Podcasts about netherlandish

fWotD Episode 2676: Gothic boxwood miniature Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Sunday, 1 September 2024 is Gothic boxwood miniature.Gothic boxwood miniatures are very small Christian-themed wood sculptures produced during the 15th and 16th centuries in the Low Countries, at the end of the Gothic period and during the emerging Northern Renaissance. They consist of highly intricate layers of reliefs, often rendered to nearly microscopic level, and are made from boxwood, which has a fine grain and high density suitable for detailed micro-carving. There are around 150 surviving examples; most are spherical rosary beads (known as prayer nuts), statuettes, skulls, or coffins; some 20 are in the form of polyptychs, including triptych and diptych altarpieces, tabernacles and monstrances. The polyptychs are typically 10–13 cm in height. Most of the beads are 10–15 cm in diameter and designed so they could be held in the palm of a hand, hung from necklaces or belts, or worn as fashionable accessories.Boxwood miniatures were highly prized in the early 16th century. Their iconography, form, and utility can be linked to medieval ivory carvings, as well as contemporary illuminated miniatures, altarpieces, panel paintings, sculpture, woodcuts, and engravings. They typically contain imagery from the life of Mary, the Crucifixion of Jesus, or vistas of Heaven and Hell. Each miniature's production required exceptional craftsmanship, and some may have taken decades of cumulative work to complete, suggesting that they were commissioned by high-ranking nobles.A number of the miniatures appear to have come from a workshop led by Adam Dircksz, who is thought to have produced dozens of such works. Almost nothing is known about him or the artisans who produced the miniatures. Some of the original owners can be identified from markings, usually initials or coats of arms, emplaced by the sculptors. Important collections of boxwood miniatures are in the Art Gallery of Ontario, in the British Museum as part of the Waddesdon Bequest, and at the Metropolitan Museum of Art, New York. Because of their rarity and the difficulty in discerning their intricacy from reproductions, boxwood miniatures have not been as widely studied as other forms of Netherlandish visual art.This recording reflects the Wikipedia text as of 00:30 UTC on Sunday, 1 September 2024.For the full current version of the article, see Gothic boxwood miniature on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Olivia.

Professor Joseph Koerner is the Victor S. Thomas Professor of History of Art and Architecture and Professor of Germanic Languages and Literature at Harvard University, where he is also a senior fellow at the prestigious Society of Fellows.Koerner is one of the most renowned art historians and critics working today, and the world's leading specialist on Northern Renaissance and 19th Century Art, in particular German and Netherlandish painting. He has written multiple books, amongst them volumes on Caspar David Friedrich, Albrecht Durer and recently Bosch and Brueghel. Koerner has also written and presented various documentaries including ‘Northern Renaissance' and ‘Vienna: City of Dreams', both produced by the BBC. In 2018 he released his most personal film yet: ‘The Burning Child', which traces his search for the fate of his grandparents and their Vienna home, known only through a 1944 painting by his exiled father.Bosch's Garden of Earthly Delights hi-res: https://commons.wikimedia.org/wiki/The_Garden_of_Earthly_DelightsJoseph Koerner's faculty page: https://scholar.harvard.edu/jkoerner/homeJoseph Koerner's Wikipedia page: https://en.wikipedia.org/wiki/Joseph_KoernerThe Vienna Project: https://viennaproject.fas.harvard.edu/Review of 'Bosch and Bruegel: From Enemy Painting to Everyday Life' in the Guardian https://www.theguardian.com/books/2017/feb/01/bosch-bruegel-joseph-leo-koernerNOTES:Bosch's Last Judgement https://en.wikipedia.org/wiki/The_Last_Judgment_(Bosch,_Vienna)Pieter Bruegel the Elder: https://en.wikipedia.org/wiki/Pieter_Bruegel_the_ElderThe strawberry/Madroño tree: https://en.wikipedia.org/wiki/Arbutus_unedoThe Cluster F Theory Podcast is edited by Julian Mayers at Yada Yada.Subscribe for free to The Cluster F Theory Podcast. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit theclusterftheory.substack.com

