De ontdekking van de Hollandse primitieven

1998 ◽  
Vol 112 (2-3) ◽  
pp. 169-186 ◽  
Author(s):  
Edward Grasman

AbstractHistorian Pieter Geyl's opposition to a division in fifteenth-century painting in the Low Countries has been the subject of frequent discussion. This article presents the first examination of the motives of the two principal upholders of the theory repudiated by Geyl: Adriaan Pit and Willem Vogelsang. In 1894 Pit drew a sharper distinction than predecessors such as Bode and Moll between Dutch and Flemish fifteenth-century painting. Pit's position was based on his conception - which in turn was substantially influenced by Louis Courajod - of logic in art history. Pit's stance, which implied a division in the Netherlands prior to the Revolt, sparked off a debate that continues to this day and has been conducted by both historians and art historians. For most of his life Vogelsang presented himself as the foremost defender of the opinion that the division of the Netherlands was reflected in fifteenth-century painting. His loyalty to Pit was closely linked with his conviction that, in art history, the eye was superior to the document. In this case the difference between Dutch and Flemish painting was plain to see, and brooked no historical argument. For Vogelsang, the first professor in the field of art history in the Netherlands, the legitimacy of art history as an independent discipline was ultimately at stake in this debate.

Quaerendo ◽  
1982 ◽  
Vol 12 (2) ◽  
pp. 159-167
Author(s):  
Ina Kok

AbstractA century ago, in 1882, the art historian William Conway published the chief results of his research into the woodcuts in the incunabula of the Low Countries, in a series of articles in The Bibliographer. Two years later his book The woodcutters of the Netherlands in the fifteenth century appeared. Conway's approach is that of an art historian: he classifies the woodcuts according to their artists and then groups these together in schools. Two general surveys of this area have appeared since Conway, Delen (1924) and Schretlen (1925), both likewise written from the angle of art history. Unlike Conway, however, they make no attempt at completeness, so that even today for an overall view one has to turn to Conway. Despite the progress that has been made in the field of bibliography in our own century and the new discoveries of Netherlandic illustrated incunabula, there has so far been no new study of the subject in bibliographical terms. Work is now in progress on such an investigation at the Department of Book and Library Science at the University of Amsterdam. Besides a census of all woodcuts and the books in which they appear, the project is intended, through a study of the sorts of edition that were illustrated and the association between illustration and text, to gain an insight into the nature and function of the illustrations. Study of the technical aspects of the woodcuts is designed to provide greater insight into the practice of printing with woodcuts in the fifteenth century and the wanderings of the wood blocks from printer to printer. An extensive collection of photographic reproductions of pages with woodcuts has now been brought together, and work has started on preliminary ordering and analysis.


1917 ◽  
Vol 5 ◽  
pp. 47-71
Author(s):  
Henry Elias Dosker

The subject is not of my own choosing. It was assigned to me by our Secretary, when he invited me last summer to write a paper for this meeting of the Society. The raeson for this request lies in the fact that, for the last dozen years, much of my spare time has been spent in special work on this engrossing subject, which is shrouded in much mystery. But we all know something about the great Anabaptist movement, which paralleled the history of the Reformation. We have all touched these Anabaptists in their life and labors, in the sixteenth century, in all Europe, but especially in Switzerland, upper Germany, and Holland. Crushed and practically wiped out everywhere else, they rooted themselves deeply in the soil of northeastern Germany and above all in the Low Countries. And thence, whenever persecution overwhelmed them, they crossed the channel and moved to England, where their history is closely interwoven with that of the Nonconformists in general and especially with the nascent history of the English Baptists.


2020 ◽  
pp. 002085232097247
Author(s):  
Valérie Pattyn ◽  
Joery Matthys ◽  
Steven Van Hecke

Like many Western European countries, Belgium and the Netherlands have been strongly hit by COVID-19. Almost simultaneously, the virus spread, caused a relatively high number of infections and severe lockdown measures were imposed; however, at the same time, the crisis management response has been sufficiently different to justify a systematic comparative analysis. We start with the premise that decisions made on the basis of incomplete information show the true nature of governments’ response to a crisis, which is conditioned by legacies arising from the past and organizational cultures, existing and new governance structures, and strategies used by specific actors. We show that the difference in crisis management echoes the countries’ different types of consociationalism, though also that Belgian federalism and Dutch decentralism impeded a truly coherent response. The cost of coordinating different government levels made a uniform approach difficult too. Actor strategies attempting to exploit the crisis seem to have influenced the response the least but did have an impact on perceptions of the response. Points for practitioners The article unravels how the governments in the Low Countries responded to the COVID-19 challenge in the first half of 2020. It allows practitioners to better understand that under circumstances of an imminent crisis, specific governance structures matter. It also reveals that the cost of coordination between the federated and the federal level turned out to be quite high in Belgium. In the Netherlands, a lot of autonomy was left to federated and local authorities. This too impeded a more coherent approach. COVID-19 certainly offers possibilities for policymakers to exploit the crisis but opportunities are not always taken.


