such as history, genre, landscape, portrait and still life. He is now best remembered as the leading Flemish genre painter of his day. Teniers is particularly known for developing the peasant genre, the tavern scene, pictures of collections and scenes with alchemists and physicians. A03 Peasant Wedding 1650 A04 Archduke Leopold Wilhelm in his gallery in Brussels Gerrit Dou (1613 – 1675), also known as Gerard and Douw or Dow, was a Dutch Golden Age painter, whose small, highly polished paintings are typical of the Leiden fijnschilders.
    [Show full text]
  • Waardering Historische Groenstructuren Warmond Teylingen
    WAARDERING HISTORISCHE GROENSTRUCTUREN WARMOND TEYLINGEN RAPPORT 21 MAART 2019 Vereniging tot bevordering, ondersteuning en instandhouding van landschappelijk en stedelijk schoon 2 HISTORISCHE GROENSTRUCTUREN WARMOND DORP, STAD & LAND COLOFON Waardering Historische Groenstructuren Warmond In opdracht van: GemeenteTeylingen Uitgevoerd door: Stichting Dorp, Stad en Land Adviseurs ruimtelijke kwaliteit Groothandelsgebouw Stationsplein 45 3001 GC Rotterdam 010 280 9445 www.dorpstadenland.nl [email protected] Projectteam: Suzanne Loen Datum: 21 maart 2019 ©Dorp, Stad en Land 2019 Teksten, foto’s en kaarten zijn gemaakt door Dorp, Stad en Land, tenzij anders vermeld. DORP, STAD & LAND HISTORISCHE GROENSTRUCTUREN WARMOND 3 INHOUD 1. Inleiding 4 Werkwijze Bronnen 2. Ontwikkeling groenstructuren 12 3. Historische kaartenanalyse 18 4. Waardering en beschrijving groenstructuren 30 5. Cultuurhistorische waardenkaart en matrix 40 6. Conclusies en aanbevelingen 42 7. Kansen per groenstructuur 44 4 HISTORISCHE GROENSTRUCTUREN WARMOND DORP, STAD & LAND Sassenheim Voorhout Haarlemmer Trekvaart Katwijk Kagerplassen Klinkenbergerplassen Warmond Oegstgeester Kanaal Poelmeer De Rijn De Leede Oegstgeest Leiden Het onderzoeksgebied historische groenstructuren gelegen op een historisch strategisch kruispunt van waterwegen (eigen bewerking Googlemaps) DORP, STAD & LAND HISTORISCHE GROENSTRUCTUREN WARMOND 5 1. INLEIDING In opdracht van de gemeente Teylingen heeft Dorp Stad en Land de historische groen- structuren ten noordwesten van de Oranje Nassaulaan in
    [Show full text]
  • Vermeer and the Masters of Genre Painting: Inspiration and Rivalry Wednesday, November 8, 2017 the Exhibition Is Organized by the 4:30 – 7:30 P.M
    vermeer and the masters of genre painting national gallery of art october 22, 2017 – january 21, 2018 AMONG THE MOST ENDURING IM AGES of the Dutch Golden Age are genre paintings, or scenes of daily life, from the third quarter of the seventeenth century. Made during a time of unparalleled inno- vation and prosperity, these exquisite portrayals of refined Dutch society — elegant men and women writing letters, playing music, and tending to their daily rituals — present a genteel world that is extraordinarily appealing. Today, Johannes Vermeer is the most cel- ebrated of these painters thanks to the beauty and tranquility of his images. Yet other masters, among them Gerard ter Borch, Gerrit Dou, Frans van Mieris, and Gabriel Metsu, also created works that are remarkably similar in style, subject matter, and technique. The visual connections between these artists’ paintings suggest a robust atmosphere of innovation and exchange — but to what extent did they inspire each other’s work, and to what extent did they follow their own artistic evolution? This exhibition brings together almost seventy paintings made between about 1655 and 1680 to explore these questions and celebrate the inspiration, rivalry, and artistic evolution of Vermeer and other masters of genre painting. Cover Johannes Vermeer Lady Writing (detail), c. 1665 oil on canvas National Gallery of Art, Washington, Gift of Harry Waldron Havemeyer and Horace Havemeyer, Jr., in memory of their father, Horace Havemeyer (cat. 2.3) (opposite) detail fig. 7 Gabriel Metsu Man Writing a Letter Fig. 1 (left) Gerard ter Borch Woman Writing a Letter, c. 1655 – 1656 oil on panel Royal Picture Gallery Mauritshuis, The Hague (cat.
