Nr 157, December 2019
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Rembrandt: a Milestone of Portraiture
Artistic Narration: A Peer Reviewed Journal of Visual & Performing Art ISSN (P): 0976-7444 (e): 2395-7247 Vol. VIII. 2016 IMPACT Factor - 3.9651 Rembrandt: a Milestone of Portraiture Syed Ali Jafar Assistant Professor Dept. of Painting, D.S. College, Aligarh. Email: [email protected] Abstract When we talk about portraiture, the name of Dutch painter Rembrandt comes suddenly in our mind who was born in 1607 and studied art in the studio of a well known portrait painter Pieter Lastman in Amsterdam. Soon after learning all the basics of art, young Rembrandt established himself as a portrait painter along with a reputation as an etcher (print maker). As a result, young and energetic Rembrandt established his own studio and began to apprentice budding artist almost his own age. In 1632, Rembrandt married to Saskia van Ulyenburg, a cousin of a well known art dealer who was not in favour of this love marriage. Anyhow after the marriage, Rembrandt was so happy but destiny has written otherwise, his beloved wife Saskia was died just after giving birth to the son Titus. Anyhow same year dejected Rembrandt painted his famous painting „Night Watch‟ which pull down the reputation of the painter because Rembrandt painted it in his favourite dramatic spot light manner which was discarded by the officers who had commissioned the painting. Despite having brilliant qualities of drama, lighting scene and movement, Rembrandt was stopped to obtain the commission works. So he stared to paint nature to console himself. At the same time, Hendrickje Stoffels, a humble woman who cared much to child Titus, married Rembrandt wise fully and devoted her to reduce the tide of Rembrandt‟s misfortune. -
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. -
Holding the Museum in the Palm of Your Hand Susan Hazan
Holding the Museum in the Palm of your Hand Susan Hazan Introduction: the quintessence of the museum Google Art Project and Europeana: background Transmitting tangibility; the essence of the embodied gallery and the physical object Disseminating intangibility; the descriptive qualities of textural metadata Web 1.0 versus Web 2.0 scenarios Conclusion: the loss and the gain Introduction: the quintessence of the museum When we visit a library or archive, we typically expect to find printed material, books, publications and documents. However, when we go to a museum – either in person or online – we expect a very different kind of experience. The physical museum invites us to discover exceptional and often extraordinary kinds of objects, and accordingly, when these very same objects are delivered online, they are managed very differently from the way books are managed by libraries, or the way that archives manage hierarchal documents. As the footprint of the physical museum, an online museum is therefore orchestrated to convey the singular and often spectacular nature of the objects, as well as the very quintessence of the physical museum. This means that as objects, and works of art make their screen debut, the website needs to communicate not only the physicality of the objects but also to signify - in some way - the embodied space of the gallery. As if we have just passed through the physical front door of the museum, the electronic portal signifies entrance to the online museum, setting up the collections accordingly. Objects are not simply displayed as clutches of atomized objects, but are arranged in thematic order – as a collection or exhibition – according to a chronological logic, historical narrative, provenance, or according to artists or schools of art, just in the same way that they are presented in the physical museum1. -
0. Nr 1. Stadsdeel 2. Naam Instelling 3. Doelstelling/Activiteit 4
