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6.7 Portraiture, Landscape, Genre and Still Life Painting
... e Apothecary’s Shop ‘In de Spiegel’ at the Delft Wijnhaven by Cornelis de Man in the National Museum in Warsaw[10]; a small full-figure Portrait of a Young Man with Greenery in the Background by Dirck van Santvoort in Łódź [11];2 a Portrait of a Boy from 1654 now attributed to Pieter van Noort, and Jan Verkolje’s very attractive Portrait of a Youth with a Viola da Gamba , both in Kraków, Wawel [12-13].3 Nicolaes Maes’ paintings are numerous in Polish collections, but of special interest is his signed and dated 1664 Portrait of the Sykes Family from Vestella in the Porczyński Foundation [14].4...
... for example by Lieve Verschuier [18] and Ludolf Bakhuizen [19].Church and palace interiors are represented by signed works of Dirck van Delen in Poznań [20], Daniel de Blieck in the Czartoryski collection in Kraków, in the Museum of Art at Łódź and in the National Museum in Warsaw [21]. The unquestionable masterpiece of this genre is Pieter Saenredam’s Interior of the St. Bavo’s Church in Haarlem (1635)7 in Warsaw [22], a compact, seemingly symmetrical composition exhibiting a very refined viewing point and a subtle interplay of perspective lines....
... y of Johnny van Haeften [26].9The best examples of other petits-maîtres in Poland are: Travellers in a Grotto by Philips Wouwerman [27], the Choice between Youth and Wealth by Jan Steen [28] and the Officer Writing a Letter by Gerard ter Borch [29], all from Stanislaus Augustus’ collection, now in the National Museum in Warsaw,10 and another Wouwerman in the Warsaw Castle, originally in the same collection; a Karel Dujardin in Wrocław [30], and a signed and dated 1669 Lady and Her Maid by Michiel van Musscher in the Wawe...
... mpositions such as Gerrit van Vucht’s work in Poznań [38] and a Still Life with a Skull in Gdańsk, by Luttichuys [39]. Warsaw’s Royal Castle possesses an interesting trompe l’oeil by Cornelis Gijsbrechts [40].13...
Notes
... ng on the art market, later sold it to one of his clients and after he had learned the paintin...
... numerous genre paintings are published in: Kolbiarz 2008. ...
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6.2 Flemish Primitives and 16th-Century Netherlandish Paintings
... nd: 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...
... ffort 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],8 and Jan Sanders van Hemessen’s Holy Family in Wawel Royal Castle, Kraków [17].9...
... m) [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...
Notes
... the Flemish Primitives in Polish collections, see Białostoc...
... in Warsaw and the J. Paul Getty Museum, Los Angeles, it is thoroughly treated in the monograph by Woollett/Szafra...
... , cat. no. Juan N72.3, fig. 306, p. 269; Przylicki 2013, p. 21. ...
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3.6 Dutch Paintings in Polish Collections
... Dutch artists in their service. In 1625 a ‘Prince of Poland’ (Prins van Polen), who had visited Antwerp five years before, paid 1,600 guilders to the executor of the estate of Jan Brueghel for paintings that the artist had supplied.4 That is one of the earliest mentions of an acquisition of paintings initiated by a Polish ruler in The Netherlands [4]....
... ish castles.9At any rate, not everything was moved to Dresden, for the extensive and diversified art collection of Stanislaus II August Poniatowski (1732-1798) [9] contained some works that he must have inherited from his ancestors. An Allegory of the Injustice of the Great Elector by Arie de Vois [10] must have been painted on commission, for how else would a Dutch painter have arrived at such an insult to a friendly head of state?10 A Portrait of Gerrit Jonas Witsen, attributed to Michiel van Mierevelt, must also have been old property.11 We know, furthermore, that Adriaan van Aalst and Jan IJver (1747-1814) served as agents for Stanilaus in the Northern Netherlands, acquiring works for him there. In London it was Noel Desenfans [11] (1744-1807), charged with an unusual commission to concentrate on the landscapes of Claude.12...
... embled the cabinet pieces in his Łazienki Palace. It was a collection well worth being displayed. Both the handsome portraits by Rembrandt which currently grace the Lanckorońsk...
... 26], Jan Steen [27] and Gabriël Metsu [28-29] represented the genre painters, while works by Nicolaes Berchem [30-31],20 Hac...
Notes
... ting was in the collection of Christ[offel] Schumacher and auctioned at his house at 16 Langer Markt in Danzig on 23 March 1771. Von Holst also me...
