1.
Dutch Golden Age
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The Dutch Golden Age was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. The first half is characterized by the Eighty Years War which ended in 1648, the Golden Age continued in peacetime during the Dutch Republic until the end of the century. The Netherlandss transition from a possession of the Holy Roman Empire in the 1590s to the foremost maritime, in 1568, the Seven Provinces that later signed the Union of Utrecht started a rebellion against Philip II of Spain that led to the Eighty Years War. Antwerp fell on August 17,1585 after a siege, the United Provinces fought on until the Twelve Years Truce, which did not end the hostilities. Under the terms of the surrender of Antwerp in 1585, the Protestant population were given four years to settle their affairs before leaving the city, similar arrangements were made in other places. Protestants were especially well-represented among the craftsmen and rich merchants of the port cities of Bruges, Ghent. More moved to the north between 1585 and 1630 than Catholics moved in the direction, although there were also many of these. Many of those moving north settled in Amsterdam, transforming what was a port into one of the most important ports. The Pilgrim Fathers also spent time there before their voyage to the New World, Ronald Findlay and Kevin H. O’Rourke contribute part of the Dutch ascendancy to its Calvinistic ethic, which promoted thrift and education. This contributed to the lowest interest rates and the highest literacy rates in Europe, several other factors also contributed to the flowering of trade, industry, the arts and the sciences in the Netherlands during this time. A necessary condition was a supply of energy from windmills and from peat. The invention of the sawmill enabled the construction of a massive fleet of ships for worldwide trading. In 1602 the Dutch East India Company was founded and it was the first-ever multinational corporation, financed by shares that established the first modern stock exchange. This company received a Dutch monopoly on Asian trade and would keep this for two centuries and it became the worlds largest commercial enterprise of the 17th century. Spices were imported in bulk and brought huge profits, due to the efforts and risks involved and this is remembered to this day in the Dutch word peperduur, meaning something is very expensive, reflecting the prices of spices at the time. To finance the trade within the region, the Bank of Amsterdam was established in 1609. According to Ronald Findlay and Kevin H. O’Rourke, geography favored the Dutch Republic and they write, The foundations were laid by taking advantage of location, midway between the Bay of Biscay and the Baltic. The Dutch share of European shipping tonnage was enormous, well over half during most of the period of their ascendancy, from here the Dutch traded between China and Japan and paid tribute to the Shogun
2.
Dirck de Bray
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Dirck de Bray was a Dutch Golden Age painter. According to Houbraken he was a son and pupil of the painter. He was known as a painter, but he could also sculpt. He carved a wooden bust of his fathers head, that Houbraken admired and used for his engraving of Salomon in his Schouburg and he became a monk in the Gaesdonck monastery near Goch. He became a member of the Haarlem Guild of St. Luke in 1671, Dirck was born into an artistic family. His brother Jan became a painter, and his brother Joseph was also a painter. His sister Cornelia married Jan Lievens and his mother was Anna Westerbaen, the sister of the painter Jan Westerbaen, and the poet Jacob Westerbaen. He was a printmaker and painted flower- and hunting still lifes, after 1678 he moved to the Gaesdonck monastery. Works and literature on PubHist Dirck de Bray on Artnet Print after his design by Jan de Visscher and with a poem by his father, showing the young priest Simon van der Plas of Spaarnwoude
3.
Haarlem
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Haarlem is a city and municipality in the Netherlands. It is the capital of the province of North Holland and is situated at the edge of the Randstad. Haarlem had a population of 155,758 in 2014 and it is a 15-minute train ride from Amsterdam, and many residents commute to the countrys capital for work. Haarlem was granted city status or stadsrechten in 1245, although the first city walls were not built until 1270, the modern city encompasses the former municipality of Schoten as well as parts that previously belonged to Bloemendaal and Heemstede. Apart from the city, the municipality of Haarlem also includes the part of the village of Spaarndam. Newer sections of Spaarndam lie within the municipality of Haarlemmerliede en Spaarnwoude. The city is located on the river Spaarne, about 20 km west of Amsterdam and it has been the historical centre of the tulip bulb-growing district for centuries and bears the nickname Bloemenstad, for this reason. Haarlem has a history dating back to pre-medieval times, as it lies on a thin strip of land above sea level known as the strandwal. The people on this strip of land struggled against the waters of the North Sea from the west, and the waters of the IJ. Haarlem became wealthy with toll revenues that it collected from ships, however, as shipping became increasingly important economically, the city of Amsterdam became the main Dutch city of North Holland during the Dutch Golden Age. The town of Halfweg became a suburb, and Haarlem became a bedroom community. Nowadays many of them are on the Dutch Heritage register known as Rijksmonuments, the list of Rijksmonuments in Haarlem gives an overview of these per neighbourhood, with the majority in the old city centre. The oldest mentioning of Haarlem dates from the 10th century, the name probably comes from Haarlo-heim. This name is composed of three elements, haar, lo and heim, there is not much dispute about the meaning of lo and heim, in Old Dutch toponyms lo always refers to forest and heim to home or house. Haar, however, has several meanings, one of them corresponding with the location of Haarlem on a sand dune, the name Haarlem or Haarloheim would therefore mean home on a forested dune. There was a stream called De Beek, dug from the peat grounds west of the river Spaarne as a drainage canal, over the centuries the Beek was turned into an underground canal, as the city grew larger and the space was needed for construction. Over time it began to silt up and in the 19th century it was filled in, the location of the village was a good one, by the river Spaarne, and by a major road going south to north. By the 12th century it was a town, and Haarlem became the residence of the Counts of Holland
4.