    [Show full text]
  • Prints by Such Artists As Cornelis Cort After Frans Floris (1561) and Jan Saenredam After Hendrick Goltzius (Ca
    © 2021 The Leiden Collection Self-Portrait with a Lute: Sense of Hearing Page 2 of 9 Self-Portrait with a Lute: Sense of ca. 1664 Hearing oil on canvas 23.8 x 19.3 cm Jan Steen signed in dark paint, lower right (Leiden 1626 – 1679 Leiden) corner: “JSteen” (“JS” in ligature) JS-115 How to cite Kloek, Wouter. “Self-Portrait with a Lute: Sense of Hearing” (2017). In The Leiden Collection Catalogue, 3rd ed. Edited by Arthur K. Wheelock Jr. and Lara Yeager-Crasselt. New York, 2020–. https://theleidencollection.com/artwork/self-portrait-with-a-lute-sense-of-hearing/ (accessed September 27, 2021). A PDF of every version of this entry 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) Self-Portrait with a Lute: Sense of Hearing Page 3 of 9 In this painting Jan Steen has portrayed himself dressed informally, laughing, Comparative Figures and playing the lute. He wears a large gray coat, with ample room for his shirt sleeves, and red leggings. A songbook, to which he pays no attention, lies on a table at the left, which is the only piece of furniture to be seen. Although this small self-portrait is difficult to date, it is probable that Steen executed it in Haarlem around 1664. The definition of the face is comparable to that of the fool in The Rhetoricians in Brussels, which dates from the same period.[1] A comparison between the Leiden Collection painting and Self-Portrait Playing the Lute in the Thyssen-Bornemisza Museum in Madrid (fig 1), painted around 1666–68, reveals two striking differences.[2] First, in the Fig 1.
    [Show full text]
  • Jan Steen: the Drawing Lesson
    Jan Steen THE DRAWING LESSON Jan Steen THE DRAWING LESSON John Walsh GETTY MUSEUM STUDIES ON ART Los ANGELES For my teacher Julius S. Held in gratitude Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Jan Steen (Dutch, 1626-1679). The Drawing Lesson, circa 1665 (detail). Oil on panel, Mollie Holtman, Editor 49.3 x 41 cm. (i93/s x i6î/4 in.). Los Angeles, Stacy Miyagawa, Production Coordinator J. Paul Getty Museum (83.PB.388). Jeffrey Cohen, Designer Lou Meluso, Photographer Frontispiece: Jan Steen. Self-Portrait, circa 1665. © 1996 The J. Paul Getty Museum Oil on canvas, 73 x 62 cm (283/4 x 243/ in.). 17985 Pacific Coast Highway 8 Amsterdam, Rijksmuseum (sK-A-383). Malibu, California 90265-5799 All works of art are reproduced (and photographs Mailing address: provided) courtesy of the owners unless other- P.O. BOX 2112 wise indicated. Santa Monica, California 90407-2112 Typography by G & S Typesetting, Inc., Library of Congress Austin, Texas Cataloging-in-Publication Data Printed by Typecraft, Inc., Pasadena, California Walsh, John, 1937- Bound by Roswell Bookbinding, Phoenix, Jan Steen : the Drawing lesson / John Walsh, Arizona p. cm.—(Getty Museum studies on art) Includes bibliographic references. ISBN 0-89326-392-4 1. Steen, Jan, 1626-1679 Drawing lesson. 2. Steen, Jan, 1626-1679—Criticism and interpretation. I. Title. II. Series. ND653.S8A64 1996 759.9492—dc20 96-3913 CIP CONTENTS Introduction i A Familiar Face 5 Picturing the Workshop 27 The Training of a Painter 43 Another Look Around 61 Notes on the Literature 78 Acknowledgments 88 Final page folds out, providing a reference color plate of The Drawing Lesson INTRODUCTION In a spacious vaulted room a painter leans over to correct a drawing by one of his two pupils, a young boy and a beautifully dressed girl, who look on [FIGURE i and FOLDOUT].
