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Books by Jaap van der Veen

Die Geburt des Kunstmarktes, 2017

In Anbetracht der absurden Preise, die heutzutage für manche ikonische Kunstwerke gezahlt werden... more In Anbetracht der absurden Preise, die heutzutage für manche ikonische Kunstwerke gezahlt werden, wird oft unterstellt, dass Kunst und Geld unvereinbar seien. Doch ist der Handel mit Kunst eine Form der gesellschaftlichen Auseinandersetzung mit dieser und damit eine wesentliche Voraussetzung ihres Bestehens. Die These dieses Essays ist, dass eine breite gesellschaftliche Auseinandersetzung, welche eine sehr eigene Art von Kunst prägte, ein Jahrhundert vor den ersten Kunstmuseen entstand, im Goldenen Zeitalter der Niederlande.

Papers by Jaap van der Veen

Leiden University Press (LUP), 2014

In 2014 was het 200 jaar geleden, dat de Universiteit Leiden in bezit kwam van een verzameling te... more In 2014 was het 200 jaar geleden, dat de Universiteit Leiden in bezit kwam van een verzameling tekeningen en prenten, gelegateerd door de weduwe van Jean Theodoor Royer. De collectie is sindsdien door schenkingen en aankopen sterk uitgebreid. Museum Het Rembrandthuis toonde in het najaar van 2014 ruim 75 zeventiende-eeuwse tekeningen uit het bezit van de Universiteit Leiden. Het betroffen meesterwerken van bekende en minder bekende kunstenaars als Hendrick Goltzius, Pieter Lastman, Rembrandt, Jan Lievens, Govert Flinck, Jan van Goyen, Cornelis Bega, Simon de Vlieger, Willem van de Velde de Oude, Adriaen van Ostade en Cornelis Dusart. Veel van de geëxposeerde tekeningen zijn niet eerder voor een breed publiek te zien geweest. Dit boek biedt een unieke gelegenheid kennis te maken met de mooiste zeventiende-eeuwse tekeningen uit Leiden. Tot de hoogtepunten behoort de studie die Rembrandt maakte als voorbereiding voor zijn ets Adam en Eva (1638). In de inleiding wordt uitvoerig ingegaan op de totstandkoming van de collectie van de Universiteit Leiden, een bijzondere verzameling die dit jaar precies 200 jaar bestaat

Primavera Pers eBooks, 2019

Preface.- Bibliographical and other Abbreviations.- Essays:.- I. Towards a Reconstruction of Remb... more Preface.- Bibliographical and other Abbreviations.- Essays:.- I. Towards a Reconstruction of Rembrandt's Art Theory.- II. An Illustrated Chronological Survey of Rembrandt's Small-Scale 'Histories': Paintings, Etchings and a Selection of Drawings, with Remarks on Art-Theoretical Aspects, Function and Questions of Authenticity.- III. Rembrandt's Prototypes and Pupils' Production of Variants.- IV. On Quality: Comparative Remarks on the Functioning of Rembrandt's Pictorial Mind.- V. More than One Hand in Paintings by Rembrandt.- Catalogue of the Small-Scale History and Genre Paintings 1642-1669 by Rembrandt and his Pupils.- Corrigenda et Addenda.- Indexes.

Springer Netherlands eBooks, 2005

In the second volume of A Corpus of Rembrandt paintings, the question was raised whether the desi... more In the second volume of A Corpus of Rembrandt paintings, the question was raised whether the desire to distinguish between Rembrandt’s hand and those of his pupils and assistants is a pursuit that could be called anachronistic. Could this be a consequence of the 19th-century cult of genius that fuelled the urge to isolate a master’s work? Indeed, 17th-century painters themselves would not have been very particular about the autograph nature of their work. However, various sources indicate that their contemporaries were, in fact, eager to know exactly by whom a certain painting had been made and whether the master had received any assistance in executing the work. While it was difficult to draw any general conclusions from the meagre source material, it was nevertheless postulated in Volume II that the concept of differentiating the hand of the master and his workshop assistants is not anachronistic1.

