{"title":"The Self-Promotion of a Libertine Bad Boy","authors":"Joyce Zelen","doi":"10.52476/TRB.9764","DOIUrl":"https://doi.org/10.52476/TRB.9764","url":null,"abstract":"The Rijksmuseum in Amsterdam owns one of the most curious portraits ever made in the seventeenth century – the likeness of the Dutch classical scholar and notorious erotomaniac Hadriaan Beverland (1650-1716), who was banished from the Dutch Republic in 1679 because of his scandalous publications. In the portrait – a brunaille – the libertine rake sits at a table with a prostitute; a provocative scene. Why did this young humanist promote such a confrontational image of himself? In this article the author analyses the portrait and explores Beverland’s motives for his remarkable manner of self-promotion, going on to argue that it was the starting point for a calculated campaign of portraits. Over the years Beverland commissioned at least four more portraits of himself, including one in which he is shown drawing the naked back of a statue of Venus. Each of his portraits was conceived with a view to giving his changeable reputation a push in the right direction. They attest to a remarkable and extraordinarily self-assured expression of identity seldom encountered in seventeenth-century portraiture.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45619812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Sword and the Album","authors":"Lieke Van Deinsen, Jan de Hond","doi":"10.52476/trb.9756","DOIUrl":"https://doi.org/10.52476/trb.9756","url":null,"abstract":"In 1878 the Rijksmuseum acquired two objects related to the violent death of Johan van Oldenbarnevelt: the executioner’s sword allegedly used to behead the Land’s Advocate and an eighteenth-century album of poems about the weapon of execution. The article describes how these objects have functioned in the Oldenbarnevelt memory culture and shows how they have taken on new functions and meanings over the centuries – from a possible executioner’s weapon, to a republican and then national relic, to an objet de mémoire.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42884918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Acquisitions: The Marjan and Gerard Unger Collection","authors":"Suzanne van Leeuwen","doi":"10.52476/trb.9759","DOIUrl":"https://doi.org/10.52476/trb.9759","url":null,"abstract":"","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48807294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘’S heeren architect ende steenhouwer’","authors":"Iris Ippel","doi":"10.52476/trb.9757","DOIUrl":"https://doi.org/10.52476/trb.9757","url":null,"abstract":"The early seventeenth century Breda Wall in the Philips Wing of the Rijksmuseum takes its name from the origin of the bottom part of the wall: one of the façades of the stable complex of the former Nassau Palace in Breda. In the article the wall is attributed to the architect Melchior van Herbach on stylistic grounds, with indirect proof. Van Herbach began his career in Amsterdam in Hendrick de Keyser’s sphere of influence. He worked in Alkmaar and Bruges before settling in Breda, where he became Prince Maurice’s architect and master builder.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44022378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"'A Thing of Beauty is a Joy Forever’","authors":"F. Scholten","doi":"10.52476/trb.9758","DOIUrl":"https://doi.org/10.52476/trb.9758","url":null,"abstract":"A somewhat neglected late fifteenth-century panel from the collection of the Amsterdam-Swiss surgeon and art collector Otto Lanz, which he cherished, is investigated here. This article argues persuasively that the panel is a devotional tabernacle, intended for private devotion, of a kind that often hung on the wall of a bedchamber in the late Middle Ages. The missing central image may have been a Virgin and Child or a Pietà. Lanz attributed the carving to the woodcarver Antonio di Neri Barili or Barile (1453-1516). Barile was the most important woodcarver in Siena, who worked for distinguished clients, among them the Piccolomini family, which was responsible for introducing the Roman all’antica style to Siena shortly after 1500. The tabernacle contains the family’s coat of arms and various motifs that correspond to documented work by Barili, and was carved in his characteristic crisp, open style. If this panel is indeed by Barili, it would be the smallest surviving object in its own right to come out of his workshop.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47045709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Objet de mémoire – objet de désir","authors":"Editors The Rijkmuseum Bulletin","doi":"10.52476/trb.9755","DOIUrl":"https://doi.org/10.52476/trb.9755","url":null,"abstract":"","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46751345","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"True Identity","authors":"Ching-Ling Wang","doi":"10.52476/trb.9750","DOIUrl":"https://doi.org/10.52476/trb.9750","url":null,"abstract":"In the Rijksmuseum collection there is a painting depicting the Buddhist deity Water-Moon Avalokite´svara. The identification and dating of this painting are complex. It had long been considered to be a Chinese work of the Song Dynasty and dated to the twelfth century; later it was regarded as a Chinese work from the Yuan Dynasty and dated to the fourteenth century; more recently opinion shifted and it was seen as a Korean Buddhist painting from the Goryeo Dynasty and dated to the first half of the fourteenth century. This essay aims to serve as a fundamental research by examining the iconography and style of this painting in detail. The author argues on the basis of style that this painting is a late fourteenth-century Japanese hybrid creation that combines both Chinese iconography and the colouring of Chinese Song Buddhist painting with decorative elements of Korean Goryeo Buddhist painting. In light of the recent research into the inter-regional connection of East Asian Buddhist image production, the Rijksmuseum Water-Moon Avalokite´svaraprovides an example of the artistic interactions between China, Korea and Japan in the fourteenth century.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45141922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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