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Rijksmuseum Fellowship Programme 国立博物馆奖学金计划
IF 0.1 4区 艺术学
Rijksmuseum Bulletin Pub Date : 2019-12-15 DOI: 10.52476/trb.9734
Editors The Rijkmuseum Bulletin
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引用次数: 0
'Spot the Difference' “发现差异”
IF 0.1 4区 艺术学
Rijksmuseum Bulletin Pub Date : 2019-12-15 DOI: 10.52476/trb.9735
Nienke Woltman
{"title":"'Spot the Difference'","authors":"Nienke Woltman","doi":"10.52476/trb.9735","DOIUrl":"https://doi.org/10.52476/trb.9735","url":null,"abstract":"The small, unsigned panel The Lamentation of Christ in the Rijksmuseum’s collection is attributed to Colijn de Coter and dated around 1510-15. There is another, almost identical version in a private collection. Visual analysis and analytical techniques including UV fluorescence, infrared reflectography, X-ray fluorescence (XRF), X-radiography, dendrochronology and paint sample analysis, were used to examine and compare the materials and techniques in both paintings in order to investigate the relationship between the two. Because only a small oeuvre is attributed to De Coter and there has as yet been very little scientific analysis of his paintings, this comparative investigation provides more information about the artist’s workshop practices. This research has revealed that the materials and techniques used in the two versions differ hardly at all and, moreover, correspond to standard practice in early sixteenth-century painting in the Low Countries. The thicker outlines in the underdrawings in both cases indicate that the compositions were traced or copied from the same model. The underdrawings of the two Lamentations also correspond to those in other paintings attributed to the artist. This makes it likely that both versions came from De Coter’s workshop.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43301639","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
Antonio Rizzo’s Tondo of the Virgin and Child and the Influence of Donatello 安东尼奥·里佐的《童女通多》和多纳泰罗的影响
IF 0.1 4区 艺术学
Rijksmuseum Bulletin Pub Date : 2019-12-15 DOI: 10.52476/trb.9737
S. Braam
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引用次数: 0
A Hishikawa School Screen Uncovered 石川学校的屏风被揭开
IF 0.1 4区 艺术学
Rijksmuseum Bulletin Pub Date : 2019-09-15 DOI: 10.52476/trb.9733
Menno Fitski, Lucien Van Valen
{"title":"A Hishikawa School Screen Uncovered","authors":"Menno Fitski, Lucien Van Valen","doi":"10.52476/trb.9733","DOIUrl":"https://doi.org/10.52476/trb.9733","url":null,"abstract":"The restoration of a Japanese eight-fold screen, accompanied by art-historical study and research into materials and techniques has greatly enhanced the understanding of the object. Each side bears a painting and it was found that theoldest painting depicts the world of entertainment in Edo in the late seventeenth century, with a portrayal of the Nakamura theatre, holding a performance of the early kabuki play Coming and Going to Takayasu, featuring the then popular actor of women’s roles Tamagawa Sennojō. The source of this scene is an illustration from a 1678 book by Hishikawa Moronobu, Tales of Actors Past and Present. Also, there is an outing to view the cherry blossoms by the Yoshiwara brothel Myōgaya. The other side was fitted in the mid nineteenth century with a specially commissioned painting of an autumn landscape by the painter Itabashi Tsurao, using high-quality pigments. The provenance of the screen has been traced back to 1924, to the dealer Felix Tikotin. It was acquired by Herman Karel Westendorp, the firstchairman of the Royal Asian Art Society in the Netherlands, the present owner, to whom Westendorp sold it in 1931.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45916719","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
Acquisitions: Twentieth-Century Fine and Applied Arts 收购：二十世纪美术与应用艺术
IF 0.1 4区 艺术学
Rijksmuseum Bulletin Pub Date : 2019-09-15 DOI: 10.52476/trb.9731
Pim Arts, Roby Boes, Oskar Ekkelboom, Ludo Van Halem, Suzanne van Leeuwen, Bianca Du Mortier, Harm Stevens
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引用次数: 1
Symbolism and Early Abstract Art from the Gerard van Wezel Collection 从范收藏看象征主义与早期抽象艺术
IF 0.1 4区 艺术学
Rijksmuseum Bulletin Pub Date : 2019-09-15 DOI: 10.52476/trb.9732
Alied Ottevanger
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引用次数: 0
Aeneas and Callisto 埃涅阿斯和卡利斯托
IF 0.1 4区 艺术学
Rijksmuseum Bulletin Pub Date : 2019-09-15 DOI: 10.52476/trb.9730
Josephina De Fouw, I. Verslype
{"title":"Aeneas and Callisto","authors":"Josephina De Fouw, I. Verslype","doi":"10.52476/trb.9730","DOIUrl":"https://doi.org/10.52476/trb.9730","url":null,"abstract":"The Rijksmuseum has in its collection an oil sketch by Jacob de Wit (1695-1754) of a design for a ceiling painting. This ceiling painting – The Apotheosis of Aeneas – was commissioned by Pieter Pels (1668-1739) for his house at number 479 Herengracht, Amsterdam. The present article identifies the room for which the work was made. The ceiling painting proves to have been part of a larger painted ensemble by Jacob de Wit and the landscape painter Isaac de Moucheron (1667-1744). On the basis of De Wit’s sketches, records in the archives and research on site, a picture of the way this painted room looked in Pels’s day is built up. The later fortunes of the room are also explored. At the end of the nineteenth century the ceiling painting was replaced by another one, also by De Wit. As a result of this very curious switch, the present ceiling painting is no longer an original whole, but a composite hybrid. All the other interior paintings vanished from the room long ago. Three of them, a chimney-piece and two overdoors by De Wit, have been traced to Russia. Three previously unknown paintings have now been added to the artist’s oeuvre.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45761700","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
