Dissertations / Theses: 'Nuenen (Netherlands) in art'

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Morris, Anita Boyd. "Images of debauchery the prodigal son's revels in Netherlandish art of the sixteenth and seventeenth centuries /." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023814011&sid=2&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Eastman, John Arnold. "An Archaeological Assessment of St Eustatius, Netherlands Antilles." W&M ScholarWorks, 1996. https://scholarworks.wm.edu/etd/1539626031.

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Vanhaelen, Engeline Christine. "Guilty pleasures : the uses of farcical prints for children in early modern Amsterdam." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ46439.pdf.

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Feldman, Paula. "Made to order : American minimal art in the Netherlands, late 1960s to early 1970s." Thesis, Courtauld Institute of Art (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414492.

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Schaller, Wendy M. "Children borne aloft : Nicolaes Maes's Ganymede Portraiture and the context of death and mourning in the seventeenth-century Netherlands /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486401895207345.

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Harper, Ross K. "An Ethnoarchaeological Study of the Cisterns in Oranjestad, Sint Eustatius, Netherlands Antilles." W&M ScholarWorks, 1990. https://scholarworks.wm.edu/etd/1539625580.

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MacDonald, Deanna. "Acknowledging the "Lady of the house" : memory, authority and self-representation in the patronage of Margaret of Austria." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38227.

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Margaret of Austria (1480--1530) ruled the Burgundian Netherlands for over twenty years and was an integral member of the joint Houses of Burgundy and Habsburg. She was also one of the most prolific patrons and collectors of her time. This dissertation examines Margaret's patronage in relation to her contemporary environment with the aim of extending and deepening our understanding of her commissions within the dynamics and discourses of the culture of the early sixteenth century.
Margaret of Austria was a highly conscientious patron and the art and architecture she commissioned intimately reflected her life. Chapter one introduces the historical facts of Margaret's life as well as issues affecting her patronage. Chapter two considers the monastery of Brou in Savoy as Margaret's architectural autobiography. Drawing on documentation and the building itself, it examines Margaret's involvement in Brou's creation. Chapter three looks at several of Margaret's other commissions such as her residence, the Palace of Savoy in Mechelen and the Convent of the Annunciate in Bruges. This chapter considers the potential goals of these projects, as ambitious as founding a capital city, embellishing her authority as a ruler, or attaining sainthood. Chapter four turns to Margaret's self-portraits, that is, images she commissioned of herself. Created in several mediums for a variety of audiences (including herself), Margaret's self-portraits portray her as everything from a widow to a goddess to a saint. Each image was designed for a specific audience and demonstrates Margaret's understanding of the function of images in negotiating a place in the contemporary world and history. Chapter five presents Margaret's view of herself as one of the rulers of a New World Empire with her pioneering collection of artefacts from the Americas. The conclusion considers the unique image of Margaret of Austria that emerges from her commissions.

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Baines, Lorena. "The artist's devices Illusionism and imagination in Gerrit Dou's 'Painter with a Pipe and Book' (Netherlands) /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 1.90 Mb, 52 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428198.

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Phillips, Catherine Victoria. "Art and politics in the Austrian Netherlands : Count Charles Cobenzl (1712-70) and his collection of drawings." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4049/.

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The Cabinet of Count Charles Cobenzl lies at the heart of the Hermitage Museum, forming the core of the collection of Old Master Drawings. Yet despite perpetual references to him as ‘grand collectionneur’, no study of Cobenzl’s collecting has ever been undertaken. Nor, in the absence of prosopographical studies of art production or collecting in the Austrian Netherlands in the middle of the eighteenth century, or indeed of other individual collectors, has it been possible to set him in a ‘collecting context’. Bringing together the works of art themselves and Cobenzl’s abundant correspondence, this thesis assesses what he owned, how and why he acquired it, the political and intellectual framework for his collecting and how he perceived the objects in his possession. Looking at Cobenzl’s roles as public figure and private collector, it shows how the latter fits into the context of the former, his collecting rooted firmly in his ambition to revive the economy and the arts of the Austrian Netherlands, in his own ambiguous status and his conflicts with the Governor, Charles de Lorraine. The battle for both real and perceived superiority was played out in many different parts of Cobenzl’s professional and private life, and he used display – the adornment of his home and his person and his collecting – as part of a play for social prestige. Cobenzl used objects as a discrete assertion of both intellectual and aesthetic superiority. This thesis proposes that Cobenzl’s transformation into a collector of drawings was an example of his perspicacious identification of emerging trends that could be turned to advantage, economic or prestigious, public or personal. He was drawn by the status of drawings, perceived as accessible only to those of greater refinement and understanding, as something elite, less accessible than the collecting of paintings. The direct and specific stimulus for his emergence as a collector of drawings lay in the provenance of two large groups of works he was offered, which permitted him to assert a very specific link to the past. It suggests that Cobenzl adopted not only the drawings, but also their histories, to negotiate social position and identity, within the context of his pragmatic utilitarianism. This egocentric study also provides the foundation for a preliminary attempt to create a context for Cobenzl’s collecting of drawings, within his circle, in the Austrian Netherlands overall, and, through analysis of his collecting practices, in the wider European context.

