Dutch Life in Town and Country
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The Drawings of Cornelis Visscher (1628/9-1658) John Charleton
The Drawings of Cornelis Visscher (1628/9-1658) John Charleton Hawley III Jamaica Plain, MA M.A., History of Art, Institute of Fine Arts – New York University, 2010 B.A., Art History and History, College of William and Mary, 2008 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Art and Architectural History University of Virginia May, 2015 _______________________________________ _______________________________________ _______________________________________ _______________________________________ Table of Contents Abstract ............................................................................................................................................. i Acknowledgements.......................................................................................................................... ii Introduction ..................................................................................................................................... 1 Chapter 1: The Life of Cornelis Visscher .......................................................................................... 3 Early Life and Family .................................................................................................................... 4 Artistic Training and Guild Membership ...................................................................................... 9 Move to Amsterdam ................................................................................................................. -
Literature of the Low Countries
Literature of the Low Countries A Short History of Dutch Literature in the Netherlands and Belgium Reinder P. Meijer bron Reinder P. Meijer, Literature of the Low Countries. A short history of Dutch literature in the Netherlands and Belgium. Martinus Nijhoff, The Hague / Boston 1978 Zie voor verantwoording: http://www.dbnl.org/tekst/meij019lite01_01/colofon.htm © 2006 dbnl / erven Reinder P. Meijer ii For Edith Reinder P. Meijer, Literature of the Low Countries vii Preface In any definition of terms, Dutch literature must be taken to mean all literature written in Dutch, thus excluding literature in Frisian, even though Friesland is part of the Kingdom of the Netherlands, in the same way as literature in Welsh would be excluded from a history of English literature. Similarly, literature in Afrikaans (South African Dutch) falls outside the scope of this book, as Afrikaans from the moment of its birth out of seventeenth-century Dutch grew up independently and must be regarded as a language in its own right. Dutch literature, then, is the literature written in Dutch as spoken in the Kingdom of the Netherlands and the so-called Flemish part of the Kingdom of Belgium, that is the area north of the linguistic frontier which runs east-west through Belgium passing slightly south of Brussels. For the modern period this definition is clear anough, but for former times it needs some explanation. What do we mean, for example, when we use the term ‘Dutch’ for the medieval period? In the Middle Ages there was no standard Dutch language, and when the term ‘Dutch’ is used in a medieval context it is a kind of collective word indicating a number of different but closely related Frankish dialects. -
Megalithic Research in the Netherlands, 1547-1911
J.A. B A KKER Megalithic Research in the Netherlands The impressive megalithic tombs in the northeastern Netherlands are called ‘hunebedden’, meaning ‘Giants’ graves’. These enigmatic Neolithic structures date to around 3000 BC and were built by the Funnelbeaker, or TRB, people. The current interpretation of these monuments, however, is the result of over 400 years of megalithic research, the history of which is recorded in this book. The medieval idea that only giants could have put the huge boulders of which they were made into position was still defended in 1660. Others did not venture to MEG explain how hunebeds could have been constructed, but ascribed them to the most I ancient, normally sized inhabitants. 16th-century writings speculated that Tacitus was N THE NETHE referring to hunebeds when he wrote about the ‘Pillars of Hercules’ in Germania. A Titia Brongersma is the first person recorded to do excavations in a hunebed, in LITHIC RESE 1685. The human bones she excavated were from normally sized men and suggested that such men, not giants, had constructed the hunebeds. Other haphazard diggings followed, but much worse was the invention of stone covered dikes which required large amounts of stone. This launched a widespread collection of erratic boulders, which included the hunebeds. Boundary stones were stolen and several hunebeds R were seriously damaged or they vanished completely. Such actions were forbidden in L an 1734, by one of the earliest laws protecting prehistoric monuments in the world. ar DS From the mid 18th century onwards a variety of eminent but relatively unknown CH researchers studied the hunebeds, including Van Lier (1760), Camper and son (1768- 1808), Westendorp (1815), Lukis and Dryden (1878) and Pleyte (1877-1902). -