Reckoning the Revolt on Rekenpenningen 雷肯佩宁根起义的清算
IF 0.1 4区 艺术学
Rijksmuseum Bulletin Pub Date : 2019-06-15 DOI: 10.52476/trb.9725
R. Wise
{"title":"Reckoning the Revolt on Rekenpenningen","authors":"R. Wise","doi":"10.52476/trb.9725","DOIUrl":"https://doi.org/10.52476/trb.9725","url":null,"abstract":"This article examines the Rijksmuseum’s collection of rekenpenningen (jetons or casting counters) from the Eighty Years’ War that were struck with Old Testament imagery. Practical in function, jetons were used by government officials to aid incounting, such as with the computation of taxes. They also served as an effective propaganda medium, as they regularly depicted and allegorized events of the first half of the Revolt (c. 1570-1609). On jetons the marriage of contemporary war and biblical episodes was transformed into erudite, visual-textual idioms: a struck image on the obverse interrelated to one on the reverse, crystalized by circumscribing Latin legends. With three case studies, this article examines the visualsources that inspired the counters and explains the surprisingly learned commentary that arises from the biblical analogies and text. The function of counting accentuates the persuasive effect of the counters: numerically and metaphorically accumulating support for the war. The Rijksmuseum’s collection of jetons is one of the most notable in the Netherlands and has not been studied from an art historical perspective before.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48698769","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
Sleeping Beauty 睡美人
IF 0.1 4区 艺术学
Rijksmuseum Bulletin Pub Date : 2019-06-15 DOI: 10.52476/trb.9727
M. Boomkamp
{"title":"Sleeping Beauty","authors":"M. Boomkamp","doi":"10.52476/trb.9727","DOIUrl":"https://doi.org/10.52476/trb.9727","url":null,"abstract":"The interest in fairy tales grew strongly over the course of the nineteenth century, particularly in Germany, the birthplace of Frans Stracké (1820-1898). Renowned artists made illustrations for popular publications of fairy tales and in the middleof the century characters from fairy tales also appeared in paintings and sculptures. The sculptor Frans Stracké was inspired by this development and in the eighteen-sixties created a Sleeping Beauty and a Snow White. He may have chosen these designs because the sleeping figure offers greater sculptural possibilities, for example in funeral art. He showed Sleeping Beauty at the precise moment she falls asleep, after she had pricked her finger on a spindle. Stracké followed the fairy tale by the Brothers Grimm from 1812, in which the ill-fated event was predicted during the celebration of Sleeping Beauty’s birth. Sleeping Beauty (also known as Briar Rose) was precisely the sort of subject Stracké preferred: he excelled in making genre-like sculpture of a very high standard. This was little appreciated in the Netherlands, whereas in France and Italy practitioners of this type of sculpture enjoyed considerable success. Stracké is credited with introducing contemporary developments in European sculpture into the Netherlands; Sleeping Beauty is a relatively early and typical example.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43868652","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
Different Hands: 不同的手：
IF 0.1 4区 艺术学
Rijksmuseum Bulletin Pub Date : 2019-06-15 DOI: 10.52476/trb.9723
F. Scholten
{"title":"Different Hands:","authors":"F. Scholten","doi":"10.52476/trb.9723","DOIUrl":"https://doi.org/10.52476/trb.9723","url":null,"abstract":"A recently acquired late fourteenth-century boxwood micro-sculpture of a monk in a pulpit is in fact an extremely rare example of a late medieval inkwell. The object’s unusual iconography seems at first to be mocking in intent, given the awkward way in which the monk, arms upraised and missing his hands, is imprisoned in his pulpit. He conjures up associations with amusing illustrations in the margins of manuscripts and the often anti-clerical ridicule expressed by the carvings on misericords. And yet it is quite conceivable that the object had a serious purpose. The silent monk, who ‘lends’ his hands to the owner of the inkwell, is probably a Carthusian who, according to the Rule of his order, may not speak, and can only spread the word of God in writing. In view of the style and quality, this curious little carving has to be attributed to a prominent sculptor who was active in Paris or the Southern Netherlands around 1380-1400. He must have made it as a special commission, probably for a monk in a distinguished charterhouse.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48808433","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
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