RKD STUDIES

6.2 Flemish Primitives and 16th-Century Netherlandish Paintings

... ves in Poland: a group of small devotional pictures from the workshops of Dieric and Aelbert Bouts in Kraków and Warsaw [3-5]; a Passion altarpiece with wings painted in the workshop of Colijn de Coter, also in Warsaw [6-7]; and a splendid composition showing the Martyrdom of Saint Crispin and Crispinian from the Wilanów collection [8], rendered with a rare epic power of narration. This work, by Aert van den Bossche, is the central panel of a triptych, the right wing of which – separated and transferred to canvas – is preserved in the Museum van de Stad in Brussels (averses) and in the Pushkin Museum in Moscow (reverses).2...

... young artist as St. Reinhold in the reverse of the wings [13].5 The Virgin with Child and a Lamb by Quinten Massijs in Poznań6 [14] illustrates the artist’s effort to combine the local Netherlandish tradition with the Italian inspirations of Leonardo da Vinci. A similar tendency can be found in Venus and Cupid [15], a war loss recovered for the Jagiellonian University Museum in Kraków in 1984, painted by the former’s son, Jan Massijs, who seeks to unite the influence of Titian and the School of Fontainebleau.7 Italianate Mannerism in its most dramatic form is present in the Ecce Homo Triptych, now in Warsaw, one of the finest works by Maarten van Heemskerck [16],...

... f-Lengths: Lady at the Virginal in Poznań [25] and a Lady Writing a Letter in Kraków (Czartoryski Museum) [26] make a link to the genre painting at the time of its dawn.16 The late Renaissance epoch is closed with an important painting by Pieter Aertsen in Warsaw, dating from the very last year of his life and showing, in the form of a frieze, scenes illustrating the seven works of Christian mercy [27]. Rendered as a genre piece, in the setting of a town square laid out according to the models in Sebastiano Serlio’s architectural treatise, the painting is a rarity.17...

4.1 The Drawings and their Attributions

... the hands of several artists may be discerned. Two series of drawings each appear to have been rendered by one hand:fourteen Old and New Testament Depictions plus a study of three figures by a tree,1...

... red chalk, a Landscape with a Saint Anne Trinity [b] and a Mary with Christ, Saint John the Baptist and His Parents Elizabeth a...

... redominantly biblical scenes the name of Reyer Claesz. Suycker (c. 1590/1600 - c. 1655) has come up, but the similarity to t...

4. Pioneer of Street Photography

... offered by newer, smaller cameras to make snapshots. In Breitner’s time, the term ‘snapshot’ denoted a photograph taken quickly and without concern for a balanced composition in accordance with the ‘rules of art’.1 Photographs taken with such simple cameras could not compete technically with those made with bigger, more complex cameras in use until then (and which would continue to be standard for a long time to come). Breitner, no doubt, cared less about technical perfection than about the chance to move inconspicuously among his fellow citizens, not feeling hampered by the size and weight of his camera. No other Dutch photographer managed to capture the liveliness and activity witnessed in Breitner’s photographs. Internationally too, he can be ranked among the pioneers of street photography, a group for whom the capturing of an atmosphere or impression was ultimately more important than technical perfection. Breitner is one of a line of painter-photographers that includes Pierre Bonnard, Maurice Denis, Edvard Munch and Édouard Vuillard, all of whom specialised in producing informal, strikingly direct and unpolished photogr...

... photographers had probably become a common street phenomenon, and this means that Huijsen and others needed to take camouflaging measures, whereas Breitner had been photographing the city at a time when cameras were still so rare that they tended to go unnoticed. Nevertheless, at times it was important to act swiftly and without attracting attention and this helps to explain why Breitner preferred smaller, easy-to-use cameras. Several photographs taken with the sun behind reveal Breitner’s shadow in the foreground. From his pose we can tell that he was holding a small model at chest height, which he would have been able to operate fairly inconspicuously [14]. The negatives produced with this camera, measuring c. 6 x 9.5 cm, are among the smallest that have been preserved.9 He also used a bigger model that produced negatives of 13 x 18 cm. Too heavy to be hand held, this camera had to be mounted on a tripod and was mostly used for static views of the city with few or no people.10Although Breitner took his subject matter predominantly from the street, recording life as it hurried past, he occasionally engineered a composition. We see people posing in the street, at a building site but also in a garden (his?) [15-16]. There is one set of photographs that shows two girls (probably dressed up for the ‘Hartjesdag’ festival), gazing down in one photo and up into the camera in the other [17-18]. Another pair of photographs shows the same girl, probably Geesje Kwak, once in profile and once in frontal view [19-20]. In at least two cases Breitner was clearly trying to capture movement. In one of these studies we see a running woman and her shadow as well as the shadow of a second running woman, who is outside the frame [21-22]. The fact that Breitner used a fence to provide a neutral background adds to the impression that this is a study of motion: for the pose to be properly appreciated it was necessary for the figure to stand out as sharply as possible from the background. Breitner may have picked this up from the British photographer Eadweard Muybridge, who moved to the US and in the 1890s produced countless studies of movement using a wooden frame as backdrop [23]. 11...

