Encyklopédia Kresťanského Umenia
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Supplementary Information For
1 2 Supplementary Information for 3 Dissecting landscape art history with information theory 4 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 5 Hawoong Jeong 6 E-mail:[email protected] 7 Seung Kee Han 8 E-mail:[email protected] 9 This PDF file includes: 10 Supplementary text 11 Figs. S1 to S20 12 Tables S1 to S2 13 References for SI reference citations www.pnas.org/cgi/doi/10.1073/pnas.2011927117 Byunghwee Lee, Min Kyung Seo, Daniel Kim, In-seob Shin, Maximilian Schich, Hawoong Jeong, Seung Kee Han 1 of 28 14 Supporting Information Text 15 I. Datasets 16 A. Data curation. Digital scans of landscape paintings were collected from the two major online sources: Wiki Art (WA) (1) 17 and the Web Gallery of Art (WGA) (2). For our purpose, we collected 12,431 landscape paintings by 1,071 artists assigned to 18 61 nationalities from WA, and 3,610 landscape paintings by 816 artists assigned with 20 nationalities from WGA. While the 19 overall number of paintings from WGA is relatively smaller than from WA, the WGA dataset has a larger volume of paintings 20 produced before 1800 CE. Therefore, we utilize both datasets in a complementary way. 21 As same paintings can be included in both datasets, we carefully constructed a unified dataset by filtering out the duplicate 22 paintings from both datasets by using meta-information of paintings (title, painter, completion date, etc.) to construct a unified 23 set of painting images. The filtering process is as follows. -
Holland Artikel
Bonny van Sighem Vis op het droge Visstillevens in Holland en Utrecht in de 17de eeuw Stillevens met daarop stapels dode vissen behoren zelden tot de topstukken van musea. Wij kijken liever naar een schilderij met flink wat menselijk drama of naar een kleurig boeket bloemen in verf dan naar een uitstalling van deze weinig aaibare dieren. Toch zijn er prachtige visstillevens geschilderd in de 17de eeuw. De meesten werden gemaakt in de provincie Holland en de stad Utrecht. Over het algemeen zien we op schilderijen uit Holland wat vaker zeevis en op die uit Utrecht wat vaker zoetwatervis. Realisti - sche uitstallingen tonen vistillevens echter niet. De bederfelijkheid van het onderwerp verklaart waarom ze nooit de nageschilderde werkelijkheid laten zien. De stank in het atelier zou ondraaglijk zijn geweest. Bijbelse taferelen, portretten, mythologische voorstellingen, kerkinterieurs, stadsgezichten, genrestukken, landschappen, zeegezichten, stillevens. De 17de-eeuwse Nederlandse schil - derkunst kende zeer veel specialiteiten. De markt was vrij en de economische situatie was gunstig, waardoor zowel de vraag naar als het aanbod van schilderijen zeer groot was. Stil - levenschilders die zich oefenden in het weergeven van levenloze voorwerpen konden kiezen voor het schilderen van vazen met bloemen, boeken, tabaksgerei, steengoed, etenswaar, vruchten, glas en andere kostbaarheden, jachtbuit, vis, of een combinatie hiervan, zoals het ontbijtje, het vanitas-stilleven en het pronkstilleven. Stillevens stelden in de ogen van de la - tere kunsttheoretici niet veel voor, maar op de markt vonden ze gretig aftrek en er konden hoge prijzen voor betaald worden. Ook aan het begin van de 21ste eeuw worden stillevens nog bijzonder gewaardeerd. Ze staan sterk in de markt en brengen ongekende prijzen op. -
Adriaan Reland and Dutch Scholarship on Islam Scholarly and Religious Visions of the Muslim Pilgrimage