Van Gogh Museum Journal 1995
Van Gogh Museum Journal 1995 bron Van Gogh Museum Journal 1995. Waanders, Zwolle 1995 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199501_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 6 Director's Foreword The Van Gogh Museum shortly after its opening in 1973 For those of us who experienced the foundation of the Van Gogh Museum at first hand, it may come as a shock to discover that over 20 years have passed since Her Majesty Queen Juliana officially opened the Museum on 2 June 1973. For a younger generation, it is perhaps surprising to discover that the institution is in fact so young. Indeed, it is remarkable that in such a short period of time the Museum has been able to create its own specific niche in both the Dutch and international art worlds. This first issue of the Van Gogh Museum Journal marks the passage of the Rijksmuseum (National Museum) Vincent van Gogh to its new status as Stichting Van Gogh Museum (Foundation Van Gogh Museum). The publication is designed to both report on the Museum's activities and, more particularly, to be a motor and repository for the scholarship on the work of Van Gogh and aspects of the permanent collection in broader context. Besides articles on individual works or groups of objects from both the Van Gogh Museum's collection and the collection of the Museum Mesdag, the Journal will publish the acquisitions of the previous year. Scholars not only from the Museum but from all over the world are and will be invited to submit their contributions. -
Rembrandt's 1654 Life of Christ Prints
REMBRANDT’S 1654 LIFE OF CHRIST PRINTS: GRAPHIC CHIAROSCURO, THE NORTHERN PRINT TRADITION, AND THE QUESTION OF SERIES by CATHERINE BAILEY WATKINS Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History CASE WESTERN RESERVE UNIVERSITY May, 2011 ii This dissertation is dedicated with love to my children, Peter and Beatrice. iii Table of Contents List of Images v Acknowledgements xii Abstract xv Introduction 1 Chapter 1: Historiography 13 Chapter 2: Rembrandt’s Graphic Chiaroscuro and the Northern Print Tradition 65 Chapter 3: Rembrandt’s Graphic Chiaroscuro and Seventeenth-Century Dutch Interest in Tone 92 Chapter 4: The Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus and Rembrandt’s Techniques for Producing Chiaroscuro 115 Chapter 5: Technique and Meaning in the Presentation in the Temple, Descent from the Cross by Torchlight, Entombment, and Christ at Emmaus 140 Chapter 6: The Question of Series 155 Conclusion 170 Appendix: Images 177 Bibliography 288 iv List of Images Figure 1 Rembrandt, The Presentation in the Temple, c. 1654 178 Chicago, The Art Institute of Chicago, 1950.1508 Figure 2 Rembrandt, Descent from the Cross by Torchlight, 1654 179 Boston, Museum of Fine Arts, P474 Figure 3 Rembrandt, Entombment, c. 1654 180 The Cleveland Museum of Art, 1992.5 Figure 4 Rembrandt, Christ at Emmaus, 1654 181 The Cleveland Museum of Art, 1922.280 Figure 5 Rembrandt, Entombment, c. 1654 182 The Cleveland Museum of Art, 1992.4 Figure 6 Rembrandt, Christ at Emmaus, 1654 183 London, The British Museum, 1973,U.1088 Figure 7 Albrecht Dürer, St. -
De Tijdschriften Verschenen in 1977
BIBLIOGRAFIE van de LITERAIRE TIJDSCHRIFTEN in VLAANDEREN en NEDERLAND DE TIJDSCHRIFTEN VERSCHENEN IN 1977 ROB. ROEMANS-STICHTING v.z.w. ANTWERPEN BIBLIOGRAFIE van de LITERAIRE TIJDSCHRIFTEN in VLAANDEREN en NEDERLAND Voortzetting van BIBLIOGRAFIE VAN DE VLAAMSE TIJDSCHRIFTEN REEKS III VLAAMSE LITERAIRE TIJDSCHRIFTEN VANAF 1969 DE TIJDSCHRIFTEN VERSCHENEN IN 1977 door HILDA VAN ASSCHE en RICHARD BAEYENS met de medewerking van NEDERLANDS LETTERKUNDIG MUSEUM (Sjoerd van Faassen) 1979 Uitgave van de ROB. ROEMANS-STICHTING, v.z.w. Antwerpen DE TIJDSCHRIFTEN VERSCHENEN IN 1977 in VLAANDEREN AMARANT APPEL BOULEVARD CREARE DEUS EX MACHINA DIEPDRUK DIETSCHE WARANDE EN BELFORT DIMENSIE DREMPEL FILTER HAGELSLAG HART-SLAG HEIBEL HONEST ARTS MOVEMENT (H.A.M.) KOEBEL 'T KOFSCHIP KO-KO KREATIEF KRUISPUNT-SUMIER MANDRAGORA NIEUW VLAAMS TIJDSCHRIFT NIEUWE STEMMEN NOODREM POEZIEKRANT RADAR RESTANT REVOLVER SCHUIM DE TAFELRONDE TENEN VERBAZING DE VLAAMSE GIDS YANG in NEDERLAND DE GIDS HOLLANDS MAANDBLAD HORUS INDEX INTERTUUR KENTERING KOPROL 3 LETTERS MAATSTAF MANDALA NAAR MORGEN RASTER DE REVISOR DE SCHANS SLIB TIRADE VAN WAR ZOMAAR ... D/1979/1521/1 C 1978 – H. van Assche, Victor Rousseaulaan 140 – B-34, B 1190 Brussel DE LITERAIRE TIJDSCHRIFTEN in VLAANDEREN door HILDA VAN ASSCHE en RICHARD BAEYENS AMARANT Artistiek tijdschrift uitgegeven door de studenten van de Rijksnormaalschool to Gent Opgericht in 1973 Sekretariaat : Rijksnormaalschool, K. L. Ledeganckstraat 8, 9000 Gent Verantwoordelijke uitgever : Daniel van Ryssel, pia Rijksnor- maalschool De nummers warden samengesteld door een Werkgroep Litera- tuur, coOrdinatie : Daniel van. Ryssel, en een Werkgroep Plas- tische Kunsten, coOrdinatie : Octave Landuyt Jrg. IV, nr. 2 : januari 1977, 72 pp. nr. 3 : maart 1977, 68 pp. -