At the end of episode 49, we said that we were going to move away from the political part of the story of the History of the Netherlands for a while to instead focus on some of the other important societal developments that were happening concurrently at the end of the 15th and beginning of the 16th centuries. To be honest, perhaps it is because we have taken quite a long break, or maybe because of the change of direction we want to make now, but we have found it rather difficult to write this episode. The 16th century saw so many radical developments in such a vast variety of subjects that the prospect of somehow covering this all in a satisfactory way in this podcast without being forever consumed by it is, to put it lightly, daunting, bordering on overwhelming. So bear with us over the next few episodes as we, in our typical way, blithely set off in a new direction and attempt to lay foundations to explain how a new zeitgeist of education and learning that had originated in the Italian peninsula in the 14th century, took hold in the Low Countries in the 15th. As usual, it is not possible nor is it our intention to cover every single facet of every single topic which we bring up in this podcast, so please don't be too disappointed if we fail to bring up your favourite 15th/16th century Renaissance humanist. Cool? Alright. Let's go. With thanks to Bill Weedman, Liran Braverman, Dennis van Heeren, Johan Verbeek and Egbert for their Patreon support. SHOW NOTES: https://www.republicofamsterdamradio.com/episodes/historyofthenetherlands/episode-50-the-granddaddy-of-netherlandish-humanism PATREON: https://www.patreon.com/historyofthenetherlands TWITTER: https://www.twitter.com/historyofNL Learn more about your ad choices. Visit podcastchoices.com/adchoices

'What's left to do? To keep people interested in old art. To make that art interesting and relevant. Perhaps relevant isn't the right word… But if you look at the art market; the biggest money, right now, is in modern and contemporary art. You see it in auction houses, too. The content of the sales is different than it was 20 years ago. Old Masters remain a challenge. But then, you'll get a Vermeer exhibition, like at the Rijksmuseum—where the tickets sell out on the second day. And so I'm optimistic about the future, when it comes to the Old Masters.' —Jane Turner For the thirteenth episode of ‘Dutch Art & Design Today', I sat down with Jane Turner; an editor, scholar, specialist in Dutch and Flemish Old Master drawings and prints, the former Head of the Print Room at the Rijksmuseum in Amsterdam, and has been the Editor in Chief of journal Master Drawings—covering Old Master drawings—since 2004. Jane studied art history at Smith College in Northampton, Massachusetts, and quickly found her way to working at the college's art museum. She studied in Paris for a year while at Smith, refining her eye and interests in Old Master art; and after graduation, decided to move to Manhattan, where she worked at the Cooper Hewitt Museum and the Morgan Library, where she began specializing in Netherlandish drawings of the sixteenth and seventeenth centuries. During her museum days in New York, she became known for compiling catalouges of collections, imbuing her with editorial expertise, particularly concerning hefty tomes. In the late-1980s Jane moved to London, where she worked for over a decade on the 36-volume Dictionary of Art; a powerhouse of a print publication, the likes of which will never be produced again, and which itself, was progressive in its approach to global art. In 2011 Jane was appointed Head of the Print Room at the Rijksmuseum, retiring from it in 2020. Through her work, Jane's become a globally renowned museum scholar and connoisseur of Netherlandish drawings. In this meanderingly playful talk, Jane and I discuss the course of her career and trace its origins from her hometown of Cincinnati, Ohio—where I was, coincidentally, also born; to her youth spent in Cleveland, and what life was like in terms of her early-exposure to museums and modern art; and then move on to discuss some of the ideas and subjects she was interested in as a student. Jane spends a large portion of our conversation underlying the importance of mentorship within her work and discusses some of the programs and initiatives she has put in place, which advocate for the advancement of young scholars of drawings and prints. While at the Rijksmuseum, Jane was responsible for leading numerous digital catalogue projects that made the print room's drawings digitally accessible, with full descriptions, technical research and provenance information. She also was responsible for innovative exhibitions put on by the print room, including one titled 'XXL', which featured eccentric, huge works on paper, and another titled 'Frans Post. Animals in Brazil', which saw plush insects 'overtake' the museum. Lastly, Jane ponders what the future holds for Old Master drawings and museums—and indeed, is hopeful for both.  You can learn more about the Rijksmuseum's Print Room over on their website. You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press.

The Lombardo family workshop in Venice was the most prominent in the city for the development of Renaissance sculpture. This episode looks briefly at the history of the family before taking a more focused look at the works of Tullio Lombardo and how he revolutionized sculpture in Venice. What happens when classical revival combines with Netherlandish and Venetian design influence? Tullio worked with a large number of classical and contemporary influences resulting in a new sculptural genre. He additionally expanded the design vocabulary of the monumental tomb of the Venetian Doge's, particularly in that of Doge Andrea Vendramin. Instagram: italian_renaissance_podcast Support the show

