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Photo conservée par Etienne Menjoulet de son Tour de France.
Je pensais au départ qu'il s'agissait des compagnons du devoir qui siégeaient à Vaise, à Lyon (puisque Etienne était rattaché à Vaise). Après expertise (auprès du musée du compagnonnage de Tours notamment - www.museecompagnonnage.fr/) il s'est avéré qu'Etienne Menjoulet était, de façon pratiquement certaine, un « Renard Joyeux Libre et Indépendant sur le Tour de France ». Cette société de « Renards » était concurrente de celle des compagnons, mais elle n’arborait pas de signes distinctifs tels que des rubans au chapeau ou à la boutonnière (les « couleurs ») et en principe les Renards ne portaient pas de cannes. Celles des 2 personnages au centre sont probablement des « prises de guerre » dérobées aux compagnons, ou des cannes faites pour reprendre les coutumes des compagnons. Comme les compagnons, les Renards avaient des « Mères » (elle est au centre), pratiquaient le tour de France, fabriquaient des maquettes. Mais il n’y avait pas chez eux toutes ces coutumes particulières, de réception, d’arrivée, de départ, etc. propres aux compagnons, avec lesquels ils ne s’entendaient pas.
Ils se donnaient des surnoms comme les compagnons mais sur le mode satirique, pour se moquer de leurs rivaux.
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Concernant la vie de mon grand-père Etienne, j'ai écrit la petite biographie qui suit à partir de différents récits de mémoire familiale :
Etienne Menjoulet
Charpentier, né en 1899. Il grandit à Barbaste (sud-ouest de la France).
Son prénom d’Etat civil était Gustave, mais il n’aimait pas ce prénom et se fit toujours appeler Etienne.
Bon élève à l'école, il passa son certificat d'étude et le Brevet et commença à travailler, comme tous ses aïeux, en tant qu'apprenti charpentier (période de son premier séjour au Maroc en 1913-1914).
Charpentiers depuis la nuit des temps
Etienne Menjoulet fut le dernier charpentier d'une très très longue lignée de charpentiers. Mes recherches sur mes ancêtres Menjoulet et sur les charpentiers du sud-ouest de la France m’ont conduite à me pencher sur l’histoire des « cagots », dont je suis quasiment certaine que les Menjoulet de Barbaste/Nérac en étaient des descendants directs (même s’il n’y a pas de mémoire familiale de cette origine « cagote », oubli sans doute souhaité dès le 18e siècle). Jusqu’au 18ème siècle, tous les charpentiers du sud-ouest étaient des « cagots » de génération en génération. Dans chaque village du sud-ouest, la ou les maisons de charpentiers étaient tenues à l’écart, les cagots étaient considérés par les paysans de ces régions comme des « mauvais chrétiens » atteints d’une « lèpre intérieure », c’était une caste d’intouchables.
Le siècle suivant cette longue période, au 19ème siècle, le grand-père d’Etienne, Jean Menjoulet, maître charpentier, franc-maçon, épousa une jeune-fille de la région, Anne Boustens. et eu 3 fils qu’il nomma Edward, Edgard et Ancel. La consonance des 3 prénoms avait été choisie pour faire "chier" le curé. Les prénoms anglo-saxons s'inspiraient par ailleurs de la loge maçonnique londonienne de leur père, Jean Menjoulet. Ce dernier partit ensuite (pour des raisons sans doute de nécessité financière) exercer son métier au Mozambique (alors colonie portugaise), laissant sa femme et ses fils Edward, Ancel et Edgard à Barbaste en France. Jean Menjoulet, qui vivait en dernier lieu dans le district de Manica, au Mozambique, fut tué à 45 ans à Beira (ville portuaire du Mozambique) en 1891.
Son fils Edgard, né en 1872, futur père d’Etienne, devint charpentier, il épousa en 1898 Marie Menjoulet/Lescouzère, une jeune fille de la région, de famille paysanne. Etienne naquit l’année suivante, en 1899. Ses parents émigrèrent en Argentine vers 1907, avec leurs deux plus jeunes fils (André, dit Lou Peliou, né en 1905 et Claude, bébé) et leur fille, Paule, laissant leur fils aîné Etienne, 7 ans, seul en France chez une tante, « bouchonnière » de métier (fabrication de bouchons de liège).
Etienne connut une enfance très pauvre (on peut penser que sa petite taille était liée à une alimentation très frugale dans son enfance, et comme d'autres enfants de sa génération, son cadeau de noël chaque année de son enfance consistait en une orange).