Author(s):  
Yulia Sergeevna Meretskaya

The object of this research is the artistic heritage of Slovenian painter and teacher of painting Anton Ažbe (1862-1905) and its interpretation in the works of art historians and testimonies of his students and contemporaries. The subject of this research is the graphic and painting works of Anton Ažbe. The goal consists in reconsideration of the existing within modern art history understanding of the vector of creative path of the painter. Particular attention is given to his painting “The Black Girl” and clarification of the date of its creation. In the course of writing this article, the author applied the method of formal-stylistic analysis for meeting the precise purpose of the article. The scientific novelty of this study consists in reinterpretation of creative development of the Slovenian painter and teacher of painting Anton Ažbe based on the new information of the date of creation of one of his signature paintings – “The Black Girl”. The main conclusion lies in characteristics of the evolutionary stages of creative development of Anton Ažbe.


1982 ◽  
Vol 32 ◽  
pp. 113-135 ◽  
Author(s):  
Alastair Duke

The ‘seventeen Netherlands’ owed their existence entirely to the energies of their rulers. Until 1548 when this hotchpot of duchies, counties and lordships was united in the Burgundian circle of the Empire, the boundaries of the Low Countries had expanded or contracted according to the military and diplomatic fortunes of their princes: there was nothing natural or inevitable about them. Charles V had, for example, threatened to annexe the prince-bishopric of Münster in 1534–5, as he had added Utrecht only a few years earlier. Nor can the incorporation of the duchy of Gelre in 1543 be considered the outcome of an ineluctable historical process. Since the late fifteenth century the rulers in the Low Countries had sought to assert their control over the duchy. But there had been times when it seemed as though Gelre, which looked Januslike both up and down the Rhine, might, in combination with Jülich and Cleves, have constructed a formidable anti-Habsburg constellation into whose orbit a large part of the northern Netherlands would be drawn.


2021 ◽  
Vol 136 (2) ◽  
pp. 68-85
Author(s):  
Agus Suwignyo ◽  
Alicia Schrikker ◽  
Susan Legêne

In de historiografie spelen generaties een rol, en dit is zeker het geval inzake het langdurige proces van dekolonisatie. In deze forumbijdrage bespreken wij de artikelen die opeenvolgende generaties sinds 1970 over kolonialisme, imperialisme en dekolonisatie in BMGN – Low Countries Historical Review publiceerden. Deze bijdrage gaat over verschillen en continuïteiten in de onderzoekspraktijken tussen de oudere generatie historici die het kolonialisme zelf nog meemaakten, en de daaropvolgende generaties. De geschiedschrijving van het koloniale verleden is verweven met debatten over dekolonisatie; dat houdt ook het idee van ‘deimperialisatie’ in, oftewel het bevorderen van een geschiedschrijving waarin Europa niet in het centrum staat. Door de inhoud van de BMGN onder de loep te nemen kunnen we deze ontwikkelingen enigszins volgen, ook al figureerde de thematiek van kolonialisme, imperialisme en dekolonisatie bepaald niet prominent in de BMGN van de voorbije vijf decennia. Qua historiografie laten de artikelen echter wel degelijk veelzeggende trends zien, zoals veranderingen op het vlak van bronnenkritiek, van de internationale reikwijdte van het debat en met betrekking tot de gekozen conceptuele benaderingen. We zien bijvoorbeeld dat een toenemende belangstelling voor het koloniale verleden, ook buiten de geschiedwetenschap zelf, de perceptie heeft beïnvloed van historici ten aanzien van koloniaal geweld – zowel in diens fysieke, socio-culturele als in zijn kennistheoretische vorm. Ondanks allerlei lacunes, laat het groeiende aantal publicaties in de BMGN sinds 2006 over kolonialisme en dekolonisatie zien dat deze thematiek voor de huidige generatie historici een integraal onderdeel is geworden van de geschiedschrijving in Nederland en België.Generations matter in historiography, and this is certainly the case when it concerns the enduring process of decolonisation. This forum contribution discusses how different generations published about colonialism, imperialism and decolonisation in BMGN – Low Countries Historical Review since 1970. It raises questions about contrasts and continuities in research practices between the older generation of historians with first-hand experience with colonialism, and subsequent generations. Writing the history of colonialism intersects with debates about decolonisation, including what we characterise as de-imperialisation, namely decentring Europe, in history writing. Examining the content of BMGN allows us to trace this development, even though the subject of colonialism, imperialism and decolonisation did not feature prominently in BMGN over the past five decades. However, in terms of historiography, the articles do show significant trends, such as changes in source criticism, in the international scope of the historical debate, and in conceptual approaches. We observe how a growing interest in the colonial past beyond the discipline of history as such has influenced perceptions among historians of colonial violence, in its physical, socio-cultural and epistemic forms. Despite its lapses, the increasing number of articles on colonialism and decolonisation published in bmgn since 2006 show that for the current generation of historians, colonialism and decolonisation have become an integral part of history writing in the Netherlands and Belgium.


