This book is a reprint of Jaap R. Bruijn’s 1993 book, The Dutch Navy, which offers an English-language overview of the history of the Dutch Navy in the seventeenth and eighteenth centuries. It is divided into three chronological periods: the ‘old’, ‘new’, and ‘second-rate’ navy. Rather than presenting a history of naval conflict, this volume approaches Dutch naval history from the following four angles: operations, administration, officer duties, and sailor duties. It consists of a series foreword, a new introduction detailing recent developments in naval historiography, the original introduction providing a history of Dutch maritime history from the middle ages to the beginning of the seventeenth century, a conclusion, and a bibliography and index. It explores the astounding amount of naval power belonging to such a sparsely populated nation, plus the rapid rates of success and decline. It confirms that the Dutch navy - with its logic, innovation, and missteps alike - provides an excellent case study of both the development of European bureaucracy and armed forces in the Early Modern period.
The appealing genre paintings of great seventeenth-century Dutch artists - Vermeer, Steen, de Hooch, Dou and others - have long enjoyed tremendous popularity. This comprehensive book explores the evolution of genre painting throughout the Dutch Golden Age, beginning in the early 1600s and continuing through the opening years of the next century. Wayne Franits, a well-known scholar of Dutch genre painting, offers a wealth of information about these works as well as about seventeenth-century Dutch culture, its predilections and its prejudices. The author approaches genre paintings from a variety of perspectives, examining their reception among contemporary audiences and setting the works in their political, cultural and economic contexts. The works emerge as distinctly conventional images, Franits shows, as genre artists continually replicated specific styles, motifs and a surprisingly restricted number of themes over the course of several generations. Luxuriously illustrated and with a full representation of the major artists and the cities where genre painting flourished, this book will delight students, scholars and general readers alike.
This volume of essays derives from a memorable interdisciplinary symposium. At issue were various fundamental questions about the nature of Dutch sixteenth-and seventeenth-century society that fall under three broad categories: civic culture, art, and religion. The fourteen papers presented in this volume offer a number of fascinating insights into these and other questions that, taken together, greatly enrich our perception and understanding of this rich and varied society.
Many think they know the legends behind tulipmania and the legacy of the Dutch East India Tea Company, but what basic knowledge of Dutch history and culture should be passed on to future generations? A Key to Dutch History and its resulting overview of historical highlights, assembled by a number of specialists in consultation with the Dutch general public, provides a thought-provoking and timely answer. The democratic process behind the volume is reminiscent of the way in which the Netherlands has succeeded for centuries at collective craftsmanship, and says as much about the Netherlands as does the outcome of the opinions voiced.
With this illustrated catalogue, Museum Boijmans Van Beuningen and the Städelsch Kunstistitut present the other face of the Golden Age - the painters of Dutch classicism. Inspired by the art of classical Antiquity and that of the Italian High Renaissance, they developed an austere and refined style. Their paintings depicting biblical and mythological scenes presented the court, the regents and the intelligentsia in the seventeenth century with an alternative to so-called Dutch Realism. In this publication, Dutch classicism is viewed from all sides.
This first Dutch for Reading Knowledge book on the market promotes a high level of reading and translation competency by drawing from Dutch grammar, vocabulary and reading strategies, and providing many translation “shortcuts” and tips when tackling complex texts in Dutch. Aimed at students, researchers and scholars who need to learn how to read and translate modern Dutch texts for their academic research, this book focuses on those areas where the Netherlands plays or has played a leading and innovative role in the world. These areas include architecture, art history, design, the Dutch Golden Age, (post)colonialism, (im)migration, social legislation and water management. For all areas the authors combine profound knowledge of the field with great expertise in teaching Dutch language and culture. This book can be used for a Dutch for Reading Knowledge course or curriculum, and is also highly suitable for self study.