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Mitchell, Laura. ""Through Marriage Marvelously Blended": Visual Representations of Matrimonial Rituals in the Burgundian and Habsburg Netherlands, 1384 to 1555." Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/30560.

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The Burgundian and Habsburg Netherlands constitute an interesting case for studying the function and symbolism of matrimony. This period marked an active time of change in the Low Countries: there was ongoing antagonism between the dukes of Burgundy and their Dutch subjects; shifts in the mercantile industry caused economic flux; the Reformation sparked religious tension; and the rapid expansion of the art market created a Europe-wide demand for Netherlandish fine and decorative art. In the face of upheaval, the act of marriage and the ideology surrounding it remained relatively consistent. Betrothal and marriage ceremonies in the Low Countries were quite formal compared to those in southern Europe; the quintessential northern ceremony customarily involved a priest, witnesses, and symbolic hand gestures. The images discussed in this thesis overwhelmingly reflect the importance of ritualistic behaviour in the late medieval Netherlands; the majority of them depict proper in facie ecclesiae unions, meaning “in the face of the Church.” These images of ideal marriage rituals were most commonly commissioned by members of the court or Church, and were used primarily to display wealth and power, to enhance the pageantry of court life, to draw connections with the mythic or biblical past, to promote canon law, and to reinforce cultural values. The fifty-three images studied in this thesis not only relate to discourses on medieval marriage and art history; they also fit into the larger narratives surrounding civic authority, religious tension, economic change, and social mores. In this thesis, I use an interdisciplinary approach to reveal the main functions of matrimonial ceremonies in Early Netherlandish art, and to examine the gap between image and reality. This thesis contributes to a better understanding of ritual and visual expression in the Burgundian and Habsburg Netherlands.

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Ruddock, Joanna Mavis. "Dutch artists in England : examining the cultural interchange between England and the Netherlands in 'low' art in the seventeenth century." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8632.

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The seventeenth century was an incredibly fascinating time for art in England developmentally, especially because most of the artists that were receiving the commissions from English patrons and creating the art weren’t English, they were Dutch. Over this one hundred year period scores of Dutch artists migrated over from the Dutch Republic and showed England this Golden Age of painting that had established Dutch artists back in the Netherlands as pioneers in their line of work. In studies of Anglo-Dutch art, portraiture is a genre that has been widely researched; Peter Lely (a Dutch-born portraitist) is one of many widely acclaimed artists of this genre; comparative to many of the artworks and artists chosen for this research. Generally Anglo-Dutch relations, politically, economically, religiously and of course culturally there was, during the seventeenth century, so much going on between these two nations. Did this intense ever-changing relationship have an impact on that the other ‘low’ genres of art that was produced throughout this century? This research involves understanding and thinking about the impact of the cultural exchange that took place between England and the Netherlands in the seventeenth century on ‘low’ art – marine, landscape and still life painting. This research entails thinking about the origins of these genres as well as looking at individual paintings on a detailed basis and understanding how this cultural interchange manifests and translates itself through visual motifs – objects (large and small), stylistic characteristics and theme of the painting. Various themes and interpretations - in particular iconography and iconology, descriptive versus narrative art and national identity - have been explored and considered in order to gain a comprehensive understanding of the literature that already exists for this art in an effort to consider something new but to also interpret the paintings in a different way – this research has considered these paintings through the visual elements and has explained the cultural significance they provide.

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Römer, Barbara Christiane. "The art of writing : an iconographic study of Les Douze Dames de Rhétorique, a fifteenth century manuscript from the Burgundian Netherlands." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.625047.

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Gavaghan, Kerry Lynn. "The family picture : a study of identity construction in seventeenth-century Dutch portraits." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:1a2cf152-3f13-4e76-8c73-b57ef5be2463.