chapter 4 Adriaan Reland and Dutch Scholarship on Islam Scholarly and Religious Visions of the Muslim Pilgrimage Richard van Leeuwen The development of Dutch Oriental studies and the study of Islam was from the beginning of the seventeenth century connected with the religious debates between the Catholic Church in Rome and the various Protestant communi- ties in northern Europe. The Protestant scholars subverted the monopoly held by the Vatican on the study of Islam and its polemics against the ‘false’ faith, which was often based on incorrect presuppositions. Debates about Islam became rapidly entangled with opinions about religion in general or about Catholic doctrines and practices more specifically. In their anti-Catholic attitude the Protestant scholars even harboured some sympathy for certain aspects of Islam, although they emphasised that Muhammad should not be considered an authentic prophet. They argued for a more objective examina- tion of Islam, to be able to counter the rivalling faith more effectively. This tendency can be clearly observed in publications about Islam in the Dutch Republic in the seventeenth and eighteenth centuries. One may argue that the Protestant trend in Oriental studies culminated in Adriaan Reland’s famous compendium of Islamic doctrines De religione Mohammedica, which was published in 1705 and was subsequently translated into various languages. The second edition of the book, published in 1717, which was based on authentic Arabic manuscript sources, not only contained a con- cise but detailed survey of the main tenets and practices of Islam, but was also supplemented with a section in which the main European misperceptions of Islam were corrected. -
Depressed Eyes
D E P R E S S E D E Y E S ‘ Allegory of Winter’ painted by Caesar van Everdingen, c a 1 6 5 0 Nelly Moerman Final paper for UvA Master’s module ‘Looking at Dutch Seventeenth - Century Paintings’ 2010 D EPRESSED EYES || Nelly Moerman - 2 CONTENTS page 1. Introduction 3 2. ‘Allegory o f Winter’ by Caesar van Everdingen, c. 1650 3 3. ‘Principael’ or copy 5 4. Caesar van Everdingen (1616/17 - 1678), his life and work 7 5. Allegorical representations of winter 10 6. What is the meaning of the painting? 11 7. ‘Covering’ in a psychological se nse 12 8. Look - alike of Lady Winter 12 9. Arguments for the grief and sorrow theory 14 10. The Venus and Adonis paintings 15 11. Chronological order 16 12. Conclusion 17 13. Summary 17 Appendix I Bibliography 18 Appendix II List of illustrations 20 A ppen dix III Illustrations 22 Note: With thanks to the photographic services of the Rijksmuseum in Amsterdam for supplying a digital reproduction. Professional translation assistance was given by Janey Tucker (Diesse, CH). ISBN/EAN: 978 - 90 - 805290 - 6 - 9 © Copyright N. Moerman 2010 Information: Nelly Moerman Doude van Troostwijkstraat 54 1391 ET Abcoude The Netherlands E - mail: [email protected] D EPRESSED EYES || Nelly Moerman - 3 1. Introduction When visiting the Rijksmuseum, it seems that all that tourists w ant to see is Rembrandt’s ‘ Night W atch ’. However, before arriving at the right spot, they pass a painting which makes nearly everybody stop and look. What attracts their attention is a beautiful but mysterious lady with her eyes cast down. -
Review of the Year 2012–2013
review of the year TH E April 2012 – March 2013 NATIONAL GALLEY TH E NATIONAL GALLEY review of the year April 2012 – March 2013 published by order of the trustees of the national gallery london 2013 Contents Introduction 5 Director’s Foreword 6 Acquisitions 10 Loans 30 Conservation 36 Framing 40 Exhibitions 56 Education 57 Scientific Research 62 Research and Publications 66 Private Support of the Gallery 70 Trustees and Committees of the National Gallery Board 74 Financial Information 74 National Gallery Company Ltd 76 Fur in Renaissance Paintings 78 For a full list of loans, staff publications and external commitments between April 2012 and March 2013, see www.nationalgallery.org.uk/about-us/organisation/ annual-review the national gallery review of the year 2012– 2013 introduction The acquisitions made by the National Gallery Lucian Freud in the last years of his life expressed during this year have been outstanding in quality the hope that his great painting by Corot would and so numerous that this Review, which provides hang here, as a way of thanking Britain for the a record of each one, is of unusual length. Most refuge it provided for his family when it fled from come from the collection of Sir Denis Mahon to Vienna in the 1930s. We are grateful to the Secretary whom tribute was paid in last year’s Review, and of State for ensuring that it is indeed now on display have been on loan for many years and thus have in the National Gallery and also for her support for very long been thought of as part of the National the introduction in 2012 of a new Cultural Gifts Gallery Collection – Sir Denis himself always Scheme, which will encourage lifetime gifts of thought of them in this way. -
The Test of Time: Art Encyclopedias and the Formation of the Canon
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Erasmus University Digital Repository TEST OF TIME 1 The Test of Time: Art Encyclopedias and the Formation of the Canon of Seventeenth-Century Painters in the Low Countries Authors Filip Vermeylen, Ph.D. (lead author) Associate Professor in Cultural Economics Erasmus University Rotterdam, The Netherlands Website: http://filipvermeylen.com Maarten van Dijck, Ph.D. Lecturer in Historical Methodology Erasmus University Rotterdam, The Netherlands Website: www.eshcc.eur.nl/english/personal/vandijck/ Veerle De Laet, Ph.D., Leuven University Press, Belgium The authors wish to thank Karolien de Clippel, Neil de Marchi, Victor Ginsburgh and two anonymous reviewers for their insightful feedback, and Jessica Verboom for her help with collecting the data. TEST OF TIME 2 Abstract This paper deals with the process of canon formation for Flemish and Dutch painters from the seventeenth century onwards. We examine how the essential art-historical treatises and art encyclopedias since Houbraken’s Grote Schouburgh der Nederlandsche Konstschilders en Schilderessen ranked and evaluated the leading painters, based on the attention given to them in these volumes. Using standardized z-scores, we map the relative importance the selected artists received in these publications over the three centuries. In doing so, we emphasize the path-dependency and the dimension of time in explaining the endurance of certain artists in the long run. From our research it emanates that the canon of Netherlandish painters is much more volatile than previously assumed. TEST OF TIME 3 “When one does a thing, it appears good, otherwise one would not write it. -
Full Texts Book
2. PEARSON JOURNAL INTERNATIONAL CONFERENCE ON SOCIAL SCIENCES & HUMANITIES June 28-29, 2021 Izmir – TURKEY FULL TEXTS BOOK Editor Assoc. Prof. Dr. Filiz KALYON ISBN - 978-1-955094-08-5 2. PEARSON JOURNAL INTERNATIONAL CONFERENCE ON SOCIAL SCIENCES & HUMANITIES June 28-29, 2021 Izmir – TURKEY FULL TEXTS BOOK Published by Liberty Publications -2021© LIBERTY ACADEMIC is a part of LIBERTY PUBLISHER OF BOOKS Head officeNew York, USA +1 (314) 597-037280 Maiden Lane, 21st Floor /8Water Street Corridor New York, NY 10038 www.libertyacademicbooks.com [email protected] Release date: 21.07.2021 ISBN – 978-1-955094-08-5 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY CONGRESS'S IDENTIFICATION CONGRESS NAME 2. Pearson Journal International Conference on Social Sciences & Humanities DATE AND PLACE June 28-29, 2021 Izmir, TURKEY ORGANIZING COMMITTEE Dr. Terane NAGIYEVA Dr. Mehmet Emin KALGI Dr. Alice HERMANIS Dr. Hasan ÇİFTÇİ Dr. Damezhan SADYKOVA Dr. Yunus Emre TANSÜ COORDINATOR Zhanuzak ALIMGEREY NUMBER OF ACCEPTED PAPERS 31 NUMBER OF REJECTED PAPERS 11 EVALUATION PROCESS All applications have undergone a double-blind peer review process CONGRESS LANGUAGES Turkish and all dialects, English, Russian PRESENTATION Oral presentation Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY PHOTO GALLERY Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY Full Texts Book June 28-29, 2021 2. Pearson Journal International Conference on Social Sciences & Humanities | Izmir, TURKEY SCIENTIFIC COMMITTEE Prof. -
