Gaspar, van Weerbeke, Collected works, 1, Masses, Part 1. Edited by Agnese Pavanello in collaboration with Andrea Lindmayr-Brandl (original) (raw)

52 Einzelbetrachtungen/Discussions of the Works

Manuel Neukirchner (Hrsg.): In Motion. Kunst und Fußball/In Motion. Art and Football, Ausst.-Kat. Deutsches Fußballmuseum Dortmund 2024/25, Berlin 2024

Alena Anderlová, Sybil Andrews, Poul Anker Bech, Ljubo Babić, Peter Blake, Derek Boshier, Michael J. Browne, P J Crook, Charles Cundall, Paweł Dadlez, Alexander Alexandrowitsch Deineka, Georg Eisler, Brendan Ellis, Matthew Ensor, Erró, Paul Feiler, Isaac Grünewald, Robert Henderson, Blyth, Josephine Henning, Wlastimil Hofman, Karel Holan, Peter Howson, Jill Iliffe, Jean Jacoby, Miloš Jiránek, Maria Kossak, Maria Lassnig, Karel Lek, L. S. Lowry, Konrad Lueg, Guri Madhi, Wolfgang Mattheuer, Colin Middleton, Omer Mujadžić, Peter Nagel, Paul Nelson, Christopher Nevinson, Júlio Pomar, Heinrich Richter-Berlin, Thijs Rinsema, Alexander Rodtschenko, Peter Rohn, Torsten Schlüter, Jens Søndergaard, Peter Sorge, Christine Swane, Ivan Tabaković, Panayiotis Tetsis, Alan Welsford, Maria Zgraggen, Kiril Zonew

Paper Grijzenhout and Noorman_SCSC 2018.pdf

Lady of the House. The Household, Art and Memoria in the Dutch Republic, 2018

In 1660, Joost van den Vondel described the Dutch seventeenth-century household as a place of luxury and treasure: ‘So, they trail the streets of the city,/ The inner and shadowy outer canals,/ [Passing] by houses, crammed with luxury and treasure, …’. In the Dutch Republic (1581-1795), the household was the primary place of business and, equally important, of culture. Private homes were constantly designed, built, (re)furnished, and decorated with art. In the household, inhabitants made business transactions and met with clients, acquaintances and relatives. Art was viewed here, discussed and switched hands. Celebrations were held in the household and mourning took place; memories were made and lost again. What did the seventeenth- and eighteenth-century households look like? Both those on swanky canals and those in back alleys? What did people own? And what role did men and women play in the design, decoration and use of the house? Who decided what went on the walls? Who chose curtains, tapestries, pillows, silver, and paintings? And how were men, women and children remembered after they had passed, both in the household and elsewhere? With recent studies on material culture, art and its ownership, and women in the Dutch Golden Age, it is now both timely and promising to address the questions above. Taking an interdisciplinary approach, this paper provides an overview of the related subjects above. Furthermore, it proposes a new approach and three study cases, all of which are part of a larger planned research program at the University of Amsterdam, entitled Lady of the House. Art and Memory in the Long Golden Age.