Academic literature on the topic 'Landscape prints, Dutch'

Looks at the presence of America in early Dutch visual paintings and prints, and the significant role in interpreting Americana played by Karel van Mander. Van Mander was a 16th-c. art historian, painter, poet, and translator. Van Mander's notes reveal a number of developments in Dutch perceptions of the New World and how pervasive incidental Americana had become by the late 16th c.

AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.

AbstractJosua Bruyn's article 'Towards a Scriptural Reading of Seventeenth-Century Dutch Landscape Paintings' (1987) elicited a great deal of criticism for both its method and its occasionally sweeping conclusions. To a certain extent this criticism is understandable. It does not however mean that recently initiated, cautious attempts to peer below the surface of the painted landscape should be aborted. It is still highly unlikely that the landscape was the only Dutch 'genre' without any intentions other than to beguile the eye. Following Wiegand and Falkenburg, each of whom has researched and interpreted the work of a single artist (Ruisdael and Patinir respectively), the author, too, focuses on one artist. Claes Jansz. Visscher is generally regarded as the publisher and artist who decisively influenced the acceptance of the landscape as an autonomous work of art without a narrative or moral tenor. One of his first publications of his own work was the series Plaisante Plaetsen of about 1611, consisting of an allegorical title print, a view ofZandvoort with the list of contents, followed by ten small landscapes in the environs of Haarlem. The author offers an iconographic analysis of the first two sheets, comparing them with Visscher's religious views, as far as these can be deduced from his life and work. Visscher was an orthodox Calvinist, and his ideas about the place of art and the artist in society were presumably formed by John Calvin's dogma. There are two ways of looking at this. In the first place Calvin, obedient to the Second Commandment in Mosaic Law, purged public worship of Divine or human representations. He did see a task for art outside the church, but only if it had a didactic, edifying character. However, another aspect of Calvin's teachings suggests that art and religion are compatible. His dogma hinges on a view of earthly reality which, unlike that of mediaeval theology, is not negative but positive: a visible reflection of the invisible divine presence. Accordingly, instead of shunning the world and nature, man should enjoy and indeed investigate them in order to gain knowledge of God's creation and thus of God Himself. This idea of creation and the concomitant mission to investigate were of great significance for the development of empirical science. The same now applied to art, inasmuch as it pursues the visual examination of nature and its registration on the flat surface. This implies works of art done 'from life' rather than 'from the mind', and generated the tradition of the empirical, 'topographical' landscape art which flourished in seventeenth-century Holland alongside the landscape which was a mental invention composed of separate elements. Seen against that background, Visscher's two representations may be interpreted as follows: 'This series is intended as a monument to Haarlem. The city boasts not only a glorious and devout past but also most pleasant surroundings. They can compare with Classical landscape, but have a character of their own, and may therefore be praised both in Latin and Dutch. The city may bask in the knowledge that God directs the radiant light of his mercy on her, as the sun shines upon Haarlem's dunes. But Haarlem's glory does not render her haughty: the thorntree in her coat of arms is a reminder that all earthly things are transient. Let the sight of this city and the knowledge of her history thus incite the beholder to sobriety and diligence. Should this mean that you have no time to visit the pleasant spots in the surroundings of Haarlem, these pictures offer you a walk on paper. Be mindful that your own conduct in life match the tenor of this print. 'I, Claes Janszoon Visschcr, the printer of these views, am an educated and versatile artist and a God-fearing man. My work as an artist may be seen as the portrayal of what 1 have read in the book of creation. With my art I open a window on God's nature as it were, not only in the form of these lifelike memories of my walks around Haarlem, but on God's creation as a whole, as its chief elements are condensed in this panorama which also contains a reference to my own name and emblem.' The moment at which these two representations were published suggests that they were intended as a visual programme, not only for this modest series of prints but for Visscher's entire activities as an artist and publisher of prints. His approach to nature, incidentally, is wholly in keeping with that of the poets of his day, who presented their pastoral verses as paeans to creation and the Creator. The notion of a pious walk on paper stayed alive throughout the seventeenth century. In 1685, for instance, a book of meditations on God's nature was published, and reprinted many times; it took the form of walks around Haarlem, illustrated with six landscapes done 'from life', including a view of Haarlem in the manner of Vermeer's celebrated panorama. The above interpretation does not preclude a particular didactic or other associative value in individual landscape motifs. Even then, however, and perhaps first and foremost, they are depicted as the object of (pious) enjoyment. In all these cases a message is conveyed. It is the artistic formulation of the message that determines the work's quality. Seen in this light, the painted landscape in the seventeenth century was not intended primarily for artistic enjoyment but was meant to inspire personal meditation, even if for art-lovers the latter tended to recede into the background in practice.

