The Venetic inscription from Kaštelir above Korte, bearing the siglum *Ts3, was incised onto a bowl sherd of grey depurated ware. It contains four graphemes in an unfragmented sequence that most ...likely reads vose, although the paleographic interpretation of the third grapheme remains somewhat problematic. The inscription very likely represents a personal name, probably in an abbreviated form, but one that has no exact match in the available corpus of Venetic inscriptions.
Jacob van Ruisdael (1628/29 -1682), the well-known landscape painter, produced some cityscapes as well. In those days he lived on the south side of Dam-square in Amsterdam. From his window he could ...see a part ofthat square and the Damrak. In this article the author proves, using history and observing the civic guard procession together with the colours of their flag, that his Mauritshuis-cityscape View on the Dam square, fig. 1), now in the Amsterdam Museum, is not just a cityscape, it's much more. The day Ruisdael chose for his subject matter, August 15th 1672, was an important day in local history. Romeyn de Hooghe too, chose that very day for an etching (The Atlas van Stolk Collection, Rotterdam, fig. 5). Concluding, Ruisdaels painting has a special, historical subject: Amsterdam has chosen in favour of the prince of Orange.
In 1932 Wijnman published an article on the life of Jacob van Ruisdael and other members of his family in Oud Holland. There has been much speculation over Ruisdael being a physician as well as an ...artist ever since. Wijnman found the artists name in a professional list of Amsterdams doctors, which supported Houbrakens statement, published in 1721, that Ruisdael had performed operations. This article refers to evidence from medical and academic history which has not been taken into consideration so far. In the light of new arguments, Wijnman s claim regarding Ruisdael s medical career has become questionable.
Kaštelir above Korte near Izola is one of the best known prehistoric settlements in the Slovenian part of Istria. The site was first mentioned by Pietro Coppo in the 16th Century, at the beginning of ...20th Century Carlo Marchesetti described the site as Il castelliere d‘Albuzzano presso Corte d‘Isola, however the first proper archaeological excavation took place in the 60’s and 70’s of 20th Century. With it the site was confirmed as a prehistoric hillfort of exceptional importance. Between 2008 and 2014 Kaštelir has been a main focus of the project “Kaštelir above Korte - Cultural and recreational park”, financially supported by the Municipality of Izola and conducted by research team from University of Primorska. In article we are presenting results of the archaeological test probing, done in 2014, which demonstrates that Kaštelir above Korte must be considered not only as a prehistoric settlement but also a place of a very early Roman settlement.
Not much was known about the lives and work of the Serins, father and son. In fact, up until the early twentieth century they were both called Jan in many lexicons. All the information we have can ...really be traced back to the account given by their near contemporary, the biographer Johan van Gool (1685-1763), who discusses both of them in his Nieuwe Schouburgh. It is now clear to me from recent archival research that Van Gool was wrong about both the place and date of birth of the son, Harmanus Serin. He says that he was born in Ghent, but it was actually Antwerp. The Felix Archive there contains the 1677 record of his baptism, which also reveals that his father's forename was Remacle, as well as giving information about his mother. The date of Remacle's baptism could then be traced, and the archive also contained notes about his life. Earlier research in the Hague City Archives had already yielded the names of Harmanus's wife and children, and supplementary investigations have now established his date of death.
In 2011 the Rijksmuseum Twenthe in Enschede organised the exhibition Nicolaas Verkolje (1673-1746). De fluwelen hand / The velvet touch. One of the masterpieces in the show was a painting from the ...Musée des Beaux-Arts in Carcassonne which, as we know from auction catalogues, has been called Venus and the sleeping Cupid since the late eighteenth century (fig. 1). Respecting the tradition, that title and interpretation were adopted in the exhibition and catalogue. However, when a classics teacher at the Stedelijk Gymnasium in Nijmegen saw the painting illustrated in the catalogue he discussed the subject with his pupils. Together they concluded that the painting actually shows Cupid disguised as Ascanius, which is based on the story of Dido and Aeneas in book 1 of Virgil's Aeneid. The sleeping boy is not Cupid, but Ascanius; the standing child is Cupid who is being groomed by the Graces. Some anomalies in the painting now fell into place. The subject is exceptional in Dutch art history. Some 40 years before Verkolje, Gerard Hoet depicted the subject in his series of paintings of the love story of Dido and Aeneas in Slangenburg Castle near Doetinchem (fig. 2), and he may have used Vondel's translation, in which some details were added to the original story. Verkolje must have known Hoet's work, or a drawing based on it, and probably elaborated on Hoet's scene even further. The only other known depiction of the subject is a print by Gerard de Lairesse (fig. 3) from a slightly earlier date than Hoet's paintings. Lairesse, though, chose a completely different solution and stayed much closer to Virgil's version of the story.
A portrait of a woman in the collection of the Chrysler Museum in Norfolk VA was attributed to the Hoorn portraitist Abraham Liedts in 2003. It can now be recognized as the portrait of Immetje ...(Emerentia) Groot (1619-1683), on the basis of the coat of arms and the age of the sitter. She was the third wife of vice-admiral Pieter Florisz. (1600/1610-1658), who died in the battle of the Sont. Immetje s portrait may have been painted on the occasion of their marriage. A contemporary copy of the portrait of Immetje Groot is in the Westfries Museum, Hoorn. Little is known about the life of Liedts, who was born in 1604/1605 (he was 63 in 1668) and who spent several years in England, from 1628 or later. By 19 December 1646 he was back in Hoorn, where he married in 1661 and died in December 1668. His earliest known (attributed) portrait dates from 1651 and his last known dated work, a portrait of Cornells Bakker as a boy, is from 1667. It would appear that several of his sitters were also members of the Groot family. At present, only a small oeuvre by Liedts can be recognized. His teacher is unrecorded, but it may be that he was trained by Jacques Waben (c.1580-c.1641) or by IJsbrant Deijer, who died in 1659.
A letter of 1652 by the Italian scientist Cassiano dal Pozzo sheds new light on the Roman activity of the Dutch still-life painter Otto Marseus van Schrieck. Dal Pozzo writes to the Florentine ...botanist Giovanni Nardi to say that he intends having 'Otho Merceus' make drawings of a precious specimen of a 'cedrato', a type of citrus fruit, which he has received from the Medici garden. That drawing on vellum will enable him to make this discovery known to his friends. The Dutch master is said to have worked for him on at least one other occasion with satisfactory results. This commission by Dal Pozzo places Otto Marseus van Schrieck as a botanical draughtsman at the centre of a group of early modern scientists, the members of the Accademia del Linceo. They included the Florentine cardinals Leopoldo and Gian Carlo de' Medici, both of whom are also known as Italian patrons of the artist. Early sources, among them Balthasar Monconys's diary, already state that Van Schrieck made many drawings for his own use while in Italy, presumably botanical ones, among others. It was not known that he also did so professionally at the time. Later in life, back in Holland, he made comparable botanical studies on commission for Agneta Block.
*29. Mai 1906 in Münster (Westfalen), †26. Nov. 1982 ebd., Musikwissenschaftler. Korte studierte ab 1924 Mathematik, Naturwissenschaften und Mw. an den Univ. Münster und Freiburg i.Br., ab 1926 an ...der...
PDF