Springer Netherlands eBooks, 2005

What follows is a continuation of the Biographical Information which appeared in the first three ... more What follows is a continuation of the Biographical Information which appeared in the first three volumes of A Corpus (Vol. I, p. 61, Vol. II, pp. 107–108 and Vol. III, pp. 57–59) and covers the period from 1642 to Rembrandt’s death. Documents by or about Rembrandt are presented chronologically, as in the previous volumes. The source publication edited by Strauss and Van der Meulen formed the starting point, but if there was any doubt about the accuracy of the transcription the version in Strauss Doc. was checked against the original. The translation in Strauss Doc. has been improved or adjusted where necessary. The same applies to the interpretation of the texts in the footnotes, which also include references and secondary literature. Because of the extent of the material, references to the latter have been kept to the absolute minimum. The picture of Rembrandt’s life is not always clear during these years. Thus while his affair with Geertje Dircx is dealt with in some detail in the sources and we are quite well informed about his financial difficulties in the mid 1650s, little is known about his life and work from 1642 to 1647. Lastly, mentions of Rembrandt’s work in probate invent- ories or other sources are not included.

Until the early seventeenth century, the distribution of paintings and other art works was in the... more Until the early seventeenth century, the distribution of paintings and other art works was in the hands of the artists, but after that to an increasing extent it was taken on by specialists.The most important art dealers were active in Amsterdam, the art centre par excellence . Hendrick Uylenburgh and his son Gerrit Uylenburgh were leading figures among these dealers. The Uylenburghs, father and son, ran an art business and at the same time headed a painters' workshop where renowned artists worked. Rembrandt worked for this business from 1631 to 1635. He painted countless commissioned portraits and as well as historical paintings and tronies also did grisailles and etchings. While working for this business he met Saskia Uylenburgh, a cousin of the art dealer, whom he married in 1634. Uylenburgh & Son provides insight into the nature and significance of the Uylenburghs' enterprise and also discusses their investors and customers. A great deal of new material has been found about the Uylenburgh fam

Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek, 2000

Organisms simplify the orchestration of gene expression by coregulating genes whose products func... more Organisms simplify the orchestration of gene expression by coregulating genes whose products function together in the cell. The use of clustering methods to obtain sets of coexpressed genes from expression arrays is very common; nevertheless there are no appropriate tools to study the expression networks among these sets of coexpressed genes. The aim of the developed tools is to allow studying the complex expression dependences that exist between sets of coexpressed genes. For this purpose, we start detecting the nonlinear expression relationships between pairs of genes, plus the coexpressed genes. Next, we form networks among sets of coexpressed genes that maintain nonlinear expression dependences between all of them. The expression relationship between the sets of coexpressed genes is defined by the expression relationship between the skeletons of these sets, where this skeleton represents the coexpressed genes with a well-defined nonlinear expression relationship with the skeleton of the other sets. As a result, we can study the nonlinear expression relationships between a target gene and other sets of coexpressed genes, or start the study from the skeleton of the sets, to study the complex relationships of activation and deactivation between the sets of coexpressed genes that carry out the different cellular processes present in the expression experiments.

Simiolus: Netherlands Quarterly for the History of Art, 2004

In the seventeenth and eighteenth centuries, Haarlem's thriving art community made the city a... more In the seventeenth and eighteenth centuries, Haarlem's thriving art community made the city an important center of artistic activity, second only to Amsterdam in influence. Inventories from this period serve as key implements in describing collectors' tastes, and they also provide information about the social habits of living among and displaying luxury goods. This book transcribes for the first time a selection of one hundred twelve important documents discovered by author Pieter Biesboer in the notarial archives of Haarlem. It also contains indexes by artist and subject, as well as a list of more than thirty-five hundred documents in which art objects are listed, found in the Archiefdienst voor Kennemerland in Haarlem. Biesboer's introductory essay provides an in-depth survey of the history of collecting in Haarlem during the seventeenth and early-eighteenth centuries. The inventories of citizens, patricians, merchants, artists, and silversmiths are included, along with the inventories of the Convent of Saint Jan, the Prinsenhof, Saint Elisabeth's Hospital, the Old Men's Almshouse, the Orphanage, and other almshouses. Together they present a comprehensive look at commissioned paintings for public buildings and institutions by artists such as Cornelis Cornelisz van Haarlem, Frans Hals, Johannes Verspronck, and Cornelis Holsteijn. In addition to paintings, Biesboer catalogues a small number of drawings, porcelain, lace, sculpture, and jewelry.

Jacob Backer was a celebrated Amsterdam portrait artist who enjoyed much acclaim among his contem... more Jacob Backer was a celebrated Amsterdam portrait artist who enjoyed much acclaim among his contemporaries for his masterly painting technique. As a history painter Backer played a pioneering role: he was the leading trailblazer of Amsterdam classicism. With his spectacular history pieces with themes from mythology and pastoral poetry, he was far ahead of his time. This richly illustrated book features the most recent scholarly insights into his work. It includes a biography followed by an overview of his development as a painter and an essay on Backer as a talented draughtsman. There is also an oeuvre catalogue of all his paintings.