... ed number of wealthy art lovers in the course of the 18th century’ (In der Blütezeit der Holländischen Malerei füllen sich dann die Danziger Bürgerhäuser mit Gemälden oft ersten Ranges, die si...
... 013] The reference is to Ladislaus IV, who visited both Rubens and the studio of Jan Bru...
... anow Castle at the Time of Jan III, in Polish) ...
... is review in Zeitschrift für Kunstgeschichte 7, 1938, p. 93 of the book by A. Czolowski mentioned in the preceding note (Simon...
... Injustice’ (Tableau allégorique representant la Justice et l’Injustice) (see Mańkowski 1932, p. 208). The painting was not inherited, but bought together with other Dutch and Flemish paintings from the Genovese collector Francesco-Maria Balbi by an intermediary, the banker Pierre Blanc. The works were delivered in Warsaw on 3 December 1774 (Mańkowski 1932, ...
... er version of the painting in the Amsterdam Museum (RKDimages 235349). However, no such painting could be found in any Polish collection, but might have entered a Russian collection. ...
... London.(http://www.oxforddnb.com/view/printable/7544). Ellinoor Bergvelt and Michiel Jonker are preparing a publication about this collection for the museum. ...
... erived from Mańkowski 1932, pp. 55-57. The exact number of paintings is given as 2,289. ...
... ...
... en 2013] Gerson was the first author not to accept this painting as a Rembrandt, giving the work to an 18t...
... , with a work in the collection of Thomas B. Walker in Minneapolis in 1913 (Minneapolis 1913, pp. 183-184, no. 270), even though the measurements do not correspond. ...
... is now attributed to Jan Victors (Sumowski 1983-1984, vol. 4, p. 2607, no. 1768). ...
... 435, cat. no. 301, vol. 2, p. 671, ill. signature, p. 815); the second painting is now attributed to a Dutch 18th-century follower of Berchem (Dobrzycka 1981, pp...
... ate painter, were mixed up with works by the German artist Jakob Philipp Hackert (1737-1807), who worked in th...
... k to Dirk Stoop (Schumacher 2006, vol. 1, p. 476, no. C182 and vol. 2, fig. no. 686). H. Benesz, however, insists on the (old) attribution of the monogrammed piece to Wouwermans (October 2013; see also Benesz 1988, cat. no. 23, ill. in color). This attribution is confirmed by M. De Kinkelder (RKD), who dated the work to the first half of the 1640s (October 2013). ...
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... dańskie Studia Muzealne 3 (1981), pp. 141-155 (English summary, pp. 153-155: Antoni Möller’s ‘Alms pan...
... ed.), Słownik Biograficzny Pomorza Nadwislańskiego, vol. 3, ed. Z. Nowak, Gdań...
... 1675, Amsterdam (Museum het Rembrandthuis) 2006 (also an English edition)...
... is der Gemäldesammlung im Kgl. Museum der bildenden Künste zu Stuttgart : mit 100 Abbildungen, Stuttgart 190...
... schilderijen, Amsterdam (Rijksmuseum) 2003 (also an English edition)...
... el/Lemlein - Aufsätze über die ostpreußische Verwandtschaft, no. 5 Die Danzige...
... ta Gisleni I Peter Danckerts de Rij', Biuletyn Historii Sztuki 37 (1975), no. 1, pp. 13-31 (with Fren...
... istory of Poland, Cambridge/New York 2006 (2nd ed.)...
... . van Dissel, Het Rapenburg : geschiedenis van een Leidse gracht (6 vols.), Leid...
... alnego pw. św. Marii Magdaleny w Maszkowie. Badania historyczno-artystyczne', Lubuskie Materiały Kons...
... ischen Geschichtsvereins 52 (1910), pp. 139-197...
... 6-1763 = Where East meets West : portrait of personages of the Polish-Lithuanian Commonwealth 1576-1763, Warsaw (Muzeum Narodowe w W...
... e / en Hooghduytsche schilders ... [etc.]. Wtlegghingh op den metamorphosis, pub. Ouidij Nasonis ... [etc.] [Haarlem 1604]...
... ischen und deutschen Maler des Carel van Mander : Textabdruck nach der Ausgabe von 1617 : Übersetzung und Anmerkungen von Ha...
... of birth, life and works of Karel van Mander, painter and poet and likewise his death and burial (6 vols.), Doornspijk 1994-1999...
... istrzów europejskich w dawnej Polsce', in: Kozak/Ziemba/Waszhiel 1999, pp. 20–32...