Salomon de Bray
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Salomon de Bray was a Dutch Golden Age architect and painter. De Bray was born in Amsterdam, but established himself in Haarlem before 1617 and he probably followed draftsmanship and painting lessons in the small academy started by Karel van Mander, Hendrick Goltzius and Cornelis van Haarlem, and where he married in 1625. He is registered as a pupil of Goltzius and Cornelis van Haarlem and he painted history paintings, portraits and landscapes. As a Catholic he probably also made pieces for the Haarlem underground Catholic churches known as mission stations. He was a poet and member of the Chamber of rhetoric called De Wijngaertranken, one of his poems was set to music by his friend the composer Cornelis Padbrué. This is probably how he met his wife Anna, the sister of the painter Jan and the poet Jacob Westerbaen, in 1630 he became a member of the Haarlem Guild of St. Luke. He cooperated with fellow member and Catholic architect-artist Jacob van Campen in the decoration of Huis ten Bosch in The Hague. His works draw on the spirit of the Dutch classicism beginning at that time, De Bray became active as an architect and designer of silverwork, and became headman of the Guild of St. Luke. In 1632 he made efforts to retrieve the St. Lucas guild relic that had stored in the guild altar of the St. Bavochurch. It had been given to a representative of the Catholic church for safekeeping and De Bray felt it should be back to Haarlem. As an architect, he was involved in the construction or expansion of Haarlems City Hall in 1630, the new consistory of the Bavokerk, the Zijlpoort, and St. Annakerk. Outside of Haarlem, he designed a new entrance in 1629 for the Huis te Warmond that featured pilasters, in Nijmegen he made a design for the city orphanage. He was also a town planner for the city council of Haarlem, Salomon de Bray was the father of ten children, of whom three became notable artists. He probably died of the plague that hit Haarlem in 1664, as he and his children Jacob, Josef, Juliana and Margaretha all died in April and his wife had already died the previous year. He was buried in the Sint-Bavokerk in Haarlem, works and literature on PubHist Salomon de Bray on Artnet
5.
David
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David was, according to the Hebrew Bible, the second king of the United Kingdom of Israel and Judah, reigning in c. He is described as a man after Gods own heart in 1 Samuel 13,14 and Acts 13,22. The Hebrew prophets regarded him as the ancestor of the future messiah, the New Testament says he was an ancestor of Jesus. God is angered when Saul, Israels king, unlawfully offers a sacrifice and later disobeys a divine instruction to not only all of the Amalekites. Consequently, he sends the prophet Samuel to anoint David, the youngest son of Jesse of Bethlehem, God sends an evil spirit to torment Saul. Sauls courtiers recommend that he send for David, a man skillful on the lyre, wise in speech, and brave in battle. So David enters Sauls service as one of the royal armour-bearers, and plays the lyre to soothe the king, war comes between Israel and the Philistines, and the giant Goliath challenges the Israelites to send out a champion to face him in single combat. David, sent by his father to bring provisions to his brothers serving in Sauls army, refusing the kings offer of the royal armour, he kills Goliath with his sling. Saul inquires the name of the heros father. Saul sets David over his army, all Israel loves David, but his popularity causes Saul to fear him. Saul plots his death, but Sauls son Jonathan, one of those who loves David, warns him of his fathers schemes and David flees. He becomes a vassal of the Philistine king Achish of Gath, but Achishs nobles question his loyalty, Jonathan and Saul are killed, and David is anointed king over Judah. In the north, Sauls son Ish-Bosheth is anointed king of Israel, with the death of Sauls son, the elders of Israel come to Hebron and David is anointed king over all Israel. He conquers Jerusalem, previously a Jebusite stronghold, and makes it his capital. He brings the Ark of the Covenant to the city, intending to build a temple for God, Nathan also prophesies that God has made a covenant with the house of David, Your throne shall be established forever. David wins more victories over the Philistines, while the Moabites, Edomites, Amalekites, Ammonites, during a battle to conquer the Ammonite capital of Rabbah, David seduces Bathsheba and causes the death of her husband Uriah the Hittite. In response, Nathan prophesies the punishment that shall fall upon him, in fulfillment of these words Davids son Absalom rebels. The rebellion ends at the battle of the Wood of Ephraim, Absaloms forces are routed, and Absalom is caught by his long hair in the branches of a tree, and killed by Joab, contrary to Davids order. Joab was the commander of Davids army, David laments the death of his favourite son, O my son Absalom, my son, my son Absalom
6.