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The seventeenth century saw a large increase in family-related portrait materials, including group family portraits, family portrait collections, and family memorial albums. In this thesis, I contend with the meanings and functions of family portraits created in the Netherlands in an attempt to illuminate the motives behind the rise in the number of portraits of the family during this period. I focus on the ways in which Dutch families utilised portraiture as a vehicle for constructing personal and national identity. In an age of extraordinary economic success, religious tension, and political upheaval, portraits of the members of the expanding Dutch ‘middle class’, who had the means and the desire to commission them, reveal a conscious inclination to define and substantiate a fashioned identity as the new urban elite of a Republic in the making. My study assesses family portraits as sites where identity and changing notions of selfhood were envisioned and performed. The shifting notions of ‘family’, and the increasing popularity of commissioning portraits seems to signal attempts to configure and imagine their relationship to Dutch society. I propose that the amount of portraits related to the family commissioned alongside an exploration of and struggle with identity is a symptom of the anxiety surrounding politics, religion, and social changes, for which the family often served as a metaphor. New perspectives on portrait theory and identity, especially those of Ann Jensen Adams and Joanna Woodall, contributed to the shaping of this thesis, particularly as a means to comprehend how portraits functioned in the lives of families. There are four chapters that make up the body of this thesis. In each chapter, I focus on specific works of art chosen for their suitability in highlighting certain concepts and anxieties about identity and the family in its cultural context at their extremes.

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Gerrits, Lasse-Martijn. "The gentle art of coevolution : a compexity theory perspective on decision making over estuaries in Germany, Belgium and the Netherlands = De fijnzinnige kunst van co-evolutie /." kostenfrei, 2008. http://hdl.handle.net/1765/11152.

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Šulikovska, Inga. "Kultūrinio konteksto įtaka grafiniam dizainui: Olandijos ir Lietuvos atvejų studija." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140703_145515-03753.

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Šiame darbe palyginami dviejų šalių – Lietuvos ir Olandijos kultūriniai kontekstai. Darbo siekis išsiaiškinti priežastis kodėl Olandija tapo grafinio dizaino šalimi ir ko trūksta Lietuvai norint tobulėti šioje srityje. Darbe kultūra apžvelgiama iš istorinio konteksto, kuris padėjo pagrindus tautų mentalitetui, o tuo pačiu kaip rezultatas atsispindi ir grafiniame dizaine. Aptariamas kultūros bei dizaino rėmimas, kuris yra vienas pagrindinių variklių dizaino palaikyme. Taip pat nagrinėjamas meno sektorius, jo bruožai ir svarba visuomenėjea.
This research compares two countries - Lithuanian and Netherlands cultural contexts. Intension is to find out the reason why the Netherlands has become a graphic design country and what is missing in Lithuania to lead in this field. The research examine historical context, which laid the foundation for the nation's mentality, but at the same time as a result is reflected in the graphic design field. Discusses the support of culture and design, which is one of the main impulse on design supporting system. Research also examines the art sector, its features and importance in society.

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Boorsma, Miranda. "Kunstmarketing : hoe marketing kan bijdragen aan het maatschappelijk functioneren van kunst, in het bijzonder van toneelkunst in Nederland /." Groningen : Rijksuniversiteit Groningen, 1998. http://bibpurl.oclc.org/web/31615.

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Montgomery, Susannah Patton. "The Playful Art Museum: Employing Creativity as a Tool for Visitor Engagement." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492031264532918.

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Van, Zyl Janienke Dorothea. "Die wye wêreld in : ’n ondersoek na landskap en identiteitskonstruksie in Suid-Afrikaanse en Nederlandse prenteboeke." Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/18012.