'What I'm predominately interested in, is telling stories of people that might have been overlooked. But you have to be very careful. Because not everyone has the same starting point or opinion on topics that you might want to discuss—for example, if it's about gender, a queer perspective, or a decolonial perspective. I want to present a story that feels respectful to everyone who visits a museum, but that still can be challenging for people with different views. But without scaring them away completely... Museums, in an increasingly individualized society, can offer people the opportunity and chance to come into contact with viewpoints and histories, and stories outside of their own. In this sense, the end goal, for me: it's decreasing polarization and increasing mutual understanding.' —Maaike Rikhof For the tenth episode of ‘Dutch Art & Design Today', I sat down with Maaike Rikhof, who is the Curator of Modern Art at the Frans Hals Museum in Haarlem, the Netherlands. Maaike studied art history at the University of Amsterdam, where she focused her research on the sociological aspects of art and received her BA and MA degrees. She also spent a year studying at the University of Edinburgh in Scotland, which was instrumental in her focusing her work on the late nineteenth and early-twentieth centuries, in relation to the ideas and social movements behind the artworks that were produced during those eras. Before starting in her current role at the Frans Hals Museum, Maaike spent time at the Van Gogh Museum as a researcher, and was also a curator in training at the Rijksmuseum in Amsterdam, and more recently, guest curated the exhibition ‘The New Woman' at the Singer Laren Museum—which was on display at the museum from 13 September 2022-8 January 2023. As Maaike makes clear during the interview, she focuses her research on the ideas behind the art from c. 1880-1920—as opposed to their literal, formal aspects—in her quest to probe the depths, of the socio-political contexts that fueled the creation of art in those eras. In this hour-and-a-half-long talk, Maaike recounts how she found her way to art history and discusses at length, how it is that she approaches her work in museums through the lens of sociology. We first discuss her childhood, and how her father—who was a medieval archivist at the Rijksmuseum—influenced her own interest in museums. She then recounts her early fascination with Netherlandish altarpieces, and a particularly memorable visible to the Hospices de Beaune in Burgundy, where she encountered Rogier van der Weyden's ‘The Last Judgment'; and then muses on her encounter with Botticelli's ‘The Birth of Venus' at the Uffizzi Gallery in Florence; and how these experiences cemented her love of the history of the social contexts that accompany the genesis of works of art. Later, Maaike talks about her use of the digital humanities in relation to her curatorial work, and the advantages of being a digital native, in terms of the ways she makes use of databases for research, and how she disseminates her research using, for instance, digital publishing. We then discuss what it is that enthralls her, concerning museums and their ability to participate in societal discussions. And to conclude, Maaike hints at what she has planned for the Frans Hals Museum, and its collection of modern art. You can learn more about Maaike and follow her and her work, on Instagram. You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press.

'In the early-seventeenth century, group portraiture was about social relationships that were the topic of such paintings. And in the late-nineteenth century, visual language in painting was a little more open; a little more abstract. So for me, the canvas is like a stage of happenings that play out on a global level. And that's the reason that my large-scale canvases tend to look like theatrical compositions. They are, basically, meant to portray different digital spaces. I want to paint the metaverse... Some people have more power, some people have less... It's these different levels of social power, which I express in my large-scale work.' —Felix Pensel For the ninth episode of ‘Dutch Art & Design Today', I sat down with Felix Pensel—a Nuremberg-based artist whose work spans many mediums, most notably large-scale canvas paintings, and more recently, digital art. Felix has devoted his life to art; he eats, sleeps, and breathes art; and he is nearly entirely self-taught. He was first inspired to become an artist at his grandfather's urging, which led him to start drawing, then visiting art museums more and more during his youth—ultimately finding his way to the monumental canvases of artists such as Rembrandt van Rijn and Peter Paul Rubens. The compositions of such Old Master paintings have inspired his own work, especially his digital paintings, which are complexly layered three-dimensional planes inhabited by countless figures, sometimes in unsettling or even surreal poses and situations. In this way, his work recalls the haunting worlds of the Netherlandish painter Hieronymus Bosch. Felix's digital artwork is minted on Tezos and Ethereum, whereas his physical works have been widely exhibited throughout Europe. In this incredibly relaxed interview, we meander our way from Felix's childhood, growing up in Nuremberg, and his many visits to museums to visit the Old Masters, specifically the work of Rubens. We then discuss his relationship to drawing as a child, being inspired by the prints and drawings of Albrecht Dürer—a fellow Nuremberg native; his later dabbles in graffiti; and how his experiences in graffiti lead him to turn his attention to creating large-scale paintings. We then discuss how he is influenced by the built environment around him, in Germany, and oppositely, what it is that makes the contemporary art world so fascinating, when it collides with web3. The second half of our talk is centered on the Tezos community; how Felix makes use of and his views on working with AI; and the enthusiasm of artists and collectors in the Tezos space. Lastly, Felix talks about his newest works minted on ⁠⁠SuperRare⁠⁠, the ideas behind them, and how they relate to compositions of late-nineteenth-century French group portraiture painting. Works by Felix discussed: '⁠⁠Cosmos of Cream⁠⁠', '⁠⁠Blue Haze', and 'Diamonds and Pizza'. You can find Felix on X ⁠⁠@paintre_ and at his website ⁠⁠linktr.ee/paintre. You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press.