2020 ◽  
pp. 8
Author(s):  
David Menčik

The starting point of the essay is clarifying the difference between the mono-perspective and multi-perspective vision of reality. Off-course the terms perspective, mono-perspective and multi-perspective are not self-explanatory and the meanings of these terms need to be formally analysed. After making the formal difference between mono-perspective thinking and multi-perspective thinking a content difference needs to be made. Namely, why is the Renaissance vision of reality multi-perspective and the Middle-Age vision of reality mono-perspective? The answer to this question needs to be given by the analysis of the original works of the Renaissance thinkers. Our undertaking will not be limited in analysing only one discourse but following the subject from a methodological point of view in a multi-perspectivism way. Therefore, three different discourses will be analysed:  The discourse of philosophical anthropology with Mirandola’s vision of man as a paradigmatic example-The discourse of philosophy of nature, with Bruno’s vision of the universe as a paradigmatic example-The discourse of art history in which four paintings will be analysed: these paintings can be considered of having philosophical, value because they provide a picturesque representation of what the Renaissance “world” was really like.


2021 ◽  
Vol 1 (1-2) ◽  
pp. 331-354
Author(s):  
Hiba Abid

Abstract The Dalāʾil al-Khayrāt (Guidelines to the Blessings) is a very popular book of prayers over the Prophet Muḥammad, originally written around the mid-fifteenth century by Muḥammad b. Sulaymān al-Jazūlī (d. 869/1465). The Dalāʾil is probably the only illustrated religious text in the Maghreb, where the image has been the subject of more profound reluctance than in the rest of the Muslim world. They show the sacred tomb of the Prophet inside the mosque of Medina, as well as his minbar, his miḥrāb and his sandals (naʿl), one of the most venerated relics in Islam. If the images in North African books have been systematically interpreted in a superficial way, this article proposes a reading at the crossroads of art history, codicology and a careful examination of the main text and the precious annotations added by the readers of some unpublished manuscripts. We will then understand that these illustrations have gradually acquired an autonomous place within the book. They act alongside the text, as memorial images of the sacred space hosting the holy body of the Prophet, and as a virtual substitute for the pilgrimage to Medina. It is in fact through this act, be it physical or virtual, that Muslims hope to visualize, in a dream, the figure of their loved one, Muḥammad.


2020 ◽  
Vol 4 (1) ◽  
pp. 88-107
Author(s):  
Jamilla Notebaard

Abstract The Art of the Projected Image The optical lantern as a didactic instrument in the Art History lectures of Willem Vogelsang (1875-1954) The optical lantern was the central medium through which Art History professor Willem Vogelsang (1875-1954) taught his students ‘how to see’. As the first ordinarius in Art History in the Netherlands, Vogelsang focused on creating the right educational setting to turn his students into professional art historians. In his lectures the optical lantern and its projected images functioned as a didactic instrument to make his students (visually) understand compositional and stylistic differences and similarities within and between artworks. The lantern allowed Vogelsang to visually open up the world of art history to a whole new generation of art historians.


Prospects ◽  
2005 ◽  
Vol 30 ◽  
pp. 73-85
Author(s):  
Angelo T. Angelis

Flags snap in the breeze and smoke hangs menacingly above the ground. Men clash, yield, and die in a desperate battle on the crest of a hill. These images merge to form John Trumbull's painting, The Death of General Warren at the Battle of Bunker's Hill, 17 June 1775 (Figure 1). It is a dramatic image that appears frequently in print as illustration and cover art. Art historians comment positively on its technical merits, offering a variety of intriguing interpretations. These interpretations, though, frequently overlook the historical context of the original painting. Historical applications pair the painting with an appropriate historical text, but rarely take the opportunity to interpret the painting as a source in its own right. Historian Louis Masur makes this point when he criticizes the use of images in textbooks. Pictures, Masur argues, have become necessary but are not as a general rule presented in a way that asks or even allows for a complete reading of those same images. The loss is not merely in textbooks and other publications. It also occurs in the classroom, where pictures have become necessary backdrops for computer-supported lectures, and on Web site applications, where images dress but seldom add to the text.This essay argues for a more complete use of images outside and inside the classroom. In doing so, it applies techniques from two disciplines — history and art history — to offer a more complete reading of John Trumbull's The Death of General Warren at Bunker's Hill. This reading is presented from multiple perspectives, including the historical context in which the image was created, the artist's connection to the subject, and his interpretive and technical choices.


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