De puzzel van M.C. Escher: De ontwerpprincipes van het Alhambra en de ordeningsprincipes van de kristallografie in de kunstwerken met regelmatige vlakverdeling en de eigen lekentheorie van Maurits...Show moreDe puzzel van M.C. Escher: De ontwerpprincipes van het Alhambra en de ordeningsprincipes van de kristallografie in de kunstwerken met regelmatige vlakverdeling en de eigen lekentheorie van Maurits Cornelis Escher (1898-1972). M.C. Escher werd bij het maken van zijn kunstwerken met regelmatige vlakverdeling geïnspireerd door de decoratie in het Alhambra en door de ordeningsprincipes van de kristallografie. Er is onderzocht welke ontwerpprincipes en welke ordeningsprincipes Escher gebruikte in zijn eigen opgestelde lekentheorie en zijn kunstwerken met regelmatige vlakverdeling.Show less
Onderzoek naar hoe de politieke aspiraties van de Friese Nassaus tot uitdrukking werden gebracht in hun bouwkunst. Hierbij staat Het Stadhouderlijk Hof te Leeuwarden centraal in de periode van 1564...Show moreOnderzoek naar hoe de politieke aspiraties van de Friese Nassaus tot uitdrukking werden gebracht in hun bouwkunst. Hierbij staat Het Stadhouderlijk Hof te Leeuwarden centraal in de periode van 1564 tot 1747, de periode waarin het Hof dienst doet als voornaamste residentie van de Nassaus.Show less
In dit onderzoek wordt er gekeken naar de mogelijke oorzaken van het ontstaan van nieuwe vormen van architectuur in de ex-sovjetstaten Oekraïne en Roemenië. Waar in Oekraïne de zoektocht naar een...Show moreIn dit onderzoek wordt er gekeken naar de mogelijke oorzaken van het ontstaan van nieuwe vormen van architectuur in de ex-sovjetstaten Oekraïne en Roemenië. Waar in Oekraïne de zoektocht naar een verloren nationale identiteit centraal staat, zien we in Roemenië dat risicovolle projecten van durfkapitaalinvesteerders het nieuwe stadsgezicht vormen.Show less
Bosch’ sociale kring werkte in op zijn geest en bepaalde zijn intellectuele outillage. Hij was een humanist en visionair die bekend was met de hogere vormen van alchemie. Wanneer wij de...Show moreBosch’ sociale kring werkte in op zijn geest en bepaalde zijn intellectuele outillage. Hij was een humanist en visionair die bekend was met de hogere vormen van alchemie. Wanneer wij de conventionele en onconventionele literatuur ontdoen van hun scherpe kanten, zijn zij volledig verenigbaar. De Tuin heeft meerdere betekenislagen. Aan het oppervlak is het werk didactisch van aard, terwijl de diepere lading esoterische elementen bevat. Geenszins radicaal, maar alleszins subtiel. Aan beide betekenislagen ligt de erotiek ten grondslag. In het eerste geval luxuria, in het tweede de coniunctio oppositorum. Wellicht, in het licht van de didactiek, is de alchemist vermogend het pad naar de Boom des levens te hervinden, en de vrede in het paradijs te herstellen.Show less
Johan Barthold Jongkind (1819-1891) was born and educated in The Netherlands but moved to France for his artistic career. For a long time, he has been neglected in art history, but recently he has...Show moreJohan Barthold Jongkind (1819-1891) was born and educated in The Netherlands but moved to France for his artistic career. For a long time, he has been neglected in art history, but recently he has received more attention. Dutch authors tend to portray him as a Dutch artist, whereas French authors emphasize his choice for France and the friends and influence he had there. This thesis investigates the claims made to Jongkinds national identity and the way he reflected himself in his writings and paintings.Show less
In the 17th century, Sweden and the Dutch Republic maintained a strong trade alliance, which was partly due to the activities of Dutch entrepreneur Louis de Geer (1587-1652). De Geer had earned a...Show moreIn the 17th century, Sweden and the Dutch Republic maintained a strong trade alliance, which was partly due to the activities of Dutch entrepreneur Louis de Geer (1587-1652). De Geer had earned a fortune from the Thirty Years’ War (1618-1648) by manufacturing cannons at an unprecedented scale for King Gustav II Adolf of Sweden (1594-1632). Furthermore, Gustav’s daughter, Queen Christina Maria Alexandra (1626-1689), maintained a good relationship with De Geer. Christina was ambitious at an early age and acquired an extensive collection of books, manuscripts, objects and works of art. In order to reach this goal, Christina engaged various Dutch painters, scientists and agents, who were often art dealers with a large network. Michel Le Blon suggested the young