Haarlem

Jacob van Ruisdael's dramatic landsape paintings, in particular his wild waterfalls, were already cherished by his contemporaries. They seem like a faithful representation of reality, especially the depictions of Castle Bentheim which he painted thirty times, but a look at the still extant castle shows an entirely different image. Who were the customers for these and the countless images of Haarlem, the so-called "Haarlempjes", and do these customers reveal anything about the dramatic depictions shown by Ruisdael?

Article about local memory culture in the Dutch city of Haarlem after the Dutch Revolt. While it has been suggested that the unfortunate siege of Haarlem in 1573 had to be forgotten within Haarlem, this research proves that stories about the siege still circulated in and beyond the city. For example, inhabitants started to collect and display cannonballs and their accompanying stories - mostly about the way they had been saved from certain death by divine providence. Besides the stories about the siege, however, the magistrates of Haarlem also propagated an ancient medieval tale, the siege of Damietta, to demonstrate the innate courage of the city's population during the siege of 1573.

De drukker Daniël van Bombergen/ Bomberghen/ Bomberg had een uitgestrekt netwerk rondom de Onze-Lieve-Vrouwekerk/ Onze-Lieve-Vrouwekathedraal van Antwerpen, Venetië en 's-Hertogenbosch/ Den Bosch. Zijn familie was van origine afkomstig uit Haarlem, waar ze eerder land bezaten in de regio

Inhoud:
Nederlands zilver, 17e en 18e eeuw, 40-43.
Zuidnederlandse beeldhouwkunst en beeldhouwerstekeningen uit de 18e eeuw, 99-103.
Nederlandse tegels verworven door het Princessehof te Leeuwarden, 152-154.
Een keuze uit het Noorbrabants Museum te 's-Hertogenbosch, 216-219.
Amsterdams zilver uit de 18e eeuw, 266-268.
Nederlandse meubelen uit de jaren 20, 324-327.
Japans porselein verworven door het Groninger Museum, 378-381.
De parelmoercollectie in het Arentshuis te Brugge, 425-428.
Haarlems en Fries zilver, 485-486.
Centraal Museum in Utrecht: kanten uit de collectie van Koningin Emma, 555-558.

The Great Hercules engraving was published by Hendrick Goltzius in the city of Haarlem in 1589, a decisive moment in the revolt of the Netherlands against their Habsburg sovereign, Philip II of Spain. The huge engraving appeared on the eve of the renowned printmaker’s departure for Italy, where he would encounter and study the antique statues to which his print alludes. According to his friend, Karel van Mander, Goltzius took copies of the engraving with him on his journey and discussed it with a fellow artist. This chapter describes the kinds of knowledge available to the work’s initial viewers. They may, for example, have read Hercules Prodicius, an allegorical travelogue and mirror for princes published in Antwerp by the antiquarian Stephanus Vinandus Pighius in 1587. Noting how art historians have tried to contain and stabilize the wayward figure by recourse to traditional methodologies such as iconology and the construction of an Author, the chapter points out the mobile and expansive aspects of The Great Hercules. This ‘monstrous’ overdetermination is related to the phenomenon of aporia, in which internal contradictions generate a state of confusion comparable to that of Hercules at the Crossroads. Aporia, according to Aristotle, was the initial impulse to philosophical thought. The chapter suggests that the marvelousness, and monstrosity, of The Great Hercules lie in its aporetic capacity to mobilise its viewers to wonder and think about masculine virtue by offering multiple, contradictory paths, and challenging them to find a way among them. In doing so, the image can be seen to force or facilitate a re-charting of the masculine subject for the ‘new world’ that was incipient in 1589.

Please contact joanna.woodall@courtauld.ac.uk if you would like an offprint.

Op een steenworp afstand van de stadsmuren van het middeleeuwse Haarlem lag een klein ziekenhuisje voor de leprozen van de stad. Deze leprozerie ontstond in de late middeleeuwen, tijdens de periode van ur- banisatie en voorspoed in het graafschap Holland. Waarom werd dit le- prooshuis toen gebouwd en waarom buiten de stad? Een historische ver- kenning van dit laatmiddeleeuwse instituut, haar zieke inwoners en de bijzondere positie die het had in de samenleving van Haarlem.

