The back room of 524 Herengracht in Amsterdam houses a painted ensemble of Arcadian landscapes, made in 1771 by the Amsterdam wall hanging painter Jurriaan Andriessen (1742-1819). Technical research has shown that a complex creative process underlies this ensemble, in which major changes were made at various times. It demonstrates the painter’s quest for a balanced composition. An essential element in the painted wall hangings of Andriessen, who is known to have arranged his compositions in such a way as to guide the viewer’s gaze and movement through the room. The research also showed various techniques Andriessen used in the production of his paintings. For instance, he used a special measuring system and squaring grids to transfer the compositions from small sketch to large format canvas (one square in the sketches corresponding to one square foot in the canvases). It also appears that the painter arranged his compositions in such a way that the canvases could be easily adjusted for size in the event that the opening in the panelling was a little larger or smaller than envisaged. It could also be shown that Andriessen painted some elements in the room itself. As was customary at the time, Andriessen allied the shadows in his wall hangings to the fall of the natural light in the room. Remarkably, the painter hereby adjusted the light-dark contrasts to the position of the paintings in the room. In the hangings next to the windows, for example, the contrasts are greatly increased, with which the painter anticipated the bright backlighting that affected one’s view of these paintings. This attests to its strong connection to the room. A connection that has been preserved thanks to the efforts that the Van den Santheuvel, Sobbe Foundation, and the Rijksmuseum took at the time to maintain the interior in situ.
阿姆斯特丹海伦格拉特大街 524 号的密室里有一幅阿卡迪亚风景画，是阿姆斯特丹壁挂画家尤里安-安德里森（Jurriaan Andriessen，1742-1819 年）于 1771 年创作的。技术研究表明，这幅画的创作过程十分复杂，在不同时期都有重大改动。它展示了画家对平衡构图的追求。众所周知，安德烈森在安排构图时会引导观众的视线和在房间中的移动，这也是他的壁挂彩绘作品中的一个基本要素。研究还显示了安德烈森在绘画过程中使用的各种技术。例如，他使用一种特殊的测量系统和方格网将构图从小草图转移到大幅画布上（草图上的一个方格相当于画布上的一平方英尺）。此外，画家在安排构图时还考虑到，如果镶板的开口比预想的稍大或稍小，画布的尺寸也很容易调整。此外，还可以证明安德烈森在房间里画了一些元素。按照当时的习惯，安德里森将壁挂上的阴影与房间内自然光的落差结合起来。值得一提的是，画家还根据画作在房间中的位置调整了明暗对比。例如，在窗户旁边的挂画中，对比度大大增加，画家预料到明亮的背光会影响人们观看这些画作。这证明了画作与房间的紧密联系。由于 Van den Santheuvel、Sobbe 基金会和 Rijksmuseum 当时为保持室内原貌所做的努力，这种联系得以保留下来。
{"title":"A Unique Painting Ensemble Explored","authors":"Ige Verslype","doi":"10.52476/trb.18496","DOIUrl":"https://doi.org/10.52476/trb.18496","url":null,"abstract":"The back room of 524 Herengracht in Amsterdam houses a painted ensemble of Arcadian landscapes, made in 1771 by the Amsterdam wall hanging painter Jurriaan Andriessen (1742-1819). Technical research has shown that a complex creative process underlies this ensemble, in which major changes were made at various times. It demonstrates the painter’s quest for a balanced composition. An essential element in the painted wall hangings of Andriessen, who is known to have arranged his compositions in such a way as to guide the viewer’s gaze and movement through the room. The research also showed various techniques Andriessen used in the production of his paintings. For instance, he used a special measuring system and squaring grids to transfer the compositions from small sketch to large format canvas (one square in the sketches corresponding to one square foot in the canvases). It also appears that the painter arranged his compositions in such a way that the canvases could be easily adjusted for size in the event that the opening in the panelling was a little larger or smaller than envisaged. It could also be shown that Andriessen painted some elements in the room itself. As was customary at the time, Andriessen allied the shadows in his wall hangings to the fall of the natural light in the room. Remarkably, the painter hereby adjusted the light-dark contrasts to the position of the paintings in the room. In the hangings next to the windows, for example, the contrasts are greatly increased, with which the painter anticipated the bright backlighting that affected one’s view of these paintings. This attests to its strong connection to the room. A connection that has been preserved thanks to the efforts that the Van den Santheuvel, Sobbe Foundation, and the Rijksmuseum took at the time to maintain the interior in situ.","PeriodicalId":507028,"journal":{"name":"The Rijksmuseum Bulletin","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139173033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The ‘Van Lynden Collection’ comprises forty-four paintings that were hung in the Lyndenstein country house in Beetsterzwaag by Baron van Lynden (1827-1896) and his mother Cornelia van Borcharen (1789-1864), and forty-six paintings purchased from 1860 onwards, when the baron married Maria Catharina, Baroness van Pallandt (1834-1905), for their residence in The Hague. The baroness’s involvement is not mentioned in archival documents because of women’s legal incapacity at the time. The article corrects this by referring to the Van Lynden-Van Pallandt Collection and discussing the history of all the works. Lyndenstein was home to an almost encyclopaedic selection of finely painted works by Dutch Romantic artists to which Van Lynden, when a young man, added paintings from exhibitions of Living Artists that mostly had already received awards. Louwrens Hanedoes, himself a painter and a relative, might have mediated and represented the baron in purchasing. In their Hague residence, Van Lynden and Van Pallandt hung modern French works painted in a loose or even sketchy manner. These were acquired during visits they made together to sales and galleries in Paris and through their commercial relationship with Goupil & Cie (from 1884 Boussod, Valadon & Cie) and the firm of Wisselingh & Co, both with branches in the Netherlands. The collection from Lyndenstein arrived in the Rijksmuseum in 1899; in 1900 it was followed by the Hague collection, which had also been bequeathed but was then donated by Baroness van Pallandt during her lifetime. It was not possible to keep the Van Lynden-Van Pallandt Collection together because of the rapid expansion of the collection of late nineteenth-century paintings, the changing appreciation of modern art and the nationalist preference for Dutch art in general and the Hague School in particular, and long-term loans to other institutions. A number of the French masterpieces were not hung permanently until after the Rijksmuseum had been renovated (2013).
{"title":"A Curious Case of Neglect","authors":"Jenny Reynaerts","doi":"10.52476/trb.18495","DOIUrl":"https://doi.org/10.52476/trb.18495","url":null,"abstract":"The ‘Van Lynden Collection’ comprises forty-four paintings that were hung in the Lyndenstein country house in Beetsterzwaag by Baron van Lynden (1827-1896) and his mother Cornelia van Borcharen (1789-1864), and forty-six paintings purchased from 1860 onwards, when the baron married Maria Catharina, Baroness van Pallandt (1834-1905), for their residence in The Hague. The baroness’s involvement is not mentioned in archival documents because of women’s legal incapacity at the time. The article corrects this by referring to the Van Lynden-Van Pallandt Collection and discussing the history of all the works. Lyndenstein was home to an almost encyclopaedic selection of finely painted works by Dutch Romantic artists to which Van Lynden, when a young man, added paintings from exhibitions of Living Artists that mostly had already received awards. Louwrens Hanedoes, himself a painter and a relative, might have mediated and represented the baron in purchasing. In their Hague residence, Van Lynden and Van Pallandt hung modern French works painted in a loose or even sketchy manner. These were acquired during visits they made together to sales and galleries in Paris and through their commercial relationship with Goupil & Cie (from 1884 Boussod, Valadon & Cie) and the firm of Wisselingh & Co, both with branches in the Netherlands. The collection from Lyndenstein arrived in the Rijksmuseum in 1899; in 1900 it was followed by the Hague collection, which had also been bequeathed but was then donated by Baroness van Pallandt during her lifetime. It was not possible to keep the Van Lynden-Van Pallandt Collection together because of the rapid expansion of the collection of late nineteenth-century paintings, the changing appreciation of modern art and the nationalist preference for Dutch art in general and the Hague School in particular, and long-term loans to other institutions. A number of the French masterpieces were not hung permanently until after the Rijksmuseum had been renovated (2013).","PeriodicalId":507028,"journal":{"name":"The Rijksmuseum Bulletin","volume":"72 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139173753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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