and talented David Beck (1621-1656), who was a student of the well-known Anthony van Dyck (15991641). From 1647 until Beck’s death in 1656, Queen Christina of Sweden engaged the Dutch portrait painter. During this period, Beck painted portraits of various Swedish diplomats such as Chancellor Axel Oxenstierna (1583-1654) and portraits of Christina herself. As a political strategy, Christina assigned Beck to distribute and donate a specific portrait of herself to European sovereigns. Theretofore, Beck travelled throughout Europe and visited Gutter, Amsterdam, Rome and Paris. The activities of Beck give the impression that he was involved in diplomatic strategies, and if so, could one say that the portrait painter was an agent? For example, what messages are embodied in the portraits that Beck painted of Christina? Is it to say that his paintings were used as a diplomatic weapon? Was Beck himself a diplomatic asset, and were Beck’s artistic activities closely connected to the task to propagate the image of Christina of Sweden? Is it trustworthy to say that he adapted well to the diplomatic world since many sovereigns loved his courtesy and attitudeShow less
A research on the relation between Finnish architect Alvar Aalto and the Dutch architects of the Nieuwe Bouwen movement. Focus on the influence of the Finnish architect on the Dutch architects.
Little was known about the life of the painter, miniaturist and wax modeler Jacob van Dort (ca. 1575-1629). New archival research that has been carried out for this thesis sheds new light on his...Show moreLittle was known about the life of the painter, miniaturist and wax modeler Jacob van Dort (ca. 1575-1629). New archival research that has been carried out for this thesis sheds new light on his life and family.Show less
Tiny Houses en Microwoningen lijken erg veel op elkaar. Toch zijn er duidelijke verschillen te herkennen. Dit onderzoek definieert de twee stromingen en brengt de verschillen en overeenkomsten...Show moreTiny Houses en Microwoningen lijken erg veel op elkaar. Toch zijn er duidelijke verschillen te herkennen. Dit onderzoek definieert de twee stromingen en brengt de verschillen en overeenkomsten duidelijk in kaart.Show less
Nicolaus Cruquius' (1678-1754) first use of an abstract line graph should not be regarded as an isolated occurrence, but should be considered in the context of contemporary developments and...Show moreNicolaus Cruquius' (1678-1754) first use of an abstract line graph should not be regarded as an isolated occurrence, but should be considered in the context of contemporary developments and occupations and disciplines that Cruquius was affiliated with. Acknowledging the influence of non-human actors, in line with actor-network theory, appears to be crucial for creating an in depth understanding. Willem Jacob 's Gravesande's (1688-1742) simultaneous arrival with Cruquius at Leiden University and his propagation of Newtonian ideas by means of demonstrative experiments, spurred Cruquius to relate shape to measurement. Besides, 's Gravesande might be assumed to have taught Cruquius about recent developments in the area of Newtonian mathematics. Education on Newton’s differential methods exposed Cruquius to images strongly resembling line graphs in their appearance as well as their meaning. His father's, and later his own, occupation as examiner of navigators of the EIC, made him aware of the pragmatic need for continuity in data as well as for attractive and easily understandable ways of presenting this data. Moreover, it emphasized the importance of synthesizing different strands of information. Both practices of navigation and water management called for mapping the motions of celestial bodies. The assumed continuous movements of these bodies resulted in Cruquius naturally connecting his measured points. Moreover, the necessary translation from a movement on the apparent inside of a sphere to a two-dimensional plane caused a certain level of abstraction. Cruquius' intellectual contact with Luigi Ferdinando Marsigli (1658-1730), and his introduction to the idea of an isobath, further prompted him to think of connecting measurements. In general, being a cartographer made him familiar with estimating and filling in gaps. More specifically, being a cartographer occupied with mapping water levels caused Cruquius to get used to visualizing that what is not directly visibly but is assumed to be continuous. The resulting profiles might well be considered a gateway to his abstract line graph.Show less