Apprenti-charpentier au Maroc, Etienne Menjoulet avait 15 ans en août 1914. Le temps d’atteindre l’âge du service, il fut appelé sous les drapeaux alors que la guerre avait déjà bien commencé. Lors de la visite médicale vers 1917, le médecin dit en le voyant arriver "mais voilà un petit chasseur" (il était petit mais musclé), mais il fut affecté en fin de compte chez les sapeurs-mineurs (comme beaucoup d'artisans). Le temps qu'il finisse sa préparation militaire, l'armistice arriva vite, ce qui lui permit de réchapper à l'hécatombe et de ne guère mettre en pratique sa formation à la guerre, notamment l'entraînement de combat à la baïonnette qui lui avait paru extrêmement barbare (mais il n'aurait pas reculé si la guerre ne s'était pas terminée). Sans doute cet entraînement intensif aux combats à la baïonnette était prévu pour des combats dans les galeries de mines où étaient envoyés les sapeurs-mineurs. Son service militaire se prolongea bien après 1918.
La formation professionnelle d’Etienne Menjoulet se poursuivra après la Grande Guerre, dans une société de type compagnonnique en tant que « Renard Joyeux Libre et Indépendant sur le Tour de France ». Athée et Indifférent aux religions, comme ses aïeux, il ne prolongea pas la tradition familiale de franc-maçonnerie (dans une loge anglaise, dans laquelle un de ses aïeux avait d’ailleurs été un dirigeant). Il refusa l’initiation maçonnique pour ne pas promettre sans savoir de quoi il en était, puisqu'il n'était pas informé avant d'être introduit. Dans ce sens, son choix d'une association alternative aux « compagnons du devoir » et aux « compagnons du devoir de liberté », s'inscrivait sans doute dans le même esprit : refus des mythologies. Pas de rites religieux, pas de rites maçonniques et pas de rites compagnonniques. Les « Renards Joyeux Libres et Indépendants sur le Tour de France » s'étaient en effet créés par opposition aux compagnons Soubises (compagnons du Devoir) et Indiens (compagnons du Devoir de Liberté) dans un esprit qui rejetait les rites quels qu’ils soient.
La langue natale d’Etienne Menjoulet était le patois gascon et le Français. Il parlait couramment les deux langues, le gascon comme le français (il continuait à parler en patois avec sa seconde femme dans les années 1950). Son père Edgard et ses oncles Ancel et Edward avaient été battus par leur instituteur lorsqu'ils parlaient patois, y compris en récréation, mais la langue continuait d'être parlée, dans l'entre-soi, une génération après.
Plus tard, au Maroc Etienne chantait souvent des chansons en patois en conduisant, jusque dans les années 1950, pour ne pas s’endormir au volant, lors de longues heures sur les routes en camionnette. Quand il ne chantait pas en patois, Etienne demandait à l'ouvrier marocain qui l'accompagnait de lui raconter des histoires pour le tenir éveillé. Et l’ouvrier se défendait souvent en disant « mais qu’est-ce que tu veux que je te raconte ?! ».
Etienne fit donc son tour de France (autour de 1923) en tant que "Renard libre joyeux et indépendant" (rattaché à Lyon-Vaise, où siégeaient d’ailleurs également les compagnons du devoir) . Les "Renards" étaient en rivalité avec les sociétés compagnonniques. Au début des années 1920, cette rivalité ne donnait pas lieu à des bagarres, mais lorsqu'un Renard (comme Etienne Menjoulet) passait par des ateliers où avaient travaillé des compagnons de sociétés rivales, il commençait par nettoyer tous les instruments, établis, etc. et à tout bien tout essuyer pour ne pas avoir à toucher ce qui avait été manipulé par les membres des deux sociétés rivales.
Au cours de son tour de France, Etienne eut des liaisons avec des femmes, mais sa rencontre sérieuse fut avec Marie-Louise Bongard, une jeune fille de la Nièvre, fille d’agriculteurs (père lorrain), de religion catholique. Marie-Louise était fille unique, et comme beaucoup de filles d’agriculteurs de la « belle-époque », elle avait été « placée » à Paris comme bonne. Elle rencontra Etienne à Paris, sans doute au cours d’un bal, et ce placement ne dura donc pas. Marie-Louise épousa Etienne à la mairie. Pour l’église, Etienne resta à l'extérieur de l'église même pour son mariage, et il négocia avec sa femme l’accord suivant : leurs enfants seraient seulement baptisés, ils n'auraient aucune éducation religieuse.