How did painters and their public speak about art in Rembrandt's age? This book about the writings of the painter-poet Samuel van Hoogstraten, one of Rembrandt's pupils, examines a wide variety of themes from painting practice and theory from the Dutch Golden Age. It addresses the contested issue of 'Dutch realism' and its hidden symbolism, as well as Rembrandt's concern with representing emotions in order to involve the spectator. Diverse aspects of imitation and illusion come to the fore, such as the theory behind sketchy or 'rough' brushwork and the active role played by the viewer's imagination. Taking as its starting point discussions in Rembrandt's studio, this unique study provides an ambitious overview of Dutch artists' ideas on painting.
A revised survey of Rembrandt’s complete painted oeuvre. The question of which 17th-century paintings in Rembrandt’s style were actually painted by Rembrandt himself had already become an issue during his lifetime. It is an issue that is still hotly disputed among art historians today. The problem arose because Rembrandt had numerous pupils who learned the art of painting by imitating their master or by assisting him with his work as a portrait painter. He also left pieces unfinished, to be completed by others. The question is how to determine which works were from Rembrandt’s own hand. Can we, for example, define the criteria of quality that would allow us to distinguish the master’s work from that of his followers? Do we yet have methods of investigation that would deliver objective evidence of authenticity? To what extent do research techniques used in the physical sciences help? Or are we, after all, still dependent on the subjective, expert eye of the connoisseur? The book provides answers to these questions. Prof. Ernst van de Wetering, the author of our forthcoming book which deals with these questions, has been closely involved in all aspects of this research since 1968, the year the renowned Rembrandt Research Project (RRP) was founded. In particular, he played an important role in developing new criteria for authentication. Van de Wetering was also witness to the way the often overly zealous tendency to doubt the authenticity of Rembrandt’s paintings got out of hand. In this book he re-attributes to the master a substantial number of unjustly rejected Rembrandts. He also was closely involved in the (re)discovery of a considerable number of lost or completely unknown works by Rembrandt. The verdicts of earlier specialists – including the majority of members of the original RRP (up to 1989) – were based on connoisseurship: the self-confidence in one’s ability to recognise a specific artist’s style and ‘hand’. Over the years, Van de Wetering has carried out seminal research into 17th-century studio practice and ideas about art current in Rembrandt’s time. In this book he demonstrates the fallibility of traditional connoisseurship, especially in the case of Rembrandt, who was par excellence a searching artist. The methodological implications of this critical view are discussed in an introductory chapter which relates the history of the developments in this turbulent field of research. Van de Wetering’s account of his own involvement in it makes this book a lively and sometimes unexpectedly personal account. The catalogue section presents a chronologically ordered survey of Rembrandt’s entire painted oeuvre of 336 paintings, richly illustrated and annotated. For all the paintings re-attributed in this book, extensive commentaries have been included that provide a multi-facetted new insight into Rembrandt’s world and the world of art-historical research. Rembrandt’s Paintings Revisited is the concluding sixth volume of A Corpus of Rembrandt Paintings (Volumes I-V; 1982, 1986, 1989, 2005, 2010). It can also be read as a revisionary critique of the first three Volumes published by the old RRP team up till 1989 and of Gerson’s influential survey of Rembrandt’s painted oeuvre of 1968/69. At the same time, the book is designed as an independent overview that can be used on the basis that anyone seeking more detailed information will be referred to the five previous (digital versions of the) Volumes and the detailed catalogues published in the meantime by the various museums with collections of Rembrandt paintings. This work of art history and art research should belong in the library of every serious art historical institute, university or museum.
Gathered in honor of John Michael Montias (1928–2005), the foremost scholar on Johannes Vermeer and a pioneer in the study of the socioeconomic dimensions of art, the essays in In His Milieu are an essential contribution to the study of the social functions of making, collecting, displaying, and donating art. The nearly forty essays here by—all internationally recognized experts in the fields of art history and the economics of art—are especially revealing about the Renaissance and Baroque eras and present new material on such artists as Rembrandt, Van Eyck, Rubens, and da Vinci.
