Journal articles: 'Nuenen (Netherlands) in art'

1

Stoner, Joyce Hill. "Art Matters: Netherlands Technical Studies in Art." Journal of the American Institute for Conservation 43, no. 2 (2004): 185. http://dx.doi.org/10.2307/4129653.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Belder, Lucky. "Art lending in the Netherlands." Art Libraries Journal 12, no. 1 (1987): 47–50. http://dx.doi.org/10.1017/s0307472200005071.

Full text

Abstract:

The loan of works of art to the public was initiated in the Netherlands in 1955 through a scheme set up by a group of artists to encourage people to purchase contemporary art. The success of this scheme attracted support from the government, which was itself acquiring works in the process of assisting artists. Works thus acquired were lent to public institutions and government bodies, but from the 1970s they were also made available for loan to the public via artotheques. These two schemes gave rise to over a hundred art lending centres including hybrid establishments owing something to both; however, direct government support of artists has recently been phased out, and as a result artotheques no longer obtain works via the government and must evolve alternative methods of acquisition.

APA, Harvard, Vancouver, ISO, and other styles

3

Wishaupt, Maggy. "Art book publishing in the Netherlands." Art Libraries Journal 17, no. 3 (1992): 49–50. http://dx.doi.org/10.1017/s0307472200007999.

Full text

Abstract:

Probably only about 5% of books published in the Netherlands are art books. There is a very limited demand for art books in the Dutch language; in order to sell in greater numbers, books have to be produced in English or in several languages, and/or as co-editions, while the domestic market is flooded by foreign imports including cheap remainders. In these circumstances the publication of art books depends on grants or on the income which some publishers earn from bookselling, printing, or other activities. Nonetheless a few, small, specialist publishers are producing art books of high quality, while some general publishers also publish the occasional art book. Museum publishing activities are considerable but are largely confined to exhibition catalogues.

APA, Harvard, Vancouver, ISO, and other styles

4

Woodcock, Sally. "ArtMatters: Netherlands Technical Studies in Art." Studies in Conservation 48, no. 2 (January 2003): 141–42. http://dx.doi.org/10.1179/sic.2003.48.2.141.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Montias, John Michael. "Art Dealers in the Seventeenth-Century Netherlands." Simiolus: Netherlands Quarterly for the History of Art 18, no. 4 (1988): 244. http://dx.doi.org/10.2307/3780702.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Weststeijn, Thijs. "Introduction: Global art history and the Netherlands." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 66, no. 1 (October 22, 2016): 6–27. http://dx.doi.org/10.1163/22145966-90000779.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Waddell, Mark A. "Art and Science in the Early Modern Netherlands." Annals of Science 72, no. 1 (March 5, 2013): 131–33. http://dx.doi.org/10.1080/00033790.2012.757365.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Koot, Geert-Jan. "10 Years of ARLIS in the Netherlands." Art Libraries Journal 17, no. 4 (1992): 27–30. http://dx.doi.org/10.1017/s0307472200008075.

Full text

Abstract:

Reviving the spirit of an earlier phase of cooperation, art librarians in the Netherlands joined together informally at the end of 1982 under the title ‘Overleg Kunsthistorische Bibliotheken’ (OKB); although this title remains in force, for international purposes the acronym ARLIS/NL was adopted in 1992. Meetings are held at least four times each year. The group helped to organise the 2nd European Conference of the IFLA Section of Art Libraries, at Amsterdam, in 1986, and prepared the contents of a special issue of Art Libraries Journal devoted to art libraries in the Netherlands, which appeared the following year. ARLIS/NL has also concerned itself with shared cataloguing, favouring TINLIB, and with coordinated collection policies, in association with Dutch university libraries and the Royal Library, while as a result of an ARLIS/NL initiative all member libraries are to submit periodicals holdings data to the Central Catalogue of Periodicals.

APA, Harvard, Vancouver, ISO, and other styles

9

Schmidt, Victor. "Dutch art periodicals today." Art Libraries Journal 12, no. 1 (1987): 18–24. http://dx.doi.org/10.1017/s0307472200005009.