    [Show full text]
  • Tweede Kamer Der Staten-Generaal 2
    Tweede Kamer der Staten-Generaal 2 Vergaderjaar 2004–2005 30 033 Samenvoeging van de gemeenten Sassenheim, Voorhout en Warmond Nr. 3 MEMORIE VAN TOELICHTING 1. Inleiding Dit wetsvoorstel voorziet in de gemeentelijke herindeling van de gemeenten Sassenheim, Voorhout en Warmond. Deze drie gemeenten samen zullen de nieuwe gemeente Teylingen gaan vormen. Bovendien wordt een grenswijziging voorgesteld tussen de nieuwe gemeente Teylingen en de gemeente Oegstgeest. Dit herindelingsvoorstel is geba- seerd ophet herindelingsadvies van de provincieZuid-Holland, dat als bijlage bij het wetsvoorstel is gevoegd. 1.1 Provinciale discussie over bestuurskracht De discussie over bestuurskracht en de bestuurlijke indeling in de provincie Zuid Holland wordt reeds enige jaren gevoerd in de provincie Zuid-Holland. Bovendien adviseerde de StuurgroepKrachtige Gemeenten – die de minister van Binnenlandse Zaken en Koninkrijksrelaties had inge- steld – in haar eindrapport van april 2000 dat de bestuurlijke organisatie in de Duin- en Bollenstreek en de Leidse regio aanpassing behoeft. De provincie Zuid Holland hecht er bij het vinden van een duurzame oplossing voor de geconstateerde problemen rond bestuurskracht en bestuurlijke drukte aan, dat deze oplossingen hun basis vinden in een voorstel van de betrokken gemeenten zelf. In het voorjaar van 2001 heeft de provincie de gemeenten in de Duin- en Bollenstreek en de Leidse regio dan ook gevraagd om zelf met een oplossingsrichting te komen. Op basis van dit verzoek hebben alle gemeenten in de Duin- en Bollenstreek en in de Leidse regio zich georiën- teerd opde vraag of zij alle taken, nu en in de toekomst, nog wel naar behoren zouden kunnen uitvoeren. Vervolgens heeft het college van Gedeputeerde Staten in het kader van bovenstaande provinciale discussie overleg gevoerd met de gemeenten Warmond, Sassenheim, Voorhout, Oegstgeest, Leiderdorp, Alkemade en Leiden over de bestuurlijke organisatie van de regio.
    [Show full text]
  • Chapman CV 2020
    H. PERRY CHAPMAN Department of Art History tel (302) 831-2243 University of Delaware dept (302) 831-8415 318 Old College [email protected] Newark, DE 19716 EDUCATION Princeton University, M.F.A., 1978; Ph.D., 1983. Dissertation: “The Image of the Artist: Roles and Guises in Rembrandt's Self-Portraits.” (advisers: John Rupert Martin and Egbert Haverkamp- Begemann) Swarthmore College, B.A., High Honors, Phi Beta Kappa, 1975. APPOINTMENTS University of Delaware, Department of Art History, Instructor, 1982-83; Assistant Professor, 1983-89; Associate Professor, 1989-97; Professor, 1997-; Interim Chair, 2014-15. Institute of Fine Arts, New York University, Lecturer, Spring 2010. The Art Bulletin, Editor Designate, 1999-2000; Editor-in-Chief, 2000-2004. The American University, Department of Art History, Professorial Lecturer, Spring 1982. Swarthmore College, Art Department, Instructor, Spring 1981. CURATORIAL EXPERIENCE Denver Art Museum and The Newark Museum, Consultant for exhibition Art & Home: Dutch Interiors in the Age of Rembrandt, held in 2001-2002. The National Gallery of Art, Washington, DC, Guest Co-Curator for exhibition Jan Steen: Painter and Storyteller, held at the National Gallery and the Rijksmuseum, Amsterdam, in 1996-1997. FELLOWSHIPS, GRANTS AND AWARDS University of Delaware, Institute for Global Studies, International Travel Award, 2014. Summer Teachers Institute in Technical Art History (STITAH) 2012, Yale University, July 2012 (funded by the Samuel H. Kress Foundation), participant. University of Delaware, General University Research Grant, 2012. John Simon Guggenheim Foundation Fellow, 2004 (held in 2006). Center for Advanced Study in the Visual Arts, Samuel H. Kress Senior Fellow, 2004-2005. National Endowment for the Humanities, Fellowship for University Teachers, 1993-1994.
    [Show full text]
  • Children of the Golden Age
    CHILDREN OF THE GOLDEN AGE JAN STEEN AND THE PORTRAYAL! OF YOUTH SEBASTIAN ARYANA UNIVERSITY OF AMSTERDAM ! CHILDREN OF THE GOLDEN AGE JAN STEEN AND THE PORTRAYAL OF YOUTH ! SEBASTIAN ARYANA UNIVERSITY OF AMSTERDAM 2015 TABLE OF CONTENTS PREFACE . i 1. INTRODUCTION . 1 2. HISTORICITY . 7 3. ARTISTIC DIALOGUE . .15 4. CHILDREN IN ART . .19 5. COMIC TRADITION . 25 6. LIFE AND TRAINING OF JAN STEEN . 35 7. THE PUZZLE OF MOLENAER . 40 8. DIFFERENCES IN CHILDREN . 45 9. DISTORTED REALITIES . 51 10. CONCLUSION . 56 CATALOGUE . 66 BIBLIOGRAPHY . 86 PREFACE Every research begins with a spark of imagination. For me, it was Johannes Vermeer’s Little Street in Delft. It was the sheer quietness of the picture, the stillness of the moment, the randomness of the scene, and the simplicity of the whole thing. Yet, there is enough in the picture to have fed scholarly research for decades, to fill pages of books, and to gather huge crowds in front of it at the Rijksmuseum in Amsterdam. During the last year of my undergraduate studies at the University of Washington, the seemingly realism of the seventeen-century Dutch paintings made me curious. But I had to look for my own niche in the field of Dutch Art History, which ranges from portraiture to comics to landscape and seascape. The likes of Vermeer and Rembrandt are over-studied, and the vastness of literature available on them, makes the challenge less appealing. It was in 2010 when I began to look at the “comical” pictures of seventeenth-century Dutch art to find a topic to write my undergraduate research paper on.