Selective Affinities and Poetic Appropriation: Percy Bysshe
SELECTIVE A ffinities a n d P oetic A ppropriation : P e r c y B y ss h e S helley a n d W illem K lo o s Kris Omer Eli Antoon Sebastiaan STEYAERT University College London Ph.D. in Dutch September 2000 ProQuest Number: U642576 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642576 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract In this dissertation, I examine the reception and appropriation of Percy Bysshe Shelley’s works in the Low Countries during the period 1880-1940. This period roughly coincides with the writing career of Willem Kloos (1859-1938), the Dutch poet-critic who monopolised his admiration for Shelley and proclaimed himself to be his only poetical heir. I demonstrate how Kloos’s own poetics and political beliefs made him misrepresent and manipulate key facts in Shelley’s life and literary output during his never-ending promotion of the artistic, as well as spiritual, bond between himself and the English writer. More particularly, Kloos showed great determination in advancing Shelley’s works as a comprehensive endorsement of his own artistic tenets. -
PDF Catalogue
AMSTERDAM Lekstraat 63, 1079 EM Tel. +31 20 301 29 50 Fax +31 20 301 29 60 Email: [email protected] Website: www.aagauctioneers.com GENEVA Rue du Rhône 59-I CH-1204 Tel. +41 22 310 33 32 Fax +41 22 312 02 03 JAKARTA Jl. Pasuruan no. 9 10310 Tel. +62 21 315 86 36 Fax +62 21 398 99 533 SINGAPORE 30 Bideford Road #03-02 Thong Sia Building, 229922 Tel. +65 67 372 130 Fax +65 67 371 859 OLD MASTERS TO MODERNISTS 512 Amsterdam Auction: Monday 2 December 2019, 2 p.m. Viewing: Friday 29 November - Sunday 1 December, 10 a.m. - 5 p.m. Please note: Faults or imperfections are not recorded in the lot description. We encourage you to inspect the lots during our viewing days. Condition reports are available upon request. You are requested to collect the acquired item(s) within five days after the auction. After five days this can be done by appointment only. PLEASE NOTE: Faults or imperfections are not recorded in the lot description. We encourage you to inspect the lots during our viewing days. Condition reports are available upon request. Before picking up your acquisition, the payment has to be received on bank account: NL28FVLB0637264002 in the name of Stichting Derdengelden. Payments in cash, debit- or credit card are accepted by AAG Auctioneers. For credit card payments a surcharge is applicable. You are requested to collect the acquired item(s) within five days after the auction. After five days this can be done by appointment only. AAG shall have the right to put items that have been sold but not yet collected into storage at the buyer’s expense after five working days. -
Van Gogh Museum Journal 1999
Van Gogh Museum Journal 1999 bron Van Gogh Museum Journal 1999. Waanders, Zwolle 1999 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012199901_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword On 23 June 1999 the new exhibition wing and renovated existing building of the Van Gogh Museum were opened in the presence of Her Majesty Queen Beatrix. This was a momentous occasion, marking the beginning of a new phase in our history. From its origins as a showcase for the collections that had been cared for by the artist's family, the Van Gogh Museum has developed into one of the most popular museums in Europe. Over the years, the museum's ambitions have expanded in numerous ways: the collection has been broadened to encompass a wide range of paintings, sculptures, drawings and prints from the period c. 1840-1920, forming a crucial link between the collections of our neighbours the Rijksmuseum and the Stedelijk Museum; changing exhibitions have become an essential complement to the permanent displays; new activities have been added and more emphasis is now placed on education and making the collection accessible to a broad public. Throughout the 1980s and 1990s these ambitions placed increasing pressures on the original building designed by Gerrit Rietveld and his partners, and the need for extra space was urgent. This need was met by an extraordinarily generous donation from the private sector. The Yasuda Fire and Marine Insurance Company Ltd. provided, via The Japan Foundation, the funds which enabled the museum to create a new building to house its temporary exhibitions. -
HNA April 12 Cover.Indd
