Rijksmuseum Bulletin最新文献_第5页

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2021-12-16 DOI: 10.52476/trb.11392

F. Scholten

{"title":"Ketel and De Keyser","authors":"F. Scholten","doi":"10.52476/trb.11392","DOIUrl":"https://doi.org/10.52476/trb.11392","url":null,"abstract":"In 1858 the Rijksmuseum acquired a modest portrait of a man (inv. no. SK-A-244) that has since then been attributed on good grounds to the colourful Amsterdam painter Cornelis Ketel (1548-1616). Until now it has been regarded as a likeness of the goldsmith Paulus van Vianen, an identification for which there is no plausible evidence.The author suggests that the man should be identified as the Amsterdam city sculptor Hendrick de Keyser. Arguments in favour of this, aside from the convincing similarities between the man’s features and a portrait engraving of De Keyser, are the close friendship between Ketel and the sculptor, and the typical sculptor’s attribute – a statuette – that the man holds in his hand. This figurine – probably a model in reddish-brown wax – bears a strong resemblance to a statue of Eurydice that Hendrick de Keyser made for a fountain in Het Oude Doolhof, a pleasure ground in Amsterdam.According to Karel van Mander, in the biography of Ketel in his 1604 Schilder-Boeck, Ketel made De Keyser’s portrait twice. He painted one portrait with his fingers, the other with a brush, which was described as ‘the head of the must artistic sculptor Hendrick de Keyser ... a very good likeness’. It is safe to assume that the latter work is the portrait in the Rijksmuseum.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47532571","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}

引用次数: 0

Armorial Lockplates: A Story of Success in Renaissance Rome 纹章锁板:文艺复兴时期罗马的成功故事

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2021-12-16 DOI: 10.52476/trb.11390

Lukas Madersbacher

{"title":"Armorial Lockplates: A Story of Success in Renaissance Rome","authors":"Lukas Madersbacher","doi":"10.52476/trb.11390","DOIUrl":"https://doi.org/10.52476/trb.11390","url":null,"abstract":"This article was prompted by a gilt bronze lockplate in the Rijksmuseum, originally the decorative fastening of a chest and one of a large group of similar objects. Hardly any other metalwork design was more extensively reproduced in Italian Mannerism. Its success was based on the appealing design and the fact this type of lockplate offered the possibility of integrating coats of arms and thus personalizing a chest. The paper presents new examples not yet listed in Charles Avery’s comprehensive overview (2001), identifies a whole series of clients for these lockplates on the basis of heraldic and genealogical analyses and deduces from this an origin in Rome and a dating of the entire group (previously dated 1540) to the last third of the sixteenth century.It has been generally assumed that the specific function of these objects was to decorate marriage chests. Closer analysis argues against this thesis. The lockplate in the Rijksmuseum is particularly significant in this context. The coats of arms on its lateral cartouches identify the Roman Orazio Ruspoli and his wife Felice Cavalieri (marr. 1594) as the clients for the piece. Surprisingly, however, the crest on the hasp belongs to a family that was not related to this couple. A comparable finding is made for a lockplate in the National Gallery in Washington, which has also been misinterpreted so far. In this case, too, the coats of arms on the plate and on the hasp do not point to a family connection, but to neighbouring and presumably friendly families. The analysis of other examples, such as one in the Palazzo Venezia, confirms that these lockplates and the chests to which they were attached were not exclusively bound to the context of marriage. As travelling chests, which became must-have items for the Roman upper class, they seem to have been open to a variety of functions.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43292404","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}

引用次数: 0

Recent Acquisitions: Rijksmuseum Research Library 最近藏品:荷兰国立博物馆研究图书馆

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2021-12-16 DOI: 10.52476/trb.11393

Reinier Baarsen, M. Boom, J. ter Brugge, J. V. Van Campen, Sara Van Dijk, Ludo Van Halem, E. Hermens, Jan de Hond, Geert-Jan Koot, H. Leeflang, H. Rooseboom, Harm Stevens

引用次数: 0

Beastly Condemnation: The Representation of Oldenbarnevelt’s Twenty-Four Judges as Animals 野兽般的谴责：奥尔登巴恩维尔特《二十四个法官》中动物形象的再现

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2021-12-16 DOI: 10.52476/trb.11391

Lieke Van Deinsen, Jan de Hond

{"title":"Beastly Condemnation: The Representation of Oldenbarnevelt’s Twenty-Four Judges as Animals","authors":"Lieke Van Deinsen, Jan de Hond","doi":"10.52476/trb.11391","DOIUrl":"https://doi.org/10.52476/trb.11391","url":null,"abstract":"The Rijksmuseum’s History Department holds a remarkable early eighteenthcentury album titled Regtspleging van Oldenbarnevelt (The Trial of Oldenbarnevelt). The album contains a collection of thirty-eight watercolour drawings on parchment with written explanations on paper and deals with the infamous trial of the Land’s Advocate. At its heart are cartoons of the twenty-four judges who signed Oldenbarnevelt’s death warrant, with the judges depicted as animals. The Rijksmuseum album is similar to albums in the National Library of the Netherlands and Rotterdam City Archives. In this article we show that Oldenbarnevelt’s judges continued to be subjects of general interest for more than a century. We locate the satirical portrayal of the judges as animals in the broader tradition of animal allegories used as a vehicle for political criticism, and explore the function of the album. It probably served as a key to a painting – not Cornelis Saftleven’s famous work Satire op de berechting van Johan van Oldenbarnevelt (Satire of the Trial of Johan van Oldenbarnevelt) in the Rijksmuseum, but a later composition by an anonymous artist now in the Six Collection. Finally, we come to the conclusion that the album is part of a game of concealment and revelation that is typical of the Remonstrants’ memorial culture. ","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46185832","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}