Ark of the Covenant
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The Ark of the Covenant, also known as the Ark of the Testimony, is a gold-covered wooden chest described in the Book of Exodus as containing the two stone tablets of the Ten Commandments. According to various texts within the Hebrew Bible, it also contained Aarons rod, when carried, the Ark was always hidden under a large veil made of skins and blue cloth, always carefully concealed, even from the eyes of the priests and the Levites who carried it. God was said to have spoken with Moses from between the two cherubim on the Arks cover. When at rest the tabernacle was set up and the holy Ark was placed under the veil of the covering the staves of it crossing the side bars to hold it up off the ground. Moses instructed Bezalel and Oholiab to construct the Ark, in Deuteronomy, however, the Ark is said to have been built specifically by Moses himself without reference of Bezalel or Oholiab. The Book of Exodus gives detailed instructions on how the Ark is to be constructed and it is to be 2½ cubits in length, 1½ in breadth, and 1½ in height. Then it is to be gilded entirely with gold, and a crown or molding of gold is to be put around it, a golden lid, the kapporet which is covered with 2 golden cherubim, is to be placed above the Ark. Instructions missing from the biblical account include the thickness of the seat, the thickness of its sides and bottom. The Ark is finally to be placed under the veil of the covering, the biblical account continues that, after its creation by Moses, the Ark was carried by the Israelites during their 40 years of wandering in the desert. Whenever the Israelites camped, the Ark was placed in a room in a sacred tent. When the Israelites, led by Joshua toward the Promised Land, arrived at the banks of the River Jordan, as memorials, twelve stones were taken from the Jordan at the place where the priests had stood. In the Battle of Jericho, the Ark was carried round the city once a day for seven days, after the defeat at Ai, Joshua lamented before the Ark. When Joshua read the Law to the people between Mount Gerizim and Mount Ebal, they stood on each side of the Ark and we next hear of the Ark in Bethel where it was being cared for by the priest Phineas the grandson of Aaron. According to this verse it was consulted by the people of Israel when they were planning to attack the Benjaminites at the battle of Gibeah. A few years later the elders of Israel decided to take the Ark out onto the battlefield to assist them against the Philistines and they were, however, heavily defeated with the loss of 30,000 men. The Ark was captured by the Philistines and Hophni and Phinehas were killed, the news of its capture was at once taken to Shiloh by a messenger with his clothes rent, and with earth upon his head. The mother of the child Ichabod died at his birth, the Philistines took the Ark to several places in their country, and at each place misfortune befell them. At Ashdod it was placed in the temple of Dagon, the next morning Dagon was found prostrate, bowed down, before it, and on being restored to his place, he was on the following morning again found prostrate and broken
7.
Arnoud van Halen
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Arnoud van Halen, was an 18th-century painter from the Northern Netherlands. According to Houbraken he painted Christoffel Piersons portrait for his Panpoeticon Batavum, according to the RKD he was also known as Arend or Aquila van Halen. He is known for portraits and engravings, also titlepages of books, Arnoud van Halen portrait by Christoffel Lubienitzki at the Rijksmuseum Arnoud van Halen on Artnet A. van Halen at the Amsterdam City Archives Media related to Arnoud van Halen at Wikimedia Commons
8.
Levite
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A Jewish male descended patrilineally from Levi is a Levi, and his full name may be written as HaLevi. The prefix ה, in the Hebrew language, means the, the daughter of a Levi is a Bat Levi. In Jewish tradition, a Levite is a member of the Israelite Tribe of Levi, descended from Levi, the Tribe of Levi served particular religious duties for the Israelites and had political responsibilities as well. In return, the tribes were expected to give tithe to support the Levites. The Kohanim were the priests, who performed the work of holiness in the Temple, Today, Levites in Orthodox Judaism continue to have additional rights and obligations compared to lay people, although these responsibilities have diminished with the destruction of the Temple. For instance, Kohanim are eligible to be called to the Torah first, Levites also provide assistance to the Kohanim, particularly washing their hands, before the Kohanim recite the Priestly Blessing. They also do not participate in the Pidyon HaBen ceremony, because they are pledged to Divine service. Reconstructionist and Reform Judaism do not observe the distinctions between Kohanim, Levites, and other Jews, Orthodox Judaism believes in the eventual rebuilding of a Temple in Jerusalem and a resumption of the Levitical role. There are a number of schools, primarily in Israel, to train priests. Conservative Judaism believes in a restoration of the Temple as a house of worship and in some role for Levites. The Kohanim are traditionally believed and halachically required to be of direct descent from the Biblical Aaron of the Levi tribe. The noun kohen is used in the Torah to refer to priests, during the existence of the Temple in Jerusalem, Kohanim performed the daily and holiday duties of sacrificial offerings. Today kohanim retain a lesser though distinct status within Judaism. During the Priestly Blessing, the Levites traditionally wash the hands of the Kohanim prior to the blessing of the House of Israel. Contrary to popular belief, this is not due to any sort of lineal sanctity, in Israel, Conservative/Masorti Judaism has not extended Torah honors to either a bat Kohen or a bat Levi. He wrote, Today, we also are living through a time of flood, Not of water, but of a bright fire and we are now drowning in a flood of blood. Through the Kohanim and Leviim help will come to all Israel, a 2003 study of the Y-chromosome by Behar et al. pointed to multiple origins for Ashkenasi Levites, a priestly class who comprise approximately 4% among the Ashkenazi Jews. A2013 paper by Siiri Rootsi et al, here we report the analysis of 16 whole R1 sequences and show that a set of 19 unique nucleotide substitutions defines the Ashkenazi R1a lineage
9.
