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Reinjan Mulder
Objectief Nederland
Veranderend landschap 1974-2017
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For English see below – In 1974 legde Reinjan Mulder (1949) een grof raster over de kaart van Nederland en trok eropuit om op de 52 kruispunten te gaan fotograferen. Doel was de objectieve werkelijkheid van Nederland vast te leggen, ongekleurd door tradities, bereikbaarheid en schoonheidsidealen. Het project werd 42 jaar later tentoongesteld in het Rijksmuseum in Amsterdam, en in opdracht van Rijksadviseur voor de fysieke leefomgeving Berno Strootman geherfotografeerd door fotografe Cleo Wächter (1993). Met ongeëvenaarde precisie, maar niet zonder eigen artistieke inbreng, voltooide Wächter in 2017 het herfotografieproject Objectief Nederland 1974-2017. De twee fotoseries worden nu gebundeld in Objectief Nederland. Veranderend landschap 1974-2017, een historisch document dat de vele veranderingen van het Nederlandse landschap in de afgelopen halve eeuw op een vernieuwende manier in kaart brengt en tegelijk fotografie als kunstvorm en bron van wetenschap bevraagt. Is fotografie ooit écht objectief te noemen? En leent iets wat begon als kunstproject zich wel voor wetenschappelijke doeleinden? — In 1974, Reinjan Mulder (b. 1949) placed a coarsely-woven grid on top of a map of the Netherlands and set off to photograph the 52 resulting intersections. His aim was to capture the objective reality of the Netherlands, uncoloured by traditions, accessibility and beauty ideals. The project was exhibited at the Amsterdam Rijksmuseum 42 years later, and was re-photographed by photographer Cleo Wächter (b. 1993), on request of Government Advisor for the Physical Living Environment Berno Strootman. Working with unparalleled precision, Wächter succeeded in contributing her own artistic perspective and completed the re-photography project Objective Netherlands 1974-2017 in 2017. The two photo series are now combined in this book, a historical document that innovatively maps the many changes the Dutch landscape went through over the past 50 years and simultaneously raises questions about photography as an art form and scientific source. Can photography ever be truly objective? Can something that started out as an art project also lend itself to scientific purposes? Nederland’s- en Engelstalig boek
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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.geschiedenis
Frank Bennett Fiske
The Standing Rock Portraits
For English see below- Meer dan honderd jaar geleden begon fotograaf Frank Bennett Fiske (1883-1952) met het fotograferen van leden van de Standing Rock Sioux in zijn studio in Fort Yates, North Dakota. Hij was 16 jaar oud toen hij de studio overnam van S.T. Fansler. De mannen en vrouwen die Fiske fotografeerde waren zijn vrienden en buren, indianen die al meer dan twintig jaar in dit reservaat woonden. Fiske heeft daar bijna zijn hele leven gewoond. De getoonde beelden zijn gemaakt met een grote studiocamera op glasplaatnegatieven en zijn verbluffend qua helderheid en compositie en zijn zelden in het openbaar gezien.De in Dakota geboren fotograaf en grafisch ontwerper Murray Lemley heeft een selectie van Fiske's werk samengesteld zodat de wereld deze kan zien.- More than a hundred years ago, photographer Frank Bennett Fiske (1883-1952) began photographing members of the Standing Rock Sioux in his studio at Fort Yates, North Dakota. He was 16 years old when he took over the studio from S.T. Fansler. The men and women Fiske photographed were his friends and neighbors, Native Americans who had lived on this reservation for more than 20 years. Fiske lived there nearly all his life. Made with a large studio camera on glass plate negatives, the resulting images are stunning in their clarity and composition, and have rarely been seen in public. Dakota native, photographer and graphic designer Murray Lemley has curated a selection of Fiske's work for the world to see. Engelstalig boekgeschiedenis
Michiel Roscam Abbing
Rembrandt’s Elephant
Elephants used to be a great rarity in Europe: there were only a few elephants in the continent in the entire seventeenth century. Hansken, a female elephant who was born on the island of Sri Lanka and arrived in Amsterdam in the summer of 1633, is the most famous ? and not just because Rembrandt drew her. Cornelis van Groenevelt, Hansken's owner, earned a handsome living by teaching her tricks and touring the continent with her. Wherever she went, Hansken evoked amazement and admiration. People examined her, measured her and wrote down what they had seen. Michiel Roscam Abbing tells Hansken's story based on a meticulous analysis of the sources. He has reconstructed the route Hansken took. The traces left by Hansken in European cultural history also form a potent picture of the age. After Hansken's death in 1655, her skeleton became the object of study, enabling myths about giants to be refuted. She was even used for the first scientific description of her species, Elephas maximus.geschiedenis