... urt: King Stanislaw August (1764-1795) and his agents’ in: F. Vermeylen, H. Vlieghe and D. Lyna (eds.), Art auctions and dealers : the dissemination of Netherlandish painting during the Anciene Régime, Turnhout 2009, pp. 109-125...
... isława Augusta, Cracow 1929...
... isława Augusta, Lemberg 1932...
... es marchands au dix-septième siècle, Paris 1911...
... isters Gemälde in 247 Abbildungen, Stuttgart [etc.] 1913...
... ogen von J. Bernouilli’, Miscellaneen artistischen Innhalts, vol. 3 (1780), pp. 54-60...
... zur Geschichte der Vedute. Inaugural-Dissertation [...] Albertus- Universität...
... istrzowie portretu niderlandzkiego XVII wieku, Warsaw 1958...
... ister in Polen', in: Klessmann 1988, pp. 9–18...
... ish collections, Warsaw 1992...
... istengemeinschaft’, in: J. A. Chrościcki a.o. (eds.), Ars Auro Prior : Studia Ioanni Białostocki sexagenario dicata,...
... n: H. Borggrefe en V. Lüpkes (eds.), Hans Vredeman de Vries und die Folgen : Ergebnisse des in Kooperation mit dem Muzeum Historyczne Miasta Gdańska durchgeführten internationalen Symposiums am Weserrenaissance-Museum Schloss Brake (30. Januar bis 1. Februar 2004), Marburg 2005, pp. 181-189...
... 1617)', Nederlands Kunsthistorisch Jaarboek 42-43 (1991-1992)...
... Muzealne 3 (1981), pp. 127-138 (with English summary Lid of the chest with Gdańsk p...
... ;, Zeitschrift für bildende Kunst, 26 (1915), pp. 197-212...
... is 1913...
... ischen Malerei des 17. Jahrhunderts, Frankfurt [etc.] 1987...
... r predecessors and successors: 16th- to 18th-century Flemish and Dutch drawings in Polish collections', CODART Courant 8 (2004), pp. 23-26...
... l (ed.), Actes du XIIIe Congrès International d'Histoire de L'art, Stockholm 1933, p. 147 (résumés...
... ie , w. XVI - w. XIX (4 vols.), Paris [etc.] 1911...
... Isaacsz.’, in: U. Thieme en F. Becker, Allgemeines Lexikon der bildenden Künstler : von der Antike bis zur Geg...
... is (1635-1681) the Elder (2 vols.), Doornspijk 1981...
... ish etchings, engravings and woodcuts 1450-1700, Roosendaal [etc.] 1993-present...
... ndern Künstlern, welche vom 13. Jahrhunderte bis jetzt in und um Berlin sich aufgehalten hab...
... ishch, German and Austrian painting : the Hermitage, Leningrad 1986...
... is seiner Werke (2 vols.), Berlin 1994...
... 27;, Jaarboek Amstelodamum 87 (1995), pp. 259-266...
... of in Polen, Amsterdam (Koninklijk Paleis) 2002...
... e), Paris (Bibliothèque Polonaise) 1933...
... biography of Hermann Han), Biuletyn Historii Sztuki 19 (1957), no. 2, pp. ...
... ica. Księga pamiątkowa ku Czi Professora Władysława Tomkiewicza (sarmatia artistica. Festschrift for professor Władysław Tomkiewicz), Warsaw 1968, pp. 63-...
... iscatalogus van de oude schilderkunst (Koninklijke Musea voor Schone Kunsten van België), Brussels 1984...
... ished by authors)...
... Pologne, fait en 1790-1792, vol. 5, Paris 1796...
... ise des Kronprinzen Wladyslaw Wasa in die Länder Westeuropas in den Jahren 1624–1625, München 1988...
... is. Zbiory sztuki Katolickiego Uniwersytetu Lubelskiego Jana Pawła II, Lublin 2013...
... ch Instytutu Historii Sztuki KUL, in: Roczniki Humanistyczne 61 (2013), no. 4 (in print)....
... istorii Sztuki, 8 (1939) no. 1, pp. 2-105...
... łu Filologiczno-Filozoficznego, vol. 8, pt. 1) 1959, pp. 141-238 (French summary, pp. 235-238: Contributions aux relations artistiques entre Toruń et Gdańsk au XVIe et XVIIe siècles.)...