Haarlem Guild of St. Luke
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The Haarlem Guild of Saint Luke was first a Christian, and later a city Guild for a large number of trades falling under the patron saints Luke the Evangelist and Saint Eligius. During the lifetime of Geertgen tot Sint Jans, there was probably a painters guild in Haarlem, if one existed, it would probably have been associated with the Janskerk, where Geertgen was active as a respected painter. The earliest mention of the Haarlem Guild of St. Luke and this is possibly also the year that the Guild switched its altar from the Janskerk to the Bavokerk. The guild was for painters and gold- and silversmiths, with St. Luke being the saint of the painters. The earliest charter for the no longer exists, but the earliest one still in the archives is from 1514. The Vrouwenbroerskerk was the church of the Carmelites, whose monastery is gone, of the original complex, only the entrance gate still stands on the Grote Houtstraat. These archives recorded that a kessophel was donated to this altar in 1575 by Elisabeth van Dorp, after Haarlem lost the Siege of Haarlem in 1573, it became a Catholic enclave that officially fell under the rule of Philip II of Spain. In 1576, a decision was made on September 28 to make a piece for St. Eligius. This referred to the painting by Martin van Heemskerck, which does not display St. Eligius, but shows St. Luke painting the Virgin. This painting was large, and though it shows a pottery baker as St. Luke and sculptures and woodcarvings abound in it. The signed paper attached at the bottom of the painting is recorded by Karel van Mander, heemskerk had painted this before he traveled to Italy, and when he came back he became charter master of the guild from 1550-1552. To protect the market, a new charter was issued in 1590, Luke had been donated for the altar by the painter Barthel Pons, who had gotten it from the cardinal Christoforo da Forli. This relic was accompanied by an indulgence of 100 days to whoever would say their Paternoster, apparently Pieter Fransz de Grebber gave this relic to the Franciscan monk Joannes Cloribus van Brugge in 1627 for safekeeping. In 1632 the St. Lucas guild masters were very upset about this and Salomon de Bray tried to get it back, in 1641 they tried once again to get the relic back, but it seems to have disappeared. Between 1605 and 1635 over 100,000 paintings were produced in Haarlem, the competition for commissions was very high, however, and the 1590 charter was apparently not considered protective enough. In 1631 a new charter was released again, and this charter is so detailed that it tells us more about the art of painting. It was prepared by Salomon de Bray, and he described a hierarchy of members that apparently met with a lot of opposition. His first petition to pass this charter was denied with the remark that it was too long, essentially the charter of 1590 held up until the guild was dissolved altogether in 1795 by Napoleonic decree
10.
Goch
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Goch is a town in the district of Kleve, in North Rhine-Westphalia, Germany. It is situated close to the border with the sebengewald in Netherlands,12 km south of Kleve, and 27 km southeast of Nijmegen. Other places in Goch are Asperden and Kessel, Goch is at least 750 years old, the earliest mention of Goch is in a document dated 1259. It was a part of the Duchy of Cleves, during World War II, the city was completely destroyed by Allied bombers
11.
Joseph de Bray
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Joseph de Bray, was a Dutch Golden Age painter. According to the RKD he was born into a family as the son of Salomon de Bray. He was the brother of the painters Jan, Dirck, and he is known for fruit and flower still life paintings and some italianate landscapes. He died young 4 days after his father, probably from an outbreak of the plague in Haarlem
12.
Jacob Westerbaen
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Ridder Jacob Westerbaen, heer of Brantwyck-en-Ghybelant, was a Dutch poet. Westerbaen was born in The Hague, the son of a rope maker, there he studied medicine, after which he established himself in 1623 as a physician in the Hague. Two years later he married Anna Weytsen, the widow of Reinier van Groenevelt and he was a good friend of Constantijn Huygens. Later he came into contact with Jacob Cats, Blasius and Jan Vos, when Oldenbarnevelt was executed for political reasons, Westerbaen retained possession of the victims walking stick, inspiring the Republics great poet, Vondel, to his famous poem t Stockske. Westerbaen wanted to apply for work elsewhere, Ockenburgh near Loosduinen and he described it in a poem imitating the style of Huygens. He fought fiercely against orthodox preachers, for instance in such as Krancken-Troost voor Israel in Holland and wrote and translated plays. Ick doe hier s avonds de Comedianten spelen, En vreese Haeg, noch Hof, en oock de Preekstoel niet, De Schou-burgh is hier vrij
13.
Cleopatra
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Cleopatra VII Philopator, known to history simply as Cleopatra, was the last active ruler of Ptolemaic Egypt, briefly survived as pharaoh by her son Caesarion. After her reign, Egypt became a province of the recently established Roman Empire, Cleopatra was a member of the Ptolemaic dynasty, a Greek family of Macedonian origin that ruled Egypt after Alexander the Greats death during the Hellenistic period. By contrast, Cleopatra did learn to speak Egyptian and represented herself as the reincarnation of the Egyptian goddess Isis, as queen, she consummated a liaison with Julius Caesar that solidified her grip on the throne. She later elevated Caesarion, her son with Caesar, to co-ruler in name, after Caesars assassination in 44 BC, she aligned with Mark Antony in opposition to Caesars legal heir Gaius Julius Caesar Octavianus. With Antony, she bore the twins Cleopatra Selene II and Alexander Helios, Antony committed suicide after losing the Battle of Actium to Octavians forces, and Cleopatra followed suit. According to tradition, she killed herself by means of an asp bite on August 12,30 BC and she was outlived by Caesarion, who was declared pharaoh by his supporters, but he was soon killed on Octavians orders. Egypt then became the Roman province of Aegyptus, Cleopatras father Auletes was a direct descendant of Alexander the Greats general Ptolemy I Soter, son of Arsinoe and Lagus, both of Macedon. Centralization of power and corruption led to uprisings in and the losses of Cyprus and Cyrenaica, Ptolemy went to Rome with Cleopatra, Cleopatra VI Tryphaena seized the crown but died shortly afterwards in suspicious circumstances. It is believed that Berenice IV poisoned her so that she could assume sole rulership, regardless of the cause, she ruled until Ptolemy Auletes returned in 55 BC with Roman support, capturing Alexandria aided by Roman general Aulus Gabinius. Berenice was imprisoned and executed afterwards, her head allegedly being sent to the royal court on the decree of her father. Cleopatra now became joint regent and deputy to her father at age 14, Ptolemy XII died in March 51 BC. His will made 18-year-old Cleopatra and her 10-year-old brother Ptolemy XIII joint monarchs, the first three years of their reign were difficult due to economic failures, famine, deficient floods of the Nile, and political conflicts. Cleopatra was married to her brother, but she quickly made it clear that she had no intention of sharing power with him. In August 51 BC, relations broke down between Cleopatra and Ptolemy. Cleopatra dropped Ptolemys name from official documents and her face appeared on coins. The Gabiniani killed the sons of the Roman governor of Syria Marcus Calpurnius Bibulus when they came to ask the Gabiniani to assist their father against the Parthians, Cleopatra handed the murderers over to Bibulus in chains, whereupon the Gabiniani became bitter enemies of the queen. This conflict was one of the causes of Cleopatras fall from power shortly afterward. The sole reign of Cleopatra was finally ended by a cabal of courtiers led by the eunuch Pothinus, in connection with half-Greek general Achillas, circa 48 BC, Cleopatras younger brother Ptolemy XIII became sole ruler
14.