Literatuur

... 984 1988Jonneke Fritz-Jobse (samenst.), Een nieuwe synthese: geometrisch-abstracte kunst in Nederland 1945-1960, Den Haag 1988, pp. 223-2271989Elmyra M.H. van Dooren, W.H. Brummelkamp, AMC collectie: vijftien stromingen in de Nederlandse schilderkunst na 1945 uit de collectie van het Academisch Medisch Centrum, Wageningen/Amsterdam 1989, pp. 35, 38, 218, cat.nr. 421990Fred Wagemans, ‘Collectie III in Museum Fodor: abstractie in de schilderkunst’, Bulletin Stedelijk Museum Amsterdam (november 1990), p. 86 1992Kunst werkt: internationale moderne kunst in de industriële werkomgeving, een meer dan 30-jaar durend experiment = Art works : international modern art in the industrial working environment, an experiment over more than thirty years, tent.cat. Amsterdam (Stedelijk Museum) 1991-1992, Amsterdam (Peter Stuyvesant Stichting) 1992 (Stedelijk Museum Amsterdam; cat. 763)1993P.M.J. Jacobs, Beeldend Nederland: biografisch handboek, Tilburg 1993, dl. 2, p. 1871994Cor Blok (eindred.), Nederlandse kunst vanaf 1900, Utrecht 1994, p. XX1995Elmyra van Dooren (eindred.), Vrij Beelden en Creatie, uitgave bij tent. Doorbraak van de moderne kunst, Amstelveen (Cobra Museum voor Moderne Kunst) 1996, Bussum 1995,pp. 72-731996Philippe Roberts-Jones, Abstracte schilderkunst in België 1920-1970, uitgave bij tent. Brussel (Galerie van het Gemeentekrediet), Gent/Brussel 1996 (Monografieën over moderne kunst)C.A. Scharten, Register van overlijden bij P.A. Scheen's lexicon, Nederlandse beeldende kunstenaars geboortejaren 1750-1950: jaar van geboorte 1881 of later - jaar van overlijden voor 1994, Zutphen 19961998Paul Kempers e.a., Als golfslag op het strand...: Ad Dekkers in zijn tijd = Waves breaking on the shore...: Ad Dekkers in his time, tent.cat. Amsterdam (Stedelijk Museum) 1998 (Stedelijk Museum Amsterdam; cat. 825) 2002Tom Haartsen, De wand des tijds: monumentale kunst rond de jaren 50, [Nuth 2002], pp. 108-1092005Jonneke Jobse, De Stijl continued: the journal Structure (1958-1964), an artists' debate, Rotterdam 2005, pp. 69-70, 74, 121-122, 363-363. Vert. van: Een nieuwe vormentaal der gemeenschap: Joost Baljeu en het tijdschrift Structure: een kunstenaarsdebat, proefschrift Vrije Universiteit Amsterdam 2002.2010André Garitte, Un siècle d'art abstrait: 100 abstraits Belges = Een eeuw abstracte kunst: 100 Belgische abstracten, uitgave bij tent. Brussel (Musée René Magritte) 2010-2011, Brasschaat 20102014Jonneke Jobse, De schilderkunst in een kritiek stadium? 1945-1960: critici in debat over realisme en abstractie in een tijd van wederopbouw en Koude Oorlog, Rotterdam 2014 (Kunstkritiek in Nederland 1885-2015; dl. 2), pp. 189-192Fransje Kuyvenhoven, ‘Bogen en diagonalen (1...

2.3 1610-1612 sterkere eigenheid

... n https://rkd.nl/technical/5018656 en https://rkd.nl/images/40261, nr. 11). In het tussenliggende jaar 1611 ontstonden De huwelijksnacht van Tobias en Sara te Boston (https://rkd.nl/technical/5018646 en https://rkd.nl/images/215267, nr. 9) en David geeft Uria de brief (https://rkd.nl/technical/5018651...

... ringen in de voeten bij het uitwerken in verf, tonen echter duidelijke overeenkomsten. Dat het bij de ondertekening in beide gevallen slechts een voorlopige stap in het creatieve proces betreft, blijkt uit wijzigingen gedurende het schilderproces. In De huwelijksnacht van Tobias en Sara zijn ze wel iets bescheidener in aantal en omvang dan in David geeft Uria de brief. ...

Voorwoord

... RED – Restaurierungszentrum Düsseldorf...

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... m Museum) en Volker Manuth (Radboud Universiteit, Nijmegen). Zij hebben me elk vanuit hun eigen expertise gesteund en waar nodig bevindingen en ideeën bijgestuurd, dat was onontbeerlijk. Van mijn (voormalige) collega’s van het RKD wil ik met name de volgende personen hartelijk danken: Jos Beerens die deze Study opmaakte, Yvonne Bleyerveld voor haar zorgvuldige redactie van de teksten, Michiel Franken met wie ik sprankelende discussies over Lastman voerde, Edda Japing die alle afbeeldingen uploadde, Rieke van Leeuwen voor goede suggesties en Diteke de Ruijter-Ekema voor de invoer van Lastmans kunstwerken in RKDimages. Mijn oud-directeur en -promotor Rudi Ekkart gaf me een enkele keer belangrijk advies....