DOCSLIB.ORG

JOHANNES HENDRIK WEISSENBRUCH (The Hague 1824 – the Hague 1903)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JOHANNES HENDRIK WEISSENBRUCH (The Hague 1824 – the Hague 1903) JOHANNES HENDRIK WEISSENBRUCH (The Hague 1824 – The Hague 1903) Farmers Conversing on a Towpath Near Noorden signed J. H. Weissenbruch in the lower left oil on canvas laid down on a paperboard panel 15 ¾ x 12 ¾ inches (40 x 32.3 cm.) PROVENANCE Peter A. Schemm, Philadelphia The Valuable Modern Paintings and Watercolors Collected by the Late Peter A. Schemm of Philadelphia, American Art Association, New York, March 14-17, 1911, lot 180 where purchased by Charles.W. Kraushaar, New York Anonymous sale, Christie’s, London, March 22, 1963, lot 76 where purchased by Lucas Private Collection, New York, until 2014 LITERATURE The New York Times, New York, March 10, 1911, pp. 5, 9, in an advertisement for the American Art Galleries of the American Art Association, New York “Schemm Pictures Sold for $46,290” in The New York Times, New York, March 17, 1911 (article on the results of the third night of the sale) “Peter Schemm Picture Sale” in American Art News, volume 9, no. 24, New York, March 25, 1911, p. 5 Florence N. Levy, ed., American Art Annual, New York, 1911, p. 96 Johannes Hendrik Weissenbruch Archives, O/40-2 Johannes Hendrik Weissenbruch spent his entire career in The Hague mainly painting landscapes engaged in a constant battle as he described it “to have nature itself on the canvas”.1 In Dr. Jos. De Gruyter’s 1968 standard setting two volume work De Haagse School, he characterized Weissenbruch as “the greatest of the Hague School painters ... a landscapist par excellence with powers of suggestion beyond anything the 17th century has ever known. In him the development of the Hague School reached its culmination”.2 Born into an artistic family, Weissenbruch’s father a chef and restaurateur, was an amateur artist as well as a collector of Romantic School paintings. His cousin Johannes (Jan) Weissenbruch was a well-known painter of town and river scenes. Four other cousins Frederik Hendrik, Frederik Johann, Daniel and Isaac all with the surname Weissenbruch worked as printmakers. His son Willem Johannes painted landscapes and still lifes. Weissenbruch’s formal training started at sixteen with drawing lessons from J. J. Löw as well as evening classes at the Haagse Academie from 1843-1850 under Bartholomeus Johannes van Hove. It is also possible that he worked in Van Hove’s studio. Weissenbruch’s early landscapes further reflect the influence of Andreas Schelfhout but it is unclear whether he had direct contact with the painter. His first exhibition was in 1847 at the Tentoonstelling van Levende Meesters (Exhibition of Living Masters). In 1849 the Teylers Museum, Haarlem purchased his View from Dekkersduin. During this period Weissenbruch also spent a great deal of time in the Mauritshuis studying and copying the works of Jacob van Ruisdael, Paulus Potter and Vermeer. In 1863 he married Susanna Petronella Geertruida Schouw. In 1866 he joined the Société Belge des Aquarellistes in Brussels. In 1870 his View of the Trekvliet was 1 Dr. Jos. De Gruyter, “J. H. Weissenbruch” in De Haagse School, volume I, Lemniscaat, Rotterdam, 1968, pp. 74. The artist was also called Hendrik Johannes, Johan Hendrik or Jan Hendrik. 2 Ibid, pp. 14, 74. acquired by the Gemeentemuseum, The Hague and in 1873 Landscape with Windmill near Schiedam entered the collection of the Museum Boijmans Van Beuningen, Rotterdam. In 1874 he received a gold medal at the Internationale Tentoonstelling (International Exhibition), Amsterdam. In 1899 for his seventy-fifth birthday Weissenbruch was honored by members of the Pulchri Studio as well as given a solo exhibition in Amsterdam by Frans Buffa & Sons. The show not only boosted his reputation and popularity but was a financial success which afforded him the opportunity to travel. His only trip abroad was in 1900 to Fontainebleau and Barbizon in France.3 In this work on a towpath near Noorden alongside a row of willow trees two farmers are talking. One clad in a dark blue jacket, black trousers and cap stands on a muddy footpath. The other seated in a docked rowboat, wears a black cap and peacock blue coat of such striking color that it serves as the focal point of the composition. The passages of thick leaves in the trees, dense grass, and sluggish water of the canal along with the overcast clouds converge to give a realistic rendering to the overall feeling of dampness. Outbuildings of a farm are visible in the distance. Vincent van Gogh first became aware of works by Weissenbruch in 1872 and met him in 1873.4 Most admired by Van Gogh was Weissenbruch’s play of light