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Thesis (MA (VA))--Stellenbosch University, 2011.
ENGLISH ABSTRACT: The hypothesis of this study is that literary theory and theories concerning space, landscape and the construction of identity, are not only applicable to written texts, but also to visual texts. To prove this, the relevant theories were applied in the analyses of four selected Afrikaans and Dutch picture books, as well as to my own picture book, the practical component of this MA study. Space, which is transformed into landscape when observation becomes perception, interacts with the construction of identity in texts in different ways, inter alia because changes regarding space lead to changes regarding identity. Although social identity (how others see us) is important, it can lead to stereotyping, while a focus on selfidentity (how we see ourselves) is conducive in treating children as individuals – as is done regarding adults – with a wide variety of interests and inclinations. Space, landscape and the construction of identity are important vehicles to convey meaning in narratives – not only in literature for adults, but also in picture books, where it can play a role in both written text and illustrations to bring extra depth and dimension. Illustrations are most frequently in a complementary relationship with words because they activate additional meaning, but it can also convey messages in a contrapuntal or even contradictory manner. The utilization of these aspects links with the fact that many South African and Dutch writers and illustrators are of the opinion that both children and adults enjoy really successful children’s books. This study indicates that the use of theories on landscape and identity in the analyses of picture books can lead to the discovery of deeper meanings, which show the literary merit of the texts. In this regard, illustrations should not be regarded as having only an aesthetic, supplementary function, but should be appreciated as an equal partner in conveying meaning, which gives an extra dimension to picture books.
AFRIKAANSE OPSOMMING: Die hipotese in hierdie studie is dat literêre teorie en ander teorieë rakende ruimte en landskap, asook identiteitskonstruksie, nie net van toepassing is op geskrewe tekste nie, maar ook op visuele tekste. Om dit te bewys, is die relevante teorieë toegepas in die analise van vier gekose Afrikaanse en Nederlandse prenteboeke, asook van my eie prenteboek as praktiese komponent van dié Magisterstudie. Ruimte, wat getransformeer word tot landskap wanneer waarneming oorgaan in gewaarwording, hang op verskillende maniere saam met identiteitskonstruksie in tekste, onder andere deurdat ’n verandering in ruimte ook ʼn verandering in identiteit tot gevolg het. Hoewel sosiale identiteit (hoe ander ’n individu of groep sien) belangrik is, kan dit lei tot stereotipering. Daarteenoor lig ’n fokus op self-identiteit (hoe individue hulself sien) uit dat kinders, net soos volwassenes, as individue gesien moet word met ʼn wye verskeidenheid belangstellings en smake. Ruimte, landskap en identiteitskonstruksie is belangrike betekenisdraers in narratiewe – nie alleen in literatuur vir volwassenes nie, maar ook in prenteboeke, waar dit in beide die geskrewe teks én in die illustrasies ’n rol kan speel om ekstra diepte en dimensie te verleen. Die illustrasies staan meestal in ’n komplementêre verhouding tot die woorde deurdat dit bydra tot betekenisverruiming, maar dit kan ook kontrapuntale of selfs teenstrydige boodskappe oordra. Die ontginning van hierdie tipe aspekte sluit aan by die feit dat heelwat Suid-Afrikaanse én Nederlandse skrywers en illustreerders meen dat ʼn werklik suksesvolle kinderboek deur beide kinders en volwassenes geniet kan word. Uit die ondersoek blyk dat die analise van prenteboeke aan die hand van teorieë oor landskap en identiteit kan lei tot die uitlig van dieper betekenisse, wat die letterkundige waarde van prenteboeke bevestig. Illustrasies het hierby nie bloot ’n estetiese funksie as aanvulling tot die geskrewe teks nie, maar kan beskou word as volwaardige draers van betekenis wat ’n waardevolle ekstra dimensie aan prenteboeke verleen.

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Dagalita, Cristina. "En .I. lieu desert, plain de montagnes : les images et la commande d’oeuvres d’art pour les chartreuses médiévales (fin du XIe siècle - début du XVIe siècle)." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040139.

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Après la fondation de la première chartreuse en 1084 par Bruno de Cologne dans les Alpes, ces monastères, installés au départ dans des sites isolés, furent réputés pour leur austérité. Les moines, qui faisaient vœu de silence, vivaient reclus dans leur cellules la plupart du temps, ne se retrouvant que deux fois par jour pour célébrer la messe. Dans ce cadre, qui a donné lieu à une architecture spécifique, les premières mentions d’œuvres d’art, dans la législation, apparaissent dans la deuxième moitié du XIIIe siècle. Cette période correspondait à la fois à une modification de la structure de l’ordre, prenant en compte l’accroissement du nombre des maisons, et aux premières fondations à proximité des villes. Le rapprochement des centres urbains allait déterminer une relation nouvelle entre les chartreux et leurs bienfaiteurs, exprimée dans les donations d’œuvres d’art en vue de la commémoration. Si de la chartreuse de Vauvert, établie près de Paris en 1259, subsistent surtout des relevés de plaques de fondation et de tombeaux, les commandes d’œuvres d’art pour les chartreuses princières et royales de Champmol et de Miraflores, destinées à recevoir les tombeaux de leurs fondateurs, étaient plus variées. L’implication des chartreux dans l’aménagement du décor de leurs maisons est attestée par les sources. Elle peut être observée lorsqu’ils recevaient les dons d’œuvres d’art de la part de plusieurs bienfaiteurs et elle prend un sens particulier quand les frères commandaient eux-mêmes des tableaux. Dans la spiritualité des chartreux, les œuvres d’art avaient un rôle au sujet duquel les moines, en participant à leur création, pouvaient nous renseigner
Following the foundation of the first charterhouse by Bruno of Cologne, in 1084, in the Alps, these monasteries, established at first in solitary places, were well-known for their austere conditions. The monks, which had taken a vow of silence, lived isolated in their cells most of the time, meeting each other only twice a day, to celebrate mass. In these monasteries, characterized by their own architecture, the first mentions of artworks, in the legislation, date from the second half of the 13th century. At that time, the structure of the order was being revised by taking into account the multiplication of the charterhouses. Furthermore, the first foundations near cities were then established. This proximity to urban centres would determine a new relationship between Carthusians and their benefactors, visible through the donations of works of art for commemoration. From the charterhouse of Vauvert, established near Paris in 1259, have been preserved mostly drawings of memorial tablets or tombs. Nonetheless, for the princely and royal charterhouses of Champmol and Miraflores, that were to house the tombs of their founders, the commissions of works of art were more varied. The Carthusians’ participation in building the appearance of their monasteries is attested by the sources. This fact may also be observed when the Carthusians received donations of works of art from several benefactors and a special significance is attached to it when the brothers themselves commissioned paintings. In Carthusian spirituality, works of art had a role about which the monks, by involving themselves in their creation, could inform us