Full text

Abstract:

A survey of current Dutch periodicals, devoted to the visual arts (including architecture) or of related interest. A noteworthy feature of art literature in the Netherlands is the contribution made to it by student journals. The quantity and variety of Dutch art periodicals has increased in recent years, enriching art literature but posing problems regarding its bibliographical control.

APA, Harvard, Vancouver, ISO, and other styles

10

Ströber, Eva. "BUTTERFLIES IN THE ART OF CHINA AND THE NETHERLANDS." Aziatische Kunst 41, no. 2 (July 11, 2011): 2–11. http://dx.doi.org/10.1163/25431749-90000227.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

van Starkenburg, W., J. H. Rensink, and G. B. J. Rijs. "Biological P-Removal: State of the Art in The Netherlands." Water Science and Technology 27, no. 5-6 (March 1, 1993): 317–28. http://dx.doi.org/10.2166/wst.1993.0511.

Full text

Abstract:

In the Netherlands the effluent requirements of municipal waste water treatment plants for P will become stricter in 1995. Depending on the design capacity of the waste water treatment plant the effluent requirement will be 1 mg/l P for plants with a treatment capacity of over 100,000 p.e. and 2 mg/l for a lower capacity. From all the P-removal techniques, such as chemical precipitation, fluid-bed pellet reactor and magnetic separation, the most promising technique in the Netherlands would seem to be biological P-removal with or without a combination of the three other techniques. In this paper a description is given of biological P-removal, especially the principle, the factors affecting biological P-removal performance, the different modifications and an example of each system in the Netherlands.

APA, Harvard, Vancouver, ISO, and other styles

12

Hamersveld, Ineke van. "Information services in the fields of art and architecture." Art Libraries Journal 12, no. 1 (1987): 8–11. http://dx.doi.org/10.1017/s0307472200004971.

Full text

Abstract:

In addition to Dutch academic and museum libraries, a number of art libraries and relevant document and information centres are attached to government and other institutions. These include the Netherlands Institute for Art History at The Hague (the parent institution of DIAL, an iconographical classification of Dutch art); the Stichting MARDOC at Rotterdam, which is evolving thesauri to facilitate automated access to museum collections; and the Netherlands Office for Fine Art, responsible for coordinating and promoting Dutch art collections. Other institutions are concerned with contemporary Dutch art, photography, architecture, the role of art in society, art education, and museology. Some of these, with some other institutions, are linked by the network Culturele Pool (CUPO) which coordinates and indexes current literature on the art in the broadest sense.

APA, Harvard, Vancouver, ISO, and other styles

13

McLeod, Heather, and Abena Boachie. "“React with more than stunned silence”: A response to Art, culture, and pedagogy edited by Dustin Garnet and Anita Sinner / « Réagir autrement que par un silence de stupéfaction » : réponse à Art, culture, and pedagogy publié sous la direction de Dustin Garnet et Anita Sinner." Canadian Review of Art Education / Revue canadienne d’éducation artistique 46, no. 2 (September 13, 2019): 71–75. http://dx.doi.org/10.26443/crae.v46i2.85.

Full text

Abstract:

Book response: Art, culture, and pedagogy: Revisiting the work of F. Graeme Chalmers. Dustin Garnet and Anita Sinner (Eds.) Leiden, The Netherlands, Brill/Sense, 2019, 286 pp., ISBN: 978-90-04-39007-2Keywords: Art education; Cultural pluralism; Cultural colonialism; Multiculturalism.Réaction livresque: Art, culture, and pedagogy: Revisiting the work of F. Graeme Chalmers. Dustin Garnet and Anita Sinner (Eds.) Leiden, The Netherlands, Brill/Sense, 2019, 286 pp., ISBN: 978-90-04-39007-2Mots-clés : éducation artistique ; pluralisme culturel ; colonialisme culturel ; multiculturalisme