and shadow as well as his vigorous brushwork. Van Gogh in a letter to his brother Theo, dated September 7th or 8, 1889 wrote of such scenes, “and that Weissenbruch knows & does the muddy towpaths, the stunted willows, the foreshortenings & the skillful & strange perspectives of the canals, as Daumier does the lawyers, I think that’s perfect”. De Gruyter wrote “in 1875 he (Weissenbruch) found his El Dorado in the water, space and sky around Nieuwkoop and Noorden”.5 Willem Laanstra, the author of the catalogue raisonné on the painter noted in his research report on this work, “During his artistic career Weissenbruch travelled a lot of times to the region of Noorden and Nieuwkoop, small villages not far from The Hague, where he lived. It was a region with waterways, towpaths, willow trees and a high sky above. Weissenbruch was particularly fascinated with the permanently changing sky. He found it an important work of art... He painted this impression on the spot. In his equipment he always took a sketchbook, a few little panels or layers, like canvas laid down on panel or cardboard, the so called marouflés, with him”.6 As evidenced by Farmers Conversing on a Towpath Near Noorden what differentiated Weissenbruch from his contemporaries was the evocation of the coastal 3 Biographical information taken from Dr. Jos. De Gruyter, op. cit., p. 74; John Sillevis, “Jan Hendrik Weissenbruch” in The Hague School, Dutch Masters of the 19th Century, exhibition catalogue, Royal Academy of Arts, London & traveling, 1983, p. 275.; and Pieter A. Scheen, “Hendrik Johannes Weissenbruch” in Lexicon Nederlandse Beeldende Kunstenaars 1750-1880, Uitgeverij Pieter A. Scheen BV, ’s-Gravenhage, 1981, pp. 574-575. 4 Ronald de Leeuw, The Van Gogh Museum: paintings and pastels, Waanders, 1994, p. 45. 5 Dr. Jos. De Gruyter, op. cit., p. 75. 6 Written communication from Willem Laanstra, dated Mechelen, October 22, 2014. area’s light in which haziness alternated with clarity captured in spontaneously rendered impressions of landscape caught in ever-shifting atmospheric conditions.7 Peter A. Schemm (1853-1909) was a Philadelphia brewer as well as a collector of modern art. In an article for The Booklovers Magazine S. Decatur Smith, Jr. described a visit to his home. “Beautifully housed in a commodious gallery adjoining his private apartments, the very fine collection of paintings belonging to Mr. Peter A Schemm, of Philadelphia, is a delight to those who have the privilege of examining it. There is not an inch of room to spare on the walls of this gallery. They are covered to the skyline with pictures of all sizes and subjects representing the most prominent modern artists – this collection represents fairly and fully what is best in the art of today”.8 Located at Twenty- Fifth and Poplar Streets in Philadelphia, Schemm opened his gallery every Thursday night to friends and fellow art-lovers always combined with a musical soirée.9 Two years after his death the executors of his estate sold his collection at the American Art Association in New York. The auction was held over four consecutive evenings from March 14-17, 1911, and judging by the results had been highly anticipated by private collectors and art dealers alike.10 On the third night of the sale Charles W. Kraushaar (1864-1917) bought Weissenbruch’s panel, at that point innocuously titled Holland Landscape. Kraushaar was a New York art dealer who specialized in modern Dutch and French artists, and had long been a champion of Weissenbruch.11 In 1906 he had loaned twenty-seven oil paintings by the artist to the Rhode Island School of Design for a special exhibition.12 Kraushaar began his career under the tutelage of the famed art dealer William Schaus in the 1870s. By 1885 he had opened a small gallery on Broadway, and by 1910 moved to grander premises on Fifth Avenue. In a life devoted to art, his final day was spent at his gallery making arrangements for the exhibition of James Abbott McNeil Whistler’s White Girl.13 We are grateful to Willem Laanstra for confirming Farmers Conversing on a Towpath Near Noorden as an autograph work by Johannes Hendrik Weissenbruch. 7 Ronald de Leeuw, op. cit., p. 278. 8 S. Decatur Smith, Jr., “A Gallery of Modern Art” in The Booklovers Magazine, volume II, The Library Publishing Co., Philadelphia, July-December, 1903, p. 256. 9 “The Collection of Mr. Peter A. Schemm of Philadelphia, PA.” in The Collector and Art Critic, volume 2, no. 10, March 15, 1900, p. 168. 10 American Art News, op. cit., pp. 4-5. 11 “Charles W. Kraushaar” in American Art News, volume 15, no. 14, January 13, 1917, p. 4. 12 Year book of the Rhode Island School of Design, Providence, 1906, p. 57. 13 American Art News, 1917, op. cit. p. 4. .