Bartholomeus van der Helst
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Bartholomeus van der Helst was a Dutch Golden Age portrait painter. His first dated picture, a portrait of the regents of the Walloon Orphanage. It is unknown from whom he learned to paint, but in Haarlem he must have at least known the work of Frans Hals, who like him, never traveled to Italy and specialized in portraiture. As the son of an innkeeper with ever-increasing trekschuit patrons, van der Helst would have immediately the importance of this. In any case, he moved to Amsterdam and in 1639 he won his own commission, The company of Captain Roelof Bicker. In Amsterdam he may well have trained with Nicolaes Eliaszoon Pickenoy, in Amsterdam Van der Helst was a contemporary of Rembrandt. Some of Rembrandts pupils, including Ferdinand Bol and Govaert Flinck and his large group portrait, Banquet of the Amsterdam Civic Guard in Celebration of the Peace of Münster, was painted in 1648, and exhibited to popular acclaim. It was this painting that sealed his fame for future generations, according to Arnold Houbraken, although the damage this time was mostly to the varnish layer, some parts of the original paint and cloth were also afflicted as well as the frame. He was the teacher of his son Lodewijk van der Helst who followed his style and he died at Amsterdam in 1670. Along with the portraits for which he is most famous, Van der Helst painted a few historical, biblical and mythological scenes. Today van der Helsts most famous portrait is his portrayal of Gerard Andriesz Bicker, the son of Andries Bicker, the mayor of Amsterdam. This portrait is often used to depict obesity as a symbol of wealth of the Amsterdam merchants of the Dutch Golden Age in Amsterdam and it was probably painted in 1639, the same year as the first schutterstuk where Roelof Bicker is the central figure. At that time Gerard Andriesz Bicker was 17 years old, and held the titles Lord of Engelenburg and it was quite common for artists to win whole family portrait commissions from members of the schutterij after painting group portraits. This is why the competition in schutterstukken became so fierce, led by Rembrandts Nightwatch, paintings Collection of works and literature on Bartholomeus van der Helst Bartholomeus van der Helst
15.
Frans Hals
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Frans Hals the Elder was a Dutch Golden Age portrait painter who lived and worked in Haarlem. He is notable for his loose painterly brushwork, and he helped introduce this style of painting into Dutch art. Hals played an important role in the evolution of 17th-century group portraiture, Hals was born in 1582 or 1583 in Antwerp as the son of cloth merchant Franchois Fransz Hals van Mechelen and his second wife Adriaentje van Geertenryck. Like many, Hals parents fled during the Fall of Antwerp from the Spanish Netherlands to Haarlem, Hals studied under Flemish émigré Karel van Mander, whose Mannerist influence, however, is barely noticeable in Hals work. In 1610, Hals became a member of the Haarlem Guild of Saint Luke and he worked on their large art collection that Karel van Mander had described in his Schilderboeck published in Haarlem in 1604. The most notable of these were the works of Geertgen tot Sint Jans, Jan van Scorel, however, the entire collection of paintings was not formally possessed by the city council until 1625, after the city fathers had decided which paintings were suitable for the city hall. The remaining art that was considered too Roman Catholic was sold to Cornelis Claesz van Wieringen and it was in this cultural context that Hals began his career in portraiture, since the market had disappeared for religious themes. The earliest known example of Hals art is the portrait of Jacobus Zaffius and his breakthrough came with the life-sized group portrait The Banquet of the Officers of the St George Militia Company in 1616. His most noted portrait today is the one of René Descartes which he made in 1649, Frans Hals married his first wife Anneke Harmensdochter around 1610. Frans was of Catholic birth, however, so their marriage was recorded in the city hall, unfortunately, the exact date is unknown because the older marriage records of the Haarlem city hall before 1688 have not been preserved. Bavochurch where both are buried, though Frans took over 40 years to join his first wife there, Anneke died in 1615, shortly after the birth of their third child and, of the three, Harmen survived infancy and one had died before Hals second marriage. As biographer Seymour Slive has pointed out, older stories of Frans Hals abusing his first wife were confused with another Haarlem resident of the same name. Indeed, at the time of charges, the artist had no wife to mistreat. After his first wife died, Hals took on the daughter of a fishmonger to look after his children and, in 1617. They married in Spaarndam, a village outside the banns of Haarlem. Frans Hals was a father, and they went on to have eight children. Contemporaries such as Rembrandt moved their households according to the caprices of their patrons, for this reason, we can be sure that all sitters were either from Haarlem or were visiting Haarlem when they had their portraits made. Hals work was in throughout his life, but he lived so long that he eventually went out of style as a painter
16.