APA, Harvard, Vancouver, ISO, and other styles

14

Jorink, Eric, and Bart Ramakers. "Undivided territory: ‘Art’ and ‘science’ in the early modern Netherlands." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 61, no. 1 (2011): 6–33. http://dx.doi.org/10.1163/22145966-90000766.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Oud Holland - Journal for Art of th, Editors. "Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek (NKJ)." Oud Holland – Journal for Art of the Low Countries 133, no. 3-4 (December 4, 2020): 246–48. http://dx.doi.org/10.1163/1875-0176-1330304009.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

de Jong, Sigrid. "Advancing the art of building: Bouwkundige Bijdragen in the Netherlands." Journal of Architecture 25, no. 7 (October 2, 2020): 901–23. http://dx.doi.org/10.1080/13602365.2020.1836013.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Wenderski, Michał. "The ‘Isms’ of Modern Art: Belgium, the Netherlands, and Beyond." Dutch Crossing 44, no. 3 (June 10, 2020): 305–13. http://dx.doi.org/10.1080/03096564.2020.1778364.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Smits, Carolien H. M., Hugo K. van den Beld, Marja J. Aartsen, and Johannes J. F. Schroots. "Aging in The Netherlands: State of the Art and Science." Gerontologist 54, no. 3 (September 2, 2013): 335–43. http://dx.doi.org/10.1093/geront/gnt096.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Oud Holland - Quarterly for Dutch A, Editors. "Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek (NKJ)." Oud Holland - Quarterly for Dutch Art History 127, no. 4 (November 11, 2014): 235–36. http://dx.doi.org/10.1163/18750176-90000202.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Domschke, Gisela, and Lucas Bambozzi. "Labmovel." Transfers 3, no. 2 (June 1, 2013): 116–21. http://dx.doi.org/10.3167/trans.2013.030208.

Full text

Abstract:

Labmovel/Mobile Lab is a joint initiative developed in Amsterdam by the Netherlands Media Art Institute (NIMk) and in Brazil by Vivo arte.mov, an International Mobile Media Art Festival, with the support of Telefonica’s Program of Art and Technology (BR) and Th e Mondriaan Foundation (NL). It consists of specially designed street vehicles equipped with features of digital media developed in the cities of Amsterdam and São Paulo. In 2012, artists from both countries submitted residency proposals that integrated the development of art projects, workshops, and cultural events as the Mobile Labs went on tour in the Netherlands and Brazil.

APA, Harvard, Vancouver, ISO, and other styles

21

Lubina, Katja. "Sotheby's Restitution Symposium: Sotheby's Amsterdam, The Netherlands (January 30, 2008)." International Journal of Cultural Property 15, no. 4 (November 2008): 429–31. http://dx.doi.org/10.1017/s0940739108080247.

Full text

Abstract:

This symposium on provenance research and the restitution of Nazi-looted art was organized by the auction house Sotheby's and sponsored by the Muggenthaler International Genealogical Research Institute. After prior meetings hosted by Sotheby's on the same topic in London and Vienna, some 90 provenance researchers, art historians, government representatives, lawyers, and academics met in Amsterdam to discuss the Dutch restitution regime in particular and, in general, the progress made since the passing of the Washington Principles on Nazi-looted art in December 1998.

APA, Harvard, Vancouver, ISO, and other styles

22

Beumer, Mieke. "Book & image: art libraries and visual resources in the Netherlands." Art Libraries Journal 23, no. 2 (1998): 22–23. http://dx.doi.org/10.1017/s0307472200010932.

Full text

Abstract:

In Spring 1999 the Art Libraries Society/The Netherlands (OKBN) plans to organize a conference on ‘Book & Image: Visual Resources and Art Libraries’, to discuss various aspects of the whereabouts, accessibility and use of visual resources in art libraries and other collections of art historical documentation. By doing this we hope to increase awareness amongst art librarians and visual resource librarians of the necessity of communicating questions and sharing their experiences. In particular we need to find new ways of co-operating in order to meet the challenges posed by new technological developments and future users. A small working group of ARLIS-NL members, joined by some colleagues from slide libraries and visual archives, already meets bi-monthly for brainstorming sessions aimed at preparing an attractive and challenging program for this event.