Load more

Recommended publications
  • Simonis & Buunk
    2019 / 2020 Gekleurd Gekleurd Gekleurd grijs grijs SIMONIS & BUUNK SIMONIS & BUUNK EEN KEUR AAN KUNST cover Haagse School_2019_bs.indd 1 06-11-19 16:00 Gekleurd grijs Verkooptentoonstelling Haagse School zaterdag 30 november 2019 t/m zaterdag 4 januari 2020 Dinsdag t/m zaterdag van 11-17 uur en op afspraak open zondagen: 1, 15 en 29 december van 11-17 uur Een collectie schilderijen en aquarellen van de Haagse School. Voor prijzen en foto’s met lijst: simonisbuunk.nl SIMONIS & BUUNK EEN KEUR AAN KUNST 19e eeuw Notaris Fischerstraat 30 20e eeuw Notaris Fischerstraat 19 Fischerhuis Notaris Fischerstraat 27 Buiten exposities om geopend dinsdag t/m zaterdag 11-17 uur en op afspraak Notaris Fischerstraat 30, 6711 BD Ede +31 (0) 318 652888 [email protected] www.simonisbuunk.nl cover Haagse School_2019_bs.indd 2 06-11-19 16:00 Predicaat ‘meesterlijk’ Frank Buunk Als ik aan de Haagse School denk dan komt het jaar trouwe halfjaarlijkse bezoeken aan zijn goede vriend 1976 in mijn herinnering, toen ik voor het eerst over Scheen thuis kwam. de vloer kwam bij Rien Simonis als aanbidder van Kunsthandelaar Pieter Scheen, samensteller van de zijn oudste dochter Mariëtte. Al snel raakte ik ook ‘Rode Scheen’, was toen een begrip in kunstkringen. geboeid door de anekdotes uit de kunstwereld die In zijn kunsthandel aan de Zeestraat 50, recht mijn aanstaande schoonvader in geuren en kleuren tegenover het Panorama Mesdag, presenteerde hij kon vertellen. Pieter Scheen passeerde vaak de revue vanaf de jaren 50 schilderijen uit de Romantische in de sterke verhalen waarmee schoonvader na zijn School en de Haagse School.
    [Show full text]
  • George Hendrik Breitner (1857-1923) Was Among the Most Successful Dutch Painters of the Nineteenth Century
    George Hendrik Breitner (1857-1923) was among the most successful Dutch painters of the nineteenth century. Well known for his paintings of city scenes, a series of young women dressed in kimonos, cavalrymen and horses, Breitner also depicted cats in his sketches, paintings, and photo- graphs. Breitner was a cat lover: cats were always roaming around in his house and in his studio. This book contains a selection of his sketches and photographs of cats. George Hendrik Breitner Born in Rotterdam in 1857, George Hendrik Breitner began his studies at the Academy of Art, The Hague, in 1876. There he met painters of the Hague School who, influenced by the French Barbizon painters, preferred realism to romanticism. Soon known for his ability to paint horses, Breitner was hired by Hendrik Willem Mesdag in 1881 to paint the horses in his renowned panorama painting of Scheveningen, which can still be visited today in a specially built rotund gallery in The Hague. A year later Breitner befriended Vincent van Gogh, with whom he often went sketching in and around The Hague. Attracted by its vibrant artistic and cultural life spurred by a revival of economic growth, Breitner moved to Amsterdam in 1886. Here Breitner captured the city’s street life in many of his paintings. Horses remained an important subject for the artist, but he soon replaced his caval- ry horses with those pulling carts and trams. He often took his sketchbook on his walks through the town and, from around 1890, he would also take his Kodak camera out with him to capture scenes that would find their way into his paintings.
