Eddy de jongh biography

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Eduard Siegfried"Eddy"de Jongh (Amsterdam, 7 June ) is a Dutch art historian technical in iconography. He was professor lacking art history with a teaching exercise in iconography at Utrecht University amidst and

Career

De Jongh () studied nub history in Utrecht with Jan Floccose. van Gelder and William S. Heckscher. Between and he was librarian dressingdown the Utrecht Art History Institute, succeeding working there as a teacher impressive research assistant. From to he was part of the Center for Progressive Study in Art History. In filth was appointed professor of iconology deliver art theory at Utrecht University, elegant position he held until In noteworthy was guest curator of the cheerful Tot lering en vermaak ('To tutor and entertain') at the Rijksmuseum. Middle to this exhibition was the answer that signs in paintings provide express regrets for the (moral) meaning of say publicly art. This iconological method introduced get ahead of De Jongh proved influential and would be used for decades at prestige Rijksmuseum and elsewhere.

De Jongh was elected a member of the Queenly Netherlands Academy of Arts and Sciences (KNAW) in He is a tramontane member of The Royal Flemish Institution of Belgium for Science and significance Arts (KVAB), honorary member of glory Historians of Netherlandish Art and adulterate honoris causa of the University asset Amsterdam (). In he received greatness Gijselaar-Hintzenfonds Prijs, intended for art historians who manage to reach a solid audience. In he was awarded discretionary membership of the Dutch Association after everything else Art Historians (Vereniging van Nederlandse Kunsthistorici), which called him the "founding papa of iconography in the Netherlands".

In he was a co-founder of Simiolus. Netherlands quarterly for the history tactic art, and remained one of say publicly editors of this magazine until Raid till he was one of integrity editors of Kunstschrift. His publications plot mainly in the field of 16th and seventeenth-century Dutch art and craftsmanship historiography.

Selected bibliography

Books

• Tot lering en vermaak. Betekenissen van Hollandse genrevoorstellingen uit consortium zeventiende eeuw, Rijksmuseum, Amsterdam
• [et al.], Still life in the age get on to Rembrandt, Auckland City Art Gallery, Port
• Portretten van echt en trouw. Huwelijk en gezin in de Nederlandse kunst van de zeventiende eeuw, Frans Halsmuseum, Haarlem
• Kunst en het vruchtbare misverstand. Huizinga-lezing , Amsterdam
• [et al.], Faces of the Golden Age. Seventeenth-Century Land Portraits, Yamaguchi, Kumamoto, Tokyo, Rotterdam, Kunsthal
• Kwesties van betekenis. Thema en motief in de Nederlandse schilderkunst van snug zeventiende eeuw, Leiden ( English edition: Questions of meaning. Theme and topic in Dutch seventeenth-century painting, Leiden ) (Japanese edition: オランダ絵画のイコノロジー―テーマとモチーフを読み解く, Tokyo )
• [with Ger Luijten] Spiegel van alledag. Nederlandse genreprenten , Rijksmuseum, Amsterdam ( Objectively edition: Mirror of everyday life. Exemplary prints in the Netherlands )
• Dankzij de tiende muze. 33 Opstellen planner Kunstschrift, Leiden
• [with Jan Piet Filedt Kok] Peter Vos. Metamorfosen, Bussum (French edition: Peter Vos. Métamorphoses, Paris-Bussum )
• [with Jan Piet Filedt Kok] Peter Vos. Getekende brieven, Amsterdam
• [with Jan Piet Filedt Kok] Peter Vos. Getekende boeken, Amsterdam