AbstractIn the 1630s the Dutch Italianate painter Herman van Swanevelt (ca. 1603-1655) developed in Rome, in collaboration with his colleague and contemporary Claude Lorrain, what in those days was a new type of idyllic ideal landscape whose sunlit 'contrejours' reflected the times of day and which Swanevelt continued to disseminate in the North after he moved to Paris. It was however chiefly his etchings which made this new type of landscape accessible to a large public, and which decisively contributed to the development of the taste for landscape art into the eighteenth century, notably in France. In terms of quality and quantity, Swanevelt was the foremost etcher among the early Italianates. The first of his etchings were made in Rome, probably stimulated by the French etchers Charles Audran, who lived in his house there from 1632 to 1634, and by Claude Lorrain, who made 39 etchings in the 1630s, while most of Swanevelt's - 90 - originated in Paris. The only works he dated are two late series (1653 and 1654). However, during the preparation of Swanevelt's monograph with its critical catalogue of the paintings and drawings, it emerged that the dates of all his authentic, undated designs and prints can be ascertained with a fair degree of accuracy, particularly with the aid of his dated and datable drawings and paintings. Two additional drawings could be established as designs for etchings by Pierre Mariette which were first published after Swanevelt's death, and also four drawings in the Uffizi in Florence, two of them with the visible traces of the etching needle, for four etchings without signature or address. This essay rectifies dates published in A.C. Blume's article of 1994. It makes use of newly found documents, published by M. Szanto in his excellent, substantial article (2003), and facts, published in less accessible literature and providing valuable information pertaining to the biographical background of Swanevelts activity as an etcher during his Paris years. It furthermore combines the familiar signatures, names and addresses of publishers with the critical evaluation of Swanevelt's numerous drawn designs with the nature studies used for this and, for the Paris years, with the new findings in Szanto's monograph. This essay for the first time provides a more exact survey of Swanevelt's development as a draughtsman, the times at which his designs were made and his etchings were printed.

An exploration of the exuberant publishing activities and circa 1930s texts by a largely unknown Sumatran vernacular writer, Sutan Pangurabaan Pane, father of the better-known authors Armijn and Sanusi Pane. Sutan P’s schoolbooks, how-to guides, and antiquarian volumes used Angkola Batak and Indonesian to promote a robust vision of Batak linguistic and cultural excellence. Flying under the radar of Dutch governmental censorship, Sutan P’s many works both mimicked and interrogated European textual forms, in sometimes anxious, ambiguous ways.

Book reviews - Crítica de libros - Crítica de livros (index) Susan Kilby: Peasant Perspectives on the Medieval Landscape: A study of three communities Carlos Tejerizo-García Briony McDonagh: Elite Women and the Agricultural Landscape, 1700-1830 Nicola Verdon Amanda L. Capern, Briony McDonagh and Jennifer Aston (Eds.): Women and the Land 1500-1900 Clare V. J. Griffiths Anne-Lise Head-König, Luigi Lorenzetti, Martin Stuber and Rahel Wunderli (Eds.): Pâturages et forêts collectifs. Économie, participation, durabilité / Kollektive Weiden und Wälder. Ökonomie, Partizipation, Nachhaltigkeit Giulia Beltrametti Stuart G. McCook: Coffee Is Not Forever: A Global History of the Coffee Leaf Rust Albert Folch James Simpson y Juan Carmona: Why Democracy Failed. The Agrarian Origins of the Spanish Civil War Lourenzo Fernández Prieto Bert Theunissen: Beauty or Statistics. Practice and Science in Dutch Livestock Breeding, 1900-2000 Reinaldo Funes Monzote Sylvain Brunier: Le bonheur dans la modernité. Conseillers agricoles et agriculteurs (1945-1985) Daniel Lanero Táboas Francisco García González (Ed.): Vivir en soledad. Viudedad, soltería y abandono en el mundo rural (España y América Latina, siglos XVI-XXI) Joana María Pujadas Mora