    [Show full text]
  • BARTHOLOMEUS JOHANNES VAN HOVE (The Hague 1790 – the Hague 1880)
    BARTHOLOMEUS JOHANNES VAN HOVE (The Hague 1790 – The Hague 1880) De Grote Houtpoort, Haarlem signed on the boat in the lower right B. VAN HOVE oil on panel 1 19 /8 x 26 inches (48.6 x 66 cm.) PROVENANCE Lady V. Braithwaite Lady V. Braithwaite, Eighteenth and Nineteenth Century Paintings and Drawings, Sotheby’s, London, May 17, 1967, lot 90, where bought by M. Newman, Ltd., London Frost & Reed Ltd., London Vixseboxse Art Galleries, Inc., Cleveland Heights, Ohio Private Collection, Ohio, until 2015 LITERATURE The Connoisseur, volume 166, September 1967, p. XLIV, in an advertisement for M. Newman, Ltd., London, reproduced E. Bénézit, “Bartholomeus-Johannes van Hove” in Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, volume 5, Libraire Gründ, Paris, 1976, p. 634 In a large panel, under radiant skies, the old fortifications of Haarlem abut the Spaarne River. The Grote Houtpoort rises majestically in the foreground, dominating the scene with its weathervane reaching to the composition’s edge. The Kalistoren Tower, used for the storage of gunpowder, is in the middle with the Kleine Houtpoort visible in the distance. Built in 1570, the Grote Houtpoort was at the end of the Grote Houtstraat, one of the main roads from the Grote Markt that led outside the city walls. Beyond the gate lay the wooded area, called the Haarlemmerwoud. The temperature is mild, over the arched bridge of the Grote Houtpoort, residents contentedly stroll, conversed or stop to admire the view. Below boatmen propel their craft across glass-like waters with shimmering reflections and floating swans. The sense of well-being pervades this orderly view of the city’s great landmarks that dominate its skyline.
    [Show full text]
  • Newsletter 35
    IPC Executive Board: Sara Velas, President (USA-Los Angeles) [email protected] Dr. Guy Thewes, Vice-President (LU - Luxembourg) Patrick Deicher M.A., Treasurer (CH – Lucerne) Dr. Mimi Colligan (AU-Melbourne) Dominique Hanson (BE-Brussels) Mathias Thiel (GE - Berlin) Newsletter no. 35, June 2015 Ryszard Wójtowicz M.A. (PL- Rogoż) Content Register for the 24 th IPC conference Register for the 24 th IPC conference ............. 1 The Grand Moving Mirror of California Travels to Seoul, Korea ................................. 2 We hope that you all received the official invitation for the 24 th IPC conference. If not .............. 3 Re-Opening of the Asisi panorama please inform the secretariat and check the Gettysburg Cyclorama Original Unveiled to invitation here instead: Public .............................................................. 3 http://panoramacouncil.org/downloads/Of Opening exhibition J’aime les panoramas .. 4 fical_invitation_International_Panorama_Conf erence_2015.pdf Sevastopol panorama celebrates ................. 5 Crankies at the American Folk Art Museum . 5 Are you excited to come? Please use this link to register: Crankies in the press ..................................... 6 http://panoramacouncil.org/what_we_do/i Free wheeling ................................................ 6 nternational_panorama_conferences/upcomi 2015 Mesdag Year in The Hague with ng_conference/registration/ reopened Panorama Mesdag ....................... 6 ........................................................................ 7 New publications
    [Show full text]
  • Girl with a Flute