APA, Harvard, Vancouver, ISO, and other styles

23

Kuitert, Lisa. "The Art of Printing in the Dutch East Indies." Quaerendo 50, no. 1-2 (June 4, 2020): 141–64. http://dx.doi.org/10.1163/15700690-12341462.

Full text

Abstract:

Abstract In the Netherlands, and elsewhere, too, Laurens Janszoon Coster of Haarlem, and not Gutenberg, was long thought to have been the inventor of the art of printing. The myth—for that is what it was—was only definitively repudiated at the end of the nineteenth century, though some continued to believe in Coster until their dying breath. The Coster myth was deployed to give the history of the Netherlands status and international prestige. This article concerns the extent to which Coster’s supposed invention was known in the Dutch East Indies—today’s Indonesia, a Dutch colony at that time—and what its significance was there. After all, heroes, national symbols and traditions, whether invented or not, are the building blocks of cultural nationalism. Is this also true for Laurens Janszoon Coster in his colonial context?

APA, Harvard, Vancouver, ISO, and other styles

24

Akihiro, Ozaki. "Meeting of Asia and the Netherlands: On Van Gogh’s Challenge in Emulating Rembrandt." Intercultural Relations 4, no. 2(8) (February 16, 2021): 37–51. http://dx.doi.org/10.12797/rm.02.2020.08.02.

Full text

Abstract:

The essay grew out of an issue I had been pondering for some time and is an attempt to gain an insight into a secret Van Gogh was eager to discover while comparing himself as an artist with “Rembrandt, the magician”. Van Gogh was convinced that art could succeed where religion had failed. Moreover, there was no need for art to be directly connected with Christianity as a system. For Van Gogh, in this frame of mind, the art of “Japan”, as exemplified by the genre of ukiyo-e, and such like, provided hope. Rembrandt, too, saw oriental art not so much as art in itself but as a method of expressing one’s innermost feelings that were still lacking in European art, and that were, moreover, understood as a source of inspiration for the creation of a new, ideal form of human compassion. Similarly, Van Gogh's art was distilled into a more essential form of itself as his inspiration from the ukiyo-e genre gradually deepened and became more internalized. Therefore, this is something he shared with Rembrandt and related him more closely to the oriental art apparent in work of the Old Master.

APA, Harvard, Vancouver, ISO, and other styles

25

Middeliiam, Frans. "State of the Art in Dynamic Traffic Management in the Netherlands." IFAC Proceedings Volumes 27, no. 12 (August 1994): 1–12. http://dx.doi.org/10.1016/s1474-6670(17)47437-4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Verkaaik, Oskar. "The art of imperfection: contemporary synagogues in Germany and the Netherlands." Journal of the Royal Anthropological Institute 20, no. 3 (July 28, 2014): 486–504. http://dx.doi.org/10.1111/1467-9655.12119.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Huylebrouck, Dirk. "A Bike Tour for Rinus Roelofs’ Art in Twente, The Netherlands." Mathematical Intelligencer 39, no. 1 (February 21, 2017): 60–65. http://dx.doi.org/10.1007/s00283-017-9712-3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Eichberger, Dagmar. "Tapestry Production in the Burgundian Netherlands, Art for Export and Pleasure." Australian Journal of Art 10, no. 1 (January 1992): 23–43. http://dx.doi.org/10.1080/03146464.1992.11432808.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Richardson (book author), Todd M., and Ethan Matt Kavaler (review author). "Pieter Bruegel the Elder: Art Discourse in the Sixteenth-Century Netherlands." Renaissance and Reformation 36, no. 1 (August 22, 2013): 191–94. http://dx.doi.org/10.33137/rr.v36i1.20038.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Wishaupt, Maggy. "Art Nouveau and ‘Nieuwe Kunst’: books and book collections in the Netherlands." Art Libraries Journal 25, no. 1 (2000): 25–30. http://dx.doi.org/10.1017/s030747220001141x.