Après quelques mois en Normandie (fin de tour de France du ccompagnon Etienne, sans doute), n'en pouvant plus de la pluie incessante de cette région (d'autant plus gênante avec son métier), il alla s'installer avec sa femme au Maroc, à Casablanca, en tant que charpentier.
Son ancien patron d'apprentissage, Estève, devint son associé. Il retrouva, à Casablanca, son oncle Ancel (ferronnier, qui habita pendant un temps à Casablanca avec sa femme) puis son frère André et son père Edgard (tous deux avaient d'abord émigré en Argentine, mais Edgard s'était séparé de sa femme. Marie Menjoulet/Lescouzere (mère d'Etienne, couturière) était restée en Argentine, avec leur fille Paule (et soeur d'Etienne) et leur fils Claude pendant que le père et l'autre fils, André, rejoignaient le Maroc. Etienne en voulait beaucoup à sa mère, considérant qu'elle l'avait abandonné dans son enfance. Mais sachant que le père d'Etienne, Edgard, avait le défaut d'être très "coureur" (il est mort de la Syphilis en 1945), on peut penser que la mère d'Etienne, Marie, avait des raisons de vouloir se séparer d'Edgard. Ma bisaïeule Marie Menjoulet/Lescouzère est morte en Argentine dans les années 1940. Edgard , quant à lui, vivait au Maroc en concubinage avec une femme de Casablanca (dont je n’ai pas le nom, je sais simplement qu’elle était juive).
Leur fille Paule, soeur d'Etienne, établie en Argentine, se maria avec un Argentin d'origine française, Pierre Sendon, et son frère (et frère d'Etienne), Claude, émigra de l’Argentine aux Etats-Unis. Paule rendit visite à ses frères au Maroc, Etienne et André, au moins une fois.
Au Maroc, Etienne et Marie-Louise eurent d’abord deux garçons (André né en 1925, et Georges, né en 1929).
Lors du déclenchement de la seconde guerre mondiale, Etienne (bien établi à Casablanca), est à nouveau appelé sous les drapeaux, à 40 ans. Il passe une année militaire à Mazagan (El Jadida), grade de caporal. Son dernier fils, Jean, naît le 13 mai 1940.
Son fils aîné, André, sera très grièvement blessé en 1944 lors d'un accident à la fin de sa formation d'aviateur, quelques jours avant qu'il passe d'aspirant à pilote de guerre. André avait 19 ans, il sera hospitalisé durant deux ans et demi à l'hôpital militaire de Rabat où il subit plus de 20 opérations.
Etienne Menjoulet aimait son métier de charpentier, il passait beaucoup de temps dans son bureau au Maroc, à sa table de dessin. Et n'hésitait pas à montrer aux architectes, calculs à l'appui, les erreurs qu'ils commettaient et qui compromettaient la stabilité des constructions si les plans n'étaient pas modifiés.
Etienne avait appris à parler très bien l'arabe. Leurs amis marocains du bled (avec qui ils faisaient notamment beaucoup de parties de chasse, lui et son frère André) ne parlaient pas français. Par ailleurs, dans son travail, avec sa dizaine d'ouvriers, il était nécessaire de savoir parler la langue du pays. Ses fils nés au Maroc parlaient couramment arabe (André et Georges, les deux aînés), ou avaient un niveau plus moyen pour le plus jeune (Jean).
Etienne avait par ailleurs refusé, au lendemain de la guerre, suite à l'arrivée des Américains au Maroc de signer des contrats avec eux, jugeant que ces constructions auraient dénaturé son métier : les américains apportaient des techniques de construction industrielles, clef en main, où la compétence du métier ne comptait plus. Etienne fit donc un choix, il renonça à la fortune que lui auraient apportée ces contrats en or avec les Américains, en disant aux américains d'aller voir ailleurs. Mais il garda ce qui était sa valeur réelle, le métier en lui-même.
Etienne pouvait aussi être teigneux ou coléreux, que ce soit, anecdotiquement, vis à vis de rats qui pouvaient s'introduire dans son bureau (qu'il tuait alors à coups de pieds) ou de gens, s'il y avait conflit.
Au niveau de son métier de charpentier, l'œuvre d'Etienne Menjoulet est très diversifiée : clochers d'Eglise, charpentes de maisons, charpente d’usines, charpentes de grands entrepôts.... (liste à faire). Il procédait aussi à des rénovations d’ailleurs.