    National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century Attributed to Johannes Vermeer Johannes Vermeer Dutch, 1632 - 1675 Girl with a Flute probably 1665/1675 oil on panel painted surface: 20 x 17.8 cm (7 7/8 x 7 in.) framed: 39.7 x 37.5 x 5.1 cm (15 5/8 x 14 3/4 x 2 in.) Widener Collection 1942.9.98 ENTRY In 1906 Abraham Bredius, director of the Mauritshuis in The Hague, traveled to Brussels to examine a collection of drawings owned by the family of Jonkheer Jan de Grez. [1] There he discovered, hanging high on a wall, a small picture that he surmised might be by Vermeer of Delft. Bredius asked for permission to take down the painting, which he exclaimed to be “very beautiful.” He then asked if the painting could be exhibited at the Mauritshuis, which occurred during the summer of 1907. Bredius’ discovery was received with great acclaim. In 1911, after the death of Jonkheer Jan de Grez, the family sold the painting, and it soon entered the distinguished collection of August Janssen in Amsterdam. After this collector’s death in 1918, the painting was acquired by the Amsterdam art dealer Jacques Goudstikker, and then by M. Knoedler & Co., New York, which subsequently sold it to Joseph E. Widener. On March 1, 1923, the Paris art dealer René Gimpel recorded the transaction in his diary, commenting: “It’s truly one of the master’s most beautiful works.” [2] Despite the enthusiastic reception that this painting received after its discovery in the first decade of the twentieth century, the attribution of this work has frequently Girl with a Flute 1 © National Gallery of Art, Washington National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS Dutch Paintings of the Seventeenth Century been brought into question by later scholars.
    [Show full text]
  • Rapportage Maatschappelijk Gebiedsprofiel Krimpenerwaard
    Krimpenerwaard een maatschappelijk gebiedsprofiel oktober 2018 A.M. van Essen, M.C. Hazewinkel, M.G.A. Ligtvoet-Janssen, M.C.M. den Os ©Tympaan, publicatienummer: 812 Maatschappelijk gebiedsprofiel Krimpenerwaard – Tympaan – [email protected] Inhoud Inleiding Karakteristiek van de regio 1 Demografie 1 1.1 Bevolkingsontwikkeling 2007-2017 1 1.2 Bevolkingsopbouw 2017 4 1.3 Ontwikkeling aantal huishoudens 2007-2017 5 1.4 Verwachte bevolkingsontwikkeling 2017-2030 6 1.5 Verwachte bevolkingsopbouw 2030 10 1.6 Verwachte ontwikkeling aantal huishoudens 2017-2030 10 2 Onderwijs 13 2.1 Voortgezet onderwijs 13 2.1.1 Leerlingen 13 2.1.2 Geslaagden 15 2.2 Beroeps- en wetenschappelijk onderwijs 16 2.2.1 Studenten 16 2.2.2 Geslaagden 16 2.3 Voortijdige schoolverlaters 19 2.4 Locaties onderwijsvoorzieningen 20 2.5 Prognose studenten 21 3 Arbeidsmarkt en economie 23 3.1 Arbeidsparticipatie 23 3.2 Werkloosheid 25 3.3 Economie 27 3.4 Recreatie en toerisme 31 3.4.1 Werkgelegenheid 31 3.4.2 Vestigingen 33 3.5 Locaties van toeristische verblijfsvoorzieningen 34 4 Inkomen en vermogen 35 4.1 Inkomstenbronnen 35 4.2 Inkomens 36 4.3 Vermogen 39 4.4 Inkomen en vermogen huishoudens <65 jaar 40 4.5 Inkomen en vermogen huishoudens >65 jaar 44 5 Wonen 47 5.1 Ontwikkeling en samenstelling van de totale woningvoorraad 47 5.2 Woningvoorraad corporatiewoningen 49 5.3 Woonsituatie van huishoudens 52 6 Zorg 57 6.1 Jeugdhulp 57 6.1.1 Jeugdhulp met verblijf 57 6.1.2 Jeugdhulp zonder verblijf 59 6.2 Zorg 18+ 61 6.2.1 Zorg met verblijf 18+ 61 6.2.2 Zorg zonder verblijf 18+ 63 Maatschappelijk gebiedsprofiel Krimpenerwaard – Tympaan – [email protected] 6.3 Ambulancezorg 65 6.3.1 Aanrijtijden 65 6.3.2 Bereikbaarheid van gebieden binnen de responstijd 66 6.4 Prognose zorggebruik 67 6.4.1 Jeugdhulp 67 6.4.2 Zorg met en zonder verblijf 18+ 68 7 Bibliotheken 71 7.1 Aanwezigheid van bibliotheken 71 7.2 Gebruik bibliotheek 72 7.2.1 Leden 72 7.2.2 Materialen 73 7.2.3 Activiteiten 74 Bijlage 2 Inleiding De provincie streeft naar een slimmer, schoner en sterker Zuid-Holland.