Full text

Abstract:

‘Nieuwe Kunst’ is the Dutch variant of what is known as Art Nouveau or Jugendstil in other parts of Europe. As far as book art is concerned, the highlight of this style was between 1892 and 1903. When interest in Art Nouveau began to flourish again in the 1960s, private individuals and libraries in the Netherlands started to collect Nieuwe Kunst books; these collections reflect a varied production, in form as well as in content.

APA, Harvard, Vancouver, ISO, and other styles

31

de Kreuk, M. K., N. Kishida, and M. C. M. van Loosdrecht. "Aerobic granular sludge – state of the art." Water Science and Technology 55, no. 8-9 (April 1, 2007): 75–81. http://dx.doi.org/10.2166/wst.2007.244.

Full text

Abstract:

In September 2006, preliminary to the IWA biofilm conference, a second workshop about aerobic granular sludge was held in Delft, The Netherlands, of which a summary of the discussion outcomes is given in this paper. The definition of aerobic granular sludge was discussed and complemented with a few additional demands. Further topics were formation and morphology of aerobic granular sludge, modelling and use of the aerobic granular sludge in practice.

APA, Harvard, Vancouver, ISO, and other styles

32

Salonen, Hanna, and Olav van den Brekel. "Transforming images: A collaborative art exercise to debunk biases." International Journal of Education Through Art 16, no. 3 (September 1, 2020): 417–33. http://dx.doi.org/10.1386/eta_00042_1.

Full text

Abstract:

In the Netherlands, art academies offering teacher training courses in visual arts and design pay little attention to diverse learners, such as pupils with learning disabilities, in their curricula. To form a picture of the existing perceptions of students concerning persons with intellectual and/or psychological disabilities, this study was set up to map the views of a group of first-year teacher training students of visual arts and design at the Amsterdam University of the Arts. The focus of the study was to see whether student perceptions changed after an active encounter with persons with intellectual and/or psychological disabilities ‐ in this case, a group of visiting artists with learning disabilities. The motivation for this study was influenced by the United Nations Convention on the Rights of Persons with Disabilities. As this mandate was adopted in the Netherlands in 2017, we have been intrigued by the consequences it would have for current educational settings and teacher training courses focusing on the subjects of art and design.

APA, Harvard, Vancouver, ISO, and other styles

33

van Boxtel, Erik. "Larger museum libraries in the Netherlands." Art Libraries Journal 34, no. 4 (2009): 14–18. http://dx.doi.org/10.1017/s0307472200016096.

Full text

Abstract:

Particular attention has been paid to the large museum library in the Netherlands in recent years. Two new large museum libraries came into existence not long ago, in Eindhoven and Rotterdam. And at the beginning of 2010 another one will open its doors in Amsterdam, that of the Stedelijk Museum. The importance of good art historical libraries for the dissemination of information and research is increasingly being recognized by their parent institutions, and is as a result being communicated to a broader audience. That there are sometimes great differences in the way each operates within its institution and towards its users will be made clear in this article.

APA, Harvard, Vancouver, ISO, and other styles

34

Homma, Heleen. "Research is the basis of knowledge: four art knowledge centres in the Netherlands." Art Libraries Journal 34, no. 4 (2009): 29–35. http://dx.doi.org/10.1017/s0307472200016126.

Full text

Abstract:

These days we face great emphasis on the term ‘knowledge’, which is often followed by the statement that ‘knowledge is power’. Research institutions increasingly call themselves knowledge centres, while their libraries are designated using the same term or as ‘information centres’. Information is enriched with contextual data, digitisation and web 2.0 activities circulate as keywords. Even research institutions whose main focus is art, art history or architecture are using the term ‘knowledge centre’ in their organisation plans and on their websites. The author asked four librarians from different research institutions on art history to introduce their library in order to find out if they work in an ‘art knowledge centre’.