Napoleon once stole several of its panels. The Nazis; they took the whole thing. The Ghent Altarpiece, also known as Adoration of the Mystic Lamb, has been the victim of more than a dozen crimes, including several thefts. Commissioned in the 15th century, it is, today, considered the most famous Flemish painting from the Renaissance period. Since it's completion, though, the work has been cut in half, nearly damaged in fire, and hidden in salt mines -- and part of it's still missing today. It's kind of a miracle it's made it this far through history.See omnystudio.com/listener for privacy information.

[English below]

Jason gives you a quick overview of American Gothic.Read the essay here: https://historywiththeszilagyis.org/hwts077 Find us on Twitter:The Network: @UFPEarth. The Show: @SzilagyiHistory.Chrissie: @TheGoddessLivia. Jason: @JasonDarkElf.Join us in the Federation Council Chambers on Facebook. Send topic suggestions via Twitter or to hwts@ufp.earth. History with the Szilagyis is supported by our patrons: Susan Capuzzi-De ClerckEd ChinevereLaura DullKris HillPlease visit patreon.com/historywiththeszilagyis United Federation of Podcasts is brought to you by our listeners. Special thanks to these patrons on Patreon whose generous contributions help to produce this podcast and the many others on our network! David WillettJustin OserTim CooperCasey PettittChrissie De Clerck-SzilagyiMahendran RadhakrishnanJim McMahonVictor GamboaVera BibleTom Van ScotterGreg MolumbyKevin ScharfAlexander GatesVanessa VaughanWilliam J. JacksonPeter HongLori KickingerJim StoffelTom ElliotThad HaitAnn MarieJoe MignoneJosh BrewingtonYou can join this illustrious list by becoming a patron here: https://www.patreon.com/ufpearth

Today in a Fun Police first, we have TWO guests! First up is Laura Thomas, who is the Deputy State Director, California, of the Drug Policy Alliance, the nation's leading organization working to end the war on drugs. We talk about Safe Consumption Sites in San Francisco, and what they might mean for the lives of people addicted to opioids. We also learn that we should be learning Netherlandish. Also joining us is Dr. Jahan Fahimi, who is the Medical Director for UCSF's Adult Emergency Department. We talk about the new Omicron variant, and the importance of having a good hat game (the Dr does). And of course, we have a vigorous discussion about this week's One Fun Idea.

We dive directly in sexcapades at the top of the episode, then unpack a whole lotta other stuff, including a little bit about Netherlandish painter Hieronymus Bosch (1450ish-1516)/The Garden of Earthly Delights & a decent amount about American Photographer/Photojournalist Dorothea Lange (1895-1965)! Potentially less interesting content includes a shout out for Dean - former Hot Topic manager, Animorphs, Neysa and I being bullies in high school, Neysa's private school experience (yikes!), and our methods of dealing with boring conversations. Check out the 'gram for the art we talk about! @iminoredinarthistorypod Music Creds: intro is edited Regina Spektor, outro is original audio by Nic Hamersly Audio mixed with Auphonic --- Support this podcast: https://podcasters.spotify.com/pod/show/iminoredinarthistorypod/support

In Insect Artifice: Nature and Art in the Dutch Revolt (Princeton UP, 2019) Marissa Anne Bass explores the moment when the seismic forces of the Dutch Revolt wreaked havoc on the region's creative and intellectual community, compelling its members to seek solace in intimate exchanges of art and knowledge. At the book's center is a neglected treasure of the late Renaissance: the Four Elements manuscripts of Joris Hoefnagel (1542–1600), a learned Netherlandish merchant, miniaturist, and itinerant draftsman who turned to the study of nature in this era of political and spiritual upheaval. Presented here for the first time are more than eighty pages in color facsimile of Hoefnagel's encyclopedic masterwork, which showcase both the splendor and eccentricity of its meticulously painted animals, insects, and botanical specimens. Bass unfolds the circumstances that drove the creation of the Four Elements by delving into Hoefnagel's writings and larger oeuvre, the works of his friends, and the rich world of classical learning and empirical inquiry in which he participated. She reveals how Hoefnagel and his colleagues engaged with natural philosophy as a means to reflect on their experiences of war and exile, and found refuge from the threats of iconoclasm and inquisition in the manuscript medium itself. This is a book about how destruction and violence can lead to cultural renewal, and about the transformation of Netherlandish identity on the eve of the Dutch Golden Age. Akash Ondaatje is a Research Associate at Know History. He studied at McGill University (B.A. History) and Queen's University (M.A. History), where he researched human-animal relations and transatlantic exchanges in eighteenth-century British culture through his thesis, Animal Ascension: Elevation and Debasement Through Human-Animal Associations in English Satire, 1700-1820 Contact: 17amo2@queensu.ca Learn more about your ad choices. Visit megaphone.fm/adchoices