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Rousseau, Claire. "L'Ordre des Prêcheurs au miroir de l'estampe française et flamande (1594-1720)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL096.

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En 1594, l’Ordre des Prêcheurs engage en France une réforme. À la fin du XVIIe siècle, le Maître général Antonin Cloche tente de nouveau d’aviver l’esprit d’observance. Parallèlement, l’Ordre devient pour les pouvoirs politiques, en France et aux Pays-Basméridionaux, un instrument de lutte contre les Réformés. Les dominicains s’engagent également dans tous les débats théologiques internes à l’Église catholique et se mobilisent pour les missions jusqu’aux extrémités de l’Asie. Ces évènements et la glorification des saints suscitent la création d’images gravées sur cuivre, commandées par l’Ordre ou indépendamment de celui-ci. Retrouver ces estampes, françaises et flamandes, comprendre leur processus d’émergence et le but qui leur fut assigné est l’objet du présent travail. L’enquête croise ainsi des données historiques internes à l’Ordre et supranationales. Sur le plan artistique, l’étude accorde une attention particulière, d’une part, à la circulation des graveurs et des modèles et, d’autre part, à l’émergence de styles propres. Ainsi se trouve valorisée l’articulation entre l’épanouissement de la taille-douce au XVIIe siècle, le discours d’un Ordre, et le regard porté sur lui
This thesis focuses on the representation of the members of the Dominican Order as found in seventeenth century engravings. It seeks to examine the role of the French and Flemish engravers commissioned by the Order of Preachers in order to stress its social and moral importance. The engravings are an integral part of an artistic heritage with his own language, challenging our perception of the Dominican story, and more generally of the history itself. This has enabled us to question the contribution and the capacity of images either to reflect or to distort, like a mirror, the spiritual life and the theological debates in both the Church and in society during the seventeenth century

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Thomas, Romain. "La fiancée hollandaise. : images du mariage et usages sociaux, religieux et politiques de la symbolique matrimoniale dans les Provinces-Unies au XVIIe siècle." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20094.

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Société ”iconique” par excellence, les Provinces-Unies au XVIIe siècle sont un espace où la représentation graphique envahit le quotidien. Parallèlement, le mariage est une institution au cœur d’un processus de réhabilitation et de cristallisation confessionnelle de dispositions dogmatiques et disciplinaires. Il constitue en outre une expérience anthropologique fondamentale, dont chacun fait l’expérience, comme acteur ou spectateur. Dans cette perspective, les images du mariage innervent toute la culture visuelle de la société néerlandaise et sont au croisement d’enjeux sociaux, religieux et politiques, perceptibles à différentes échelles, par la symbolique qu’elles mettent en jeu et les usages sociaux qui en sont faits. Comment les différences confessionnelles s’y articulent-elles ? Comment les distinctions sociales s’y manifestent-elles ? Quels bénéfices symboliques les usages métaphoriques visuels du mariage permettent-ils d’obtenir pour les acteurs sociaux ? Enfin comment ces images fonctionnent-elles vis-à-vis du lecteur-spectateur ? A travers un corpus de sources très divers (livres ou brochures illustrés, feuilles volantes, mais aussi peintures ou médailles), la thèse répond à ces questions en examinant successivement comment les images accompagnent les discours prescriptifs sur le mariage, la façon dont elles sont mobilisées lors des noces des élites urbaines et lors de la célébration des noces princières, mais aussi comment elles permettent de donner métaphoriquement corps au lien entre le croyant et Dieu ou, paradoxalement, à celui entre le Prince d’Orange et la Patrie, dans un système politique revendiqué comme une République
"Iconic" society par excellence, the United Provinces in the seventeenth century is a place where images play a tremendous role in daily life. Meanwhile, marriage is an institution at the heart of a rehabilitation process and of a differentiation process of confessional identities involving dogmatic and disciplinary provisions. It is also a fundamental anthropological experience, experienced by everybody in the society, be it as actor or spectator. In this perspective, the matrimonial images pervade the whole visual culture of Dutch society and are at the crossroads of social, religious and political issues, at different scales, through the symbolics they involve and the social uses they are submitted to. How are confessional differences articulated to them? How are social distinctions manifested? What symbolic benefits do social actors get out of visual metaphors of marriage? Finally, how do these images interact with the reader-viewer? Through a diverse corpus of sources (illustrated books or pamphlets, single-leaf engravings, but also paintings and medals), the thesis addresses these questions by examining successively how images accompany prescriptive discourses on marriage, how they are involved in the urban elites weddings and during wedding festivities for princes, but also how they can metaphorically embody the link between the believer and God, or, paradoxically, that between the Prince of Orange and the Fatherland, in a political system claimed to be a Republic