APA, Harvard, Vancouver, ISO, and other styles

35

Grasman, Edward. "De ontdekking van de Hollandse primitieven." Oud Holland - Quarterly for Dutch Art History 112, no. 2-3 (1998): 169–86. http://dx.doi.org/10.1163/187501798x00347.

Full text

Abstract:

AbstractHistorian Pieter Geyl's opposition to a division in fifteenth-century painting in the Low Countries has been the subject of frequent discussion. This article presents the first examination of the motives of the two principal upholders of the theory repudiated by Geyl: Adriaan Pit and Willem Vogelsang. In 1894 Pit drew a sharper distinction than predecessors such as Bode and Moll between Dutch and Flemish fifteenth-century painting. Pit's position was based on his conception - which in turn was substantially influenced by Louis Courajod - of logic in art history. Pit's stance, which implied a division in the Netherlands prior to the Revolt, sparked off a debate that continues to this day and has been conducted by both historians and art historians. For most of his life Vogelsang presented himself as the foremost defender of the opinion that the division of the Netherlands was reflected in fifteenth-century painting. His loyalty to Pit was closely linked with his conviction that, in art history, the eye was superior to the document. In this case the difference between Dutch and Flemish painting was plain to see, and brooked no historical argument. For Vogelsang, the first professor in the field of art history in the Netherlands, the legitimacy of art history as an independent discipline was ultimately at stake in this debate.

APA, Harvard, Vancouver, ISO, and other styles

36

Smeenk, Chris. "Art libraries of educational and research institutions." Art Libraries Journal 12, no. 1 (1987): 5–7. http://dx.doi.org/10.1017/s030747220000496x.

Full text

Abstract:

Art history in the Netherlands is supported by a number of art libraries in addition to museum libraries, among them the Royal Library at The Hague, the libraries of the Royal Academy of Fine Arts and the Central Research Laboratory for Objects of Art and Science, both at Amsterdam, university libraries, and libraries of Dutch establishments abroad. The combined art collections of these libraries are considerable; access, however, may be facilitated by the Project for Integrated Catalogue Automation (PICA) which aims to improve on the diversity of existing catalogues.

APA, Harvard, Vancouver, ISO, and other styles

37

BLONDÉ, BRUNO, and DRIES LYNA. "Neophilia and Old Master paintings: changes in consumer choice and the evolution of art auctions in the eighteenth century." Continuity and Change 31, no. 3 (December 2016): 361–89. http://dx.doi.org/10.1017/s0268416016000266.

Full text

Abstract:

abstractOver the course of the eighteenth century the Austrian Netherlands witnessed the emergence of specialised art auctions. In this article we argue that both the evolution of the auctions and of the prices paid for works of art at the auctions can only be understood as a response to changes in consumer culture during the eighteenth century. Although auctions rapidly gained in importance as a commercial arena through which Old Masters could be resold in Antwerp and Brussels, the prices paid for art saw only modest movement during the 1700s, but then collapsed at the end of the century. By analysing both how local demand for art in Austrian Netherlands failed to absorb the abundant supply of paintings during this period, and how this created a flourishing export market, the study reported here maps the mechanisms that ensured the – often permanent – movement of Flanders’ artistic legacy to collections and museums abroad.

APA, Harvard, Vancouver, ISO, and other styles

38

Schmidt, Victor. "Dutch art bibliographies." Art Libraries Journal 11, no. 1 (1986): 30–31. http://dx.doi.org/10.1017/s0307472200004491.