In Insect Artifice: Nature and Art in the Dutch Revolt (Princeton UP, 2019) Marissa Anne Bass explores the moment when the seismic forces of the Dutch Revolt wreaked havoc on the region’s creative and intellectual community, compelling its members to seek solace in intimate exchanges of art and knowledge. At the book’s center is a neglected treasure of the late Renaissance: the Four Elements manuscripts of Joris Hoefnagel (1542–1600), a learned Netherlandish merchant, miniaturist, and itinerant draftsman who turned to the study of nature in this era of political and spiritual upheaval. Presented here for the first time are more than eighty pages in color facsimile of Hoefnagel’s encyclopedic masterwork, which showcase both the splendor and eccentricity of its meticulously painted animals, insects, and botanical specimens. Bass unfolds the circumstances that drove the creation of the Four Elements by delving into Hoefnagel’s writings and larger oeuvre, the works of his friends, and the rich world of classical learning and empirical inquiry in which he participated. She reveals how Hoefnagel and his colleagues engaged with natural philosophy as a means to reflect on their experiences of war and exile, and found refuge from the threats of iconoclasm and inquisition in the manuscript medium itself. This is a book about how destruction and violence can lead to cultural renewal, and about the transformation of Netherlandish identity on the eve of the Dutch Golden Age. Akash Ondaatje is a Research Associate at Know History. He studied at McGill University (B.A. History) and Queen’s University (M.A. History), where he researched human-animal relations and transatlantic exchanges in eighteenth-century British culture through his thesis, Animal Ascension: Elevation and Debasement Through Human-Animal Associations in English Satire, 1700-1820 Contact: 17amo2@queensu.ca Learn more about your ad choices. Visit megaphone.fm/adchoices

In Insect Artifice: Nature and Art in the Dutch Revolt (Princeton UP, 2019) Marissa Anne Bass explores the moment when the seismic forces of the Dutch Revolt wreaked havoc on the region's creative and intellectual community, compelling its members to seek solace in intimate exchanges of art and knowledge. At the book's center is a neglected treasure of the late Renaissance: the Four Elements manuscripts of Joris Hoefnagel (1542–1600), a learned Netherlandish merchant, miniaturist, and itinerant draftsman who turned to the study of nature in this era of political and spiritual upheaval. Presented here for the first time are more than eighty pages in color facsimile of Hoefnagel's encyclopedic masterwork, which showcase both the splendor and eccentricity of its meticulously painted animals, insects, and botanical specimens. Bass unfolds the circumstances that drove the creation of the Four Elements by delving into Hoefnagel's writings and larger oeuvre, the works of his friends, and the rich world of classical learning and empirical inquiry in which he participated. She reveals how Hoefnagel and his colleagues engaged with natural philosophy as a means to reflect on their experiences of war and exile, and found refuge from the threats of iconoclasm and inquisition in the manuscript medium itself. This is a book about how destruction and violence can lead to cultural renewal, and about the transformation of Netherlandish identity on the eve of the Dutch Golden Age. Akash Ondaatje is a Research Associate at Know History. He studied at McGill University (B.A. History) and Queen's University (M.A. History), where he researched human-animal relations and transatlantic exchanges in eighteenth-century British culture through his thesis, Animal Ascension: Elevation and Debasement Through Human-Animal Associations in English Satire, 1700-1820 Contact: 17amo2@queensu.ca Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/animal-studies