    [Show full text]
  • Towards Social Sustainability of Industrial Parks: the Dutch Case
    MASTER THESIS MASTER THESIS TowardsTowards socialsocial sustainabilitysustainability ofof industrialindustrial parks:parks: TheThe DutchDutch casecase Author:Author: NesarNesar MoshtaqMoshtaq FacultyFaculty ofof BehaviouralBehavioural ManagementManagement andand SocialSocial SciencesSciences (BMS)(BMS) -- MasterMaster ofof ScienceScience inin BusinessBusiness AdministrationAdministration JuneJune 22019019 i Colophon A thesis submitted in fulfilment of the requirements for the degree of Master of Science in Business Administration at the Faculty of Behavioural Management and Social Sciences of University of Twente. Title: Towards Social Sustainability of Industrial Parks: The Dutch Case Version: June version Date: June 1, 2019 Author: Nesar Moshtaq, MSc Student number: 1649531 University: University of Twente Faculty of Behavioural Management and Social Sciences (BMS) Drienerlolaan 5 7522 NB Enschede, The Netherlands First supervisor: Dr. ir. M. L. Franco-Garcia (Maria-Laura) Assistant professor at the department of Governance and Technology for Sustainability (CSTM) Second supervisor: Dr. L. Brouwers-Ren (Lichin) Assistant Professor at the department of NIKOS, Centre for entrepreneurship, strategy, international business and marketing Third (external) supervisor: Drs. I. Kreiner (Isabel) Is part-time PHD candidate at the department of Governance and Technology for Sustainability (CSTM) © This thesis may be used within the Faculty of Behavioural Management and Social Sciences but copyright for open publications remains the property of the author. I Abstract Today, as the world is facing enormous challenges regarding environmental crisis, fortunately the global economic sector is becoming more aware of the need for sustainable economic development. Therefore, in the past years many initiatives have been launched to move economic development towards a more sustainable direction. The development of industrial parks to faster economic development, tackle poverty and create jobs on local, regional and national levels, has played and is still playing a key role.
    [Show full text]
  • Wettelijk Register Gemeenschappelijke Regelingen (Artikel 27 WGR)
    Wettelijk register gemeenschappelijke regelingen (artikel 27 WGR) Nr. Naam Deelnemers Wettelijke voorschriften Bij regeling Archief Adres Openbaar lichaam (OL) / Wijzigingen toegekende Gemeenschappelijk orgaan (GO) bevoegdheden / Centrumgemeenteconstructie (CGC) 1 Gemeenschappelijke Katwijk, Kaag en Braassem, Wgr, Gemeentewet, Huisvestingswet, Art. 4, 5, 7 Art. 40 Postbus 558 OL 1e wijziging 28-06-2006 Regeling Holland Hillegom, Leiden, Leiderdorp, Lisse, Leerplichtwet, Wet educatie en 2300 AN Leiden 2e wijziging apr. 2007 Rijnland Noordwijk, Oegstgeest, Teylingen, beroepsonderwijs, Wet op het voortgezet 3e en 4e wijziging 1 april 201 Voorschoten, Alphen aan den Rijn, onderwijs, Wet op de expertisecentra, Wet 5e wijziging 1 januari 2011 Nieuwkoop en Zoeterwoude participatiebudget, AWB 6e wijziging 1 februari 2013 7e wijziging 1 januari 2016 8e wijziging 1 januari 2020 2 Regeling Katwijk, Hillegom, Lisse, Noordwijk Wgr., Wet primair onderwijs art. 48 Art. 3 Art. 24 Jan de Ridderstraat 24 GO 1e wijziging 25-01-2006 Gemeenschappelijk en Teylingen 2201 DN Noordwijk 2e wijziging 17-augustus 2010 Orgaan "Gemeentelijk toezichtsorgaan "Openbaar Basisonderwijs Duin- & Bollenstreek 3 Gemeenschappelijke Alphen aan den Rijn, Bodegraven- Wgr, Gemeentewet, Wet Art. 6 Art. 29 Postbus 1123 OL 1e wijziging 24 juni 2010 regeling Reeuwijk, Gouda, Hillegom, Kaag en Veiligheidsregio’s, Politiewet, 2302 BC Leiden 2e wijziging 1 januari 2014 "Veiligheidsregio Braassem, Katwijk, Krimpenerwaard, Gemeentewet, Wet openbare Hollands Midden" Leiden, Leiderdorp, Lisse,