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Rabier, Delphine. "La pensée dévotionnelle et mystique dans la peinture des anciens Pays-Bas : XVè siècle - première moitié du XVIè siècle." Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2018.

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Cette étude se propose de dégager les liens étroits qui unissent la production picturale des anciens Pays-Bas des XVe et XVIe siècles avec la mystique de Ruysbroeck l’Admirable et la pensée de la Dévotion moderne (devotio moderna). À partir d’un corpus comprenant des oeuvres de Jan van Eyck, Rogier van der Weyden, Petrus Christus, Hans Memling, Hugo van der Goes, le Maître à la vue de Sainte-Gudule, le Maître de 1499, le Maître d’Alkmaar, Jérôme Bosch ou encore Gérard David et Jan Mostaert, l’analyse fait apparaître que peinture et écrits se répondent et se subliment mutuellement. Dans une première partie, nous observerons la façon dont les peintres ont décliné la progression dynamique des différentes visions (active, intérieure et contemplative) et traité le phénomène de désimagination. Puis, dans un deuxième temps, notre étude mettra en lumière que l’image soutient grâce à différents procédés (mnémotechnique, participatif, etc.) les pratiques spirituelles et méditatives des fidèles. Enfin dans la dernière phase de notre analyse, nous nous intéresserons aux mises en images d’une idée clé définie par Ruysbroeck l’Admirable, et adaptée par les auteurs de la Dévotion moderne : dat ghemeine leven (la vie commune)
This study intends to investigate and clarify the links between the Early Netherlandish pictorial tradition (15th and 16th centuries) and mystical literature as exemplified by Ruysbroeck the Admirable and the authors associated with the Modern Devotion (devotio moderna). Focusing on a corpus of works by Jan van Eyck, Rogier van der Weyden, Petrus Christus, Hans Memling, Hugo van der Goes, the Master of the View of St Gudule, the Master of 1499, the Master of Alkmaar, Hieronymus Bosch, Gerard David and Jan Mostaert, this analysis brings to light that painting and writing enrich each other’s meaning. In the first part, we shall observe the ways in which the painters captured the dynamic progression of the various types of vision (active, internal and contemplative) as well as the ways in which they addressed the phenomenon of disimagination. The second part of this study will highlight the fact that the image supports the spiritual and meditative practices of the faithful through various processes and techniques (mnemonic, participative etc.). The third part of the analysis will focus on the visual treatment of a key idea defined by Ruysbroeck the Admirable, and adapted by the authors of the Modern Devotion: dat ghemeine leven (the common life)

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Protschky, Susanne School of History UNSW. "Cultivated tastes colonial art, nature and landscape in the Netherlands Indies." 2007. http://handle.unsw.edu.au/1959.4/40554.

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Culitivated Tastes argues for a new evaluation of colonial landscape art and representations of nature from the Netherlands Indies (colonial Indonesia). The thesis focuses on examples from Java, Sumatra, Ambon and Bali during the nineteenth and early twentieth centuries, but also discusses early post-colonial literature. It uses paintings and photography, with supporting references to Dutch colonial novels, to argue that images of landscape and nature were linked to the formation of Dutch colonial identities and, more generally, to the politics of colonial expansion. Paintings were not simply colonial kitsch (mooi Indi??, or 'beautiful Indies', images): they were the purest expression of Dutch ideals about the peaceful, prosperous landscapes that were crucial to uncontested colonial rule. Often these ideals were contradicted by historical reality. Indeed, paintings rarely showed Dutch interventions in Indies landscapes, particularly those that were met with resistance and rebellion. Colonial photographs often supported the painterly ideals of peace and prosperity, but in different ways: photographs celebrated European intrusions upon and restructuring of Indonesian landscapes, communicating the notions of progress and rational, benevolent rule. It is in literature that we find broader discussions of nature, which includes climate as well as topography. Here representations of landscape and nature are explicitly linked to the formation of colonial identities. Dutch anxieties about the boundaries of racial and gender identities were embedded within references to Indies landscape and nature. Inner colonial worlds intersected with perceptions of the larger environment in literature: here the ideals and triumphs associated with Dutch colonial expansion were juxtaposed against fears related to remaining European in a tropical Asian landscape.