Royal Collection
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The Royal Collection is the art collection of the British Royal Family and the largest private art collection in the world. The Queen owns some objects in the collection in right of the Crown, the Queens Gallery at Buckingham Palace in London was built specially to exhibit pieces from the collection on a rotating basis. There is an art gallery next to the Palace of Holyroodhouse in Edinburgh. The Crown Jewels are on display in the Jewel House at the Tower of London. About 3,000 objects are on loan to museums throughout the world, few items from before King Henry VIII survive. The most important additions to the collection were made by Charles I, a collector of Italian paintings. Many works have been given from the collection to museums, especially by George III and Victoria, in particular, most of the then royal library was given by George III to the British Museum, now the British Library, where many books are still catalogued as Royal. The core of this collection was the purchase by James I of the collections of Humphrey Llwyd, Lord Lumley. Throughout the reign of Elizabeth II, there have been significant additions to the collection through purchases, bequests and through gifts from nation states. Numbering over 7,000 works, spread across the Royal Residences, numbering over 300 items, the Royal Collection holds one of the greatest and most important collections of French furniture ever assembled. The collection is noted for its range as well as counting the greatest cabinet-makers of the Ancien Régime. The Royal Collection is privately owned, although some of the works are displayed in areas of palaces, some of the collection is owned by the monarch personally, and everything else is described as being held in trust by the monarch in right of the Crown. All works of art acquired by monarchs up to the death of Queen Victoria in 1901 are heirlooms which fall into the latter category. Items the British royal family acquired later, including official gifts, ambiguity surrounds the status of objects that have come into Queen Elizabeth IIs possession during her reign. The Royal Collection Trust has confirmed that all pieces left to the Queen by the Queen Mother belong to her personally, non-personal items are said to be inalienable as they can only be willed to the monarchs successor. The legal accuracy of this claim has never been substantiated in court, in a 2000 television interview, the Duke of Edinburgh said that the Queen was technically, perfectly at liberty to sell them. In 1995, Iain Sproat, then Secretary of State for National Heritage, a registered charity, the Royal Collection Trust was set up in 1993 after the Windsor Castle fire with a mandate to conserve the works and enhance the publics appreciation and understanding of art. It employs around 500 staff and is one of the five departments of the Royal Household, buildings do not come under its remit
17.
Currier Museum of Art
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The Currier Museum of Art is an art museum in Manchester, New Hampshire, in the United States. It features European and American paintings, decorative arts, photographs, the permanent collection includes works by Picasso, Matisse, Monet, OKeeffe, Calder, Scheier and Goldsmith, John Singer Sargent, Frank Lloyd Wright, and Andrew Wyeth. Public programs include tours, live music and Family Days which include activities for all ages. The museum, originally known as the Currier Gallery of Art, was founded in 1929 from a bequest of former New Hampshire Governor Moody Currier and his third wife, Curriers will provided for the establishment of an art museum, for the benefit and advancement of humanity. While not an art collector himself, his funding allowed for the purchase of a deal of art. After his third death in 1915, a board of trustees was appointed to carry out the Curriers wishes that a structure be constructed. Multiple architectural proposals were entertained and the project was not awarded until 1926 to the New York firm of Tilton, in October 1929, the art gallery opened its new facility. The first director was Maud Briggs Knowlton, one of the first women to be an administrator in the United States. The building was listed on the National Register of Historic Places in 1979, in 1982, new pavilions, designed by the New York firm Hardy Holzman Pfeiffer, were built to accommodate the museum’s growing collections, programs and staff. The Currier Art Center, home to art activities for all ages, was relocated to the adjacent former Women’s Aid Home in 1998. On June 30,2005, as part of the first phase of major renovations, the house was built in 1867 in the Second Empire style, and was home to several of the citys wealthy industrialists. The museum closed in June 2006 for the duration of the $21.4 million expansion, the construction took 21 months, and the museum reopened to the public as scheduled on March 30,2008. The addition and renovations received a 2008 Design Honor Award from the New Hampshire chapter of the American Institute of Architects, the museum operates tours of the nearby Zimmerman House, a Usonian House designed by Frank Lloyd Wright. It is complete with the furnishings and the owners fine art collection. The Zimmerman House is the only Wright-designed house in New England open for public tours, the Isadore J. and Lucille Zimmerman House was built in 1950. Wright designed the house, the interiors, all the furniture, the gardens, in 1979, the building was listed in the National Register of Historic Places. Dr. and Mrs. Zimmerman left the house to the Currier Museum of Art in 1988. In 1990 it was opened to the public so that visitors could enjoy a private world from the 1950s and 1960s including the Zimmermans unique collection of art, pottery
18.