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7.4 Gdańsk : The Final Years
... round Van Dyck.3The second important name in Danzig painting of the second half of 17th century is Andreas Stech (1635-1697) from Stolp in Pomerania – another better than average artist, and a very versatile one, both with regard to pictorial types and quantity of works produced. In contrast to his colleague-courtier Schultz, he was strongly associated with the city: he studied here with his father, also a guild painter, did not undertake the obligatory guild journey before becoming a master in 1662, and married another local painter’s daughter. Given that he also exercised functions in local lay and spiritual organizations, it is astonishing he managed to execute that many existing works, with another large number now only known from prints and documents. At some point, he must have undertaken artistic travels, though, as his paintings convincingly show; most probably, he went to the United Provinces in the 1650’s, as his oeuvre is generally rooted in Dutch classicism with its dominance of fairly linear construction over temperate colours, static appearance and limited chiaroscuro. The forms of Stech’s St. Philip Baptizing the Aethiopian Courtier from 1673 (Pelplin, Cathedral) [3], for example, are based on the art of Salomon de Braij, or Thomas de Keyser. The background in this, and many of his other history paintings, shows the influence of Dutch Italianizing landscapists, like Cornelis van Poelenburch....
... eas. The first is Philipp Sauerland II (1677-1760/62), whose short artistic career in Danzig before moving to Breslau in 1715 comprised executing both portraits and still-lives. The latter works [8], better in quality, show influence by Jan Fyt, or Melchior de Hondecoeter,5 a more bleak version of exemplary works by Schultz. Sauerland’s colleague, Christian Friedrich von Falckenberg from Copenhagen (c. 1675-1745), could have been, on the contrary, inspired by Dutch art literature: Das Große Meister-Buch that he wrote in 1724-1745 on the history of city guild artists, still unpublished, but remaining one most important source for the subject, could have been in part inspired by the famous treatise by Karel van Mander, printed over a century earlier.6...
Notes
... 26. ...
... 26. According to analysis of sources by Pałubicki 2009, pp. 175-181, six sons of Daniel Duwens were also painters in Gdańsk. ...
... mostly successful - attempt at a written monograph is only recent: see Steinborn 2004. ...
... 1979A. Some shortcomings of this book were later amended in s...
... iscovered painter, see Oszczanowski 1999 and Sobecka 2008. ...
... partially preserved ceiling painting (Corpus Christi – Hl. Leichnam church in Gdańsk), which is however only average in class. ...
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6.1 History of Collecting Art of the Low Countries Art in Poland
... urgh, the cousin of Rembrandt’s wife Saskia, in Amsterdam; he also took part in the posthumous auction of art objects belonging to Rubens. The Vasa collections, however, were plundered in the middle of the 17th century by the invading Swedish troops and what remained of them was taken to France by Jan Kazimierz, the last Vasa, after his abdication. This is why, for example, a portrait of Prince Vladislaus Sigismund from the Rubens workshop is now only on a long–term loan from the Metropolitan Museum of Art in New York to the Wawel Royal Castle in Kraków [2]. His equestrian portrait, also in the Wawel, formerly associated with Rubens’ studio, is now attributed to Pieter Soutman [3].4...
... ns (1744-1807) in London made for the king never found its way to Poland and with time became a nucleus of the Dulwich College Picture Gallery.6 The monarch took some of the pictures with him from Warsaw to St. Petersburg, and after his death in 1798, his heirs began to sell the paintings that had been left behind in Poland. The purchasers were mainly Polish aristocrats: Zamoyski, Drucki-Lubecki, Raczyński, Rzewuski, Ossoliński, Mniszech and others. Some of these paintings were ‘removed’ to St. Petersburg; among them a Self-portrait by Arent de Gelder [5], which was never returned. The Polish Rider [6], sold by the Tarnowski family in 1910, now hangs in the Frick Gallery in New York....