0. Nr 1. Stadsdeel 2. Naam Instelling 3. Doelstelling/Activiteit 4. Programma 5. Subprogramma 6. Begrotingsvolgnummer7. Naam (specifieke) verordening8. P/E 9. Beschikt in 2011 1 Centrum ABC Exploitatiesubsidie 2011 2010-2253DOnderwijs en Jeugd Lokaal Onderijws 508 Algemene Subsidieverordening stadsdeelP Centrum€ 2008 72.765,00 2 Centrum AcquiReal n.b. n.b. n.b. n.b. n.b. E € 3.096,56 3 Centrum AcquiReal n.b. n.b. n.b. n.b. n.b. E € 18.862,13 4 Centrum AcquiReal n.b. n.b. n.b. n.b. n.b. E € 19.620,34 5 Centrum Altra Schoolbegeleiding 2011 2e helft Onderwijs2010-2905D en Jeugd Lokaal Onderijws 508 Algemene Subsidieverordening stadsdeelP Centrum€ 2008 1.305,00 6 Centrum Altra Schoolbegeleiding 2e helft 2011 2011-6089DOnderwijs en Jeugd Lokaal Onderijws 508 Algemene Subsidieverordening stadsdeelP Centrum€ 2008 950,00 7 Centrum AMSTA Maaltijdvoorziening ouderen 2011Welzijn 2010-2325D en Zorg Zelfstandige Huishouding 602 Algemene Subsidieverordening stadsdeelE Centrum€ 2008 20.143,00 8 Centrum Amsterdam City Economische les 2011 2011-3379DWerk, Inkomen en Economie Economie 402 Algemene Subsidieverordening stadsdeelE Centrum€ 2008 5.000,00 9 Centrum Amsterdam City KVO Kalverstraat - Nieuwendijk 4eCultuur ster 2011-9870D en Monumenten Kunst en Cultuur 803 Algemene Subsidieverordening stadsdeelE Centrum€ 2008 7.500,00 10 Centrum Amsterdams Grafisch Atelier Programma AGA 2011 2011-4566DCultuur en Monumenten Kunst en Cultuur 803 Algemene Subsidieverordening stadsdeelE Centrum€ 2008 7.500,00 11 Centrum Amsterdams Marionetten Theater Voorstellingen en educatieve activiteitenCultuur en2011 Monumenten 2010-7714D Kunst en Cultuur 803 Algemene Subsidieverordening stadsdeelE Centrum€ 2008 6.314,00 12 Centrum ANBO afdeling Binnenstad Civil Society activiteiten 2010-2408DWelzijn en Zorg Sociale Activering en Inburgering 610 Algemene Subsidieverordening stadsdeelE Centrum€ 2008 1.825,00 13 Centrum Art Gallery Hotel B.V. -
Social Distancing Brochure
FLOOR17 MEETING AT A SOCIAL DISTANCE Do you want to organize meetings and events at a social A dedicated event planner will create a full floorplan distance with the best view of Amsterdam? Floor17 offers five incorporating the necessary safety measures for your spectacular Sky Lounges that are setup at an appropriate attendees. At the hotel we have developed different protocols distance for your guests. Inspiring brainstorm sessions, that include aspects such as routing, catering packages and effective meetings or educational trainings, we would be cleaning which are adapted to specific event types. With happy to make your meeting a great success. arrows on the ground we created corona-proof routes and we have disinfections stations at all entrances and exits. In CORPORATE & SOCIAL EVENTS addition, your guests will be received by our lobby hostess In addition to our Sky Lounges, Floor17 has a fantastic who will guide your guests to our meeting and event locations. restaurant and rooftop terrace for your corporate or social events. This special event location can be privatized (partly LEONARDO HOTEL AMSTERDAM and completely) and offers various possibilities. From team REMBRANDTPARK building activities, barbecues or long summer nights with DJs The Leonardo Hotel Amsterdam Rembrandtpark is located at and cocktails to a complete winter rooftop terrace and curling Rembrandtpark and has a direct connection with the A10 ring game. road. This 4-star hotel is only 15 minutes away from the old center of Amsterdam and has a perfect connection to both the SAFETY AND HYGIENE MEASURES center and Schiphol Airport. Wake up with a spectacular view At Floor17 we continue to monitor the situation according to of Amsterdam? Stay in one of the 446 Standard, Deluxe and the policy of the National Institute for Health and the Executive rooms. -
Achtergrondinformatie Bij De Voorstelling Rembrandt
