Best History Museums in Amsterdam"
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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. -
Developing Concepts at Amsterdam's Jewish Historical Museum
STUDIA ROSENTHALIANA 45 (2014), 37-55 doi: 10.2143/SR.45.0.3021380 Developing Concepts at Amsterdam’s Jewish Historical Museum HETTY BERG N FEBRUARY 2007, seventy-five years after Amsterdam’s Jewish I Historical Museum first opened to the public in 1932, the museum completed an extensive programme of reconstruction and refurbishing. New public facilities were put in place as well as new temporary exhibi- tion spaces and a children’s museum, while all the permanent displays were completely overhauled. As project leader in charge of this renewal, one aspect that I found particularly intriguing was how the motivation of those involved in the current process compared to the motivation of those involved with the founding of the museum in 1930 and its devel- opment in the intervening years. Our museum is one of Europe’s oldest Jewish museums, having been founded as an institution eighty years ago. It is therefore interesting to compare the development of thinking at the museum: the ideas that motivated its founders; those who strug- gled to re-establish the museum after the war; the staff who expanded the museum in the Weigh House; the team that created the new museum in its new setting in 1987; and those who made the current renewal possible. How have their goals and visions developed? People who make exhibitions and museums make choices, they attribute value and significance and set priorities which they pass on to society through their presentations. They decide what they consider relevant from a social, political and cultural perspective.1 How has this evolved over the years at Amsterdam’s Jewish Historical Museum? How is this reflected 1. -
Final Copy 2019 11 28 Curtis
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Curtis, Rodney Title: Christian Philosemitism in England from Cromwell to the Jew Bill, 1656-1753. A Study in Jewish and Christian Identity. General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Christian Philosemitism in England from Cromwell to the Jew Bill, 1656-1753. A Study in Jewish and Christian Identity. Rodney Malcolm Curtis University of Bristol November 2018 Christian Philosemitism in England from Cromwell to the Jew Bill, 1656-1753. -
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. -
Handbook on Judaica Provenance Research: Ceremonial Objects
Looted Art and Jewish Cultural Property Initiative Salo Baron and members of the Synagogue Council of America depositing Torah scrolls in a grave at Beth El Cemetery, Paramus, New Jersey, 13 January 1952. Photograph by Fred Stein, collection of the American Jewish Historical Society, New York, USA. HANDBOOK ON JUDAICA PROVENANCE RESEARCH: CEREMONIAL OBJECTS By Julie-Marthe Cohen, Felicitas Heimann-Jelinek, and Ruth Jolanda Weinberger ©Conference on Jewish Material Claims Against Germany, 2018 Table of Contents Foreword, Wesley A. Fisher page 4 Disclaimer page 7 Preface page 8 PART 1 – Historical Overview 1.1 Pre-War Judaica and Jewish Museum Collections: An Overview page 12 1.2 Nazi Agencies Engaged in the Looting of Material Culture page 16 1.3 The Looting of Judaica: Museum Collections, Community Collections, page 28 and Private Collections - An Overview 1.4 The Dispersion of Jewish Ceremonial Objects in the West: Jewish Cultural Reconstruction page 43 1.5 The Dispersion of Jewish Ceremonial Objects in the East: The Soviet Trophy Brigades and Nationalizations in the East after World War II page 61 PART 2 – Judaica Objects 2.1 On the Definition of Judaica Objects page 77 2.2 Identification of Judaica Objects page 78 2.2.1 Inscriptions page 78 2.2.1.1 Names of Individuals page 78 2.2.1.2 Names of Communities and Towns page 79 2.2.1.3 Dates page 80 2.2.1.4 Crests page 80 2.2.2 Sizes page 81 2.2.3 Materials page 81 2.2.3.1 Textiles page 81 2.2.3.2 Metal page 82 2.2.3.3 Wood page 83 2.2.3.4 Paper page 83 2.2.3.5 Other page 83 2.2.4 Styles -
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. -
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. -
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. -
Jan Lievens' Enigmatic Career and Relationship with Rembrandt Van
Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: May 14, 2008 Jan Lievens' Enigmatic Career And Relationship with Rembrandt Van Rijn Are Reconsidered in an Exhibition at the National Gallery of Art, October 26, 2008– January 11, 2009; Traveling to Milwaukee and Amsterdam Jan Liev ens, Dutch (1607 - 1674) Self-Portrait, c. 1629-1630 oil on panel, 42 x 33 cm (16 9/16 x 13) Priv ate collection Washington, DC—The life and career of Jan Lievens (1607–1674), one of the greatest yet most enigmatic Dutch painters of the 17th century, is finally brought to light in the exhibition Jan Lievens: A Dutch Master Rediscovered, on view at the National Gallery of Art in the West Building from October 26, 2008, through January 11, 2009. Venues and Organizers The exhibition is organized by the National Gallery of Art, Washington, in association with the Milwaukee Art Museum, where it will be on view from February 7 through April 26, 2009, and the Rembrandthuis, Amsterdam, where it will be seen from May 17 through August 9, 2009. "History has not been kind to Jan Lievens, and this intriguing exhibition invites a serious reconsideration of his place in the annals of art history," said Earl A. Powell III, director of the National Gallery of Art. "The Gallery is grateful for the outstanding loans from private and public collections in Europe and America, and we hope that general visitors and scholars alike will find this show to be an eye-opener." Overview This exhibition and its accompanying catalogue will present an overview of the full range of Lievens' career. -
Pdf/Vha Interviewer Guidelines.Pdf (Bezocht Op 19 Maart 2014)
UvA-DARE (Digital Academic Repository) Verre buren: Samenleven in de schaduw van de Holocaust Demant, F.A. Publication date 2015 Document Version Final published version Link to publication Citation for published version (APA): Demant, F. A. (2015). Verre buren: Samenleven in de schaduw van de Holocaust. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:02 Oct 2021 verre buren Samenleven in de schaduw van de Holocaust Froukje Demant Verre buren Samenleven in de schaduw van de Holocaust ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het College voor Promoties ingestelde commissie, in het openbaar te verdedigen in de Aula der Universiteit op vrijdag 19 juni 2015, te 13.00 uur door Froukje Anne Demant geboren te Amsterdam Promotiecommissie: Promotor: Prof.