In Insect Artifice: Nature and Art in the Dutch Revolt (Princeton UP, 2019) Marissa Anne Bass explores the moment when the seismic forces of the Dutch Revolt wreaked havoc on the region’s creative and intellectual community, compelling its members to seek solace in intimate exchanges of art and knowledge. At the book’s center is a neglected treasure of the late Renaissance: the Four Elements manuscripts of Joris Hoefnagel (1542–1600), a learned Netherlandish merchant, miniaturist, and itinerant draftsman who turned to the study of nature in this era of political and spiritual upheaval. Presented here for the first time are more than eighty pages in color facsimile of Hoefnagel’s encyclopedic masterwork, which showcase both the splendor and eccentricity of its meticulously painted animals, insects, and botanical specimens. Bass unfolds the circumstances that drove the creation of the Four Elements by delving into Hoefnagel’s writings and larger oeuvre, the works of his friends, and the rich world of classical learning and empirical inquiry in which he participated. She reveals how Hoefnagel and his colleagues engaged with natural philosophy as a means to reflect on their experiences of war and exile, and found refuge from the threats of iconoclasm and inquisition in the manuscript medium itself. This is a book about how destruction and violence can lead to cultural renewal, and about the transformation of Netherlandish identity on the eve of the Dutch Golden Age. Akash Ondaatje is a Research Associate at Know History. He studied at McGill University (B.A. History) and Queen’s University (M.A. History), where he researched human-animal relations and transatlantic exchanges in eighteenth-century British culture through his thesis, Animal Ascension: Elevation and Debasement Through Human-Animal Associations in English Satire, 1700-1820 Contact: 17amo2@queensu.ca Learn more about your ad choices. Visit megaphone.fm/adchoices

In Insect Artifice: Nature and Art in the Dutch Revolt (Princeton UP, 2019) Marissa Anne Bass explores the moment when the seismic forces of the Dutch Revolt wreaked havoc on the region’s creative and intellectual community, compelling its members to seek solace in intimate exchanges of art and knowledge. At the book’s center is a neglected treasure of the late Renaissance: the Four Elements manuscripts of Joris Hoefnagel (1542–1600), a learned Netherlandish merchant, miniaturist, and itinerant draftsman who turned to the study of nature in this era of political and spiritual upheaval. Presented here for the first time are more than eighty pages in color facsimile of Hoefnagel’s encyclopedic masterwork, which showcase both the splendor and eccentricity of its meticulously painted animals, insects, and botanical specimens. Bass unfolds the circumstances that drove the creation of the Four Elements by delving into Hoefnagel’s writings and larger oeuvre, the works of his friends, and the rich world of classical learning and empirical inquiry in which he participated. She reveals how Hoefnagel and his colleagues engaged with natural philosophy as a means to reflect on their experiences of war and exile, and found refuge from the threats of iconoclasm and inquisition in the manuscript medium itself. This is a book about how destruction and violence can lead to cultural renewal, and about the transformation of Netherlandish identity on the eve of the Dutch Golden Age. Akash Ondaatje is a Research Associate at Know History. He studied at McGill University (B.A. History) and Queen’s University (M.A. History), where he researched human-animal relations and transatlantic exchanges in eighteenth-century British culture through his thesis, Animal Ascension: Elevation and Debasement Through Human-Animal Associations in English Satire, 1700-1820 Contact: 17amo2@queensu.ca Learn more about your ad choices. Visit megaphone.fm/adchoices

In Insect Artifice: Nature and Art in the Dutch Revolt (Princeton UP, 2019) Marissa Anne Bass explores the moment when the seismic forces of the Dutch Revolt wreaked havoc on the region’s creative and intellectual community, compelling its members to seek solace in intimate exchanges of art and knowledge. At the book’s center is a neglected treasure of the late Renaissance: the Four Elements manuscripts of Joris Hoefnagel (1542–1600), a learned Netherlandish merchant, miniaturist, and itinerant draftsman who turned to the study of nature in this era of political and spiritual upheaval. Presented here for the first time are more than eighty pages in color facsimile of Hoefnagel’s encyclopedic masterwork, which showcase both the splendor and eccentricity of its meticulously painted animals, insects, and botanical specimens. Bass unfolds the circumstances that drove the creation of the Four Elements by delving into Hoefnagel’s writings and larger oeuvre, the works of his friends, and the rich world of classical learning and empirical inquiry in which he participated. She reveals how Hoefnagel and his colleagues engaged with natural philosophy as a means to reflect on their experiences of war and exile, and found refuge from the threats of iconoclasm and inquisition in the manuscript medium itself. This is a book about how destruction and violence can lead to cultural renewal, and about the transformation of Netherlandish identity on the eve of the Dutch Golden Age. Akash Ondaatje is a Research Associate at Know History. He studied at McGill University (B.A. History) and Queen’s University (M.A. History), where he researched human-animal relations and transatlantic exchanges in eighteenth-century British culture through his thesis, Animal Ascension: Elevation and Debasement Through Human-Animal Associations in English Satire, 1700-1820 Contact: 17amo2@queensu.ca Learn more about your ad choices. Visit megaphone.fm/adchoices