... e first important survey of pictures both surviving and lost was published by Jan Białostocki and Michał Walicki in 1955.24 It gave an extensive introduction to the history of Polish collecting and a social and cultural analysis of the phenomenon, while containing more than 400 catalogue raisonné entries with full bibliography. For almost four decades this book was the basic reference work in the field and to a large degree is still relevant today. In 1992 Janina Michałkowa wrote a new version of Foreign Paintings in Polish Collections, featuring a more limited selection of works, but fully illustrated with colour reproductions and including also 19th and 20th century artists.25 The introductory essay systematizes the history and contents of all important Polish collections of today in a vivid way which is especially appealing to foreign readers unacquainted with intricacies of past events that have taken place on ‘God’s Playground’ Poland.26 Another important essay, by Ewa Manikowska, appeared in catalogue of the exhibition Sztuka cenniejsza niż złoto... (Art more precious than gold...) staged in memory of Prof. Jan Białostocki in 1999.27All these publications dealt with collections of both southern and northern European schools of painting, without focusing specifically on any of them. The first text specifically devoted to the history of Polish collecting of Dutch and Flemish art was a chapter in Lucia Thijssen’s book on Polish–Netherlandish relations from 1992.28 Later, the more general cultural heritage of the Netherlands in relation to Poland has been the subject of individual studies such as – among others – a very good synthesis by Andrzej Borowski from 200729 while the phenomenon of collecting Netherlandish paintings in old Poland was brilliantly analyzed and summed up in a concise essay by Antoni Ziemba in 2002.30 The author stresses the fact, that – in spite of numerous purchases of Flemish works by King Vladislaus IV Vasa, and in spite of creation of the so–called Dutch Study by King John III Sobieski [reign dates cited before] in his palace at Wilanów – in the 17th century no intentional collecting of either early Netherlandish or Dutch and Flemish paintings in Poland existed. It was only the last Polish king, Stanislaus Augustus, who was an avid collector truly aware of the artistic importance of Netherlandish, especially Dutch, painting....
Notes
... oznań – Michałowski a.o. 2005 (old Dutch and Flemish masters are dealt with on pp. 166–199); Wrocł...
... ish paintings in the National Museum: pp. 462–495; in the Czartoryski collection: pp.592–603); Dec/Wałek 2010A ...
... ischel 1995. ...
... 26 Davies 1982. ...
... jsza niż złoto: opowieść o sztuce europejskiej naszej ery, Warszawa 1963, a Polish equivalent of Gombrich’s Story of Art. ...
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1.6 After 1918
... utonomous, but it was in truth ruled by Lenin’s Kremlin. Subsequent repression by the Soviets outstripped the cruelty of the tsarist regime. Stalin went a step further by virtually eradicating the intelligentsia, the church and Jewry. The peasantry succumbed...
... l that this took of the civilian population is difficult to comprehend. The ‘second liberation’ was also accompanied by indescribable cruelties. ‘Then the world’s record-breaking murder machine, Stalin’s NKVD, appeared to filter, arrest, shoot, torture, deport and terrorize the survivors’.1 After 1945 Belarus and Lithuania again disappeared silently into the Soviet Union, without having any voice in determining their own destiny until 1991, when the curtain finally fell on the Soviet empire. Lithuania separated in 1991 and has since become a full-fledged member of the European Union....
... y over Danzig and the corridor. On 26 March the tension resulted in Poland’s formal refusal to sign a pact with Hitler’s Germany. Instead it closed an alliance with the United Kingdom, which established England’s famous guarantee of Polish independence....
... nference (February 1945), at which the spheres of influence in Europe were settled between the Russians and the Americans (a nearly bankrupt Great Britain did not even take part in these discussions), meant the end of Polish hopes for democracy. Via a series of elections manipulated by the Soviets, the Polish communists emerged as victors....
... until 1989, however, that the People’s Republic could be relegated to the trash heap of history. The first democratically chosen leader, Tadeusz Mazowiecki, took office on19 August 1989, and Lech Wałęsa followed Jaruzelski as prime minister in December 1990. This beginning of the development of Poland into an independent European democracy, which formally entered the European Union on 1 May 2004, must mark the end of this brief survey....
... to hold its own or manage underground survival, so that 1989 did not bring freedom from the one-party system. Belarus is the only part of the former Soviet Union that is still not a democracy....
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D. Gebouwen in Artis A-Z
... n voor Artis o.a. het Apenhuis (1909), het tweede Vogelhuis (1910), het Reptielenhuis (1910), het Etnografisch Museum/Volharding, en het Zoölogisch Museum....
... aren. Op 2 december 1882 werd het Aquarium feestelijk geopend.Het Artis aquarium was niet de eerste in zijn soort. In navolging van het 'Fish-House' in de London Zoo, dat geopend werd in 1853 en een groot succes bleek, volgden vele aquaria in Europa, namelijk Parijs (1859), Hamburg (1864), Hannover (1866), Boulogne-sur-Mer (1867), Brussel (1868), Le Havre, Keulen en Berlijn (1869) en Napels (1875). Artis zette al in 1860 de speciale Afdeling 'Kunstmatige Vischteelt' op waar zalm en forel uit Frankrijk en Duitsland werd gekweekt. Het duurde echter tot 1882 dat Artis zijn eigen aquarium kon openen.1...
... f de 15e tot en met de 21e eeuw, een gigantische collectie van zo'n 80.000 dierenprenten en de collectie Linnaeana met werken van en over de beroemde Zweedse wetenschapper Carl Linnaeus. In 1939 werd de bibliotheek overgedragen aan de Gemeente Amsterdam en werd daarmee eigendom van de Universiteit van Amsterdam. De Artis Bibliotheek maakt nu deel uit van de Bijzondere Collecties van de Universiteitsbibliotheek Amsterdam....
... rblijf gebouwd, ook wel 'Berenpaleis' of 'Berenburcht' gen...
... linkhamer. Het werd gebouw op de plaats waar het Eerste Etnografisch Museum van Artis stond....
... voor kleine dieren. Momenteel is het een ruimte voor de dierenverzorgers en het verblijf van de maraboes en casuarissen....
... undig Museum. In 1888 werd het getransformeerd tot een apenverblijf nadat het nieuwe Etnografisch Museum (De Volharding) werd geopend in mei 1888. Het oude gebouw moest in 1896 plaats ma...
... beide volières stond een serie op sierlijke zuilen geplaatste bloembakken. De 17de-eeuwse Tuinvaas met bacchantenscène, in Louis XIV stijl, aan de Plantage Middellaan is daarvan een voorbeeld [26]....
... uidige Giraffenstal, mogelijk naar een ontwerp van Artis-architect G.B. Salm. Sindsdien zijn deze stallen ge...
... Franschelaan. Het werd de kern van de volière waaraan kooien werden vast gebouwd. Sindsdien deed het dienst als volière voor ibissen, reigers, pauwen en hoenderachtige vogels....
... or het publiek, en werd de verzameling van tienduizenden dieren, dierenhuiden, balgen en botten in étappes overgebracht naar de universiteitsgebouwen aan de Mauritskade. De ruimtes van het Groote Museum zullen in de nabije toekomst in ere worden hersteld als het Groote Artis-Museum van de Biodiversiteit.Bij de ingang aan de straatzijde lagen oorspronkelijk twee stenen leeuwen gebeeldhouwd door J.J.F. Verdonck, een schoonzoon van oprichter Westerman. Deze beelden aan de Middenlaan raakten echter in verval en zijn in 1938 vervangen door de Leeuw en de Tijger met prooi van Jaap Kaas. Verdonck was tevens verantwoordelijk voor de vier in hout uitgevoerde Jaargetijden aan het monumentale trappenhuis....
... rtiersloges gebouwd en het hek, dat afkomstig was van de begraafplaats Zorgvlied, geplaatst. De Adelaars, naar een ontwerp van Christian Rauch werden in 1853 geschonken en in 1854 geplaatst bij de toegangspoort, zij vervingen twee bloembakken, die de pilaren s...
... idden een rond perkje. Een van deze vazen, de Tuinvaas met zeetaferelen in Louis XIV-stijl, is bewaard gebleven en staat nog in de Hollanse Tuin....
... waarop ze staan. De beelden kregen na enige omzwervingen door de tuin pas in de jaren '30 hun vaste plaats op de hoeken van de tuin. In 2007 is de Hollandse Tuin in oude luister hersteld en in 2009 werd het Westerman-monument gerestaureerd....
... van de toenmalige woningbouw op Sumatra, waren Aziatische hoefdieren gehuisvest...
... ties gehad, zo werd een gedeelte van het gebouw in 1939 het Bevolkingsregister van de stad Amsterdam en stonden na 1968 de skeletten en preparaten van het Groote Museum daar tijdelijk opgesteld voordat ze naar de Mauritskade verhuisden.Vanaf 1990 word het gebouw verhuurd aan de Nederlandse Omroep en wordt het gebruikt als televisiestudio....
... de Neushoorns al sinds jaren vertoefden; pas in 1974 werden deze stallen – tegelijk met Klinkhamers Berenpaleis – ten slotte gesloopt....
... en de tijgers, woonden lange tijd olifanten (oost) en een neushoorn (west). Waar vroeger de olifant woonde is nu de operatiekamer van de dierenartsen; het neushoornverblijf werd in de 20ste eeuw welpenkamer met jonge dieren, en is nu voor kleine uitstallingen bestemd. De eerste verdieping dient als quarantaineruimte; daarboven zijn indrukwekkende oude hooizolders te vinden, waar in de tweede Wereldoorlog vele onderduikers veiligheid zochten....
... de leefruimte van de uilen, die eerst in kooien verbleven. De bouw werd in 1921-22 onder Baas Stijvers door Artis zelf uitgevoerd....
... .Het huidige Vogelhuis gebouwd door B.J. Ouëndag in 1910 werd gebouwd op de fundamenten van het eerste Vogelhuis en behield grotendeels dezelfde opzet. Het nieuwe Vogelhuis verving de elegante, gotische lijnen van het eerste ontwerp door een complex van robuuste ronde buitenvolières van verschillend formaat, waarin de vogels aanzienlijk meer vrijheid genoten. Bij latere verbouwingen verdwene...
... Zoölogisch Laboratorium van de Universiteit van Amsterdam zich op de bovenverdieping (verbouwing, inclusief extra verdieping onder de kap, door B.J. Ouëndag), en sedert 1986 zijn hier Artis-kantoren gehuisvest.In 1995 werd op de begane grond het Nachtdierenhuis (ontwerp C.P. van Dashorst) geopend en kwam via de herstelde middendoorgang de Collegezaal uit 1921 opnieuw in gebruik. Tot slot opende in 2005 de fraaie, hoge Gierenvolière aan de Westzijde, een ontwerp van architectenbureau Vroegindewey....
... art van de 18de eeuw en Welgelegen moet rond 1750 zijn gebouwd. Beide huizen werden bewoond door Artispersoneel. A,F.J. Portielje, Inspecteur van de Levende Have van de dierentuin woonde bijna 50 jaar...
... achine en er was een ‘zalmkweek’ gevestigd, een heel nieuwe uitvinding in die dagen. Lange tijd werden er wolven, hyena’s en beren gehuisvest, maar sinds 1999 is het het verblijf van de Afrikaanse Wilde Honden geworden....
Notes
... isch Tijdschrift, nr. 3 jaargang 38, 2006, pp. 253-259 ...
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6. Between Preparatory Study and Snapshot
... closely the anti-aesthetic of this generation is associated with the term ‘snapshot’ in its reinvented meaning, is shown for example by the following comment by Naomi Rosenblum, on Arbus, in her influential book A World History of Photography (1984): ‘… when she photographed ordinary people in ordinary situations her reaction was invariably ungenerous. Whatever her subject, she usually favored direct head-on poses that often mimicked the style of the family snapshot as in Mother Holding Her Child, New Jersey, one of the more alienated images of motherhood in the history of visual art. Indeed, one of the signal influences on straight camera images during the 1960s was the “snapshot aesthetic”’. 1 Although Breitner died before the time of Winogrand, Frank, Friedlander or Arbus, the similarity is evident. It is therefore hardly surprising that Breitner’s negatives were appreciated for their intrinsic visual quality from the moment they came to light in the 1960s....
... of the Frenchman, applauding him for defying convention and describing him as ‘… a true primitive: one working without a sense of obligation either to tradition, or to the known characteristics of his medium’.3 It is worth noting that Szarkowski already makes the distinction to which we referred earlier (i.e. what matters is not the subject but how the subject appears in the photographs): ‘This is the essence of modern photographic seeing: to see not objects but their projected images.’4 Lartigue was thus hailed as the immediate precursor of modern photography of the 1960s....
... ng wrote: ‘The images reproduced here show that Breitner is one of the many painters who regard a photograph as a sketch, an aide-mémoire.’5 In later publications, too, Hefting discusses the photographs primarily in the context of the paintings.6...
... 1920s than it would in the 1960s: the taste was still very much for carefully considered images in which all the elements fit together, for compositions which were in balance. Furthermore, there was at that point no real sense of the history of photography. (An appreciation of the work of the Frenchman Eugène Atget, who died in 1927, was an exception for which we should be thankful). There were hardly any museums, collectors or dealers then who showed an interest in photography as a medium that had its own character and history.Even more important, perhaps, is the fact that at the time of Breitner’s death there was as yet no Netherlands Institute for Art History that could provide a home for his negatives and prints. This institution was not established until 1932. We should not forget that, although Breitner’s negatives and prints are now generally regarded as an essential part of the history of Dutch photography, their survival came about more or less by chance. In 1961 they came to the RKD only because the then director, Horst Gerson, wrote to Hein Siedenburg asking if his father’s archive might not be an important acquisition for the institution. Siedenburg responded that ‘the archive … as a whole was not of significant value from an art historical point of view’ and furthermore it was incomplete, heterogeneous and ‘rather chaotically organised’. His father had, moreover, ‘destroyed almost everything that did not pertain closely to his personal interests’. Nonetheless the RKD did receive ‘certain documents, photographs and negatives – in particular connected with Breitner – which are of interest to the Institute’.12 So it was that they arrived at the RKD as part of an art dealer’s archive, it being the purpose of the RKD to collect art-historical documentation, of which art dealers’ archives are naturally a part....
... rial that illuminates his practice as a painter or should be valued as autonomous works. There are arguments for both and no conflict is implied....
... d document is of interest precisely because so few letters or other documents by Breitner have survived that give any indication of what function he assigned to his photographs....
... rved, since in 1961 there were very few people who would have realised the importance of something as apparently insignificant as th...
Notes
... istory of Photography, New York 1984, p. 518. ...
... tigue. The invention of an artist, Princeton, NJ/Oxford 2004...
... tot de vele schilders, die de foto beschouwen als een schets, een hulp voor het visuele geheugen. …’ See also Quarles van Ufford’s introduction in the same book, ...
... velle Histoire de la Photographie, Paris 1995 (Eng. ed.: The New History of Photography, Cologne 1998); Elvire Perego, Je ne suis pas photographe … Créateurs et intellectuels à la chamber noire, Arles 2008. ...
... ien, Cologne (Rheinland-Verlag) 1977, pp. 26-32, esp. pp. 26, 27-28, 29. ...
... ich spürbar werden, in denen Baugruben wie aufgerissene Wunden wirken, hat er bei seinen malerischen Interpretationen unberücksichtigt gelassen.” Cf. Klaus Honnef, 150 Jahre Fotografie, Ma...
... istory, London 1981, p. 110. ...
... ver, suggests that the images were photographic reproductions (Amsterdam, Frederik Muller & Co., 13 May 1924, lot 127). In 1984 Osterholt sold his collection to the print room of Leiden University and the photographs are now in Leiden University Library collections. ...
... d. ...enkele documenten, foto’s en negatieven – in het bijzonder met betrekking tot Breitner – die voor het Rijksbureau van belang zijn.’ On this transaction see: Hans Rooseboom, ‘De wasmand van Breitner / Breitner’s Laundry Basket’, in RKD Bulletin 1997 no. 3, pp. 11-20. ...
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3. A Painter out Taking Photographs
... itner it has sometimes been assumed that most of his photographs were taken in the 1890s.5 Further research is needed to provide more accurate dates for those photographs identified as from the 90s: the group of roughly 300 photos that were acquired by A.B. Osterholt from Kees Maks’s widow and are now in Leiden University Library.6 The idea that Breitner was primarily active as photographer in that decade is not supported by much ‘hard’ evidence. Extensive research has revealed that many of the 263 negatives that were discovered in 1995 in the Amsterdam City Archives can be dated quite accurately.7 The results show that only 40 per cent of items in this group stem from the 1890s, while the rest were made after 1900, mainly in 1906-1907. It is possible that the period after 1900 is overrepresented in this group, so we should not jump to the conclusion that this division applies throughout Breitner’s photographic work. Interestingly, a study of his pictures of Rotterdam – the only other detailed research published on his photographs – shows that these, too, were mostly taken in 1905-1906 – in other words, at about the same time as many of the photographs in the City Archives.8...
... reitner was by no means in decline after the turn of the century, even though his output as a painter is generally felt to have tailed off....
Notes
... rkunst. Een zestal studies, Haarlem 1977 (Nederlands Kunsthistorisch Jaarboek vol. 27 [1976]), p. 139: ‘Wees zoo goed en meld m...
... the year should be read as 1889. See also Hedi Hegeman, ‘George Breitner’, in Ingeborg Th. Leijerzapf (ed.), Geschiedenis van de Nederlandse fotografie in monografieën en thema-artikelen, vol. 7 (1987), pp. 1, 3; Paul Hefting, De foto’s va...
... is portrait, see: Tineke de Ruiter, ‘Foto’s als schetsboek en geheugensteun’, in Rieta Bergsma and Paul Hefting (eds.)...
... gezicht, Bussum/Amsterdam 1997, p. 179, cat. nos. 263-264. ...
... 40, 43; Hedi Hegeman, ‘George Breitner’, in Ingeborg Th. Leijerzapf (ed.), Geschiedenis van de Nederlandse fotografie in monografieën en thema-artikelen, vol. 7 (1987), p...