Au niveau loisirs, les photos de cette collection attestent qu'Etienne aimait beaucoup la chasse, jusqu'à la fin de sa vie. Et que ce goût était partagé par son frère André qui était aussi un grand chasseur. Ces chasses se faisaient au cours de longues marches au Maroc, dans le bled, par une chaleur écrasante. Le gibier, lièvres, perdreaux, cailles, pigeons ramiers (palombes) était ensuite partagé. La compagne d’Edgard, le père d’Etienne et André, fut une fois amenée à partager la chasse ramenée par André à leur père. Elle garda pour eux les meilleurs morceaux et transmis à André les moins bons morceaux pour Etienne, en lui disant « c’est pour Etienne, il aime les têtes ! ». Ce qui ne la rendit pas du tout sympathique à Etienne, qui par ailleurs, anticlérical, n’avait pas d’atomes crochus avec les croyances juives de la compagne de son père.
En France, dans les années 1910, puis dans les années 1960, Etienne pratiquait aussi la chasse au filet (ortolans) répandue dans le sud-ouest.
Etienne aimait par ailleurs les chiens. Il y en avait toujours plusieurs à la maison, et qui n’étaient pas que des chiens de chasse, mais aussi de compagnie. Au Maroc, Etienne et son frère André pouvaient être un peu durs avec leurs chiens, ils leur tiraient par exemple du petits plombs dans l’arrière train (sans trop les blesser apparemment), si les chiens n’obéissaient pas durant la chasse. Mais Etienne portait aussi secours à ses chiens si nécessaire. Son fils Jean se rappelle de l’un d’eux , un petit épagneul breton nommé Kiss, qui se fit un jour éventrer de bas en haut du corps par un molosse du voisinage (en un coup de croc). Alors que les boyaux du chien lui sortaient du ventre, Etienne demanda du gros fil et une grosse aiguille. Il remit à pleine main les boyaux dans le ventre de Kiss sous le regard horrifié de son fils Jean, et recousit le ventre du malheureux épagneul. Et le chien guérit et vécut normalement ensuite.
Au Maroc, les parties de chasse d’André et Etienne étaient pratiquées avec des amis français ou marocains. Les noms de ces amis qui sont restés en mémoire sont ceux de deux frères (des marocains de Casablanca), les Djilali (dont l’un, le plus proche d’eux, est mort brutalement en 1941 d'une crise cardiaque).
Peu de temps avant le déclenchement de la guerre en 1940, ces parties de chasse donnèrent lieu à un grave accident dont fut victime le frère d'Etienne, André, lors d'une partie de chasse commune. André s'était sans doute avancé brusquement dans la zone de tir d'Etienne sans être vu par ce dernier qui le blessa à la tête dans un tir le rendant presque aveugle pendant de nombreuses années. Les deux frères restèrent proches en dépit de cet accident. André ne se fit opérer que lorsqu’il fut vieux, l’opération risquant de le rendre complètement aveugle, alors qu’il voyait encore des ombres. L’opération réussit.
Etienne déménagea en 1946 avec sa famille, ils quittèrent le centre (européen) de Casablanca pour rejoindre un quartier de la périphérie/banlieue de Casablanca (à un kilomètre de la gare), quartier mixte, un peu industriel mais aussi résidentiel, avec certaines maisons élégantes. Cela permit à Etienne d'avoir un hangar de bonne taille pour son travail.
Etienne Menjoulet avait de nombreuses relations amicales françaises et marocaines. Son fils Jean, qui dormait dans le salon, se rappelle qu'il y avait très souvent du monde le soir chez eux, dans les années 1950, mais que cela ne l'empêchait pas de dormir, dans la même pièce.
Marie-Louise, la première femme d'Etienne Menjoulet, mourut en 1949 des suites d'une longue maladie qui dura des années et la paralysa progressivement jusqu'à l'étouffement. Le mal s'était déclenché à la suite d'une blessure avec un objet métallique, une pédale de vélo. Son fils Jean se souvient encore, près de 70 ans après, des longs moments qu’il passait dans la chambre de sa mère alitée, alors qu’il avait 7 ou 8 ans. Pour distraire sa mère immobilisée, il lui passait, en 78 tours, les disques qu’elle aimait, les valses viennoises, Berthe Sylva (les roses blanches…), Tino Rossi, et bien d’autres. A sa mort, bien qu'anticlérical, Etienne fit venir dans leur maison un curé pour l'extrême-onction de sa femme qui était catholique (il était bien-sûr hors de question pour Etienne d'aller à une messe). Lorsque le curé demanda de "l'eau bénite", Etienne lui dit de prendre l'eau du robinet. Marie-Louise fut enterrée à Casablanca. Son petit garçon, Jean, demanda à son père Etienne ce qu’il était advenu de sa mère qui avait disparu, Etienne lui répondit « Ta mère, elle pourrit sous terre ! » (réponse qui a de quoi traumatiser un enfant, mais des paroles sans doute plus dues à la tristesse qu’à la méchanceté).