Full text

Abstract:

The most important bibliography for Dutch art is the Bibliography of the Netherlands Institute for Art History (Rijksbureau voor Kunsthistorische Documentatie). This bibliography, first published in 1943, is in fact a continuation in another form of H. van Hall, Repertorium voor de geschiedenis der Nederlandsche schilder - en graveerkunst sedert het begin van de 12de eeuw tot het eind van 1932 (Repertory for the history of Dutch painting and engraving since the beginning of the 12th century up till the end of 1932), The Hague 1936 (Vol.2: 1933-1946 appeared in 1949). The last volume published, Vol.16, Part 1: Old Art, comprises the years 1971-1972; Vol.17, Part 1: Old Art, for the years 1973-1974, is in the course of publication. The material for the years after 1974, however, is put on fiches, and can be consulted at the Institute. The last volume published that included material on Dutch 19th-20th century art was Vol. 9 (1957-1958). Material for the years thereafter also can be consulted at the Institute. Address: Prins Willem Alexanderhof 5 (entrance at the fifth floor of the Royal Library), 2595 BE The Hague; tel. 070-471514. Postal address: Post box 90418, 2509 LK The Hague.

APA, Harvard, Vancouver, ISO, and other styles

39

van Erven, Eugene. "Towards a New Cutting Edge: Where Avantgarde Meets Community Art." TDR/The Drama Review 60, no. 4 (December 2016): 92–107. http://dx.doi.org/10.1162/dram_a_00597.

Full text

Abstract:

A cursory look at different examples of activist and community-based performances in Singapore, Colombia, and more detailed analyses of two recent participatory theatre productions in the Czech Republic and the Netherlands reveal that models that distinguish community art from avantgarde art in the East and the West resist categorization.

APA, Harvard, Vancouver, ISO, and other styles

40

Brekelmans, Maria. "1572 and all that—Why so little art nouveau in the Netherlands?" Museum International 42, no. 3 (September 1990): 179–80. http://dx.doi.org/10.1111/j.1468-0033.1990.tb00879.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Sinclair, Nicola. "Foreshadowing the Reformation: Art and Religion in the Fifteenth-Century Burgundian Netherlands." Material Religion 13, no. 3 (July 3, 2017): 394–95. http://dx.doi.org/10.1080/17432200.2017.1335084.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Marchi, Neil De, and Hans J. Van Miegroet. "Art, Value, and Market Practices in the Netherlands in the Seventeenth Century." Art Bulletin 76, no. 3 (September 1994): 451. http://dx.doi.org/10.2307/3046038.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Marchi, Neil De, and Hans J. Van Miegroet. "Art, Value, and Market Practices in the Netherlands in the Seventeenth Century." Art Bulletin 76, no. 3 (September 1994): 451–64. http://dx.doi.org/10.1080/00043079.1994.10786597.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Hall, Rachel Wells. "The mathematical art exhibition at BRIDGES: mathematical connections in art, music and science, Leeuwarden, the Netherlands, July 2008." Journal of Mathematics and the Arts 2, no. 4 (December 2008): 197–204. http://dx.doi.org/10.1080/17513470802651355.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Swan, Claudia. "Eric Jorink; Bart Ramakers (Editors). Art and Science in the Early Modern Netherlands. (Netherlands Yearbook for History and Art, 61.) 367 pp., illus., bibls. Zwolle: WBOOKS, 2011. €107 (cloth)." Isis 107, no. 1 (March 2016): 161–63. http://dx.doi.org/10.1086/686196.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Gordon, Bonnie. "The Secret of the Secret Chromatic Art." Journal of Musicology 28, no. 3 (2011): 325–67. http://dx.doi.org/10.1525/jm.2011.28.3.325.

Full text

Abstract:

In 1946, just after emigrating from Nazi Germany via the Netherlands and Cuba to the United States, Edward Lowinsky published The Secret Chromatic Art in the Netherlands Motet. He posited a system of chromatic modulations through musica ficta in sixteenth-century Netherlandish polyphony circulated by clandestine heretic societies during the period of religious struggle in the Low Countries. According to Lowinsky, in the second half of the century a small contingent of northern musicians with radical Protestant sympathies wrote pieces that appeared on the surface to set texts and use diatonic melodies condoned by the Church. Beneath that compliant surface lurked secret chromaticism and seditious meanings that remained hidden from the Inquisition. Despite Lowinsky’s obvious interest in odd passages in motets of Clemens non Papa, Lassus, and others, I argue that his history as a Jew in Nazi Germany and then as an exile from that regime compelled his idiosyncratic hearing of sixteenth-century polyphony. A close reading of the text suggests that Lowinsky identified with the composers he wrote about and that he aligned Nazi Germany with the Catholic Inquisition. Beyond its engagement with music theory and cultural history, The Secret Chromatic Art delivers a modern narrative of oppressed minorities, authoritarian regimes, and the artistic triumph of the dispossessed. The Secret Chromatic Art matters today because its themes of displacement and cultural estrangement echo similar issues that Pamela Potter and Lydia Goehr have discerned in the work of other exiled musicians and scholars who migrated from Nazi-controlled Europe to the United States, and whose contributions helped shape our discipline. Moreover, Lowinsky’s theory figured prominently in the debate initiated by Joseph Kerman in the 1960s that pitted American criticism against German positivism, a polemic that is still with us today.

APA, Harvard, Vancouver, ISO, and other styles

47

Li, Weixuan. "Innovative Exuberance: Fluctuations in the Painting Production in the 17th-Century Netherlands." Arts 8, no. 2 (June 18, 2019): 72. http://dx.doi.org/10.3390/arts8020072.

Full text

Abstract:

The surprising and rapid flowering of Dutch art and the Dutch art market from the late 16th century to the mid-17th century have propelled scholars to quantify the volume of production and to determine the source of its growth. However, existing studies have not explored the use of known paintings to specify and visualize the fluctuations of painting production in the Dutch Republic. Employing data mining techniques to leverage the most comprehensive datasets of Netherlandish paintings (RKD), this paper visualizes and analyzes the trend of painting production in the Northern Netherlands throughout the 17th-century. The visualizations verify the existing observations on the market saturation and industry stagnation in 1630–1640. In spite of this market condition, the growth of painting production was sustained until the 1660s. This study argues that the irrational risk-taking behavior of painters and the over-enthusiasm for painting in the public created a “social bubble” and the subsequent contraction of the production was a market correction back to a stable state. However, these risk-taking attitudes during the bubble time spurred exuberant artistic innovations that highlight the Dutch contribution to the development of art.

APA, Harvard, Vancouver, ISO, and other styles

48

Wesseling, H. L. "Overseas History in the Netherlands after the Second World War. Historical Backgrounds, Modern Developments, Present-Day Situation." Itinerario 18, no. 2 (July 1994): 97–115. http://dx.doi.org/10.1017/s016511530002252x.

Full text

Abstract:

Is history science or art? This is a problem which has been on people's minds for more than a century and certainly it is an interesting question. But within the framework of this contribution it is not really important, for, whether one practises art history or history of science, one faces the same problem. On the one hand such a history is first and foremost a history of the work and achievements of individuals. A history of science which does not deal with the work of Copernicus, Newton and Einstein is as useless as a history of art in which Rembrandt, Rubens and Michelangelo do not figure. Art and history are and will remain foremost the work of individuals of genius. On the other hand it is also true that a history of art or science which confines itself exclusively to a series of sketches of individuals and their work is not satisfactory either. Artists and scientists do not work within a vacuum. As one discerns tendencies and trends in art, likewise within the field of science one finds schools and paradigms. In order to understand works of art and science we have to look closely at influences and examples, at the time-spirit, the spiritual climate, et cetera.

APA, Harvard, Vancouver, ISO, and other styles

49

van Schaik, A. C. R., and J. A. Verschoor. "CA-STORAGE: TECHNOLOGY, APPLICATION AND RESEARCH. STATE OF THE ART IN THE NETHERLANDS." Acta Horticulturae, no. 600 (March 2003): 181–87. http://dx.doi.org/10.17660/actahortic.2003.600.22.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Wiering, M. "Beyond the art of diking: interactive policy on river management in The Netherlands." Water Policy 3, no. 4 (2001): 283–96. http://dx.doi.org/10.1016/s1366-7017(01)00075-7.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Nuenen (Netherlands) in art'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles