Information services in the fields of art and architecture

1987 ◽  
Vol 12 (1) ◽  
pp. 8-11
Author(s):  
Ineke van Hamersveld
Keyword(s):  
The Netherlands ◽  
Art History ◽  
Museum Collections ◽  
Art Collections ◽  
Dutch Art ◽  
Parent Institution ◽  
The Hague ◽  
Art And Architecture

In addition to Dutch academic and museum libraries, a number of art libraries and relevant document and information centres are attached to government and other institutions. These include the Netherlands Institute for Art History at The Hague (the parent institution of DIAL, an iconographical classification of Dutch art); the Stichting MARDOC at Rotterdam, which is evolving thesauri to facilitate automated access to museum collections; and the Netherlands Office for Fine Art, responsible for coordinating and promoting Dutch art collections. Other institutions are concerned with contemporary Dutch art, photography, architecture, the role of art in society, art education, and museology. Some of these, with some other institutions, are linked by the network Culturele Pool (CUPO) which coordinates and indexes current literature on the art in the broadest sense.

Dutch art bibliographies

1986 ◽  
Vol 11 (1) ◽  
pp. 30-31 ◽  
Author(s):  
Victor Schmidt
Keyword(s):  
The Netherlands ◽  
20Th Century ◽  
Art History ◽  
Postal Address ◽  
Dutch Art ◽  
12Th Century ◽  
History Of ◽  
The Hague ◽  
20Th Century Art

The most important bibliography for Dutch art is the Bibliography of the Netherlands Institute for Art History (Rijksbureau voor Kunsthistorische Documentatie). This bibliography, first published in 1943, is in fact a continuation in another form of H. van Hall, Repertorium voor de geschiedenis der Nederlandsche schilder - en graveerkunst sedert het begin van de 12de eeuw tot het eind van 1932 (Repertory for the history of Dutch painting and engraving since the beginning of the 12th century up till the end of 1932), The Hague 1936 (Vol.2: 1933-1946 appeared in 1949). The last volume published, Vol.16, Part 1: Old Art, comprises the years 1971-1972; Vol.17, Part 1: Old Art, for the years 1973-1974, is in the course of publication. The material for the years after 1974, however, is put on fiches, and can be consulted at the Institute. The last volume published that included material on Dutch 19th-20th century art was Vol. 9 (1957-1958). Material for the years thereafter also can be consulted at the Institute. Address: Prins Willem Alexanderhof 5 (entrance at the fifth floor of the Royal Library), 2595 BE The Hague; tel. 070-471514. Postal address: Post box 90418, 2509 LK The Hague.

Art libraries of educational and research institutions

1987 ◽  
Vol 12 (1) ◽  
pp. 5-7 ◽  
Author(s):  
Chris Smeenk
Keyword(s):  
The Netherlands ◽  
Art History ◽  
Research Laboratory ◽  
Royal Academy ◽  
Fine Arts ◽  
Central Research ◽  
Research Institutions ◽  
University Libraries ◽  
Art Collections ◽  
The Hague

Art history in the Netherlands is supported by a number of art libraries in addition to museum libraries, among them the Royal Library at The Hague, the libraries of the Royal Academy of Fine Arts and the Central Research Laboratory for Objects of Art and Science, both at Amsterdam, university libraries, and libraries of Dutch establishments abroad. The combined art collections of these libraries are considerable; access, however, may be facilitated by the Project for Integrated Catalogue Automation (PICA) which aims to improve on the diversity of existing catalogues.

scholarly journals Two decades of change in Dutch university art libraries

2009 ◽  
Vol 34 (4) ◽  
pp. 24-28
Author(s):  
Martien Versteeg
Keyword(s):  
21St Century ◽  
Art History ◽  
The Other ◽  
The Public ◽  
Dutch Art ◽  
Other Hand ◽  
The Many ◽  
Library User

In 1987 Chris Smeenk wrote in this journal about the libraries of the Dutch art historical institutes. In the 22 years that have since passed many changes have occurred, perhaps most notably the merging of the many autonomous institute libraries into larger ones. Has this led to a more professional approach or was it caused by a search for more efficiency? Does this really matter? The fact is that Smeenk, or any other library user familiar with Dutch art history libraries, would hardly recognise the situation at the end of the first decade of the 21st century. Maybe he would complain about the disappearance of the traditional academic institute librarian, but on the other hand he might be cheered by many other developments, such as the more central role of services for the public. Let’s take a look....

Vincent van Gogh en Antoine Furnée

1995 ◽  
Vol 109 (1-3) ◽  
pp. 95-100
Author(s):  
Martha Op De Coul ◽  
Annet Tellegen
Keyword(s):  
The Netherlands ◽  
Art History ◽  
Fluorescent Light ◽  
Van Gogh ◽  
Vincent Van Gogh ◽  
Chestnut Tree ◽  
The Gift ◽  
Bottom Left ◽  
The Hague ◽  
Artistic Merit

AbstractThe small Van Gogh painting discussed in this article (fig. I) has never been published before. Originally, it belonged to Antoine Philippe Furnée (I86I-I897), whom Vincent had met in I883 in The Hague through Furnée père, the proprietor of a chemist's shop which also sold artists' paint. In the letters (365 (300), 372 (307) and 409 (342)) Furnée is referred to as 'the surveyor'. He was an amateur painter to whom Van Gogh gave advice. The two men would go out into the nearby countryside together to paint landscapes. In April I884 Furnee went to Java, where he remained until I897. He was probably already ailing on his return, for he died a few months later. His property passed to a brother, Antoine Louis Cornelis (I867-I965), a respected pharmacist of The Hague. The little painting, signed 'Vincent' at the bottom left, is done in oil on canvas pasted on cardboard, 30.5 by 23.I cm. Examination under fluorescent light shows it to be covered entirely with old varnish. On the back Furnée the pharmacist wrote: 'Chestnut tree on Broeksloot by Vincent van Gogh. This study was given by Vincent van Gogh to my brother A. Ph. Furnée (the surveyor)'. The gift accounts for the painting's being signed. Like many of the Hague paintings, this early work is of limited artistic merit. The poorly indicated space and forms are however offset by the good rendering of the contrast between light and dark areas. (Compare the paintings F 8a (fig. 3), F I92 (fig. 5) and the watercolour SD I680 (fig. 4).) The authenticity of the painting was established back in I963 in an appraisal by R. W. D. Oxenaar, and again at the Netherlands Institute for Art History by the present authors in I979, the year it was sold by the Furnee family. Two little pictures painted by Furnee on his expeditions with Vincent van Gogh come from the same source (figs. 6 and 7).

scholarly journals Building Faith: Ethiopian Art and Architecture during the Jesuit Interlude, 1557–1632

Aethiopica ◽  
2018 ◽  
Vol 20 ◽  
Author(s):  
Kristen Windmuller-Luna
Keyword(s):  
Visual Culture ◽  
Art History ◽  
Roman Catholic ◽  
Religious Art ◽  
Cultural Accommodation ◽  
Ethiopian Orthodox ◽  
Art And Architecture ◽  
The Relationship ◽  
Architectural Treatises

This dissertation examines the relationship between royally-sponsored Roman Catholic and Ethiopian Orthodox art and architecture during the 1557 to 1632 Jesuit Ethiopian mission. The first part of the dissertation examines key religious and secular sites, demonstrating how these structures combined elements drawn from classicizing architectural treatises, the Portuguese estilo chão, and Ethiopian architecture. The second part of the project assesses the role of books, prints, and religious art as tools of conversion and as artistic models. In contrast to studies that posit that European visual culture supplanted the Ethiopian during the mission era, the dissertation argues that the period’s art and architecture demonstrates the Jesuit strategy of cultural accommodation, and that far from being apart from Ethiopian art history, it shares stylistic and iconographic hallmarks with the so-called “Gondärine style.” 

scholarly journals Epidemiology of Orbital Fractures in a Large Hospital in the Netherlands: Results of Implementation of a Multidisciplinary Orbital Trauma Team

2021 ◽  
Vol 15 (1) ◽  
pp. 122-129
Author(s):  
Tamar J. A. Kooger ◽  
Maurits V. Joosse ◽  
Ellen M. van Minderhout ◽  
Kenneth Hergaarden ◽  
Yu-Lan Khouw
Keyword(s):  
The Netherlands ◽  
Trauma Team ◽  
Integrated Approach ◽  
Orbital Fracture ◽  
Orbital Fractures ◽  
Orbital Trauma ◽  
Large Hospital ◽  
Study Population ◽  
The Hague