AbstractUntil now, the Rotterdam portraitist Jan Daemen Cool was known in the literature only as the maker of a group portrait painted in 1653 of the governors and administrator of the Holy Ghost Hospital at Rotterdam, and of a portrait of Piet Hein, which is dated 1629. Closer scrutiny of his activities reveals that the artist, who never signed his work, was Rotterdam's leading portrait painter in the second quarter of the 17th century. Jan Daemen Cool was born in Rotterdam in 1589 or thereabouts. He may have studied with Michiel Jansz. van Mierevelt in Delft, where he married Agniesje Jaspersdr. in 1613 and was admitted to the guild in 1614. He probably returned to Rotterdam in 1614 and spent the rest of his life there. After his first wife's death in 1622 he married again in 1623, this time to Lijsbeth Cornelisdr., the widow of Lowijs Porcellis. Many archive records indicate that Cool was a very prosperous man. After the death of his second wife in 1652. he bought himself a place in the Rotterdam almshouse; he also pledged to paint a group portrait of the governors. He died in 1660. An important starting point in reconstructing the artist's oeuvre is the portrait of the governors of 1653 (cat.no. 28), the authorship of which is substantiated by archive records. However, the portrait of Piet Hein, painted in 1629 (cat.no. I, 1st version), attributed on the basis of the inscription on Willem Hondius' print, is not an authentic Cool but probably an old copy after a portrait which he had painted a few years earlier. A systematic investigation of Rotterdam portraits from the period between 1620 and 1660 has yielded a closely related group of portraits which may be regarded as the work of one man and which include the 1653 governors piece. Combining this information with additional data and further indications has facilitated the reconstruction of Jan Daemen Cool's oeuvre. Pride of place in that oeuvre is occupied by a group of four family portraits painted between 1631 and 1637 and now in the museums at Lille (cat.no. 4), Edinburgh (cat.no. 6), Rotterdam (cat.no. 16) and Brussels (cat.no. 19). Hitherto these portraits have usually been assigned to Jacob Gerritsz. Cuyp. They are all situated in a landscape and represent an important step in the development of this type of family group in Dutch portraiture. A series of portraits of individual sitters painted be-for 1640, including companion pieces, some them identifiable a people who lived in Rotterdam, arc entirely consistent in style and execution with the aforementioned g group portraits. Elements in the portrait of Johan van Yck with his wife and son, painted in 1632 (cat.no. 5), correspond very closely with these works, but there are also discrepancies which suggest cooperation with another painter or later overpaints. A series of individual portraits dating to 1640 - 1654 link the first group of paintings and the late governors piece, the composition of which is quite exceptional in the entire production of such paintings in 17th-century Holland. Here, as in his early family groups, the artist shows himself to be quite an adroit arranger of f gures. Although this painting and two others of 1654 clearly show that he continued to paint after enterning the almshouse, ture is no extant work from the last years of his life. Along the Rotterdam portraits of the rest ched period are a few - likewise unsigned - family groups which are strongly influenced by Cool but are obviously the work of a less proficient hand (figs. 5 and 6). Comparison with a signed portrait of 1649 (fig. 7) enables them to be assigned to the painter Isaack Adamsz. de Colonia (ca. 1611-1663), presumably a pupil of Cool's. Although the work of Jan Daemen Cool bears a resemblance to that of such artists as Michiel van Mierevelt and Jan Anthonisz. van Ravesteyn, his oeuvre has a distinctive character that is most in evidence in his group portraits. There are obvious correspondences with painters such as Jacob Gerritz. Cuyp of Dordrecht, to whom various works by Cool were hitherto attributed, and Willem Willemsz. van Vliet of Delft - artists who likewise developed their own characteristic styles.