    [Show full text]
  • In Goed Gezelschap Van Talent Tot Meester Van Atelier Tot Amsterdams Kunstacademie Impressionisme
    In goed gezelschap Van talent tot meester Van Atelier tot Amsterdams Kunstacademie impressionisme Stel: je wilt kunstenaar worden. Amsterdam prijst zich gelukkig. Met Vroeg 1800. Als het in de familie zit, August Allebé, docent en directeur zoals bij de Koekkoeks, bof je. Dan aan de Rijksacademie. Een kanjer. krijg je les van opa, papa, broer of Maar ook met vrije, spontane oom. Anders kun je elders in de leer. schilders als Breitner, Willem Witsen Schilderateliers. Kunstacademies en Isaac Israels. Ondertussen wordt zijn er nog maar mondjesmaat. Wel Arti behoudend. Sint Lucas frist de tekenscholen zonder schilderlessen. boel weer op. Lees meer op pag. 4 Lees meer op pag. 66 Romantiek Rotterdamse Den Haag Academie Den Haag is er al vroeg bij. Met de Hierdoor tot Hooger. Rotterdam oudste Teekenacademie van ons land meldt zich. Van Mastenbroek boert (1682). Typisch hofstad: de grote goed, Van Voorden wordt chroni- ateliers, Bart van Hove, Andreas queur, Willem Hussem en Klaas Schelfhout, Hendrikus van de Sande Gubbels geven les, de Academie Bakhuyzen, Pulchri, samen aan het wordt vernoemd naar Willem de werk, samen op reis. Kooning. Toch wordt de stad nog geen sprankelende kunstenstad. Lees meer op pag. 24 Lees meer op pag. 80 Romantiek Academie Amsterdam Minerva Amsterdam is Den Haag niet. Het is Daar is het Hoge Noorden. er veel losser. En de romantiek ligt er Groningen. Met Minerva, Pictura, de op straat, voor wie haar maar vinden broertjes Mesdag, Eerelman en later wil. Springer, Eversen, Greive en Rust het kleurrijke eigen expressionisme blinken uit, Fodor verzamelt, Arti van De Ploeg: Wiegers, Altink, Van et Amicitiae verbroedert.
    [Show full text]
  • NINETEENTH-Century EUROPEAN PAINTINGS at the STERLING
    Introduction Introduction Sterling and Francine clark art inStitute | WilliamStoWn, massachuSettS NINETEENTH-CENTURY EUROPEAN PAINTINGS diStributed by yale univerSity Press | NeW haven and london AT THE STERLING AND FRANCINE CLARK ART INSTITUTE VOLUME TWO Edited by Sarah Lees With an essay by Richard Rand and technical reports by Sandra L. Webber With contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, Zoë Samels, and Fronia E. Wissman 4 5 Nineteenth-Century European Paintings at the Sterling and Library of Congress Cataloging-in-Publication Data Francine Clark Art Institute is published with the assistance of the Getty Foundation and support from the National Sterling and Francine Clark Art Institute. Endowment for the Arts. Nineteenth-century European paintings at the Sterling and Francine Clark Art Institute / edited by Sarah Lees ; with an essay by Richard Rand and technical reports by Sandra L. Webber ; with contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Produced by the Sterling and Francine Clark Art Institute Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, 225 South Street, Williamstown, Massachusetts 01267 Zoë Samels, Fronia E. Wissman. www.clarkart.edu volumes cm Includes bibliographical references and index. Curtis R. Scott, Director of Publications ISBN 978-1-935998-09-9 (clark hardcover : alk. paper) — and Information Resources ISBN 978-0-300-17965-1 (yale hardcover : alk.