Introduction: This study aims to describe the epidemiology, aetiology and therapy of orbital fractures in a large municipal hospital in The Hague, the Netherlands, and to demonstrate the effectiveness of an integrated approach of orbital trauma care with a team consisting of an ophthalmologist, an orthoptist and an oral and maxillofacial (OMF) surgeon. Methods: We obtained data from patients with an orbital fracture between June 2015 until July 2018. Primary outcomes were the classification of orbital fractures and treatment (conservative or surgical). Results: 182 patients were included in this study. The most common type of orbital fracture was an isolated orbital floor fracture (n=56, 30.8%). In most cases, therapy was conservative (69.2%). When surgical repair was indicated, a polydioxanone (PDS) plate was most commonly used (11.5%). The main cause of an orbital fracture was a fall accident (38.5%), followed by assault (32.4%). 32.4% of the patients were intoxicated with alcohol. Conclusion: In our study population, almost 70% (69.2%) of the patients were treated conservatively in our study. Compared to the international literature, this percentage is considerably higher than in other studies. In our opinion, our integrated approach to orbital trauma has led to a justifiable reduction of the proportion of cases receiving surgical intervention in orbital fractures. We would like to advocate the implementation of a similar team in other hospitals to improve the quality and cost-effectiveness of treatment in patients with orbital fractures.

scholarly journals Who cares for syphilis? A cross-sectional study on diagnosis and treatment of syphilis by GPs in Amsterdam, the Netherlands

BJGP Open ◽  
2020 ◽  
Vol 4 (2) ◽  
pp. bjgpopen20X101027
Author(s):  
Michel Baas ◽  
Erna Beers ◽  
Alje P van Dam ◽  
Jan EAM van Bergen
Keyword(s):  
The Netherlands ◽  
Cross Sectional Study ◽  
Diagnosis And Treatment ◽  
Annual Reports ◽  
Transmitted Infection ◽  
Cross Sectional ◽  
Sexually Transmitted ◽  
Sex With Men

BackgroundSyphilis is a re-emerging infection. Sexually transmitted infection (STI) clinics and GPs are important providers of STI care in the Netherlands. The role of GPs in syphilis care is assumed to be small, since most men who have sex with men (MSM) visit STI clinics for STI care.AimTo explore the role of GPs in the diagnosis and treatment of syphilis.Design & settingData on syphilis diagnostics by GPs in Amsterdam between 2011 and 2017 were retrieved from laboratories, covering 90% of the GPs. The study also used the academic GPs’ network database to explore the management of syphilis by GPs between 2013 and 2018.MethodSyphilis tests requested by GPs were analysed and compared with annual reports of the STI clinic. Patients with an International Classification of Primary Care-1 (ICPC-1) syphilis code were identified in the GP database. Cases diagnosed by the GP were evaluated whether they were treated by the GP or referred to secondary care.ResultsIn the laboratory database, GPs had diagnosed syphilis 522 times, compared with 2515 times by the STI clinics. Based on the 90% coverage of GPs, the contribution of all Amsterdam’s GPs was 19% of the total number of diagnoses. Consequently, the annual incidence of syphilis diagnosed by the GP was 10.2 per 100 000 inhabitants. Of the 43 cases identified in the GP database, six (14.0%) were referred and 33 (76.7%) were treated by a GP.ConclusionAlthough for an individual GP, syphilis is rare to diagnose, GPs in Amsterdam do contribute to the rate of syphilis diagnosis and appear to treat the majority of cases that they have diagnosed.

scholarly journals Over and Over and Over Again

2022 ◽  
Keyword(s):  
Art History ◽  
The Body ◽  
Conservation Practices ◽  
Museum Collections ◽  
Artistic Practice ◽  
History And Memory ◽  
Artistic Production ◽  
The Past ◽  
The Future

Over the last twenty years, reenactment has been appropriated by both contemporary artistic production and art-theoretical discourse, becoming a distinctive strategy to engage with history and memory. As a critical act of repetition, which is never neutral in reactualizing the past, it has established unconventional modes of historicization and narration. Collecting work by artists, scholars, curators, and museum administrators, the volume investigates reenactment's potential for a (re)activation of layered temporal experiences, and its value as an ongoing interpretative and political gesture performed in the present with an eye to the future. Its contributions discuss the mobilization of archives in the struggle for inclusiveness and cultural revisionism; the role of the body in the presentification and rehabilitation of past events and (impermanent) objects; the question of authenticity and originality in artistic practice, art history, as well as in museum collections and conservation practices.

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