De pest heeft zich in Haarlem vanaf het einde van de vijftiende eeuw met
grote regelmaat voorgedaan. In 1664 breekt de laatste pestepidemie uit en in
totaal heeft de pest dan zeventien jaar in Haarlem geheerst.

Deze ziekte heeft in de loop van de jaren vele slachtoffers geeist en voor
een grote ontwrichting van het maatschappelijk leven gezorgd. Schrevelius
schrijft dn dit verband dat in het jaar 1509 vele duizenden mensen in Haarlem
ten gevolge van de pest stierven, wat volgens hem "bijna tot ondergang van de
-gehele stad" geleid heeft.

In dit artikel zal nagegaan worden welke maatregelen het stadsbestuur van
Haarlem in de loop der tijd genomen heeft om de verdere verspreiding van deze
besmettelijke ziekte tegen te gaan.

The Northern Netherlandish artist Geertgen tot Sint Jans depicted sumptuous and costly gold-brocaded silk velvets in most of his paintings. This article discusses the different techniques employed in painting these textiles – the underdrawing, the build-up of the paint layers and the patterns – as revealed by technical examination, including close-up photography, tracings, infrared reflectography (IRR), X-radiography and scientific analysis. The study of the gold-brocaded velvets by Geertgen provides detailed information about the specific working methods used by this artist, which – in turn – are compared to those of Geertgen's alleged teacher Albrecht van Ouwater, used in his only known painting: the Raising of Lazarus.

For the intiguing website Public Domain Review, Bert van de Roemer explored the curiosity cabinet of the Dutch collector Levinus Vincent and how the aesthetic drive behind his meticulous ordering of the contents was in essence religious, an attempt to emphasise the wonder of God’s creations by restoring the natural world to its prelapsarian harmony.  Vincent and Joanna van Breda, his wife, created a spectacular 'Wonder Theatre of Nature' in their cabinet and many visitors were amazed and would kneel down in awe for this beautifully arranged collections. As producers and merchant of luxury textiles, like silk, damask and brocade, Levinus and Joanna would employ textile techniques to embellish their collections. Drawers with butterflies, beetles and other insects were arranged in beautiful ornamental forms to add more splendor to God's creation.

Anita Boele brengt beelden over de zorg voor de naaste bijeen uit een breed scala van minder bekende teksten, waardoor de lezer de mensen van toen dicht op de huid komt.
Deze informatieve studie vormt een welkome aanvulling op eerdere studies over de daadwerkelijke armenzorg en criminalisering van bedelarij.

Although the name of the seventeenth-century Dutch writing-master Johannes Heuvelman still invoked a high standard of calligraphy fifty years after his death, little is known about this Haarlemmer master today. This article discusses the printed catalogue and collection of calligraphy of Heuvelman’s library, sold after his death, with which he situated himself in a rich network of writing-masters. These include important calligraphers of the immediate past in the Dutch Republic, contemporaneous French writing-masters – suggesting a hitherto unknown influence on Dutch calligraphy – and many calligraphy professionals and enthusiasts of Haarlem.

Halverwege de jaren zestig van de negentiende eeuw heeft Haarlem acht bordelen met een vergunning. Tien jaar later zijn vrijwel alle eigenaren vertrokken of hebben ze tenminste hun bedrijf gesloten. Slechts één bordeel in de stad weet het vol te houden tot de invoering van het bordeelverbod rond 1900. De naam van de desbetreffende eigenaresse is Cornelia Winkelaar-Hermans (of: Moeder Kee). Dit artikel gaat in op de vraag waarom zij wel wist te overleven en de anderen niet. Daarbij heb ik gekeken naar het gemeentebeleid en de levens van de bordeelhouders in deze periode van economische groei.

Missed Opportunity: Vrije Universiteit Amsterdam declined participation in new University College Haarlem.  -  The Haarlem foundation 'Panopticon' (http://opendekoepel.nl/) took the initiative to start a University College for Liberal Arts and Sciences in Haarlem. The Vrije Universiteit (VU) Amsterdam was asked to back this in order to get official recognition as institution for Academic Education. Although the proposal was attractive (Panopticon assumed the financial risk and a VU-Panopticon committee made an attractive programme), the VU suddenly retreated after seven months of working on the project. In my view a missed opportunity to set foot in the neighbouring city of Haarlem.