Après le départ de la famille Menjoulet en 1962, la tombe de Marie-Louise fut préservée (son fils Jean avait donné de l’argent à un Marocain pour qu’il garde un œil dessus...). La tombe était encore en place dans les années 1980.
A propos de l'eau, pour la vie quotidienne, dans les années 1940-1950, l'eau courante était froide, la baignoire était chauffée au bois, cette charge de chauffer la baignoire pour des bains une fois par semaine était assignée au plus jeune fils, Jean. Ce bois que se procurait facilement Etienne, par son travail, était aussi utilisé en hiver pour l'unique cheminée qui se situait dans le salon/salle à manger).
Les Menjoulet étaient aussi équipés d’un téléphone, dès les années 1940. Téléphone nécessaire au travail d’Etienne, téléphone dont son fils Jean se rappelle encore le numéro, 70 ans après.
Suite au - long - décès de Marie-Louise, le petit Jean, âgé de 9 ans, alla vivre un an chez ses oncle/tante André et Julienne Menjoulet, à Casablanca (qui avaient deux enfants, Andrée 15 ans, et Jean-Louis 5 ans).
C’est au cours de cette période que Jean se rappelle d’une visite du boxeur Marcel Cerdan chez son oncle André (qui était président du club de football de Casablanca, un club de foot mixte, composé de Marocains et d’Européens). Jean ne se rappelle plus des détails du repas, simplement que sa cousine l’a appelé alors qu’il jouait dehors, en lui disant que Marcel Cerdan était chez eux. Cette visite de Marcel Cerdan aux Menjoulet eu d’ailleurs lieu peu de temps avant la mort du boxeur dans son accident d’avion.
Etienne Menjoulet quant à lui se remaria au Maroc avec Jeanne Sansot, une femme originaire de la même région du Lot-et-Garonne que lui, qu'il connaissait depuis l'enfance (même école à Barbaste) et qui avait déjà vécu en Algérie. Elle était veuve après que son mari et son fils se soient suicidés (pour une même femme). Elle laissa alors à sa fille Linette le café-restaurant dont elle était la patronne, en France dans la région de Nérac pour venir vivre au Maroc. Elle embarqua avec elle sa « marraine » (une grand-mère de sa famille, qui vécut donc ensuite plus de 10 ans chez Etienne et Jeanne). Sa fille Linette (avec son mari Gérard) hébergeât quant à elle son autre grand-mère, pendant plus de 10 ans également. Au Maroc, Jeanne s'occupa aussi, et très bien, comme si elle était sa mère, du dernier fils d'Etienne, Jean, qui la considérait comme sa (seconde) mère et l’appelait « Tante Jeanne ».
En France, le café de Jeanne fut donc repris par sa fille, Linette, qui avait vécu quant à elle auparavant en Tunisie. Linette abandonna l’activité de restauration pour se consacrer avec ce café à l’organisation de bals qui connurent un grand succès qui dura. Les gens de toute la région y venaient, et des chanteurs de variétés y furent invités pour des concerts alors qu’ils étaient inconnus et à leurs débuts (Francis Cabrel par exemple).
Au Maroc, les affaires professionnelles d'Etienne Menjoulet, à Casablanca, furent impactées par la situation du pays. Les années précédant la fin du protectorat s'étant traduites, au niveau contrats de construction par une chute des commandes. En revanche, pour la vie quotidienne, les marocains de son entourage (ses ouvriers…) lui avaient assuré qu'il ne courait aucun risque, qu'il pouvait garer sa camionnette dans la médina, que l'on reconnaîtrait sa plaque d'immatriculation et que l'on ne ferait pas sauter son véhicule.
Les deux fils aînés d’Etienne s’étaient mariés : André, se maria deux fois, d’abord avec Claudette, puis avec Lore, une Autrichienne de Salzbourg qui travaillait dans le tourisme, il se sépara d’ailleurs ensuite à nouveau, mais beaucoup plus tard. Georges quant à lui se maria avec Lydia, ce qui le brouilla avec son frère André, Lydia étant précédemment en couple avec André. Les deux frères ne se reparlèrent plus.
