Rijksmuseum Bulletin最新文献_第6页

The Discovery of an Artist’s Portrait: The Landscape Painter Hendrik Voogd Portrayed by Charles Howard Hodges 艺术家肖像的发现:查尔斯·霍华德·霍奇斯描绘的风景画家亨德里克·沃格

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2021-06-15 DOI: 10.52476/trb.10074

Josephina De Fouw, Sepha Wouda

引用次数: 0

The Road to the Salvation of Mankind: Additions to the Series of Glass Designs by the Crabeth Brothers 人类的救赎之路:克拉伯斯兄弟玻璃设计系列的补充

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2021-06-15 DOI: 10.52476/trb.10073

Zsuzsanna Van Ruyven-Zeman

引用次数: 0

Acquisitions from the F.G. Waller-Fonds F.G.沃勒fonds的藏品

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2021-04-28 DOI: 10.52476/trb.9738

Erik Hinterding, H. Leeflang, Manon Van der Mullen

引用次数: 0

Digital Transformations 数字转换

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2020-12-15 DOI: 10.1787/9278cf73-en

Saskia Scheltjens

引用次数: 0

Print Room Acquisitions 印刷室收购

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2020-12-15 DOI: 10.52476/TRB.9595

M. Boom, Niels Van Maanen, Alied Ottevanger, Robert-Jan Te Rijdt, H. Rooseboom, Ilona Van Tuinen

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Karel de Nerée tot Babberich’s Forgotten Torture Garden Karel de Nerée tot Babberich的被遗忘的酷刑花园

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2020-12-15 DOI: 10.52476/TRB.9592

Sander Bink

引用次数: 0

Editorial 编辑

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2020-09-15 DOI: 10.52476/trb.9670

Erma Hermens

引用次数: 0

Re-examining the Rijksmuseum’s Oldest Ship Model: A 44-Gun Directorate Ship? 重新审视荷兰国立博物馆最古老的船只模型:一艘拥有44门火炮的船?

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2020-09-15 DOI: 10.52476/trb.9672

E. Odegard

引用次数: 0

Head and Hands: Arthur van Schendel and Henricus Mertens, and Their Unique Role in the Development of the Rijksmuseum’s Paintings Restoration Studio (1930-70) 头和手：亚瑟·范·申德尔和亨里克斯·默滕斯，以及他们在国立博物馆绘画修复工作室发展中的独特作用（1930-70）

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2020-09-15 DOI: 10.52476/trb.9675

E. V. Duijn

{"title":"Head and Hands: Arthur van Schendel and Henricus Mertens, and Their Unique Role in the Development of the Rijksmuseum’s Paintings Restoration Studio (1930-70)","authors":"E. V. Duijn","doi":"10.52476/trb.9675","DOIUrl":"https://doi.org/10.52476/trb.9675","url":null,"abstract":"The unique character of a present-day conservator lies in the rare combination of working at an academic level with your head and at a craftsman level with your hands. This has not always been the case. Historically the role of a restorer was that of a technician, craftsman and artist, while that of the museum curator was that of a thinker, writer and academic. This article focuses on the relationship between the curator and later director, Arthur François Emile van Schendel, and the paintings restorer Henricus Hubertus Mertens. Both started their careers in the museum in the early nineteen-thirties. Van Schendel’s interest in restoration and technical research may have been kindled at that time, but was fanned during the war, when he worked with the museum’s two paintings restorers – Mertens and his colleague Christiaan Jenner – to preserve the paintings collection under difficult circumstances. After the war, Van Schendel continued to develop in this field and quickly became an internationally recognised authority. He was closely involved in the treatment of Rembrandt’s Night Watch, carried out by Mertens in 1946 and 1947. It brought the museum international acclaim and Mertens became known as the specialist in the restoration of Rembrandt paintings. Although the relationship between Mertens and Van Schendel became more distant as the decades progressed, the post-war paintings restoration studio grew into a renowned department with three permanent restorers and many national and international students. While Van Schendel was a key figure in the international field of restoration and technical research, for example as one of the founders of ICC, ICOM Care of Paintings and ICCROM, Mertens played a more modest role. His legacy was the paintings he left behind. His expertise was disseminated at a national and international level through his students. And so both Van Schendel and Mertens played their own unique role in bringing the restoration department of the museum internationally into view.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48271062","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

An Iranian Youth in an Album from Zwolle 兹沃勒专辑中的伊朗青年

IF 0.1 4区艺术学

Rijksmuseum Bulletin Pub Date : 2020-09-15 DOI: 10.52476/trb.9671

J. Hond, Amélie Couvrat-Desvergnes, Leila Sauvage, Forough Sajadi, P. D'Imporzano

{"title":"An Iranian Youth in an Album from Zwolle","authors":"J. Hond, Amélie Couvrat-Desvergnes, Leila Sauvage, Forough Sajadi, P. D'Imporzano","doi":"10.52476/trb.9671","DOIUrl":"https://doi.org/10.52476/trb.9671","url":null,"abstract":"In the family scrapbook compiled by Gesina ter Borch (1633-1690), there is a remarkable drawing of an Iranian youth. Art-historical and scientific research has revealed that although the drawing has areas of later overpainting, there is an original Safavid miniature from the sixteen-fifties or sixties underneath them. It is likely that Gesina herself was responsible for these overpaints, when she mounted the badly damaged miniature in her album at some time between 1660 and 1680. Interestingly, aside from the blackened background and the colourful feather and sashes she added, she attempted to follow the original Iranian style in her restorations. The original was made in the sixteen-fifties or sixties by a painter of the Isfahan School, who probably took his inspiration from an older composition by the famous court artist, Riza Abbasi. The article goes on to show that Riza Abbasi’s work was known in the Dutch Republic before then. In 1623 the junior merchant Niclaes Hem travelled to Iran. He was a member of a Dutch East India Company delegation seeking to negotiate a trade agreement with the Shah. Hem acquired a series of drawings by or after Riza Abbasi while he was in Isfahan. He was probably helped in this acquisition by his fellow countryman, Jan van Hasselt. A number of the original miniatures that Hem took back to the Republic were published as woodcuts in Johannes de Laet’s Persia (1634).","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45864484","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