In Insect Artifice: Nature and Art in the Dutch Revolt (Princeton UP, 2019) Marissa Anne Bass explores the moment when the seismic forces of the Dutch Revolt wreaked havoc on the region’s creative and intellectual community, compelling its members to seek solace in intimate exchanges of art and knowledge. At the book’s center is a neglected treasure of the late Renaissance: the Four Elements manuscripts of Joris Hoefnagel (1542–1600), a learned Netherlandish merchant, miniaturist, and itinerant draftsman who turned to the study of nature in this era of political and spiritual upheaval. Presented here for the first time are more than eighty pages in color facsimile of Hoefnagel’s encyclopedic masterwork, which showcase both the splendor and eccentricity of its meticulously painted animals, insects, and botanical specimens. Bass unfolds the circumstances that drove the creation of the Four Elements by delving into Hoefnagel’s writings and larger oeuvre, the works of his friends, and the rich world of classical learning and empirical inquiry in which he participated. She reveals how Hoefnagel and his colleagues engaged with natural philosophy as a means to reflect on their experiences of war and exile, and found refuge from the threats of iconoclasm and inquisition in the manuscript medium itself. This is a book about how destruction and violence can lead to cultural renewal, and about the transformation of Netherlandish identity on the eve of the Dutch Golden Age. Akash Ondaatje is a Research Associate at Know History. He studied at McGill University (B.A. History) and Queen’s University (M.A. History), where he researched human-animal relations and transatlantic exchanges in eighteenth-century British culture through his thesis, Animal Ascension: Elevation and Debasement Through Human-Animal Associations in English Satire, 1700-1820 Contact: 17amo2@queensu.ca Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we'll explore Pieter Bruegel's Netherlandish Proverbs.

Jan van Eyck, one of the Low Countries' most famous artists, lived through an extraordinary period in history, between the 1390s and the 1440s. Although much about the early Netherlandish painter’s life is completely unknown, the details which do remain provide tantalising glimpses into an artistic and technical talent, who was both socially and politically capable enough to be able to ingratiate himself within the highest ranks of power in his time. Van Eyck’s cultural influence has continued in the five and a half centuries since his death. In Flanders, the year 2020 is being celebrated as the Year of Van Eyck. So to pay homage, in this episode we will explore the life and works of Jan van Eyck and the mystery surrounding the theft of part of his most famous work, the Ghent altarpiece. Visit www.the-low-countries.com for the high road to Dutch/Flemish culture! Learn more about your ad choices. Visit megaphone.fm/adchoices

Jennifer Henel is Digital Humanities Developer at Journal of Historians of Netherlandish Art My guest today is Jennifer Henel, Digital Humanities Developer at Journal of Historians of Netherlandish Art. When we talk about museum website content at Cuberis, we break it down into four types. We call one of those types "Essential Content." This refers to the day to day work, mostly scholarly in nature, that occurs at your museum, and would even if you didn't have a website. Thanks to recent innovations and initiatives, more and more institutions are finding innovative ways of repurposing Essential Work as web content. Jennifer has been helping curators and historians publish their work online for years, and joined me to talk about some of the unique challenges of digitizing scholarly works. She also has some great ideas and insights for others who are looking to do something similar for their own institutions. **FULL TRANSCRIPT** NICK: Hi, and welcome to What’s On: The Cuberis podcast. I’m Nick Faber. If you’ve ever worked on a website redesign project, you know that it takes a lot of content to fill an entire website. But for a moment, imagine that your museum didn’t have a website at all. Think of how much content your museum would still to produce -- Catalogs, scholarly research, educational resources, labels -- all of the work that is essential to your museum’s mission and purpose. But your museum does have a website, and that work can now impact people who can’t make it to your physical location. When we talk about museum websites at Cuberis, we refer to that type of content as Essential Work. Thanks to recent innovations in digital technology, more and more cultural institutions are making their Essential Work available online, making it accessible to more historians and scholars, and taking advantage of the Internet’s intrinsic properties to make it easier to read and understand. My guest today is Jennifer Henel. She is working with Research Conservator Melanie Gifford of the National Gallery of Art to produce a new publication for the all-digital Journal of Historians of Netherlandish Art. I invited her to join me to talk about the advantages and disadvantages of publishing scholarly work online, what peer review looks like for digital publications, and what sort of insights she has for museums looking to make more Essential Work accessible to more people. Jennifer joined me over Skype from the National Gallery of Art. Before we dove into the technical aspects of her work, I wanted to know more about the Journal of Historians of Netherlandish Arts. JENNIFER: Sure. It is the scholarly production of articles, etc, relating to Netherlandish art, Flemish art, Northern Baroque paintings, by and large, Dutch Art, that kind of spans the 1400s - I'm making large generalizations here -- through, I'd say the early 1700s, depending on the subject matter. And they are deep scholarly dives, often, into a particular painting or paintings, that sort of thing. It is a community of these various historians that are spread out throughout the world, and they can all contribute. And they aim for quarterly publication, though it just depends on what is coming up when they produce certain publications. So that is what the journal does. NICK: So you just started working with them -- or recently started working with them -- as a digital humanities developer. What is your role there, and what does that title mean? JENNIFER: So I am working on a specific new publication that is part of the journal offerings. It's going to be slated for next year. We're aiming, I believe, for late June to push this out. And what I'll be doing is, I'm working with a scholar, Melanie Gifford, on her research on the Sir Peter Paul Rubens painting The Fall of Phaeton, which is at the National Gallery. Melanie is a scientific conservator here at the National Gallery, and she is interested, not only in doing an article,