Jean, le plus jeune fils d’Etienne se rappelle d’une réception donnée par l’entreprise pour laquelle travaillait sa belle-sœur […laquelle ?]. Il s’agissait d’une entreprise (française) qui soutenait l’indépendance. Le futur roi du Maroc (Hassan II alors prince héritier), était invité à cette réception. Jean fut frappé par l’élégance (élégance vestimentaire et verbale) de Moulay Hassan qu’il vit à quelques mètres de lui.
Etienne Menjoulet n'était pas engagé politiquement, ce qui ne l'empêchait pas d'avoir des jugements critiques, que ce soit vis à vis "des gros" (comme on disait à l'époque pour décrire les gros capitalistes), ou inversement vis à vis des partis de gauche ou des syndicalistes (surtout du fait que, à ses yeux, ces derniers n'avaient pas de légitimité, ils ne travaillaient pas).
Etienne Menjoulet a quitté le Maroc en 1962 pour s'installer dans le sud-ouest de la France (Barbaste/Durance/Nerac), avec sa seconde femme, Jeanne qui est morte 4 ans plus tard, en 1966, d'un cancer foudroyant.
Entre 1958 et 1962, les 3 fils d'Etienne ont aussi quitté le Maroc.
Le plus jeune, Jean, sera d'abord hébergé chez son frère aîné Georges, et sa femme Lydia, à Lyon où ils s'étaient installés dans un petit appartement, Georges et sa femme décidèrent ensuite d'émigrer en Australie, un pays de cocagne à cette époque. Leur installation et vie se passa très bien là-bas, mais malheureusement ils moururent assez jeunes, quand ils eurent la cinquantaine, au début des années 1980, suite à des accidents cardio-vasculaires.
André (l’aîné des 3 fils d'Etienne et Marie-Louis) ira quant à lui d'abord travailler à Lyon en France comme cadre dans une brasserie avant de tout plaquer pour se consacrer à sa passion, la voile (avec peu d'argent de côté, mais il touchait aussi une petite pension militaire parce que grièvement blessé en 1944). André fera le tour du monde en solitaire à 58 ans, il vivra le reste du temps dans le sud de la France avec ses compagnes successives, et mourra en 1996 en regrettant de ne pas atteindre l’an 2000.
Le frère d'Etienne, André et sa femme Julienne, sont également allés vivre en France, ainsi que leur fils Jean-Louis, à Nîmes. Seule leur fille Andrée (et Tony son mari espagnol, un franc-maçon communiste) est restée vivre au Maroc où elle a pu négocier, en tant qu'institutrice, de travailler pour l'éducation marocaine (et d'être payée par eux) et non plus l'éducation nationale française. Elle devint ensuite inspectrice d'écoles et resta au Maroc au moins jusqu’à la retraite.
Hostile à l'influence toujours envahissante des croyances catholiques dans la société, Etienne Menjoulet fit bon accueil (ainsi que son épouse Jeanne) à Nellie Granade, future épouse de son fils Jean lorsqu'elle vint passer des vacances chez eux. De culture protestante, Nellie partageait avec Etienne certains points de vue sur le catholicisme (d'autant que Nellie n'a jamais été étouffée par les croyances religieuses, Protestantisme signifiant pour elle surtout liberté de penser, appartenance à une minorité et Résistance). Alors qu'Etienne refusait d'assister à toute cérémonie religieuse dans une église catholique, il assista au mariage religieux protestant de son fils Jean qui fut célébré au Temple du change, à Lyon le 31 octobre 1963.
La maison d'Etienne à Barbaste en France était assez sobre. Les toilettes étaient dans le jardin, et il n'y avait par exemple pas de douche, ce qui occasionnait une sortie aux bains-douches de Barbaste une fois par semaine.
Etienne s'est suicidé en 1971, en se tirant une balle de pistolet dans la bouche. Il supportait mal de vivre seul, après avoir enterré ses deux femmes. Après la mort de Jeanne en 1966, Il avait essayé de vivre avec une autre femme avec qui cela n'avait pas fonctionné. Il n'avait par ailleurs pas pu rentrer en contact avec une femme marocaine (une ancienne « Fatma » de leur maison de Casablanca) avec qui il avait eu une liaison, cette dernière avait émigré en France. La femme d'Etienne (Jeanne) avait pu intercepter son adresse et avait fait jurer, sur son lit de mort, à son fils Jean, qu'il ne donnerait pas à son père l'adresse en France de cette femme marocaine. Un an après la mort de Jeanne, Nellie, la femme de Jean, qui était enceinte de leur premier enfant, proposa à Jean d’appeler leur bébé Jeanne, si c’était une fille, en mémoire de cette (seconde) mère, dont la mort avait causé beaucoup de peine à Jean.