    [Show full text]
  • Regio Rotterdam
    Regio Rotterdam - Den Haag Samenwerking/regio Leidse Regio/Holland-Rijnland/Midden-Holland Wassenaar GR Werkorganisatie Duivenvoorde GR Holland Rijnland Leiden, Leiderdorp, Oegstgeest, Zoeterwoude, Alphen aan den Rijn, Hillegom, Kaag en Braassem, Katwijk, Lisse, Nieuwkoop, Noordwijk, Noordwijkerhout, Teylingen Maatschappelijke Opvang en Beschermd Wonen Leiden, Leiderdorp, Oegstgeest, Zoeterwoude, Alphen aan den Rijn, Hillegom, Kaag en Braassem, Katwijk, Lisse, Nieuwkoop, Noordwijk, Noordwijkerhout, Teylingen Vrouwen opvang/geweld in huiselijke kring Leiden, Leiderdorp, Oegstgeest, Zoeterwoude, Alphen aan den Rijn, Hillegom, Kaag en Braassem, Katwijk, Lisse, Nieuwkoop, Noordwijk, Noordwijkerhout, Teylingen Zorgkantoor Zuid-Holland Noord(langdurige zorg) Leiden, Leiderdorp, Oegstgeest, Zoeterwoude, Alphen aan den Rijn, Hillegom, Kaag en Braassem, Katwijk, Lisse, Nieuwkoop, Noordwijk, Noordwijkerhout, Teylingen Woningmarktregio Leiden, Leiderdorp, Oegstgeest, Zoeterwoude, Alphen aan den Rijn, Hillegom, Kaag en Braassem, Katwijk, Lisse, Nieuwkoop, Noordwijk, Noordwijkerhout, Teylingen Veiligheidregio Hollands Midden Leiden, Leiderdorp, Oegstgeest, Zoeterwoude, Alphen aan den Rijn, Bergambacht, Bodegraven- Reeuwijk, Boskoop, Gouda, Hillegom, Kaag en Braassem, Katwijk, Lisse, Nederlek, Noordwijk, Noordwijkerhout, Ouderkerk, Rijnwoude, Schoonhoven, Teylingen, Vlist, Waddinxveen, en Zuidplas GR RDOG Hollands Midden Leiden, Leiderdorp, Oegstgeest, Zoeterwoude, Alphen aan den Rijn, Bodegraven-Reeuwijk, Gouda, Hillegom, Kaag en Braassem, Katwijk,
    [Show full text]
  • De Haagse School
    20 plekken in Den Haag en Noorden In het voetspoor van geschilderd door de Haagse School Fiets- en Van Gogh de Haagse School wandelroutes: > strand Weissenbruch > duinen > binnenstad Mesdag Israëls Zie Den Haag door de ogen van In the footsteps of Maris See The Hague through the eyes of Mauve The Hague School Bosboom Gemeentemuseum Mariët Herlé 20 locations Cycling and Jelle Hellinga in The Hague walking: 24 START and Noorden > beach as depicted > dunes by the > citycentre Hague School In het voetspoor van de Haagse School 20 plekken in Den Haag en Noorden geschilderd door de Haagse School In the footsteps of The Hague School 20 locations in The Hague and Noorden as depicted by The Hague School Mariët Herlé Jelle Hellinga de Overkoming Den Haag 2015 “Land en lucht", zo heet een van de latere werken van "Land and sky" is the title of one of the later works of J.H. Weissenbruch. Waar dat was, deed er niets toe. De J.H.Weissenbruch; the precise location depicted was schilders van de Haagse School wilden doordringen tot un-important. The painters of the Hague School sought het universele, tot de essentie van licht en lucht en water. to pene-trate to what was universal, the essence of light, Dat deden zij in en rond Den Haag aan het eind van de 19e sky and water. They were doing this at the end of the 19th eeuw, in een stad die al een flinke industrie kende. Op hun century in and around The Hague, where there was already schilderijen zie je dat bijna niet terug, ze gaven de natuur considerable industrial activity.
    [Show full text]