In this episode Dr Laura-Jane Foley meets opera singer Allan Clayton. Allan picks 'The Garden of Earthly Delights' (1490-1510) by the early Netherlandish painter Hieronymus Bosch (c.1450 - 1516) - a painting he describes as a 'glamorous dartboard!' Allan encountered the large triptrych oil painting on a visit to the Prado Museum in Madrid whilst singing in a production at the Teatro Real. To comment on the show please write to @laurajanefoley on Twitter and use the hashtag #MyFavouriteWorkOfArtPresented and produced by Dr Laura-Jane FoleyRecorded and edited at Wisebuddah, LondonTitle Music - 'Blue' from Colours by Dimitri Scarlato See acast.com/privacy for privacy and opt-out information.

This lecture forms part of a series entitled "Antiquity After Antiquity" and is for first year Undergraduate History of Art students. It was delivered at the University of Oxford History of Art Department. An Van Camp (Curator of Northern European Art at the Ashmolean Museum of Art and Archaeology) explores the practice of Netherlandish artists travelling to Italy from the fifteenth until the seventeenth century. The lecture starts with an overview of the different kinds of Netherlandish artists and their reasons why they went to Italy (illustrated mainly by works on paper from the collections of the Ashmolean Museum). The second part of the lecture focuses on Jan Brueghel the Elder in particular and the different types of drawings he made in Italy after he returned to Flanders, some in preparation of print series.

This lecture forms part of a series entitled "Antiquity After Antiquity" and is for first year Undergraduate History of Art students. It was delivered at the University of Oxford History of Art Department. An Van Camp (Curator of Northern European Art at the Ashmolean Museum of Art and Archaeology) explores the practice of Netherlandish artists travelling to Italy from the fifteenth until the seventeenth century. The lecture starts with an overview of the different kinds of Netherlandish artists and their reasons why they went to Italy (illustrated mainly by works on paper from the collections of the Ashmolean Museum). The second part of the lecture focuses on Jan Brueghel the Elder in particular and the different types of drawings he made in Italy after he returned to Flanders, some in preparation of print series.

This lecture forms part of a series entitled "Antiquity After Antiquity" and is for first year Undergraduate History of Art students. It was delivered at the University of Oxford History of Art Department. An Van Camp (Curator of Northern European Art at the Ashmolean Museum of Art and Archaeology) explores the practice of Netherlandish artists travelling to Italy from the fifteenth until the seventeenth century. The lecture starts with an overview of the different kinds of Netherlandish artists and their reasons why they went to Italy (illustrated mainly by works on paper from the collections of the Ashmolean Museum). The second part of the lecture focuses on Jan Brueghel the Elder in particular and the different types of drawings he made in Italy after he returned to Flanders, some in preparation of print series.

A quiz about Flemish proverbs, based on a painting by the Netherlandish artist Pieter Bruegel. (No really.)Learn more about your ad choices. Visit megaphone.fm/adchoices

Spring has finally sprung in New York City, so we decided to spend an episode discussing how artists have represented the seasons , using four very different examples: the medieval cathedral at Amiens, 16th-century Netherlandish artist Pieter Bruegel's The Harvesters, François Boucher's series Rococo tour de force called The Four Seasons, and Wassily Kandinsky's abstract quartet of paintings on the same subject.

The famous Bern artist Albrecht Kauw presents in his still life a rich selection of fish as we might have found served in a patrician household during his lifetime. Kauw follows Netherlandish painting in his art while depicting the lifestyle and situation of the proud Bernese landowners. From the podcast series featuring highlights of the Kunstmuseum Bern’s collection.

The 16th Century was a great period for foreign artists in London. The capital saw such great artists as the German, Hans Holbein, and Netherlandish artists such as Hans Eworth and William Scrouts.