REMBRANDT Tafel van Vijf, 2019 ACHTERGROND EN PERSONAGES Kunst in de zeventiende eeuw Een portret van jezelf, of van je vrienden of familie is natuurlijk supermakkelijk: dat doe je met je smartphone. Die hadden ze niet in de zeventiende eeuw, maar ze hadden wel portretschilders die in opdracht en voor veel geld een (groeps)portret maakten. Dat was dus ook alleen weggelegd voor de rijken, en kon soms maanden of zelfs jaren duren om te maken. De portretten hadden eigenlijk dezelfde functies als foto’s nu hebben: om je huis mooi mee te maken, om je status mee aan te geven maar ook om de herinnering aan overleden familieleden in stand te houden. De meeste kunst werd gemaakt in opdracht. Van vrije of abstracte kunst (het tegenovergestelde van figuratieve kunst waarbij echte dingen te zien zijn) was toen nog geen sprake. Rembrandts werk viel op doordat hij beweging liet zien in zijn schilderijen. Hij schilderde geen mensen netjes naast elkaar, maar ‘in actie’, zodat het leek alsof de mensen op het schilderij niet door hadden dat ze geschilderd werden. Rembrandt maakte ongeveer 300 schilderijen. Soms deed hij wel drie jaar lang over het maken van één schilderij. Hij maakte meestal kleine schilderijen, van mensen of van natuur. Rembrandt schilderde eerst met hele donkere kleuren, maar later gebruikte hij meer kleur en werden zijn schilderijen groter. Rembrandt (gespeeld door Oscar Siegelaar) Rembrandt werd geboren in 1606 als zoon van Neeltgen en Harmen Gerritsz van Rijn. Zijn vader was een molenaar, die twee molens in Leiden had – toentertijd behoorde hij tot de gegoede middenklasse. -
AND the JEWISH EXPERIENCE the Berger Print Collection GALLERY GUIDE
AND THE JEWISH EXPERIENCE The Berger Print Collection GALLERY GUIDE This exhibition is organized by Westmont Ridley-Tree Museum of Art, Santa Barbara, California. The presentation of this exhibition at Telfair Museums is curated by Courtney McNeil, Chief Curator & Deputy Director for Curatorial Affairs. The works in this binder are organized alphabetically by the title of the print. An image of the work precedes the label text. All works are by Rembrandt van Rijn (Dutch, 1606–1669) unless otherwise noted. All works courtesy of the Collection of Howard and Fran Berger, Gift to the Westmont-Ridley Tree Museum of Art. Abraham and Isaac, 1645 Etching and drypoint on laid paper B.34, I/II (White & Boon only state); H. 214 Rembrandt represents the patriarch and his son just prior to Abraham’s attempt to sacrifice Isaac. Abraham is portrayed as obedient to God’s command, yet in anguish, in contrast to the young Isaac, who accepts his fate. For Christians, this scene is often interpreted as a precursor to the crucifixion of Christ in the New Testament. Within the context of Judaism, this narrative serves as a reminder of the importance of obedience to God’s will and his divine plan. This etching captures the diverse breadth of style of Rembrandt’s etched line work. His use of drypoint enhances the sense of weighty volume and velvety texture of Abraham’s and Isaac’s garments. Abraham Casting Out Hagar and Ishmael, 1637 Etching and drypoint on laid paper B.30, I/I (White & Boon only state); H. 149 Here, the beloved Jewish-Christian patriarch Abraham reluctantly exiles his first-born son, Ishmael, and the boy’s mother, Hagar. -
Te Koop: Postjeskade 113 -IV in Amsterdam Voor € 575.000,- K.K
Vraagprijs: € 575.000,- k.k. OBJECT: POSTJESKADE 113 -IV, AMSTERDAM APPARTEMENT POSTJESKADE 113 -IV AMSTERDAM vraagprijs € 575.000,- k.k. Ter Haar Makelaars B.V. Jacob Obrechtstraat 39, 1071 KG Amsterdam T +31 (020) 57 36 000 E info@@terhaarmakelaars.nl W www.terhaarmakelaars.nl Appartement Postjeskade 113 -IV, Amsterdam Juliette Blijdenstein [email protected] +31 (0) 20 573 60 00 Objectinformatie VvE De VvE wordt professioneel beheerd door Iris Beheer; De maandelijkse bijdrage is ca. €38,52- Het saldo van de kas van de VvE bedraagt ca. €15.000,- (31-12-2019) Eigen grond Het appartement is gelegen op eigen grond. Bijzonderheden - Geheel gerenoveerd in 2020, zelf nog af te bouwen - Zonnepanelen, doorstroomketel en vloerverwarming - Twee riante terrassen over de gehele breedte van het appartement - Dubbel glas door de gehele woning - Gelegen op eigen grond - Uitzicht op het water - Het gemeenschappelijke