New Hampshire
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New Hampshire is a state in the New England region of the northeastern United States. It is bordered by Massachusetts to the south, Vermont to the west, Maine and the Atlantic Ocean to the east, New Hampshire is the 5th smallest by land area and the 9th least populous of the 50 United States. Concord is the capital, while Manchester is the largest city in the state and in northern New England, including Vermont. It has no sales tax, nor is personal income taxed at either the state or local level. The New Hampshire primary is the first primary in the U. S. presidential election cycle and its license plates carry the state motto, Live Free or Die. The states nickname, The Granite State, refers to its extensive granite formations, the state was named after the southern English county of Hampshire by Captain John Mason. New Hampshire is part of the New England region and it is bounded by Quebec, Canada, to the north and northwest, Maine and the Atlantic Ocean to the east, Massachusetts to the south, and Vermont to the west. New Hampshires major regions are the Great North Woods, the White Mountains, the Lakes Region, the Seacoast, the Merrimack Valley, the Monadnock Region, and the Dartmouth-Lake Sunapee area. New Hampshire has the shortest ocean coastline of any U. S. coastal state, New Hampshire was home to the rock formation called the Old Man of the Mountain, a face-like profile in Franconia Notch, until the formation disintegrated in May 2003. Major rivers include the 110-mile Merrimack River, which bisects the lower half of the state north–south and ends up in Newburyport and its tributaries include the Contoocook River, Pemigewasset River, and Winnipesaukee River. The 410-mile Connecticut River, which starts at New Hampshires Connecticut Lakes and flows south to Connecticut, only one town – Pittsburg – shares a land border with the state of Vermont. The northwesternmost headwaters of the Connecticut also define the Canada–U. S, the Piscataqua River and its several tributaries form the states only significant ocean port where they flow into the Atlantic at Portsmouth. The Salmon Falls River and the Piscataqua define the southern portion of the border with Maine, the U. S. Supreme Court dismissed the case in 2002, leaving ownership of the island with Maine. New Hampshire still claims sovereignty of the base, however, the largest of New Hampshires lakes is Lake Winnipesaukee, which covers 71 square miles in the east-central part of New Hampshire. Umbagog Lake along the Maine border, approximately 12.3 square miles, is a distant second, Squam Lake is the second largest lake entirely in New Hampshire. New Hampshire has the shortest ocean coastline of any state in the United States, Hampton Beach is a popular local summer destination. It is the state with the highest percentage of area in the country. New Hampshire is in the temperate broadleaf and mixed forests biome, much of the state, in particular the White Mountains, is covered by the conifers and northern hardwoods of the New England-Acadian forests
19.
Schuilkerk
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A clandestine church, defined by historian Benjamin J. Schuilkerken are commonly built inside houses or other buildings, and do not show a public façade to the street. In others, the law permitted public worship by minority faiths, the 1648 Treaty of Osnabruck, part of the Peace of Westphalia, specified three types of worship, domestic devotion, public religious services, and private religious services. It is into this last category that clandestine churches fall and these churches were characterized by group religious services carried out by clergy in their own houses or in other houses designated for the purpose, and not in churches at set hours. Kaplan writes that the pretense of clandestinity enabled Europeans to accommodate dissent without confronting it directly, the entrance must not be on the Jodenbreestraat, but behind on a lesser thoroughfare, the Burgwal. There would be no parking of sleds on the Jodenbreestraat, there was to be no waiting for another person on the street after services. The priest was responsible for seeing that no beggars came to ask the worshipers for alms, services were timed so that there would be no chance of Roman Catholics offending Protestants by meeting them in the streets on their way to Dutch Reformed churches. And, finally, the Catholics must not walk to church in groups, nor carry prayer books, rosaries, Benjamin J. Kaplan regards these requirements as typical of those in effect across Europe wherever clandestine churches were permitted. Although early clandestine churches were makeshift spaces, by the 17th century some, usually Catholic, artists who painted works commissioned by clandestine churches include Gerard van Honthorst, Abraham Bloemaert, Jan Miense Molenaer, Pieter de Grebber, Claes Corneliszoon Moeyaert and Jan de Bray. Emperor Joseph IIs Patent specified that these clandestine churches might not ring a bell or build towers or any public entrance on the street. Viennas Stadttempel, a built in 1825 with an extremely handsome interior, is an excellent surviving example. It is completely concealed in the interior of a block of residential buildings, some are freestanding buildings constructed in rear courtyards. What they share is that they are not readily recognizable as a houses of worship by passersby, such churches were built in large numbers during the time of the Dutch Republic for use by Roman Catholics, Remonstrants, Lutherans and Mennonites. In cities schuilkerken were especially established in houses and warehouses, whereas in the countryside such churches generally had the appearance of a shed and so became known as Schuurkerken. All clandestine churches of necessity lacked exterior markers that would identify them as churches, they had no bells, towers, steeples, crosses, St. Ninians Church, Tynet, Scotland, is a typical, rural clandestine Catholic church. Built in 1755, it resembles a long, low barn and it is a dramatic contrast with its replacement, St. Amsterdams Vrijburg is a typical freestanding, urban clandestine church. It is built at the center of the block, completely surrounded by houses on all four sides, so that it neither fronts on, nor is visible from, any public street. The church Ons Lieve Heer op Solder in Amsterdam, currently a museum, is an example of a house Catholic church. A Jewish house synagogue survives in Traenheim in Alsace and it is an upstairs room in a half-timbered house renovated for use as a place of public worship in 1723 over the vociferous objections of the towns pastor but with the permission of the government
20.
The Walters Art Museum
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The Walters Art Museum, located in Mount Vernon-Belvedere, Baltimore, Maryland, is a public art museum founded and opened in 1934. It holds collections established during the mid-19th Century, located across the back alley, a block south of the Walters mansion on West Monument Street/Mount Vernon Place, on the northwest corner of North Charles Street at West Centre Street. The following year, The Walters reopened its original building after a dramatic three-year physical renovation and replacement of internal utilities. The Archimedes Palimpsest was on loan to the Walters Art Museum from a collector for conservation. This was one of the largest and most comprehensive such releases made by any museum, the Walters collection of ancient art includes examples from Egypt, Nubia, Greece, Rome, Etruria and the Near East. In 1911, Henry Walters purchased almost 100 gold artifacts from the Chiriqui region of western Panama in Central America, the museum owns the oldest surviving Chinese wood-and-lacquer image of the Buddha. It is exhibited in a gallery dedicated solely to this work, the Museum holds one of the largest and finest collections of Thai bronze, scrolls, and banner paintings in the world. Islamic art in all media is represented at the Walters, the Walters Museum owns an array of Islamic manuscripts. Walters Art Museum, MS W.613 contains five Mughal miniatures from a very important Khamsa of Nizami made for the Emperor Akbar, Henry Walters assembled a collection of art produced during the Middle Ages in all the major artistic media of the period. This forms the basis of the Walters medieval collection, for which the Museum is best known internationally. Considered one of the best collections of art in the United States, the Museums holdings include examples of metalwork, sculpture, stained glass, textiles, icons. Sculpted heads from the royal Abbey of St. Denis are rare surviving examples of sculptures that are directly connected with the origins of Gothic art in 12th Century France. An ivory casket covered with scenes of jousting knights is one of about a dozen such objects to survive in the world, many of these works are on display in the Museums galleries. Works in the collection are the subject of active research by the curatorial and conservation departments of the museum. The collection of European Renaissance and Baroque art features holdings of paintings, sculpture, furniture, ceramics, metal work, arms, the museum has one of ten surviving examples of the Sèvres pot-pourri vase in the shape of a ship from the 1750s and 1760s. William and Henry Walters collected works by late 19th Century French academic masters, Henry Walters was particularly interested in the courtly arts of 18th Century France. The museum’s collection of Sèvres porcelain includes a number of pieces that were made for members of the Royal Bourbon Court at Versailles Palace outside of Paris. Portrait miniatures and the examples of works, especially snuffboxes and watches, are displayed in the Treasury, along with some exceptional 19th-
21.
Arnold Houbraken
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Arnold Houbraken was a Dutch painter and writer from Dordrecht, now remembered mainly as a biographer of artists from the Dutch Golden Age. Houbraken was sent first to learn threadtwisting from Johannes de Haan, after two years he then studied art with Willem van Drielenburch, who he was with during the rampjaar, the year 1672. He then studied 9 months with Jacobus Leveck and finally, four years with Samuel van Hoogstraten, in 1685 he married Sara Sasbout, and around 1709 he moved from Dordrecht to Amsterdam. Arnold Houbraken painted mythological and religious paintings, portraits and landscapes and his first attempt at an instructive manual for artists was his Emblem book, Inhoud van t Sieraad der Afbeelding, which was meant as a guide of possible painting themes. His registered pupils were Matthijs Balen, Johan Graham, and his son Jacob and his son Jacobus Houbraken was an engraver of portraits and book illustrations, including books by his father. His daughter Antonina Houbraken also became an engraver for an Amsterdam publisher and his daughter Christina Houbraken was also an artist. Arnold Houbrakens books sold well during the entire 18th century. Jacob Campo Weyerman published his version in serial form that was published as a complete set in 1769. Houbrakens engravings of the artists are in cases the only surviving portraits of these people. The first to make a sequel to Houbrakens work was Johan van Gool in 1750-51. Houbraken was very careful to check and double check his sources, excepting those cases where the artist died quite young, or whose oeuvre was lost during various wars, very few artists were included in the Schouburg who do not hang in international museums today. The first modern art historian to publish an update of his work was Adriaan van der Willigen, since then he has remained a valuable resource for art historians. The Schouburgh is part of the Basic Library of the dbnl which contains the 1000 most important works in Dutch literature from the Middle Ages to today
22.
RKD
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
23.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
24.
Artnet
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Artnet. com is an art market website. The company increased revenues by 24. 3% to 17.3 million EUR in 2015 compared with a year before. The company was founded as Centrox Corporation in 1989 by Pierre Sernet, hans Neuendorf, a German art dealer, began to invest in the company in the 1990s, he became chairman in 1992 and chief executive officer in 1995. In the same year the name was changed to Artnet Worldwide Corporation and it was taken over by Artnet AG in 1998.14 Neuendorfs son Jacob Pabst became chief executive officer in July 2012. Artnet operates a research and trading platform for the art market, including works of fine art, decorative arts. It provides services that promote accessibility, allowing users to art, contact galleries directly. The platform caters specifically to art dealers, as well as buyers, in 2008, Artnet launched the first online auctions platform exclusively for works of art. In 2015, artnet saw a 120% increase in new registrations, rising sell-through rates, in October 2008, Artnet launched a French website, artnet. fr. It also included a French language magazine which offers an overview of the French art market. In February 2014 the company launched Artnet News, a 24-hour news site, benjamin Genocchio, former editorial director of Louise Blouin Media, was appointed editor-in-chief. It has become the most read and influential art news platform in the world, the primary service of this business is Artnet online auctions. Market value and long-term price developments of artworks can be researched online, an additional key product is the Artnet online Gallery Network, an online platform that connects galleries and collectors from around the world. Collectors are able to search by artist, movement and medium, in 2004, Artnet and the international auction house Sothebys began their collaboration. The close collaboration between Artnet and Art Basel/ Art Basel Miami Beach started in 2007, Artnet also partners with a large number of the worlds leading art fairs
25.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
26.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
27.
Biografisch Portaal
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The Biografisch Portaal is an initiative based at the Huygens Institute for Dutch History in The Hague, with the aim of making biographical texts of the Netherlands more accessible. As of 2011, only information about deceased people is included. The system used is based on the standards of the Text Encoding Initiative, access to the Biografisch Portaal is available free through a web-based interface. The project is an undertaking by ten scientific and cultural bodies in the Netherlands with the Huygens Institute as main contact. In February 2012, a new project was started called BiographyNed to build a tool for use with the Biografisch Portaal that will link biographies to events in time. The main goal of the project is to formulate ‘the boundaries of the Netherlands’. List of Dutch people Official website
28.
Union List of Artist Names
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The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
29.
Netherlands Institute for Art History
–
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
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