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 29, No. 1 April 2012 Maerten van Heemskerck, Ecce Homo, 1544. Oil on panel. Center panel: 189.23 x 133.35 cm; left wing: 183.52 x 62.48 cm; right wing: 188.6 x 64.77 cm. Muzeum Narodowe w Warszawie, on view at the J. Paul Getty Museum, Los Angeles, June 5, 2012 – January 13, 2013. HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park, NJ 08904 Telephone: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Offi cers President - Stephanie Dickey (2009–2013) Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Vice-President - Amy Golahny (2009–2013) Lycoming College Williamsport, PA 17701 Treasurer - Rebecca Brienen University of Miami Art & Art History Department PO Box 248106 Coral Gables FL 33124-2618 European Treasurer and Liaison - Fiona Healy Seminarstrasse 7 D-55127 Mainz Germany Board Members Contents Paul Crenshaw (2012-2016) Wayne Franits (2009-2013) President's Message .............................................................. 1 Martha Hollander (2012-2016) HNA News ............................................................................2 Henry Luttikhuizen (2009 and 2010-2014) Personalia ............................................................................... 3 Shelley Perlove (2008-2009 and 2010-2014) Joaneath Spicer (2010-2014) -
States and Statistics in the Nineteenth Century
States and statistics artwork 28/5/10 11:56 am Page 1 NICO RANDERAAD States and the nineteenth century statistics States and statistics in in the nineteenth century States and Europe by numbers statistics In this vivid and fascinating study, Nico Randeraad describes the turbulent in the history of statistics in nineteenth-century Europe. The book analyses attempts to engineer the internationalisation of statistics in the age of nationalism, and deals not only with developments in the large states nineteenth of Western Europe, but gives equal attention to small states (Belgium, the Netherlands, Hungary) and to the declining Habsburg Empire and Tsarist Russia. century Among the numerous initiatives that unfolded in the name of progress in nineteenth-century Europe, the international statistical movement was one of the most fascinating. Then, unlike today, statistics constituted a Europe by numbers comprehensive science, which stemmed from the idea that society, just like nature, was governed by laws. In order to discover these laws, everything had to be counted, and what could be counted, could be solved: crime, poverty, suicide, prostitution, illness, and many other threats to bourgeois RANDERAAD society. The statisticians, often trained as jurists, economists and doctors, saw themselves as pioneers of a better future. The book takes the reader along to nine international conferences organised by the statisticians, from the first held in Brussels in 1853 to the last held in Budapest in 1876, and tells how their boundless optimism was thwarted by the national interests and ambitions of European states, which did not care much for international statistics. Offering an original perspective on the tensions between universalism and the rise of the nation-state in the nineteenth century, this book will appeal to historians, statisticians, and social scientists in general. -
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7 Small gestures in a big world: The Hague 1869 arl Baedeker’s travel guide to Belgium and Holland said of The Hague that Kno other Dutch city had so many pretty, broad streets, tall stately homes and large open squares.1 A person who had not visited any other major European city might well think that The Hague was a resplendent place, comparable to the grand capitals of nineteenth-century Europe. But people arriving from Paris, London, St Petersburg, Vienna, Brussels, Rome or Berlin – like the foreign guests of the seventh international statistical congress – would have thought they had landed in a provincial town. The city centre must have made a modest, even small-town, impression. According to the census conducted at the end of 1869, The Hague had a population of just over 90,000, far less than the cities where the congress had been held before. You could walk across the entire city in a good quarter of an hour. In those days, Hollandsche Spoor railway station lay outside the city limits. One side of Stationsweg, the road that ran straight to the city centre from the station, offered ‘a free and unobstructed view … charmingly alternated with taste- fully planted pleasure gardens, straight leafy lanes, fertile orchards and opulent fields, ornamented with handsome, gambolling livestock’.2 So much green in and around the city was an important feature of the urban landscape at a time when the pleasure of the respectable bourgeoisie depended on beauty, refined entertainments and fresh air. The Hague was the appropriate setting for the seat of government of a nation that proudly displayed its conventionality and self-restraint, preferably within view of the neighbours.