引用次数: 0

Revealing the Secrets of Chinese Ivory Puzzle Balls: Quantifying the Crafting Process Using X-Ray Computed Tomography 揭开中国象牙拼图球的秘密：用X射线计算机断层扫描技术量化制作过程

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2021-09-13 DOI: 10.52476/trb.11050

R. V. Liere, Ching-Ling Wang

{"title":"Revealing the Secrets of Chinese Ivory Puzzle Balls: Quantifying the Crafting Process Using X-Ray Computed Tomography","authors":"R. V. Liere, Ching-Ling Wang","doi":"10.52476/trb.11050","DOIUrl":"https://doi.org/10.52476/trb.11050","url":null,"abstract":"Chinese ivory puzzle balls are known for their beauty, finesse and their ability to intrigue viewers. From the eighteenth century until recently, they have been crafted by turning, using a simple lathe and a set of drilling and carving tools developed in the eighteenth century. The craft of Chinese ivory puzzle balls has been described as the ‘devil’s work’, as it requires a great deal of proficiency, accuracy and patience. This study presents a novel method for quantifying the crafting process of Chinese ivory puzzle balls. The method is based on measuring the morphological properties of ivory balls in three-dimensional images obtained using X-ray Computed Tomography (CT) scanning techniques. The accuracy of the crafting process is obtained by comparing the measured properties with an underlying mathematical model of the ball. We apply the proposed method to ivory balls from the Rijksmuseum in Amsterdam and the National Palace Museum in Taipei. The results show substantial differences in the accuracy of the crafting process. From an art-historical perspective, the results show that the accuracy of the crafting process evolved during the eighteenth century. They also suggest that the ivory balls we have analyzed have been crafted with different types of turning tools.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41667735","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}

引用次数: 1

Eyecatchers: Exceptional Works of Art from the Broere Charitable Foundation 《引人注目:布罗埃慈善基金会的杰出艺术作品》

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2021-09-13 DOI: 10.52476/trb.11051

Pieter Roelofs

引用次数: 0

Chaos & Creation: Adam van Vianen's Gilt Ewer 混乱与创造：亚当·范·维亚宁的吉尔特·尤尔

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2021-09-13 DOI: 10.52476/trb.11048

J. Whittle

引用次数: 0

The Unsurpassed Silversmithing Techniques of Adam van Vianen: His Silver Ewer Unravelled 亚当·范·维亚宁无与伦比的银器技术:他的银器被解开

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2021-09-13 DOI: 10.52476/trb.11049

Joosje van Bennekom, Ellen van Bork, A. Pappot

{"title":"The Unsurpassed Silversmithing Techniques of Adam van Vianen: His Silver Ewer Unravelled","authors":"Joosje van Bennekom, Ellen van Bork, A. Pappot","doi":"10.52476/trb.11049","DOIUrl":"https://doi.org/10.52476/trb.11049","url":null,"abstract":"The magnificent gilded silver ewer Adam van Vianen made in 1614 to commemorate his brother Paulus van Vianen who had died the previous year in Prague, is the pinnacle of the kwabstijl, and of Dutch silversmithing in general. The execution of the raising and embossing is exceptional and had never seen before. Von Sandrart specifically stated in his book that Adam made the whole object out of one piece of silver. It is quite possible that Adam van Vianen applied himself to a quest that many sculptors undertook in the Renaissance: making an object under the most challenging circumstances in their area of expertise. A ewer traditionally consists of a body, foot, handle and a lid with a hinge, which are soldered or screwed together. Adam van Vianen, however, integrated all these separate parts into one dynamic, swirling form, and the absence of clearly separated parts seems to confirm that the ewer is made out of a single piece. To determine once and for all whether the ewer is made out of one piece of silver sheet, an expert team researched the ewer with the aid of X-radiography and formulated a theory as to the way the ewer’s handle was constructed. The research also covered the alloy in Adam van Vianen’s ewer and other objects by his hand in the Rijksmuseum’s collection, and outlined the background of available knowledge on silversmithing in the Netherlands in the seventeenth century, and the products available at that time. Finally, reconstructions of silver refining were carried out using two contemporary sources: Bergbuchlein und Probierbuchlein by Calbus of Freiberg (and unknown authors), Leipzig 1524, and Lazarus Ercker’s Beschreibung: Allerfürnemisten Mineralischen Ertzt, und Bergwercks arten … Prague 1574. The complete alloy research in the Rijksmuseum laboratories showed that the alloy was very different from alloys used by other Dutch silversmiths in the same period. A surprising outcome that could very well be connected to the demands Adam van Vianen made on his material.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2021-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48772732","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}

引用次数: 1

Recent Acquisitions: Prints 最近收购：印刷品

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2021-06-15 DOI: 10.52476/trb.10075

Erik Hinterding, H. Leeflang, Manon Van der Mullen

引用次数: 0

Rotterodamum: Romeyn de Hooghe’s Rejected Map of Rotterdam Rediscovered 鹿特丹:罗梅恩·德·胡格的鹿特丹地图被重新发现

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2021-06-15 DOI: 10.52476/trb.10072

Laurien van der Werff

引用次数: 0