2017 Annual Report 2017 NATIONAL GALLERY of IRELAND
National Gallery of Ireland Gallery of National Annual Report 2017 Annual Report 2017 Annual Report nationalgallery.ie Annual Report 2017 Annual Report 2017 NATIONAL GALLERY OF IRELAND 02 ANNUAL REPORT 2017 Our mission is to care for, interpret, develop and showcase art in a way that makes the National Gallery of Ireland an exciting place to encounter art. We aim to provide an outstanding experience that inspires an interest in and an appreciation of art for all. We are dedicated to bringing people and their art together. 03 NATIONAL GALLERY OF IRELAND 04 ANNUAL REPORT 2017 Contents Introducion 06 Chair’s Foreword 06 Director’s Review 10 Year at a Glance 2017 14 Development & Fundraising 20 Friends of the National Gallery of Ireland 26 The Reopening 15 June 2017 34 Collections & Research 51 Acquisition Highlights 52 Exhibitions & Publications 66 Conservation & Photography 84 Library & Archives 90 Public Engagement 97 Education 100 Visitor Experience 108 Digital Engagement 112 Press & Communications 118 Corporate Services 123 IT Department 126 HR Department 128 Retail 130 Events 132 Images & Licensing Department 134 Operations Department 138 Board of Governors & Guardians 140 Financial Statements 143 Appendices 185 Appendix 01 \ Acquisitions 2017 186 Appendix 02 \ Loans 2017 196 Appendix 03 \ Conservation 2017 199 05 NATIONAL GALLERY OF IRELAND Chair’s Foreword The Gallery took a major step forward with the reopening, on 15 June 2017, of the refurbished historic wings. The permanent collection was presented in a new chronological display, following extensive conservation work and logistical efforts to prepare all aspects of the Gallery and its collections for the reopening. -
PDF Van Tekst
Voorloopige lijst der Nederlandsche monumenten van geschiedenis en kunst. Deel III. De provincie Zuidholland bron Voorloopige lijst der Nederlandsche monumenten van geschiedenis en kunst. Deel III. De provincie Zuidholland. A. Oosthoek, Utrecht 1915 Zie voor verantwoording: http://www.dbnl.org/tekst/_voo016voor12_01/colofon.php © 2013 dbnl i.s.m. V Voorwoord. Bij Koninklijk Besluit van 7 Juli 1903, No. 44, werd ingesteld eene Rijkscommissie tot het opmaken en uitgeven van een inventaris en eene beschrijving van de Nederlandsche monumenten van Geschiedenis en Kunst. De taak dezer Rijkscommissie is: het samenstellen en uitgeven eener geïllustreerde beschrijving van alle in Nederland aanwezige gebouwen en voorwerpen, dagteekenend van vóór 1850, die belang bezitten als uiting van kunst of om eene er aan verbonden historische herinnering. Aldus zal worden verkregen een handboek, waarin men over de aanwezigheid, de artistieke of historische waarde en den toestand der monumenten van geschiedenis en kunst uitvoerige inlichting kan vinden en tegelijkertijd een volledige en betrouwbare bron voor de Nederlandsche kunstgeschiedenis. Ten einde dit groote werk, dat vele jaren zal vorderen, met meer kennis van zaken te kunnen ondernemen en tevens zoo spoedig mogelijk een overzicht te geven van al wat het behouden waard is, besloot de Rijkscommissie eene ‘Voorloopige Lijst’ der monumenten te bewerken, waarin gebouwen en met gebouwen samenhangende voorwerpen alleen kort worden vermeld. Voor het thans verschijnend derde deel dezer lijst1), bevattende de monumenten der provincie Zuidholland, zijn de gegevens, met uitzondering van die betreffende de gemeenten Delft en 's-Gravenhage, door onderzoek ter plaatse van 1904 tot 1909 verzameld door Mr. Dr. J.C. OVERVOORDE. -