trappenhuis wordt in 2020 gerenoveerd Oplevering In overleg. Notaris Project notaris Kuin/Van Overbeek Unieke woning Gelegen op een prachtige locatie aan het water met Omgeving uitzicht op het Rembrandtpark bieden wij dit recent Het appartement is gelegen in een rustige en mooie gerenoveerde appartement aan van circa 93 m² met groenen straat met uitzicht op het Rembrandt park. Het drie slaapkamers en twee riante terrassen van samen Rembrandtpark is een fijne plek om te wandelen of te circa 23 m² op eigen grond. relaxen. Er zijn grasvelden, vijvers, speelplaatsen en een gezellige kinderboerderij. Ook het Vondelpark, de Het appartement wordt casco opgeleverd en is geheel Overtoom en de Kinkerbuurt zijn om de hoek met naar eigen stijl af te bouwen (denk aan: keuken, diverse mooie winkels, gezellige bars, heerlijke terrasjes badkamer, deuren en vloerafwerking). -
Rembrandt Van Rijn (1606 – 1669)
REMBRANDT VAN RIJN (1606 – 1669) 1606 Born July 15, 1606 in Leiden, Holland, the eighth of nine children of Harmen Gerritszoon van Rijn and Neeltje van Suijttbroeck. 1613-20 Studies at the Latin School of Leiden. 1620-22 Enrolls at the University of Leiden but leaves after two years. 1622-24 Is apprenticed to the Italian trained local painter of Leiden, Jacob van Swanenburgh. 1624 Studies with Pieter Lastman in Amsterdam for six months. 1625 Opens a studio in Leiden with his friend and colleague Jan Lievens. 1628 Takes on his first pupil, Gerard Dou. 1630 Moves to Amsterdam after the death of his father and settles with the art dealer Hendrick van Uylenburgh. 1631 Receives his first important commission, The Anatomy Lesson of Dr. Tulp. 1633 Becomes engaged to Saskia van Uylenburgh, the niece of Hendrick van Uylenburgh. 1634 Joins the Guild of St. Luke, which enables him to train pupils and apprentices and to work as a self-employed master. 1641 Son Titus is born in September, the one survivor of Rembrandt and Saskia’s four children. 1642 Saskia dies on June 14 at the age of thirty. Rembrandt reaches a turning point in his career, painting his largest and most ambitious work, The Night Watch. Geertge Dircx becomes Titus’s nurse and Rembrandt’s companion. 1640s Hendrickje Stoffels becomes Rembrandt’s housekeeper and eventually replaces Geertge as Rembrandt’s companion. 1654 Cornelia, the daughter of Rembrandt and Hendrickje, is born. 1656-58 Declares bankruptcy. His possessions, including his collection of art and his house, are auctioned. 1661-1663 Moves from his grand house to a simpler dwelling on the other side of Amsterdam. -
Museum Het Rembrandthuis Jaarverslag 2011 3 INTRODUCTIE Voorwoord Raad Van Toezicht
Museum Het Rembrandthuis Jaarverslag 2011 3 INTRODUCTIE Voorwoord Raad van Toezicht 9 OUDE HUIS & COLLECTIE Vaste presentatie Collectie op Reis Rembrandt in Japan Collectieregistratie Bibliotheek 15 TENTOONSTELLINGEN Kabinet van een kenner – Prenten uit de Collectie Frits Lugt De laatste Caravaggio De betoverde wereld van Anneke Kuyper – Grafiek, schilderijen en pastels Rembrandt & Lucas van Leyden museum het rembrandthuis Gedrukt tot Amsterdam – Amsterdamse prentmakers Jodenbreestraat 4 en -uitgevers in de Gouden Eeuw 1011 nk Amsterdam In het voetspoor van Rembrandt – Hollandse schilderkunst 020 5200400 uit privébezit www.rembrandthuis.nl 25 EDUCATIE & PUBLIEKSBEGELEIDING Algemeen Activiteiten (selectie) Publieksbegeleiding Volwassenen educatie Kinderactiviteiten Evenementen & samenwerking 33 COMMUNICATIE & MARKETING 37 B E Z O E K E R S Bezoekersaantallen 41 BEDRIJFSVOERING Huisvesting en onderhoud van de gebouwen Winkel Personeel en organisatie 45 FINANCIËN Fondsenwerving & sponsoring Verkort financieel verslag en verkorte balans 49 B I J L A G E N Verbonden partijen Aanwinsten museum Uitgaande bruiklenen Personalia INTRODUCTIE 5 VOORWOORD 6 RAAD VAN TOEZICHT ‘Geweldig initiatief. 100 jaar Rembrandthuis. Leerzame demonstraties. Dank.’ 10|06|2011 Kitty 6 VOORWOORD 7 Op 10 juni 2011 was het 100 jaar geleden dat gemeente Amsterdam. Na eerdere succesvolle koningin Wilhelmina Museum Het presentaties in Costa Rica, Panama, Oman en Rembrandthuis opende. Het jubileum werd Brazilië, waren onze etsen in 2011 op twee loca- gevierd in de Zuiderkerk met een aantal ties te zien in Japan: Tokio en Nagoya. Op het bijzondere lezingen en een feestelijke receptie. moment dat Janrense Boonstra zijn openings- Het was een jaar waarop het museum met veel toespraak hield in het National Museum of voldoening kan terugkijken, want voor de Western Art in Tokio, vond de aardbeving tweede keer op rij is het museum door meer plaats. -