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STOENESCU, LIVIA. "The Visual Narratives of El Greco, Annibale Carracci and Rubens: Altarpieces of the Assumption of the Virgin Mary in the Early Modern Age." Thesis, 2009. http://hdl.handle.net/1974/5316.

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The Assumption of the Virgin Mary has been regarded as a normative subject of post-Tridentine altarpiece production. Yet it is actually a complex pictorial allegory that comments upon an archaic tradition of Christian narratives and its intersection with Marian devotion. The Assumption of the Virgin Mary belongs to a tradition of devotional images in which the Eucharistic meaning is the preferred means for furthering narrative ideas. The deeper meaning of the Assumption altarpiece becomes apparent in the light of the following points, demonstrated repeatedly throughout the study: 1) altarpieces of the Assumption represent a Marian subject informed by narrative liberty, not views of iconography and Tridentine history 2) their imagery is largely based upon visual narratives associated with the historical imagination of the painter 3) they disallow the pre-eminence of the classical model and incorporate other models derived from a resemblance to Byzantine icons and Northern prints 4) they are analogous to icons, essays praising truthfulness and inwardness which operate to convey complex pictorial ideas in narrative adaptations. The first chapter evaluates the narrative source of El Greco’s altarpieces from Toledo. The medieval past of Toledo fused with the Byzantine tradition in an altarpiece form for which parallels are rare in the modern age. The second chapter examines Annibale Carracci’s main Assumption altarpieces and a selection of related paintings. For Annibale Carracci, the original setting at the high altar safeguards the Eucharistic meaning of his Assumption narrative and in turn shapes the narrative link with the adjoining altarpieces. The third chapter involves the Northern devotional print as a narrative outset of Federico Zuccari’s and Rubens’ altarpieces. Their narrative solutions negotiate complex pictorial allegories and further the claim for truthfulness of representation inherent in the print.
Thesis (Ph.D, Art History) -- Queen's University, 2009-11-13 11:41:08.724

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Evans, Allison Celia. "Het Tapissierspand: Interpreting the Success of the Antwerp Tapestry Market in the 1500s." Diss., 2012. http://hdl.handle.net/10161/6132.

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During the 1550s, a warehouse was constructed in Antwerp with funds from both the city government and a private investor. This building, the Tapissierspand, became the global center for selling and distributing tapestries of extraordinary beauty, exquisite craftsmanship, and exorbitant cost. The construction of the building indicates that the very nature of how tapestries were made and purchased was changing in the 1550s. Although Antwerp's fairs had long been convenient locations for agents to find luxury items that might please their wealthy clients, like with many luxury trades, tapestry sales were shifting from strictly commissioned sales to include on spec sales. The Tapissierspand was the ideal place for a dealer to purchase multiple already-made tapestries and load them onto the waiting ships in Antwerp's busy harbor for export and resale abroad. The city's export registers document that thousands of yards of tapestry were shipped this way.

The regulatory environment in Antwerp was much less strict than in other cities and this permitted freer interactions within guilds and across industries. The city was for this reason a desirable location for craftsmen to work and sell. But because the strict royal ordinances delivered throughout the 1530s and 1540s were frequently uninforced, workers in the industry were forced to find other ways to manage the large risk inherent in the tapestry trade. The development of the Tapissierspand in Antwerp was an effort on the part of merchants and the city to abate risk. The city could continue to entice merchants if it could provide the right opportunities and environment. However, by the sixteenth century, the constant hyper-vigilance the city had experienced throughout the fifteenth century during frequent times of war and financial difficulty shaped the way the city and its occupants viewed business. In a large sense, everything came down to risk, and how to manage it and minimize it.

At a time of upheaval and mismanagement, survival and financial success through the reduction of risk became of primary importance. Tapestry weaving carried inherent--and large--risks. Raw materials were expensive, and workshops often did not have the capital needed for on spec weaving. The purchase of on spec tapestries without any guarantees of quality or origin was risky for buyers. Thus the Tapissierspand's story is one of people seeking to maximize economic advantage and minimize risk. The Tapissierspand allowed buyers and sellers to minimize risk by facilitating exchange of knowledge, assessment of quality, negotiation of prices and commissions, and extension of credit.

This dissertation will examine the historical precedents in Antwerp that allowed the Tapissierspand to develop, and the ways in which the Pand functioned to expand trade while reducing risk for both buyers and sellers by reducing the risks inherent in the industry.