    [Show full text]
  • De Groene Kaart Duin- En Bollenstreek
    tijd waren er al enkele kwekers vanuit Haarlem uitgeweken naar Lisse, Noord wijk Zandhagedisroute (G) www.zuidhollandsladschap.nl 7 Kasteel Keukenhof Agrarische Natuur- en Landschaps- en Uitgeest. Van daaruit verkochten zij hun bollen aan Haarlemse bloemisten. De start is bij de toegang tot de duinen aan de Randweg/Kapelleboslaan Keukenhof 1, voor navigatie: Stationsweg 166, 2161 AN Lisse Bezoekwaardigheden Kwekers bevonden zich reeds in Lisse, Hillegom en Sassenheim. De handel in tegenover Stayokay Noordwijk. Loop bij paddenstoel 21744 richting De Zilk. t (0252) 75 06 90, [email protected], bloembollen speelde zich voornamelijk op openbare veilingen af. Er werden Volg het fietspad links van de weg ruim 1 kilometer. De Zandhagedisroute is www.kasteelkeukenhof.nl vereniging Geestgrond steeds minder bollen rechtstreeks aan particulieren verkocht. In de periode een gemarkeerde wandelroute van circa 9 km. 1 Boerderij Sophiahoeve ✤ Openingstijden: niet vrij toegankelijk 1840-1860 trok de economie aan en steeds meer mensen gingen ‘in de bollen‘. Wasbeeklaan 7, 2316 HG Warmond, t (071) 301 08 19, ✤ Producten: arrangementen Het centrum van de bollenhandel verplaatste zich geleidelijk in de richting van Langeveldroute (N) www.zuidhollandslandschap.nl [email protected], www.desophiahoeve.nl Kasteel Keukenhof ligt middenin Landgoed Keukenhof, net buiten Lisse, Ontdek de kleuren van Hillegom en Lisse. Deze ontwikkeling werd ook gevoed doordat de grondwater - Start bij de Vogelaardreef in Noordwijkerhout. De wandelroute is 14,5 km lang ✤ Openingstijden: zaterdag van 08.00 - 13.30 uur tegenover de gelijknamige bloemententoonstelling. Een parel in de Randstad stand in de Bollenstreek zich verbeterde wat ten goede kwam aan de bloem- en niet gemarkeerd.
    [Show full text]
  • The Proceeds of Prosperity: Images of Domestic Money Management and Exchange in Dutch Genre Painting in the Middle of the Seventeenth Century
    THE PROCEEDS OF PROSPERITY: IMAGES OF DOMESTIC MONEY MANAGEMENT AND EXCHANGE IN DUTCH GENRE PAINTING IN THE MIDDLE OF THE SEVENTEENTH CENTURY by Copyright 2009 Roberta J. Pokphanh 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 _______________________________________ Linda Stone-Ferrier, PhD, Chairperson _______________________________________ Stephen Goddard, PhD _______________________________________ David Cateforis, PhD _______________________________________ Joey Sprague, PhD _______________________________________ Mohamed El Hodiri Date defended: April 17, 2009 ii The Dissertation Committee for Roberta J. Pokphanh certifies that this is the approved version of the following dissertation: THE PROCEEDS OF PROSPERITY: IMAGES OF DOMESTIC MONEY MANAGEMENT AND EXCHANGE IN DUTCH GENRE PAINTING IN THE MIDDLE OF THE SEVENTEENTH CENTURY Committee: _______________________________________ Linda Stone-Ferrier, PhD, Chairperson _______________________________________ Stephen Goddard, PhD _______________________________________ David Cateforis, PhD _______________________________________ Joey Sprague, PhD _______________________________________ Mohamed El Hodiri Date approved: April 17, 2009 iii DEDICATION This dissertation is dedicated to those who believed I could complete it. Their encouragement, occasional cheerleading, and concern reinforced my efforts. A special recognition goes to my children, who
    [Show full text]