Referenda seem to be the pinnacle of democracy, but in reality they are obstructive and lead to nothing, especially when it regards treaties with several articles or a plan that consists of a number of related measures, such as the parking plan of the city of Haarlem that comprises 19 measures (referendum 19 March 2017). The end of the vote is usually negative: citizen A is against measure 1, citizen B is against measure 2, etc. Result: plan rejected. But nobody knows what to do now. A new plan will incite the same negative vote. The same is true as regards the Brexit referendum. British people had very different reasons to vote against membership of the European union. But what is next? Nobody knows. Perhaps Theresa May will make a Brexit deal after two years of tough negotiations, but if she would have the guts to hold a referendum on the deal, I can predict the outcome: no. And what then? Britain returns to the Union? Nobody knows.

[Additional note 2017-07-20: the outcome of the referendum in Haarlem conforms to my prediction: 84 % of the voters was against the parking plan. However, the attendance of those entitled to vote was only 18.5 %. This makes the referendum invalid, as an attendance of 30% was required. So 81.5% of the voters was indifferent or stayed home as a matter of principle or because they have read my column in Haarlems Dagblad ;). ]

Ter gelegenheid van het afscheid van mijn gewaardeerde collega, Hans Mol, is een rijkelijk gevulde bundel verschenen. Ik had het genoegen om daarin een bijdrage te schrijven waarin ik de opschriften op de stadsklokken van Utrecht (1471) en Haarlem (1473) onderzoek en plaats binnen een ruimere zoektocht naar het functioneren van dergelijke klokken binnen de openbare ruimte.

This is a column on a page in Haarlems Dagblad, dedicated to a local referendum on the parking policy of the community of Haarlem. A plan, consisting of 19 measures, was agreed by the city council on 15 December 2016. Two private individuals, however, disagreed with the plan and campaigned for a referendum. The pamphlet of the initiators was analysed by journalist Max Sipkes in two articles, in which he showed where the information on the plan was tendentious. On that same page I gave an example of tendentious writing from Antiquity. The emperor Augustus had a story of his life carved on stone all over the empire, of which a copy is extant on the temple of Roma and Augustus in Ankara. In that inscription we find no straight lies, but the omission of important facts makes it highly misleading. A well-known device of politicians. Telling a half-truth is in essence a lie.

To date this is the only known small stained glass
work by the Haarlem-based glazier Willem
Thybaut; together with the Crabeth brothers he
ranked as the most important sixteenth-century
glass painter in the Northern Netherlands who
worked from his own designs.

It is generally assumed that the seventeenth-century Dutch artists Jan Miense Molenaer (c.1610–1668) and Judith Leyster (1609–1660) worked collaboratively, both before and after their wedding in 1636. This paper examines the broader concept of artistic collaboration as intellectual endeavor by Molenaer and Leyster, focusing on four thematically-related comic paintings from before their marriage: Leyster’s slightly earlier "The Merry Company" and "The Last Drop" of 1629–1631, and Molenaer’s smaller set of 1634, "The Battle of Carnival and Lent" and "Twelfth Night." These festive pictures have not yet been fully considered in relation to each other, perhaps because some scholars have questioned identifying these paintings as directly paired within the artists’ oeuvres. There are many valid reasons for seeing them as companion works however, not least of which is that all four paintings share a common theme: they link the two central festivals of the Christian liturgical calendar—Christmastide and Eastertide. In European popular culture the two are bound together by an entire socially-leveling carnival season that runs from early December through Mardi Gras or Vastenavond, six weeks before Easter. In their related paintings, Leyster and Molenaer depict carnival celebrations in juxtaposition to the complementary end of those festivities with the advent of Lent. These works share an overlooked theme of ecumenical Christian humanism and an abiding form of seriocomical philosophy that was burgeoning in select humanist circles of Haarlem and beyond at this time.