Projects

Art DATIS: Integration and improvement of sources on glass for a Sustainable future

The project focuses on the questions of how historical sources were used to innovate glass production and education in the twentieth century, and how we can efficiently link the enormous amount of newly digitized art technical sources on artistic glass production, such as object documentation, technical texts, images, and research data. The project will digitize unique materials from the archives of glass artist Sybren Valkema (1916-1996), managed by Stichting Vrij Glas, and integrate and enrich them with existing databases containing different kinds of data on the history of artistic glass production. The project is designed to link with the RKD Explore and ARTECHNE databases.

  • Project leader: Prof. Sven Dupré
  • Participants: Dr Marieke Hendriksen, Dr Evangelos Kanoulas (UvA)
  • Partners: RKD Netherlands Institute for Art History, Stichting Vrij Glas, Picturae, Corning Museum of Glass, Glasmuseum Hentrich/Museum Kunstpalast Düsseldorf
  • Funding: NWO Smart Culture - Big Data / Digital Humanities
  • Duration: 2018 – 2022
NICAS: Gilt leather artefacts

This project aims to understand the complex characteristics of gilt leather, its material dynamics and interactions with past and present conservation materials. It will do so by using advanced non-destructive testing instrumentation, something that has been done very rarely for this type of material. The results of the project will be used to develop new strategies for the conservation of gilt leather.

  • Principal investigator: Dr.R.M. Groves (Delft University of Technology)
  • Participants: Co-Principal Investigators: Drs. R. Hoppenbrouwers (Stichting Restauratie Atelier Limburg), Dr. E.F. Koldeweij (Cultural Heritage Agency of the Netherlands)
  • Partners: Cultural Heritage Agency of the Netherlands, Delft University of Technology, Fries Museum, Jewish Historical Museum Amsterdam, Limburgs Museum, Princessehof National Museum of Ceramics, University of Amsterdam, Stichting Restauratie Atelier Limburg
Confronting National and UNESCO Regulations: Theories and Policies of Conservation of Monuments in Europe and China

This research will focus on the differences in policies for monument conservation in China and Europe, with a particular focus on world heritage. It will question the implementation of UNESCO regulation and enforcement in China and Europe with the Low Countries in particular. The project will specifically consider buffer zones of urban ensembles (e.g. the Amsterdam 17th century canals and Suzhou classical gardens) where national and UNESCO regulation collide.

Entangled Cultural Histories. Encounters between China and Europe

Cultural encounters between China and Europe are increasingly frequent. With intensifying trade relations, business cooperation, and tourism come meetings of different kinds. Yet preconceptions, stereotypes, and misunderstandings often distort the European perspective. This is not a new dynamic. It is rooted in the first period of intensive contacts, when European trading companies, missionaries, and travellers established contacts with Chinese merchants, scholars, and officials. This seminar, which brings together Chinese and Dutch historians, explores to what extent the approach of cultural history is relevant to the study of encounters between Chinese and Europeans during the late Ming and Qing dynasties. Interdisciplinary and comparative in scope, it addresses visual, literary, and scholarly representations of East and West against the background of actual encounters. Understanding the development of mutual images which developed synchronously in China and Europe enlightens intercultural relations that continue to be relevant in a globalized world.

  • Project leader: Prof. Thijs Weststeijn
  • Participant: Prof. Dong Shaoxin
  • Funding: NWO JSTP Dialogue Seminar
  • Partners: National Institute for Advanced Humanistic Studies, Fudan University; University of Amsterdam
  • Duration: 2016 - 2017
Recipes and realities: An analysis of texture rendering in still-life painting

Painters in the Dutch Golden Age were masters in the rendering of materials and their various surface effects, a know-how that was pivotal for the art of still life painting in particular. In the 17th century, a treatise on the medium of oil paint was written by Willem Beurs that contains numerous specific recipes for the pictorial construction of objects with different surface textures. This project will study and test such recipes to gain a better understanding of how painters achieved their effects, and how they created patterns that somehow resonate with the patterns the human visual system uses to recognize, discriminate or perceive.

The project will combine philological and technical/material research on the recipes in the treatise of Beurs and related recipes with scientific research that is concerned with the way pictorial stimuli may trigger particular perceptual experiences in human observers. By doing so, the project intends to draw a link between the recipes in the treatise of Beurs and the physiochemical and optical state of paintings created from these recipes as measured by a variety of modern scientific imaging techniques. In this way, it hopes to shed light on a ‘mystery of mastery’ encountered in Dutch Golden Age still lifes.

  • Project Leader: Prof. Jeroen Stumpel
  • Partner organisations: Rijksmuseum Amsterdam, Mauritshuis The Hague, Delft University of Technology, University of Amsterdam, University of Groningen
  • Funding: NWO / Netherlands Institute for Conservation, Art and Science
  • Duration: 2016 - 2021
Art and Deception: functions, techniques and effects of material mimesis

This project investigates a type of mimesis where one material imitates the visual properties of another material in the pre-industrial history of art and science: material mimesis. Imitation materials surround us in our everyday life: from laminate floors that resemble wood to e-books that allow flipping their pages in imitation of paper.

One might think therefore that material mimesis is typical for our modern age, the practice is ancient however, and can be observed in artworks from some of the earliest known civilisations. Ancient potters and glassmakers invented complex ceramic glazes to give glass and clay the appearance of metalwork and discovered a type of transparent glass that could imitate crystal. Medieval painters applied brilliant, translucent paint on reflective metal leaf to imitate precious stones, stained glass windows and lustrous enamel.

As material mimesis does not constitute a homogeneous phenomenon, nor is it limited to European visual traditions, specific art forms, or a particular period, the project studies the diverse roles the phenomenon has played in pre-industrial Western art and science. This focus on a continuous period in craft history, before the industrial revolution changed the world of the artisan, allows for a comparative study of the crafts relevant to material mimesis.

The study of such a diverse phenomenon, while rooted in art history, demands interactions with historical studies of craft, technology, science, social studies and the making of historical reconstructions.

  • Projectleader: Dr Marjolijn Bol
  • Funding: NWO Veni
  • Duration: 2015 - 2018
Technique in the Arts: Concepts, Practices, Expertise (ARTECHNE)

The transmission of ‘technique’ in art has been a conspicuous ‘black box’ resisting analysis. Only in the most recent years, the history of science and technology has turned to how-to instructions as given in recipes. The project ARTECHNE proposes to undertake the experimental reconstruction of historical recipes to finally open the black box of the transmission of technique in the visual and decorative arts. Considering ‘technique’ as a textual, material and social practice, this project will write a long-term history of the theory and practice of the study of ‘technique’ in the visual and decorative arts between 1500 and 1950.

The three central research questions here are: (1) what is technique in the visual and decorative arts, (2) how is technique transmitted and studied, and (3) who is considered expert in technique, and why? This project integrates methodologies typical for the humanities and historical disciplines with laboratory work, and lays the historical foundations of the epistemologies of conservation, restoration and technical art history.

  • Project Leader: Prof. Sven Dupré
  • Funding: European Research Council (ERC) Consolidator Grant
  • Duration: September 2015 to August 2020
The Chinese Impact: Images and Ideas of China in the Dutch Golden Age

The project The Chinese Impact examines images of China in the Low Countries in the seventeenth century. An interdisciplinary group of art historians, historians, and sinologists explores how early cultural contacts gave rise to images that developed into stereotypes, some of which remain relevant to the present day. The European perspective is complemented with an Asian one: How did the Chinese see the Dutch?

The project pioneers the comprehensive study of China’s impact on low and high culture in the Netherlands, from the Chinese ceramics in Rembrandt’s studio to the popular comparison of Spinoza to Confucius. It establishes how the self-image of the fledgling Dutch Republic was honed in the Chinese mirror, from Delftware imitations of porcelain to ideals of religious toleration and republicanism. Historians have neglected the 17th-century Low Countries because they failed to analyze art and ideas in an integrated manner. Only interdisciplinary study does justice to the mutually dependent images by craftsmen and scholars from the Netherlands which were widely influential.

Architects and Bureaucrats: the Court and the Origins of Architectural Planning in Northern Europe (1370-1540)

Contrary to the general belief that the origins of ‘modern’ architectural planning go back to Renaissance architectural theory, this project will attempt to demonstrate that the modernisation of planning, which means working out complete building plans prior to construction, was closely related to the administrative reforms of central government in the Late Middle Ages. The centralisation of administration by the Northern European courts had a major impact on the production of architecture a century before architectural treatises were introduced in the North.

The hypothesis underpinning the project is that new bureaucratic procedures necessitated the recording of decisions and agreements that were previously left implicit.The new building administration led to a standardisation of accounts and construction documents, and encouraged the rationalisation of architectural planning. It gave rise to a better documentation of the design and the construction process, which led to the development of modern conventions in recording architecture in drawings and textual documents.

  • Project Leader: Dr Merlijn Hurx
  • Funding: NWO (Veni)
  • Duration: 2014 - 2016
The Quest for an Appropriate Past. Literature, Architecture and the Creation of National Identities in Early Modern Europe (c.1400–1700)

In current mainstream interpretations of ‘Renaissance’ art as a ‘Rebirth of Antiquity’, antiquity has misleadingly acquired a standard definition based on the international canon. In this perspective, there seems to be only one ideal Antiquity and only one proper embodiment of Antiquity Reborn: the reception of Rome’s antiquities in 15th- and 16th-century Florence and Rome. Thus, the bias toward a ‘proper’ antiquity has created the idea of a ‘proper’ Renaissance.

Consequently, most Antiquity-inspired architecture, art and literature in Northern Europe – as well as in Spain, France and the Italian periphery from Lombardy to Sicily – have been analysed and interpreted with Central Italian solutions as a single point of reference, and have not infrequently been seen as ‘provincial’, ‘hybrid’ or ‘still a little bit medieval’. As a result, the specific meaning of conscious references to local history also remained obscure.

Instead of addressing incorrect or vernacular transformations of the Roman ideal, however, this project will try to find a more positive explanation for those examples of the Antique that do not resemble the ‘standard’. Therefore, we must ask by what means – i.e. through which other models or interpretations of antiquities – artists and patrons created their reconstruction of Antiquity.

  • Project Leaders: Prof. Koen Ottenheym, Prof. Karl A.E. Enenkel (Westfälische Wilhelms-Universität Münster)
  • Funding: KNAW (Over grenzen)
  • Duration: 2014 - 2016
A survey of Dutch painting in 150 and more examples

In this book, the history of Dutch painting from 1450 to the present day will be told by discussing individual pictures from Dutch public art collections. It is first being published online, and as a try-out the introduction and the part on still-life painting is already available. The 21 short essays in this section take the reader from a 15th-century anonymous panel in Museum Boijmans Van Beuningen to a video by Ger van Elk from the collection of the Stedelijk Museum, but while providing a survey of sorts, they can also be browsed in at random - very much the way one would look around when visiting a museum.

Apart from using the website of Vereniging Rembrandt, you can also log in when encountering one of the paintings discussed in the original.

  • Project Leader: Prof. Peter Hecht
  • Funding: Vereniging Rembrandt, K.F. Heinfonds
  • Duration: ready in 2019
Medieval Memoria Online (MeMO)

MeMO aims to help scholars in carrying out research into the commemoration of the dead during the period up to the Reformation (c. 1580) in the area that is the present-day country of the Netherlands. See memo.hum.uu.nl.

  • Project Leader: Dr Truus van Bueren
  • Participant: Dr Martine Meuwese
  • Funding: NWO, Stichting Professor Van Winter Fonds, K.F. Hein Fonds
  • Duration: 2009 -
Repertory of Dutch and Flemish Paintings in Italian Public Collections

The main goal of this project is the academic analysis and accessibility of the more than 10,000 Dutch and Flemish paintings in the Italian public domain at a regional level. As a result, this largely unknown but fundamental part of the Dutch and Belgian cultural heritage, which was exported to Italy or produced there, will become more accessible and recorded in text and image.

Thanks to the centuries-old commercial and artistic relations between the two traditionally most important areas of art production in northern and southern Europe, Italy can boast a unique art heritage in this area, dating from the 15th to the 20th centuries. A lot of the paintings are unknown or have been kept under a wrong artist’s name in museum repositories, as a result of which the paintings have rarely been studied. The works of art in question fall under the jurisdiction of the Italian state, the church, Italian municipal, regional or other local authorities and can also be found, in addition to museums, in churches, monasteries, town halls and villas.

Part I on the Liguria region, containing 441 paintings, was published in 1998. Part II, covering 909 paintings in Lombardy, was published in two separate volumes in 2001-2002. Part III about Piemonte covers 1063 paintings and has been published in two separate volumes in 2012. Parts IV (Veneto), V (Emila Romagna & Tuscany) and VI (Lazio) are in preparation.

  • Project Leader: Prof. Michael Kwakkelstein
  • Funding: Friends Foundation of the Dutch University Institute for Art History in Florence (NIKI)
  • Duration: 1998-
The Impact of Oil

In this project we write an integrated history of the introduction, dissemination and development of the use of oil media in panel painting from 1350 to 1550. Even though the importance of the introduction of oil for the art of painting can hardly been overrated, such a history has never been the subject of a monograph.

Three types of source are available for the writing of this history: 1) written sources relating to both the production and the reception of oil painting. 2) iconographical sources, comprising images of painters and workshops (which may present visual evidence concerning implements and workshop practice), and specific motifs. 3) quite important are the material sources: the works of art themselves, and their physical and technical properties.

Each type of source will be dealt with separately, and the results will be integrated in the planned monograph.

  • Project Leader: Prof. Jeroen Stumpel
  • Participants: Dr Ann-Sophie Lehmann, Dr Marjolijn Bol
  • Funding: NWO
  • Duration: 2007 - 2013