Gaspard Dughet: Some Problems in the Connoisseurship of Chalk Drawings
ABSTRACT Title of thesis: GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS Sarah Beth Cantor, Master of Arts, 2005 Thesis directed by: Professor Anthony Colantuono Department of Art History and Archaeology Little scholarship has been devoted to the graphic oeuvre of Gaspard Dughet (1615-1675), a prominent landscape painter of the seventeenth century. A number of drawings in red and black chalk have been attributed to Dughet based on their connection to documented paintings. Stylistic comparisons with other examples of Dughet’s work as a draughtsman and technical evidence including medium and watermarks, however, reveal that a group of drawings given to the artist are, in fact, copies done in the late seventeenth or early eighteenth century. Although Dughet’s contributions are under appreciated today, his work influenced the next generation of landscape artists in Italy and abroad, including the British and many Dutch and Flemish artists who traveled to Italy. This thesis examines not only Dughet’s chalk drawings, but the graphic work of his most well-known Northern followers to determine which artist may have executed these copies. GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS by Sarah Beth Cantor Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2005 Advisory Committee: Professor Anthony Colantuono, Chair Professor Joanne Pillsbury Professor William Pressly Professor Ann Sutherland Harris ©Copyright by Sarah Beth Cantor 2005 DISCLAIMER The thesis document that follows has had referenced material removed in respect for the owner’s copyright. -
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. -
Geest En Gratie
ildikokoszonto_Layout 1 2012.12.16. 20:48 Page 3 Geest en gratie Essays Presented to Ildikó Ember on Her Seventieth Birthday SZÉPM űVÉSZETI MÚZEUM MUSEUM OF FINE ARTS BUDAPEST 2012 ildikokoszonto_Layout 1 2012.12.16. 20:48 Page 4 Editor-in-Chief: ORSOLYA RADVÁNYI Co-Editors: JÚLIA TÁTRAI, ÁGOTA VARGA Reproduction rights: ANDREA BRENNER Bibliography compiled by: ILONA BALOGH, ESZTER ILLÉS Translation: SZILVIA BODNÁR, KATALIN CZOTTNER, ZOLTÁN KÁRPÁTI, STEVE KANE, DÓRA SALLAY, ANJA K. ŠEV čIK, AXEL VÉCSEY Language revison: ANJA BRUG, ELIZABETH SZÁSZ Proof-reading: ESZTER FÁBRY Designed by GÁBOR KIRÁLY Printed in Hungary by Elektroproduct Nyomdaipari Kft. Cover illustration: attributed to Matthias Withoos: Flowers in a Landscape (detail), Szépm űvészeti Múzeum, inv. no. 63.3 ©Published by the Szépm űvészeti Múzeum, Budapest 2012, dr. László Baán General Director The Szépm űvészeti Múzeum is supported by the Ministry of Human Resources We would like to thank our supporters, Prof. dr. Alfred Bader – American Jewish Joint Distribution Committee and the Rijksbureau voor Kunsthistorische Documentatie, The Hague for their generous sponsorship. ildikokoszonto_Layout 1 2012.12.16. 20:49 Page 6 CONTENTS 8 IN HONOUR OF ILDIKÓ EMBER 11 ILDIKÓ EMBER’S BIBLIOGRAPHY QUENTIN BUVELOT 16 ON COORTE’S STILL LIFE WITH TWO WALNUTS FRED G. MEIJER 20 A PARTRIDGE BY ABRAHAM VAN CALRAET (1642–1722) IN BUDAPEST JÚLIA TÁTRAI THE BEATIFIED MARTYRS OF GORCUM: 26 A SERIES OF PAINTINGS BY DAVID TENIERS THE YOUNGER AND WOUTER GYSAERTS URSULA HÄRTING BLUMENBUKETTS IN PRUNKVASEN. 34 FRANS FRANCKEN II. – ANDRIES DANIELS – PHILIPS DE MARLIER ISTVÁN NÉMETH 40 STILL LIFES BY ABRAHAM VAN BEIJEREN IN THE FORMER COLLECTION OF MARCELL NEMES JÁNOS JERNYEI KISS “..