Die Geburt des Kunstmarktes, 2017

In Anbetracht der absurden Preise, die heutzutage für manche ikonische Kunstwerke gezahlt werden... more In Anbetracht der absurden Preise, die heutzutage für manche ikonische Kunstwerke gezahlt werden, wird oft unterstellt, dass Kunst und Geld unvereinbar seien. Doch ist der Handel mit Kunst eine Form der gesellschaftlichen Auseinandersetzung mit dieser und damit eine wesentliche Voraussetzung ihres Bestehens. Die These dieses Essays ist, dass eine breite gesellschaftliche Auseinandersetzung, welche eine sehr eigene Art von Kunst prägte, ein Jahrhundert vor den ersten Kunstmuseen entstand, im Goldenen Zeitalter der Niederlande.

Leiden University Press (LUP), 2014

In 2014 was het 200 jaar geleden, dat de Universiteit Leiden in bezit kwam van een verzameling te... more In 2014 was het 200 jaar geleden, dat de Universiteit Leiden in bezit kwam van een verzameling tekeningen en prenten, gelegateerd door de weduwe van Jean Theodoor Royer. De collectie is sindsdien door schenkingen en aankopen sterk uitgebreid. Museum Het Rembrandthuis toonde in het najaar van 2014 ruim 75 zeventiende-eeuwse tekeningen uit het bezit van de Universiteit Leiden. Het betroffen meesterwerken van bekende en minder bekende kunstenaars als Hendrick Goltzius, Pieter Lastman, Rembrandt, Jan Lievens, Govert Flinck, Jan van Goyen, Cornelis Bega, Simon de Vlieger, Willem van de Velde de Oude, Adriaen van Ostade en Cornelis Dusart. Veel van de geëxposeerde tekeningen zijn niet eerder voor een breed publiek te zien geweest. Dit boek biedt een unieke gelegenheid kennis te maken met de mooiste zeventiende-eeuwse tekeningen uit Leiden. Tot de hoogtepunten behoort de studie die Rembrandt maakte als voorbereiding voor zijn ets Adam en Eva (1638). In de inleiding wordt uitvoerig ingegaan op de totstandkoming van de collectie van de Universiteit Leiden, een bijzondere verzameling die dit jaar precies 200 jaar bestaat

Primavera Pers eBooks, 2019

Preface.- Bibliographical and other Abbreviations.- Essays:.- I. Towards a Reconstruction of Remb... more Preface.- Bibliographical and other Abbreviations.- Essays:.- I. Towards a Reconstruction of Rembrandt's Art Theory.- II. An Illustrated Chronological Survey of Rembrandt's Small-Scale 'Histories': Paintings, Etchings and a Selection of Drawings, with Remarks on Art-Theoretical Aspects, Function and Questions of Authenticity.- III. Rembrandt's Prototypes and Pupils' Production of Variants.- IV. On Quality: Comparative Remarks on the Functioning of Rembrandt's Pictorial Mind.- V. More than One Hand in Paintings by Rembrandt.- Catalogue of the Small-Scale History and Genre Paintings 1642-1669 by Rembrandt and his Pupils.- Corrigenda et Addenda.- Indexes.

Springer Netherlands eBooks, 2005

In the second volume of A Corpus of Rembrandt paintings, the question was raised whether the desi... more In the second volume of A Corpus of Rembrandt paintings, the question was raised whether the desire to distinguish between Rembrandt’s hand and those of his pupils and assistants is a pursuit that could be called anachronistic. Could this be a consequence of the 19th-century cult of genius that fuelled the urge to isolate a master’s work? Indeed, 17th-century painters themselves would not have been very particular about the autograph nature of their work. However, various sources indicate that their contemporaries were, in fact, eager to know exactly by whom a certain painting had been made and whether the master had received any assistance in executing the work. While it was difficult to draw any general conclusions from the meagre source material, it was nevertheless postulated in Volume II that the concept of differentiating the hand of the master and his workshop assistants is not anachronistic1.