Dissertation

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Guedes, Carla Filipa Ferreira da Silva Pinto. "O regime de participation exemption : análise das alíneas nºs 13 e 14 do art. 51º do código do IRC." Master's thesis, 2017. http://hdl.handle.net/10400.14/23794.

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O presente trabalho centra-se na análise crítica da cláusula específica anti-abuso transposta da Diretiva Sociedades Mães Afiliadas, plasmada no artigo 51º do Código do IRC, nomeadamente nas alíneas nº 13 e 14. A análise abordará também as alterações introduzidas pela Reforma do IRC em 2014 em Portugal no âmbito do regime de participation exemption. Neste sentido, desenvolveu-se um estudo comparativo do regime fiscal aplicável em Portugal, em Espanha, na Holanda, no Luxemburgo e em Malta, nomeadamente o regime de participation exemption, com o intuito de estabelecer uma análise crítica, dando ênfase às semelhanças e diferenças entre os cinco sistemas fiscais, de forma a posicionar Portugal na Europa. Podemos verificar que, apesar dos esforços para aproximar o regime português dos outros regimes, permanecem ainda, consideráveis diferenças, as quais contribuem para a falta de atratividade e competitividade do regime fiscal português.
The present work focuses on the critical analysis of the specific anti-abuse rule transposed by the Parent Subsidiary Directive, as set out in Article 51 of the Corporate Income Tax (CIT), including numbers 13 and 14. At the beginning of 2014, our tax system underwent a major renovation in relation to the taxation of businesses. Thus, this paper focuses on analyzing the changes introduced by the CIT reform in Portugal under the participation exemption regime. In order to better understand where Portugal stands in the European context, a comparative study based on legal frameworks were conducted in Portugal, Spain, Dutch, Luxembourg and Malta, aiming to highlight the regimes’ similarities and disparities. Despite all the efforts, the remaining differences between the aforementioned regimes still lead to a low attractiveness and competitiveness in the Portuguese regime.

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Cadotte, Julie. "Peinture et comédie : les scènes de théâtre de Cornelis Troost (1696-1750)." Thèse, 2012. http://hdl.handle.net/1866/8863.

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Le présent mémoire porte sur l’un des peintres néerlandais les plus connus de son époque, Cornelis Troost (1696-1750). Celui-ci tire son succès du traitement et de l’originalité de ses sujets dans la confection de ses scènes de théâtre, dont cinq sont abordées ici. Troost fut lui-même acteur de profession avant de se consacrer au métier de peintre. Tout comme les œuvres de Troost, l’art hollandais du XVIIIe siècle est un sujet rarement abordé en histoire de l’art. Plusieurs éléments historiques des Pays-Bas, notamment certains des bouleversements politiques, sont indispensables afin d'acquérir une meilleure compréhension des œuvres théâtrales de Troost. Dans ses scènes de théâtre, Troost embrasse le côté théâtral de celles-ci. Ses œuvres portent le même titre que les pièces desquelles elles sont tirées. De plus, Troost introduit ses personnages de près et cette particularité met l'accent sur les émotions des personnages et sur l’action. Un parallèle est tracé avec Jan Steen et Gérard De Lairesse, eux-mêmes des artistes hollandais s’inspirant du théâtre. La narration dans les œuvres de Troost est également un point important afin de bien comprendre ses scènes de théâtre.
This master’s thesis focuses on one of the most famous Dutch painters of his time, Cornelis Troost (1696-1750). Troost’s success derives from the originality of his subjects in the theatrical scenes he depicts five of which are discussed here. Troost himself was a professional actor before devoting himself to the art of painting. Dutch art of the eighteenth century is a topic rarely discussed in art history. Several elements of Netherlandish history, including political changes, are essential in order to acquire a better understanding of Troost's theatrical work. Troost embraces the theatrical source. His works of art bear the same title as the plays from which they are drawn. Troost puts the emphasis on his characters, and this feature helps to put the focus on the emotions of the characters and the action. A parallel is made with Jan Steen and Gerard De Lairesse, other Dutch artists who were inspired by the theatrical world. The narrative aspect in the works of Troost is also an important aspect which needs to be approached in order to understand his theater scenes.

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Danihelková, Tereza. "Zobrazení Pekla v díle vybraných nizozemských malířů 15. a 16. století." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-408898.

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This diploma thesis is focused on presenting selected artwork with the theme of Hell, which were made in 15. and 16. century. The focus will be on placing this artworks into whole artworks of selected painters. Also to compare it between each other and try to prove how was the tradition of this theme affected by political situation, customer and how was it affected by literature.

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Dissertations / Theses on the topic 'Nuenen (Netherlands) in art'

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