Hotel Pick up List
Hotel Pick Up List [1] Time Hotel Name Hotel Name t Hotel 377 House - Amsterdam A-Train Hotel Aalborg Hotel Amsterdam Adagio Amsterdam City South Allure Garden Apartments Alp de Veenen Boutique Hotel Amadi Panorama Hotel Amadi Park Hotel Ambassade Hotel American Hotel Amsterdam Ammonite Hotel Amsterdam Amstel Corner Hotel Amsterdam Airport Schiphol Amsterdam Canal Hotel Amsterdam Downtown Hotel Amsterdam Hostel Centre Amsterdam Hotel Parklane Amsterdam House Hotel Amsterdam Marriott Hotel Amsterdam Teleport Hotel Amsterdam Tropen Hotel Amsterdam Village Hotel Amsterdam Wiechmann Hotel Anco Hotel Andaz Amsterdam Prinsengracht Anna Youth Hostel Annemarie Hotel Apollo Hotel Amsterdam, a Tribute Portfolio Hotel Apollo Hotel Vinkeveen-Amsterdam Apollo Museumhotel Amsterdam City Centre Apollofirst Hotel Armada Hotel Art'otel Amsterdam As Home Aston City Hotel Avenue Hotel BackStage Hotel Amsterdam Banks Mansion Barbacan Hotel Amsterdam Bastion Hotel Amsterdam Amstel Bastion Hotel Amsterdam Noord Bastion Hotel Amsterdam Zuidwest Bastion Hotel Zaandam BeByme Belfort Hotel Bema Rentals Best Western Amsterdam Best Western Dam Square Inn Bicycle Hotel Bilderberg Garden Hotel Bilderberg Hotel Jan Luyken Botel Botel Botel Botel Zebra Boutique Hotel View Camp Inn Hotel Canal House Canal House Amsterdam Canal House Suites at Sofitel Legend The Grand Amsterdam Casa Cara Catalonia Vondel Amsterdam Center Hotel Amsterdam Chasse Hotel Citiez Hotel Amsterdam citizenM Amstel Amsterdam Hotel citizenM Amsterdam South City Hotel Amsterdam City Hotel Rembrandt -
Rembrandt Versus Van Gogh: a Qualitative Contrast Study Applying a Visual Arts Valuation Model
Rembrandt Versus Van Gogh: A Qualitative Contrast Study Applying A Visual Arts Valuation Model Rene Desborde, [email protected] Kimball P. Marshall, [email protected]* Introduction Few marketing scholars have explored the field of fine arts marketing despite its significance as an area of economic activity and human creativity. Billions of dollars change hands annually in the worldwide visual fine arts industry (Velthuis, 2007; Clark and Flaherty, 2002), defined here to include various paintings, sculptures, and ceramics. This lack of academic attention might be because marketing scholars perceive that issues related to fine arts have little to do with marketing. It could also be that the unique characteristics of fine arts marketing are thought not to lend themselves to a traditional analytical approach to explain a particular artist’s success or lack of success. The inherently subjective nature of art products makes it challenging to identify the factors that determine or influence the “pricing” of a work of art. However, efforts have been made by some marketing scholars to address fine arts valuation. One example is the framework developed by Marshall and Forrest (2011) to identify factors influencing fine arts valuations. The objective of this paper is to illustrate the potential utility of the Marshall-Forrest model factors by contrasting the professional life experiences of two great artists, Rembrandt, who achieved fame and market success during his life, and Van Gogh, who did not receive fame or success until after his death. This paper first reviews the major elements of the Marshall-Forrest model, and then reviews the professional lives of each artist identifying applicable factors from the Marshall-Forrest model.