{"title":"From the Margin to the Centre","authors":"Editors The Rijkmuseum Bulletin","doi":"10.52476/trb.9724","DOIUrl":"https://doi.org/10.52476/trb.9724","url":null,"abstract":"","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":"45257438","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 Face of the Female Voltaire","authors":"Lieke Van Deinsen","doi":"10.52476/trb.9715","DOIUrl":"https://doi.org/10.52476/trb.9715","url":null,"abstract":"","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46282412","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":"Nataraja Informed through Text and Technique","authors":"A. Slaczka, Sara Creange, Joosje van Bennekom","doi":"10.52476/trb.9714","DOIUrl":"https://doi.org/10.52476/trb.9714","url":null,"abstract":"The imposing Chola-period bronze Shiva Nataraja at the Rijksmuseum is a product of the living tradition of metal casting established over a thousand years ago in the region of Tamil Nadu. Purchased in 1935 from a Parisian dealer, it is one of the highlights of the collection belonging to the Royal Asian Art Society in the Netherlands, which is exhibited at the Rijksmuseum. The interdisciplinary study presented here links an art historical investigation of ancient texts and scholarly literature with scientific analysis in an attempt to refine the art historical context and at the same time flesh out what is known about the fabrication and provenance of the Nataraja in the Rijksmuseum. The Nataraja was cast by the lost-wax method; x-ray images confirm that the Shiva is solid-cast together with the halo. X-ray fluorescence reveals an alloy consistent with other Chola-period bronzes but not necessarily a pañcaloha alloy (five metals), which seems to be a modern tradition; the front hands were apparently cast on separately as a repair, probably during casting or not long after. Further evidence gathered from the sculpture and its soil encrustations (ICP-MS lead and neodymium isotope ratios, SEM-EDX and XRD) is briefly presented, and supports earlier assumptions about the Nataraja. It appears to date from the twelfth century and was under worship for a relatively short time before it was buried at an unknown location in India. The presence of Indian earth and corrosion products typical of burial imply that it did not re-enter a temple context for worship and was not subject to major restoration before entering the art market in the early twentieth century.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44936873","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":"Charity after the Flood","authors":"Hanneke van Asperen","doi":"10.52476/trb.9712","DOIUrl":"https://doi.org/10.52476/trb.9712","url":null,"abstract":"This essay reconsiders the panels in the Rijksmuseum’s collection depicting the St Elizabeth’s Flood of 1421. When they were removed from the church, the panels – once the outsides of the two wings of an altarpiece – were taken out of theiroriginal context, and the subsequent separation of the panels’ obverse and reverse further obscured the original arrangement. The image itself provides important clues to its meaning with visual references to images of the Deluge, Christ’s Passion and Last Judgement. Most importantly, the flood panels should be studied in close relation to the life of St Elizabeth of Hungary, once depicted on the inside of the wings. Painted several decades after the flood, the panels do not render the catastrophe realistically. Instead, the image focuses on charity after the flood disaster when Dordrecht gave shelter to the victims and so followed the virtuous example of St Elizabeth. As an image of Dordrecht’s charity, the flood panels perfectly fit the religious context of the Grote Kerk for which they were once designed.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48224777","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 Restoration of Rembrandt’s Syndics","authors":"E. van Duijn","doi":"10.52476/trb.9763","DOIUrl":"https://doi.org/10.52476/trb.9763","url":null,"abstract":"This article focuses on the reason why a cleaning controversy about the restoration of Rembrandt’s Syndics broke out nearly two and a half years after the work was completed in 1929 and how Rijksmuseum director Frederik Schmidt-Degener dealt with the challenges. Initiated by local artists from the Amsterdam artist society Arti et Amicitiae, the controversy was fuelled by provocative questionnaires circulated among artists and restorers by the daily De Telegraaf. A vindictive letter by Rijksmuseum restorer Pieter Bakker, who restored The Syndics in 1929, but left the museum on mental health grounds in 1930, fanned the flames still further, even though it was not published in the end. This cleaning controversy was not unique; arguments about the supposed dangers of cleaning paintings were fought out in public in European countries throughout the nineteenth and twentieth centuries. After a cleaning controversy about Frans Hals paintings in Haarlem – which dragged on between 1909 and 1927 – The Syndics cleaning controversy was the second in the Netherlands. It was also the last. This previously unexplored episode in the Rijksmuseum’s conservation history carries a lesson in open communication regarding the restoration of cultural heritage. It is a lesson that is still valid today.","PeriodicalId":40677,"journal":{"name":"Rijksmuseum Bulletin","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2018-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71010738","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: Old Master Drawings","authors":"Robert-Jan Te Rijdt, Alice Tod, J. Turner","doi":"10.52476/trb.9765","DOIUrl":"https://doi.org/10.52476/trb.9765","url":null,"abstract":"","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":"45474125","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}
Petria Nobel, E. van Duijn, E. Hermens, K. Keune, A. van Loon, S. Smelt, G. Tauber, R. Erdmann
{"title":"An Exceptional Commission","authors":"Petria Nobel, E. van Duijn, E. Hermens, K. Keune, A. van Loon, S. Smelt, G. Tauber, R. Erdmann","doi":"10.52476/trb.9762","DOIUrl":"https://doi.org/10.52476/trb.9762","url":null,"abstract":"This article focuses on the conservation history and recent treatment (2016-2018) of the newly acquired pendant portraits of Marten Soolmans and Oopjen Coppit painted by Rembrandt in 1634. Much new information is brought to light about the nineteen-fifties treatments by William Suhr in New York and Henricus Hubertus Mertens in Amsterdam, particularly their varnishing methods. An impressive array of scientific analyses gave insight into the nature of the old varnish layers that were found on top of Rembrandt’s paint layers. The recent treatment, carried out in the paintings conservation studio of the Rijksmuseum, restored much of the stunning detail and original colour contrasts in the two portraits. This consisted of removal of the 1950s varnish layers, along with (partial) reduction of a degraded and discoloured egg-white varnish. Scientific and computational analyses carried out as part of the conservation process also led to important new insights regarding the genesis of the portraits and Rembrandt’s early painting technique. Macro-x-ray fluorescence (xrf) imaging showed significant changes in the composition of the backgrounds that Rembrandt later painted over with a curtain. Novel data gained from forensic imaging analysis of the canvas supports indicate that Marten and Oopjen are painted on two lengths of canvas that were cut from the same roll; however, more research is needed to conclude whether the portraits were initially intended as one composition. High resolution imaging and scientific analyses alsoreveal Rembrandt’s extraordinary skill and inventiveness, for instance in painting bobbin lace using black on top of white, and his mastery in creating subtle modulations of light and tone through unusual additions of pigments.","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":"46240974","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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