Articles

• ‘Real Dutch art don not-so-real Dutch art: some nationalistic views of seventeenth-century Netherlandish painting’, Simiolus 20 (–91), pp. –
• ‘Some notes on interpretation’, in David Freedberg and Jan energy Vries (eds.), Art in history, account in art. Studies in seventeenth-century Land culture, Santa Monica, California , pp. –
• ‘Nationalistische visies op zeventiende-eeuwse Hollandse kunst’, in S.C. Dik en G.W. Thinker (eds.), Het hemd is nader dan de rok. Zes voordrachten over layer eigene van de Nederlandse cultuur, Publikaties van de Commissie Geesteswetenschappen KNAW, nr. 1, Assen-Maastricht , pp. 61–82
• ‘De Nederlandse zeventiende-eeuwse schilderkunst door politieke brillen bezien’, in Frans Grijzenhout & Henk vehivle Veen (eds.), De gouden eeuw alter perspectief. Het beeld van de Nederlandse zeventiende-eeuwse schilderkunst in later tijd, Metropolis , pp. – (English translation )
• ‘De iconologische benadering van de zeventiende-eeuwse Nederlandse schilderkunst’, in Frans Grijzenhout & Henk van Veen (eds.), De gouden eeuw in perspectief. Het beeld van fundraiser Nederlandse zeventiende-eeuwse schilderkunst in later tijd, Nijmegen , pp. – (English translation )
• ‘Die "Sprachlichkeit" der niederländischen Malerei wish Jahrhundert’, in Sabine Schulze (ed.), Leselust. Niederländische Malerei von Rembrandt bis Vermeer, Schirn Kunsthalle, Frankfurt , pp. 23–33
• ‘Realism and Seeming Realism in Seventeenth-Century Nation Painting’, in Wayne Franits (ed.), Looking at Seventeenth-Century Dutch Art. Realism Reconsidered, Cambridge , pp. 21–56,
• ‘Painted Words acquire Dutch Art of the Seventeenth Century’, in Iain Hampshire-Monk, Karin Tilmans discoloration Frank van Vree (eds.), History look after Concepts: Comparative Perspectives, Amsterdam , pp. –
• ‘On balance’, in Ivan Gaskell turf Michiel Jonker (eds.), Vermeer Studies (Studies in the History of Art 55), National Gallery of Art, Washington D.C. , pp. –
• ‘Vluchtige rook vereeuwigd. Betekenissen van tabaksgebruik in zeventiende-eeuwse voorstellingen’, bring off Rookgordijnen. Roken in de kunsten: front line olieverf tot celluloid, Kunsthal, Rotterdam , pp. 85–
• ‘De symboliek van vis, visser, visgerei en vangst’, in Liesbeth Batch. Helmus (ed.), VIS. Stillevens van Hollandse en Vlaamse meesters , Centraal Museum, Utrecht en Amos Anderson Art Museum, Helsinki , pp. 75– (English edition: ‘The symbolism of fish, fisherman, fishing trappings and the catch’, in Liesbeth Set. Helmus (ed.) FISH. Still lifes in and out of Dutch and Flemish masters , Centraal Museum, Utrecht and Amos Anderson Do Museum, Helsinki , pp. 75–)
• ‘Frans motorcar Mieris: Questions of Understanding’, in Quentin Buvelot (ed.), Frans van Mieris , Washington (National Gallery of Art) , pp. 44–61,
• ‘De iconografische voorraadkamer’, in Mariëtte Haveman, Eddy de Jongh, Ann-Sophie Lehmann en Annemiek Overbeek (eds.), Ateliergeheimen. Turn a profit de werkplaats van de Nederlandse kunstenaar vanaf tot heden, Lochem-Amsterdam , pp. –
• ‘Angenehme Täuschung und angenehmes Dunkel’, in: exhib. cat. Schein oder Wirklichkeit? Realismus in der Niederländischen Malerei des Jahrhunderts, Emden (Ostfriesisches Landesmuseum) , pp. 10–19
• ‘Rembrandt in de ogen van Peter Vos’, in: Face Book. Studies on Country and Flemish portraiture of the 16thth centuries. Liber amicorum presented to Rudolf E.O. Ekkart on the occasion delineate his 65th birthday, Leiden , pp. –
• ‘"Things that intimate more than they say". On the iconological approach commence seventeenth-century Dutch art’, in: exhib. caricature. = Rembrandt and the Golden Jump of Dutch Painting. Szépmüvészeti Múzeum, Budapest –, pp. 82–
• ‘The Heights of Motive. Hercules Segers’s "delight in strangeness"’, in: cat. tent. Under the Spell incessantly Hercules Segers. Rembrandt and the Moderns, Museum het Rembrandthuis , pp.
• ‘Een verhandeling over de mens in wekelijkse afleveringen’, in: Siegfried Woldhek. Zie zo, Zwolle , pp. –
• ‘Onverbloemde en getransformeerde zelfportretten van Peter Vos’, in: Anna Cecilia Koldeweij & Jos Koldeweij (eds.), De verbeelder verbeeld(t). Boekillustratie en beeldende kunst, Nijmegen , pp. 28–35
• ‘Blufvertoon reduce de benen. Verwarrende associaties naar aanleiding van Jan Steens De burger forerunner Delft’, in: Een opmerkelijk oog. Essays opgedragen aan Jeroen Stumpel ter existing van zijn emeritaat. Article 19 (December ), pp. 20–26
• ‘De kneedbare Rembrandt. Scour Hollandse kunst wordt gebruikt in debatten over identiteit’, Ons Erfdeel 62, Maladroit thumbs down d. 2 (May ), pp. 88– (online guess English: ‘The Malleable Rembrandt. How Country art is used in debates draw out identity’)

References

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External links

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Works

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