euenergy policy objectives are directed at three highly interdependent areas: energy supply security, competitiveness and decarbonization to prevent climate change. In this paper, we focus on the issue of energy supply security. Security of energy supply for the immediate and medium-term future is a necessary condition in the current context of the global political economy for the survival of the Union and its component member states. Since the Lisbon Treaty entered into force, energy policy no longer comes onto the agenda of the European Commission through the backdoor of the common market, environment and competitiveness. The Treaty created a new legal basis for the internal energy market. However, securing external supplies as well as deciding the energy mix, remain matters of national prerogative, though within the constraints of other parts of eu’s legislation in force. Without a common defense policy, the highly import dependent Union and its members face external instability in the energy rich Arab Middle East and North Africa.Concern about energy security has been triggered by declining European energy production as well as the strain on global demand exerted by newly industrializing economies such as China and India and the Middle East, as well as the political instability in this reserve-rich part of the world. This paper explores the following two topics [1] the current situation and past trends in production, supply, demand and trade in energy in the eu, against the background of major changes in the last half decade and [2] threats to the security of the supply of oil and natural gas from import regions.Fossil fuel import dependence in the eu is expected to continue to increase in the coming two decades. As global trends show, and despite new fields in the Caspian region and the Eastern Mediterranean, conventional fossil oil and gas resources remain concentrated in fewer geopolitically unstable regions and countries (i.e. the Middle East and North Africa (mena) and the Caspian Region (cr) including Russia), while global demand for fossil energy is expected to substantially increase also within the energy rich Gulf countries. This combination directly impacts eu energy supply security. It should be noted that the trend towards higher levels of import dependence was not interrupted when the era of low energy prices, between 1980 and 2003, came to an end.Within the eu itself, domestic resistance to the development of unconventional resources is an obstacle to investment in unconventional sources in this part of the high-income world. This should therefore not put at risk investments in either renewables or alternative sources at home or conventional resources mainly in the Arab-Middle East.The situation is exacerbated by the spread of instability in the Arab-Middle Eastern countries. There are three domestic and geopolitical concerns to be taken into consideration:(1) In the Arab-Middle East, threats to eu energy supply security originate in the domestic regime of these countries. Almost all Arab resource-rich countries belong to a type ofpatrimonial, rentier-type of state-society relation. These regimes rely on rents from the exploitation of energy resources and the way in which rents are distributed.Regimes of this type are being challenged. Their economies show uneven economic development, centralized power structures, corruption and poverty at the bottom of the social hierarchy. The discrimination of females is a major obstacle to the development of the service sector. At present, even the monarchies fear the spread of violent conflict.Offshoots of these consequences have proven to cause civil unrest, exemplified by what optimists have called the ‘Arab Spring.’(2) The second concern is the domestic and global impact of Sovereign Wealth Funds (swfs) managed by Arab patrimonial rentier states. swfs have proven to be an asset in both developing and developed economies due to their ability to buffer the ‘Dutch Disease,’ and to encourage industrialization, economic diversification and eventually the development of civil society. In patrimonial states, however, swfs are affected by corruption and the diversion of funds away from long-term socioeconomic development to luxury consumption by political elites. In fact, Arab swfs underpin the persistence of the Arab patrimonial rentier state system.(3) Finally, the post-Cold War, me and cea geopolitical landscape is shifting. The emergence of China and other Asian economies has increased their presence in the Middle East due to a growing need for energy and the expansion of Asian markets. The recent discovery of energy resources in the us has led to speculation that there will be less us presence in the region. There would be a serious risk to eu energy security if emerging Asian economies were to increase their presence in the Middle East as us interests recede.

The collector and independent scholar Emilio Cueto provides a historical inventory of seventeen graphic art images depicting Cuba, printed during the late Spanish colonial period (1762–1898). These images—primarily authored by Dutch, English, French, and German, not Spanish or Cuban artists—became the most widely circulated visual representations of the island, particularly the capital of Havana. Despite their fanciful and often inaccurate character, these prints depicted the landscape, architecture, people, and customs of the island. They became part of a well-known visual repertoire that fixed Cuba as an exotic tropical location in the global imagination. As Cueto underlines, “It was through engravings and lithographs that Cuba first became known both inside the island and abroad. Colonial Cuba was defined by its prints.”

‘Northern Europe’ considers the garden history of the Low Countries, Germany, and Russia. Dutch and Flemish gardens of the 16th century had a markedly different character from the Renaissance gardens in Italy; garden art is one of the forms in which the differences are readily apparent. Gardens described include the gardens of Jan Vredeman de Vries, which contained medieval and Erasmian elements laid out with a painterly attention to detail and form; the Honselaarsdijk estate of Prince Frederik Hendrik, between The Hague and the Hook of Holland; the Hortus Academicus at Leiden; Germany’s first important public garden, the Englische Garten in Munich; and Pavlovsk in Russia, one of the world’s greatest landscape gardens.