Academic literature on the topic 'Academie van Bouwkunst Amsterdam'

The design and construction of this canopy and landscape for a small courtyard [1] took the form of an adventure in digital design and low-tech construction. The installation was for the end of year party in June 2002 at the Academie van Bouwkunst in Amsterdam. The courtyard occupies a central space in the school adjacent to the main lecture hall and contains a historic cobblestone court [2]. One of the design team, Neil Leach, proposed that it should be transformed into an enchanted garden suggestive of Dutch greenhouses and Shakespeare's A Midsummer Night's Dream.

AbstractThis study of Israels' relations with the Academy not only amends and amplifies Jan Veth's account of the painter's early years (Note 1), but also offers a better insight into the position of young Dutch history painters in the 1840s.

In this article, the central issue is the interaction between Sandrart’s friendship networks, his art production and success in Amsterdam. His famous literary life’s work the Teutsche Academie, and Lebenslauf, his (auto) biography, will also be involved. Sandrart’s stay in Amsterdam (1637-1645) was the true springboard for his career. Upon arrival in Amsterdam, he immediately positioned himself in the network of influential entrepreneurs, connoisseurs and magistrates by moving into a patrician residence on the Keizersgracht. Sandrart’s wealthy bloedvrienden (family members) with important socio-political networks - the banker Johan de Neufville and the artist-agent Michel le Blon - further brokered easy access to the bourgeois elite network, which soon earned the aristocratic painter many important commissions. In the late 1630s and early 1640s, Sandrart was a pioneer in his use of the Van Dyckian way of portraying and a classicist Italian style in history painting. Although it took a further ten years before the change of style towards academism became definite in Amsterdam, Sandrart had been the artistic leader thereof. Moreover, he launched a new artists image and artistic lifestyle by positioning himself as the aristocratic-artist.

The earliest Dutch illustrations of indoor theatrical performances date from the seventeenth century, and portray the activities of itinerant professional actors or plays performed in fixed areas, in chambers of rhetoric (Het Wit Lavendel in Amsterdam) and in what may be classed as their successors: the Nederduytsche Academie (1617–37) and Jacob van Campen's Theatre (1637–65). There are also between thirty and forty illustrations of open-air theatre performances given by non-professional actors (mostly rhetoricians), in paintings and prints of the sixteenth and seventeenth centuries. Sometimes one cannot be entirely sure as to whether the illustrated scene contains a theatrical performance or even a stage. These are the ‘doubtful images’ of my title.

AbstractThis article is a report on research undertaken in 1984-5 by a working group of art history students of the University of Amsterdam into the problem of the emancipation of artists f rom the craft guilds (Note 1). The research was based on Hoogewerff's excellently documented book on the Guilds of St. Luke and on published source material. The idea that artists and especially painters regarded the guilds as oppressive is a deeply rooted one (Note 2) and people are all too readily inclined to write of 'the artists' gaining their emancipation' from the Guilds of St. Luke. However, it is now clear that professional painters covered such a wide social spectrum that it is impossible to lump them all together under a single heading (Note 5), while a provisional investigation mainly, focussed on the first half of the 17th century even suggested that there could have been no question at all of emancipation. It became clear that the guilds continued to function all over the Northern Netherlands in the 17th century as Protectors of the profession, that there was no evidence of their hampering artistry and that if there was any emancipation, it took place within the guild itself. A factor that makes such research difficult is that the literary sources are by no means unambiguous or even reliable. In contrast to the meaning current in their day qf someone who does something with paint and a brush, Vasari and Van Mander used the term 'painter' only for those who painted scenes and portraits, not, for example, for those who did banners or ornamental work (Notes 7,8). Thus Van Mander's freguently cited tirade against the guild (Note 9) loses much of its force in respect of the emancipation theory. Moreover, it is the only text of that type in the Netherlands. Houbraken twisted the facts to fit his vision of the artist, projecting his idea of the artist's superiority on to the historical situation (Note II). Thus this study moved between two poles : on the one hand it again confirmed (Note 12) that the guilds continued to function until late in the 18th century, while on the other there was a growing need among their more successful members for an enhanced status and regard, which manifested itself in their assuming control of the guild and restructuring it more clearly and also in their uniting in additional groupings, in which the emphasis was laid on more intellectual and theoretical, aspects and links were sought with amateurs. Although both these moves could be regarded as a certain form of emancipation, neither can be ascribed to an urge for artistic freedom which was hampered by the guilds.

Op 27 oktober 2010 vond een bijzonder methodologisch symposium plaats in het Trippenhuis te Amsterdam, de zetel van de Koninklijke Nederlandse Academie van Wetenschappen (KNAW). De aanleiding voor het symposium was om wetenschappelijke onderzoekers en andere geïnteresseerden te informeren over nieuwe ontwikkelingen rond archivering en terbeschikbaarstelling van kwalitatieve onderzoeksdata. In dit geval bestonden de kwalitatieve data uit biografische interviews met (ex-)militairen over hun ervaringen in militaire gevechtsacties, variërend van deelname aan de Tweede Wereldoorlog tot de opbouwmissie in Uruzgan. Deze data waren verzameld in het kader van het ‘Interviewproject Nederlandse Veteranen’ (de zogenoemde Veteran Tapes) door het Veteraneninstituut.Dit interviewproject had drie doelstellingen, namelijk:

Bij de waardebepaling van erfgoed speelt het begrip authenticiteit een centrale rol. Dit artikel toont aan dat dit begrip moeilijk hanteerbaar is bij jongere bouwkunst, zeker als het wordt gekoppeld aan de oorspronkelijke materialisering. Vooral als authenticiteit een voorwaarde is om een object of gebied te behouden, kan de manier waarop dit gewoonlijk wordt getoetst problemen opleveren. Anders dan men zou verwachten, is bij jonge monumenten met een moderne signatuur het behoud van de oorspronkelijke materialen problematischer dan bij oude architectuur. Dat heeft verschillende redenen.
 Een ervan is de ambitie van de Moderne Beweging om gebruik te maken van experimentele bouwmethoden en nieuwe materialen. Vaak blijken die de tand des tijds niet te kunnen doorstaan. Daarnaast is het moeilijk, zo niet onmogelijk, om dergelijke experimentele materialen te behouden wanneer een gebouw moet voldoen aan hedendaagse eisen, bijvoorbeeld op het gebied van energiezuinigheid. Dat werpt de vraag op of het vervangen van authentieke bouwmaterialen bij restauraties en renovaties ten koste gaat van de erfgoedwaarden. Aan de hand van voorbeelden in Amsterdam en Rotterdam wordt aangetoond dat dit niet altijd het geval hoeft te zijn.

El trabajo de Erik van der Weijde está tramado por una práctica fotográfica considerada desde múltiples perspectivas convergentes. La apropiación y producción de imágenes configuran su obra en una extensa galería de publicaciones editadas desde 4478zine, editorial creada por el autor para editar sus obras. Art in the Public Space - Ara, Luli, Flor, Diana, Sheila, Nicol, Belén and Aylin es la pieza que Erik van der Weijde ha seleccionado para SOBRE N05, una reflexión sobre la prensa entendida como un espacio público de comunicación y, en concreto, sobre la estética y las estrategias de comunicación en las páginas de contactos de los diarios. Consta de 8 imágenes acompañadas de un texto cargado de humor e ironía. Contextualizamos la participación de Erik van der Weijde en este número con una entrevista que nos lo presenta. En esta entrevista nos habla de su método de trabajo, sus intereses y sus inicios en la Gerrit Rietveld Academie de Amsterdam.