Portaels, Vilvoordenaar en wereldburger

Journal of folklore research, 2002

De historicus Peter Robert Lamont Brown (1935) groeide op in Ierland en studeerde middeleeuwse geschiedenis in Oxford, alwaar hij onder toezicht van de oudhistoricus Arnoldo Momigliano promoveerde. Reeds 16 jaar is Brown hoogleraar in de Verenigde Staten, aanvankelijk in Berkeley en sinds 1986 aan Princeton University. Zijn werkterrein is de late Oudheid, ruwweg de periode van de derde tot de zevende eeuw, waarin de pagane Romeinse wereld geleidelijk werd omgevormd tot een christelijke wereld. Op 30 september 1994 reikte de Koninklijke Akademie van Wetenschappen hem de Amsterdamse prijs voor Historische Wetenschap (de Heineken-prijs) uit, vanwege het uitzonderlijk belang van zijn oeuvre voor de kennis van en het inzicht in de Europese geschiedenis.

This peer-reviewed article studies the manner in which Spanish theatre plays in their Dutch translation were sold in Amsterdam between 1617 and 1672, with an emphasis in Lope de Vega’s works. His remarkable popularity is analysed in quantitative and qualitative terms; that is, employing numeric data concerning how many of the translated plays were his, while also paying attention to how often his name was mentioned and in which fashion. This method has proved insightful when studying images of «the other», for the manner of selling these translations as «Spanish» or «Dutch» reflects the reigning tastes, interests and debates in society.

Analecta Bollandiana, 138, p. 148-150, 2020

EEN VERLOREN PANORAMA VAN CONSTANTINOPEL IN HET HUIS TE HEEMSTEDE VAN ADRIAAN PAUW, 2020

Het is in 2020 vierhonderd jaar geleden dat Adriaan Pauw (1585-1653) zich vestigde in Heemstede. Reden voor tal van feestelijkheden in Heemstede en het verschijnen van het boek ’Een verloren panorama in het Huis te Heemstede van Adriaan Pauw’. Het boek is samengesteld door Hans Krol en Mehmet Tütüncü. Het gaat over de geschiedenis van een verloren schilderij. Adriaan Pauw (1585-1653) was raadspensionaris en is belangrijk geweest voor Heemstede. In 1620 kocht hij de heerlijkheid Heemstede en mocht zich daarna Heer van Heemstede noemen Upon his arrival in Istanbul in 1612 Cornelis Haga, the first appointed ambassador of the Netherlands to the Ottoman Empire, received a warm welcome. The treaty which was signed in the same year set out the trade and diplomatic relations between the Ottoman Empire and the Republic of Seven Provinces of the Netherlands. In those years, while the Netherlands were striving for independence from the Spanish Empire of the Habsburgs known as the 80 Years’ War, they gained the support of the Ottoman Empire and thus the foundation of strong relations was laid, which lasted for centuries. Cornelis Haga, who settled in Istanbul, corresponded with the Netherlands and constantly informed his country about the Ottoman Empire. Dutch government officials who were curious about the appearance of the city requested a great panorama painting of Istanbul. Haga sent a huge painting to the Netherlands which was painted by a well-known artist. A letter which was written by Haga was sent on 1st of October 1616. with the painting. He wrote “ With the ship called White Arend which goes to Amsterdam, I am sending you the completely accurate paint of Istanbul which is painted under my patronage. When the painting arrived, it was to be delivered by my brother Johan Haga.” We do not have information about the painting and its dimensions. The only thing that we know is that the painting was hanging on the wall of the Constantinople room of the Castle Hemstede. It was built in 1620 by Adrian Pauw, the general secretary of the Dutch National Council (Raadpensionaris) in the village of Heemstede, which is located 50 km from the capital city of the Hague, the administrative centre of the Netherlands. Some of the writings on the rooms of this castle, which was destroyed due to neglect in 1810, were kept in the archives. It is stated that the painting was sent by Cornelis Haga. A copy of this very curious painting, which has not survived, can be found in the Swedish National Library today. In this book you will find the story of the making, disappearance of this painting and a comparative analysis of Istanbul paintings.

2015

2015

During the last decade, research on Renaissance art and architecture in the northern Netherlands has tried to overcome persistent late nineteenth-century concepts connected to the nation-state, and started to adopt more dynamic ideas of culture and the arts in the period between 1450 and 1620. Especially the geographical divide between Flanders and the Northern Netherlands is increasingly contested, and more attention is being paid to the exchange between the Netherlands and Italy. This more international outlook has resulted in publications on artists such as Adriaen de Vries and Abraham Bloemaert, and architects such as De Keyser. Still, this field is overshadowed by the public attention paid to the Dutch Golden Age, and its essentialist interpretation continues to have an impact on the way the preceding period is studied. As a result, there still exists a rather fragmented idea of what ‘Renaissance’ means with respect to the arts in the Netherlands.