Schwartz
Emotions
Pain and pleasure in Dutch Painting of the Golden Age
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Fear, sadness, surprise, anger, lust and love – virtually nothing was more important in the paintings of the Golden Age than convincingly depicting human emotions. In this publication, the Frans Hals Museum and Rembrandt expert Gary Schwartz present a selection of masterpieces in which these emotions are sublimely portrayed.
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Karel Vlierman
Cogs, Small Cogs and Boats
From the thirteenth to the fifteenth century an important part of the economy in northwestern Europe was based on trade in the Hanseatic League. The main means of transport consisted of ships, mainly cogs. The importance of this type of ship was already apparent from medieval documents, miniatures, and other sources. However, until the mid-twentieth century, no material remains of such ships were known. Results from archaeological excavations of shipwrecks had to be awaited for greater clarity on the construction, technology and appearance of these ships. One of the world's largest collections of medieval shipwrecks emerged after the Second World War during the partial reclamation of the IJsselmeer lake (the former Zuiderzee inlet) in the Netherlands, where three polders were created from 1942 onwards. During these works, hundreds of shipwrecks from the period between 1250 and 1900 were discovered, about twenty of these being cogs. The first cog was excavated in 1944. The famed cog, with its remarkable construction and the ingenious manner in which the seams between the planks were made watertight using moss, laths and iron clamps, clearly demanded an in-depth study. The Netherlands were an ideal place to start, as more than half of all the cog wrecks in Europe have been found, (partially) excavated and studied in the Netherlands. Maritime archaeologist Karel Vlierman has excavated shipwrecks all his working life. He dedicated himself to the research of these ships, including two cogs found at Doel near Antwerp and the recently uncovered cog from the river IJssel near Kampen. His research of more than twenty years has resulted in a monograph of 996 illustrated pages, together with some 70 large technical drawings of all the investigated cogs and their reconstructions. The monograph (in two volumes) and the folder with the 70 technical drawings -in A0, A1 and A2 format- together come in a fine slipcase. Karel Vlierman explains the shipbuilding tradition of the Hanseatic period in detail and clarifies the differences between the cog and, for example, the 'nef' of the southern North Sea, which belongs to the Nordic or Scandinavian tradition. Based on the finds excavated at Kampen, he considers it very likely that a shipyard was located there in the late thirteenth and early fourteenth century. The largest piece of woollen sail ever excavated was discovered at Kampen. Hundreds of typical iron clamps too were found, some of them unused, suggesting a blacksmith's workshop specifically dedicated to producing them. Ships could be hauled out from the water and, after repairs, sail to the Zuiderzee via the IJssel. This is the first cog shipyard ever to be discovered in the Netherlands. Until the 'IJssel cog' was discovered and excavated near Kampen, the so-called 'Nijkerk-II' was the best-preserved known cog. The analysis of this cog was the starting point for this study, together with the experience gained during the construction of a replica of it, the so-called Kamper Kogge (Kampen Cog). It gradually became clear that there had been a tradition of cog building. Through studying and drawing all the cog wrecks, it was possible to make reconstruction drawings of many of them, with the benefit of evidence already obtained from other wrecks. This voluminous and impressive book will set the standard for publications on maritime archaeology for decades to come, as it is the landmark handbook for the way in which shipwrecks should be documented, described, and reconstructed. The detailed manner in which the technical drawings have been created makes it possible to construct virtual 3D models. The vectorised drawings are of a very high quality and are available digitally. In addition, Karel Vlierman created about twenty artists&; impressions of the cogs as they must have looked during operation and of life on board. These not only appear in a large format in the book but are also available as postcards and posters. This will be the standard work on cogs, the first of its kind to be published, with the size and scope of the study unequaled in any area of maritime archaeology. The famous publication on the sixteenth-century ship Mary Rose comes close but is about a single ship only. The present book on cogs covers the entire spectrum of these vessels, from seagoing ships to boats and barges plying the inland waterways and even a possible military cog for army transport.kunst
Gerco de Ruijter
Grid Corrections
For English please see below Het Public Land Survey System, ofwel het Jefferson Grid, is het systeem waarmee landmeters eind achttiende eeuw het midden en Westen van de Verenigde Staten in keurige vierkanten verdeelden van exact één bij één mijl. Maar omdat de aarde rond is, liepen de lijnen naar het noorden taps toe. Daarom moest het raster gecorrigeerd worden: grid corrections brachten om de 20 mijl theorie en praktijk weer bij elkaar. Toen vlieger- en luchtfotograaf Gerco de Ruijter tijdens een residentie in Wichita (Kansas) in 2016 over deze kaarsrechte stofwegen reed, kwam hij ze tegen: kleine knikjes en T-kruisingen in het verder volkomen geometrische wegennet. Doordat de verspringingen in het raster steeds variëren, ontstaat een veelvormige en dynamische reeks van beelden die vervreemdt en verwondert. De Ruijter speurde met behulp van Google Earth duizenden van deze correcties op: ondergesneeuwd of uitgedroogd, in steden en woestijnen, door alle seizoenen heen. 'Grid Correct' toont een selectie van ruim 250 van deze grid corrections, gekozen en vormgegeven door Gerco de Ruijter en grafisch vormgever Irma Boom. Begeleid door een tekst van schrijver Peter Delpeut vormt dit bijzonder vormgegeven boek een kunstwerk en monument ineen, getuigenis van de menselijke drang om het landschap in te richten en de vele manieren waarop de natuur daarop reageert. -- The Public Land Survey System or Jefferson Grid is the system with which surveyors divided the middle and west of the United States into neat squares of exactly one by one mile in the late eighteenth century. But because the earth is round, the lines tapered to the north. Therefore the grid had to be corrected: every 20 miles, grid corrections brought theory and practice back together. When pilot and aerial photographer Gerco de Ruijter drove along these dead straight dust roads during a residency in Wichita (Kansas) in 2016, he came across them: small bends and T-junctions in an otherwise completely geometric road network. The grid corrections are all different and therefore create a multiform and dynamic series of images that alienates and amazes. With the help of Google Earth, De Ruijter looked up thousands of these corrections: snowed under or dried up, in cities and in deserts, throughout the seasons. 'Grid Correct' presents a selection of over 150 grid corrections, selected and designed by Gerco de Ruijter and graphic designer Irma Boom. Accompanied by a text by writer Peter Delpeut, this exceptionally designed book is a work of art and monument in one, a testimony to the human urge to design the landscape and the many ways in which nature responds to that urge. Tweetalig boek Engels en Nederlandskunst
Ecce Homo
'Ecce Homo' explores the age-old theme of the suffering Christ in a broad sense within contemporary art in Belgium. We live in an era in which humanity and mankind are violated on different levels; more and more, we are confronted by essential differences in the development and freedom of people in various parts of the world. This exhibition wants to show how artists approach la condition humaine in the context of today's world. Ecce Homo examines all aspects of the image of man, including both his grandeur and his vulnerability. This publication is the catalogue for the ambitious exhibition Ecce Homo. Behold the Man, in which works by 63 artists are shown at nine locations across the historic centre of Antwerp, including the Maagdenhuis and the Museum Mayer van den Bergh. These contemporary artworks set up a dialogue with the inspiring surroundings in which they are installed and also with the creations of the Old Masters.kunst