Springer Netherlands eBooks, 2005

What follows is a continuation of the Biographical Information which appeared in the first three ... more What follows is a continuation of the Biographical Information which appeared in the first three volumes of A Corpus (Vol. I, p. 61, Vol. II, pp. 107–108 and Vol. III, pp. 57–59) and covers the period from 1642 to Rembrandt’s death. Documents by or about Rembrandt are presented chronologically, as in the previous volumes. The source publication edited by Strauss and Van der Meulen formed the starting point, but if there was any doubt about the accuracy of the transcription the version in Strauss Doc. was checked against the original. The translation in Strauss Doc. has been improved or adjusted where necessary. The same applies to the interpretation of the texts in the footnotes, which also include references and secondary literature. Because of the extent of the material, references to the latter have been kept to the absolute minimum. The picture of Rembrandt’s life is not always clear during these years. Thus while his affair with Geertje Dircx is dealt with in some detail in the sources and we are quite well informed about his financial difficulties in the mid 1650s, little is known about his life and work from 1642 to 1647. Lastly, mentions of Rembrandt’s work in probate invent- ories or other sources are not included.

Until the early seventeenth century, the distribution of paintings and other art works was in the... more Until the early seventeenth century, the distribution of paintings and other art works was in the hands of the artists, but after that to an increasing extent it was taken on by specialists.The most important art dealers were active in Amsterdam, the art centre par excellence . Hendrick Uylenburgh and his son Gerrit Uylenburgh were leading figures among these dealers. The Uylenburghs, father and son, ran an art business and at the same time headed a painters' workshop where renowned artists worked. Rembrandt worked for this business from 1631 to 1635. He painted countless commissioned portraits and as well as historical paintings and tronies also did grisailles and etchings. While working for this business he met Saskia Uylenburgh, a cousin of the art dealer, whom he married in 1634. Uylenburgh & Son provides insight into the nature and significance of the Uylenburghs' enterprise and also discusses their investors and customers. A great deal of new material has been found about the Uylenburgh fam

Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek, 2000

Organisms simplify the orchestration of gene expression by coregulating genes whose products func... more Organisms simplify the orchestration of gene expression by coregulating genes whose products function together in the cell. The use of clustering methods to obtain sets of coexpressed genes from expression arrays is very common; nevertheless there are no appropriate tools to study the expression networks among these sets of coexpressed genes. The aim of the developed tools is to allow studying the complex expression dependences that exist between sets of coexpressed genes. For this purpose, we start detecting the nonlinear expression relationships between pairs of genes, plus the coexpressed genes. Next, we form networks among sets of coexpressed genes that maintain nonlinear expression dependences between all of them. The expression relationship between the sets of coexpressed genes is defined by the expression relationship between the skeletons of these sets, where this skeleton represents the coexpressed genes with a well-defined nonlinear expression relationship with the skeleton of the other sets. As a result, we can study the nonlinear expression relationships between a target gene and other sets of coexpressed genes, or start the study from the skeleton of the sets, to study the complex relationships of activation and deactivation between the sets of coexpressed genes that carry out the different cellular processes present in the expression experiments.

Simiolus: Netherlands Quarterly for the History of Art, 2004

In the seventeenth and eighteenth centuries, Haarlem's thriving art community made the city a... more In the seventeenth and eighteenth centuries, Haarlem's thriving art community made the city an important center of artistic activity, second only to Amsterdam in influence. Inventories from this period serve as key implements in describing collectors' tastes, and they also provide information about the social habits of living among and displaying luxury goods. This book transcribes for the first time a selection of one hundred twelve important documents discovered by author Pieter Biesboer in the notarial archives of Haarlem. It also contains indexes by artist and subject, as well as a list of more than thirty-five hundred documents in which art objects are listed, found in the Archiefdienst voor Kennemerland in Haarlem. Biesboer's introductory essay provides an in-depth survey of the history of collecting in Haarlem during the seventeenth and early-eighteenth centuries. The inventories of citizens, patricians, merchants, artists, and silversmiths are included, along with the inventories of the Convent of Saint Jan, the Prinsenhof, Saint Elisabeth's Hospital, the Old Men's Almshouse, the Orphanage, and other almshouses. Together they present a comprehensive look at commissioned paintings for public buildings and institutions by artists such as Cornelis Cornelisz van Haarlem, Frans Hals, Johannes Verspronck, and Cornelis Holsteijn. In addition to paintings, Biesboer catalogues a small number of drawings, porcelain, lace, sculpture, and jewelry.

Jacob Backer was a celebrated Amsterdam portrait artist who enjoyed much acclaim among his contem... more Jacob Backer was a celebrated Amsterdam portrait artist who enjoyed much acclaim among his contemporaries for his masterly painting technique. As a history painter Backer played a pioneering role: he was the leading trailblazer of Amsterdam classicism. With his spectacular history pieces with themes from mythology and pastoral poetry, he was far ahead of his time. This richly illustrated book features the most recent scholarly insights into his work. It includes a biography followed by an overview of his development as a painter and an essay on Backer as a talented draughtsman. There is also an oeuvre catalogue of all his paintings.