Redevenu veuf, Etienne n’était pas vraiment seul à Barbaste, outre les visites épisodiques de son fils Jean, il voyait du monde (notamment le jeune Guy, le petit neveux de sa femme Jeanne défunte, qu’il emmenait chasser).
Par ailleurs (et peut-être surtout) Etienne endurait des problèmes de santé (la goutte) qui lui donnaient envie d'en finir avec "cette chienne de vie" (comme il qualifiait la vie dans ses lettres) surtout après une opération de la hanche qui s'était très mal passée. Peut-être que le fait d'avoir dû quitter le pays où il avait vécu pendant 40 ans, le Maroc, a aussi joué sur cette volonté d'en finir, à cela s’ajoutait le point de vue financier, puisqu'il avait très peu d'argent, alors qu'il avait travaillé toute sa vie.
Pour son suicide, Etienne n’eut pas de chance, la balle de pistolet, passa, par un hasard incroyable, juste entre les deux lobes du cerveau. Et Etienne vécu encore 6 mois, principalement à l’hôpital de Nérac, avant que son cerveau ne « s’effondre » brutalement, suite à son tir de pistolet.
Rijks Museum - National Museum of Netherlands
Vision
The Rijksmuseum links individuals with art and history.
Mission
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.
É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
Leaving aside any political overtones which the word may have, the conservative is someone who seeks to conserve. In order to say whether he is right or wrong, it should be enough to consider what it is he wishes to conserve. If the social forms he stands for—for it is always a case of social forms—are in conformity with man’s highest goal and correspond to man’s deepest needs, why shouldn’t they be as good as, or better than, anything novel that the passage of time may bring forth? To think in this way would be normal.
But the man of today no longer thinks normally. Even when he does not automatically despise the past and look to technical progress for humanity’s every good, he usually has a prejudice against any conservative attitude, because, consciously or unconsciously, he is influenced by the materialistic thesis that all “conserving” is inimical to constantly changing life and so leads to stagnation.
The state of need in which, today, every community that has not kept up with “progress” finds itself, seems to confirm this thesis; but it is overlooked that this is not so much an explanation as a stimulus for even further development. That all must change is a modern dogma that seeks to make man subject to itself; and it is eagerly proclaimed, even by people who consider themselves to be believing Christians, that man himself is in the grip of change; that not only such feeling and thinking as may be influenced by our surroundings are subject to change, but also man’s very being.
Man is said to be in the course of developing mentally and spiritually into a superman, and consequently, 20th century man is looked on as being a different creature from the man of earlier times. In all of this, one overlooks the truth, proclaimed by every religion, that man is man, and not merely an animal, because he has within him a spiritual center which is not subject to the flux of things.
Without this center, which is the source of man’s capacity to make judgements—and so may be called the spiritual organ that vehicles the sense of truth—we could not even recognize change in the surrounding world, for, as Aristotle said, those who declare everything, including truth, to be in a state of flux, contradict themselves: for, if everything is in flux, on what basis can they formulate a valid statement?
Is it necessary to say that the spiritual center of man is more than the psyche, subject as this is to instincts and impressions, and also more than rational thought? There is something in man that links him to the Eternal, and this is to be found precisely at the point where “the Light which lighteth every man that cometh into the world” (John 1:9) touches the level of the psycho-physical faculties. If this immutable kernel in man cannot be directly grasped —anymore than can the dimensionless center of a circle— the approaches to it can nevertheless be known: they are like the radii which run towards the center of a circle. These approaches constitute the permanent element in every spiritual tradition and, as guidelines both for action and for those social forms that are directed towards the center, they constitute the real basis of every truly conservative attitude. For the wish to conserve certain social forms only has meaning—and the forms themselves can only last— if they depend on the timeless center of the human condition.
In a culture which, from its very foundations (thanks to its sacred origin), is directed towards the spiritual center and thereby towards the eternal, the question of the value, or otherwise of the conservative attitude, does not arise; the very word for it is lacking. In a Christian society, one is Christian, more or less consciously and deliberately, in an Islamic society one is Muslim, in a Buddhist society Buddhist, and so on; otherwise, one does not belong to the respective community and is not a part of it, but stands outside it or is secretly inimical to it.
Such a culture lives from a spiritual strength that puts its stamp on all forms from the highest downwards, and in doing this, it is truly creative; at the same time it has need of conservational forces, without which the forms would soon disappear. It suffices that such a society be more or less integral and homogeneous, for faith, loyalty to tradition, and a conserving or conservative attitude mirror one another like concentric circles.
The conservative attitude only becomes problematical when the order of society, as in the modern West, is no longer determined by the eternal; the question then arises, in any given case, which fragments or echoes of the erstwhile all-inclusive order are worth preserving.
In each condition of society (one condition now following the other in ever more rapid succession) the original prototypes are reflected in some way or other. Even if the earlier structure is destroyed, individual elements of it are still effective; a new equilibrium —however dislocated and uncertain— is established after every break with the past. Certain central values are irretrievably lost; others, more peripheral to the original plan, come to the fore. In order that these may not also be lost, it may be better to preserve the existing equilibrium than to risk all in an uncertain attempt to renew the whole.
As soon as this choice presents itself, the word “conservative” makes its appearance (in Europe, it first received currency at the time of the Napoleonic wars) and the term remains saddled with the dilemma inherent in the choice itself. Every conservative is immediately suspected of seeking only to preserve his social privileges, however small these may be. And in this process, the question as to whether the object to be preserved is worth preserving goes by default.
But why shouldn’t the personal advantage of this or that group coincide with what is right? And why shouldn’t particular social structures and duties be conducive to a certain intelligence?
That man seldom develops intelligence when the corresponding outward stimuli are lacking, is proved by the thinking of the average man of today: only very few—generally only those who in their youth experienced a fragment of the “old order”, or who chanced to visit a still traditional Oriental culture—can imagine how much happiness and inward peace a social order that is stratified according to natural vocations and spiritual functions can bring, not only to the ruling, but also to the laboring classes.
In no human society, however just it may be as a whole, are things perfect for every individual; but there is a sure proof as to whether an existing order does or does not offer happiness to the majority: this proof inheres in all those things which are made, not for some physical purpose, but with joy and devotion. A culture in which the arts are the exclusive preserve of a specially educated class (so that there is no longer any popular art or any universally understood artistic language) fails completely in this respect.
The outward reward of a profession is the profit which its practice may secure; but its inner reward is that it should remind man of what, by nature and from God, he is, and in this respect it is not always the most successful occupations that are the happiest. To till the earth, to pray for rain, to create something meaningful from raw material, to compensate the lack of some with the surplus of others, to rule, while being ready to sacrifice one’s life for the ruled, to teach for the sake of truth—these, amongst others, are the inwardly privileged occupations. It may be asked whether, as a result of “progress”, they have been increased or diminished.
Many today will say that man has been brought to his proper measure, when, as a worker, he stands in front of a machine. But the true measure of man is that he should pray and bless, struggle and rule, build and create, sow and reap, serve and obey—all these things pertain to man.
When certain urban elements today demand that the priest should divest himself of the signs of his office and live as far as possible like other men, this merely proves that these groups no longer know what man fundamentally is; to perceive man in the priest means to recognize that priestly dignity corresponds infinitely more to original human nature than does the role of the “ordinary” man.
Every theocentric culture knows a more or less explicit hierarchy of social classes or “castes”. This does not mean that it regards man as a mere part which finds its fulfillment only in the people as a whole; on the contrary, it means that human nature as such is far too rich for everyone at every moment to be able to realize all its various aspects. The perfect man is not the sum total, but the kernel or essence of all the various functions.
If hierarchically structured societies were able to maintain themselves for millennia, this was not because of the passivity of men or the might of the rulers, but because such a social order corresponded to human nature.
There is a widespread error to the effect that the naturally conservative class is the bourgeoisie, which originally was identified with the culture of the cities, in which all the revolutions of the last five hundred years originated. Admittedly the bourgeoisie, especially in the aftermath of the French revolution, has played a conservative role, and has occasionally assumed some aristocratic ideals — not, however, without exploiting them and gradually falsifying them. There have always been, amongst the bourgeoisie, conservatives on the basis of intelligence, but from the start they have been in the minority.
The peasant is generally conservative; he is so, as it were, from experience, for he knows —but how many still know it?— that the life of nature depends on the constant self-renewal of an equilibrium of innumerable mutually interconnected forces, and that one cannot alter any element of this equilibrium without dragging the whole along with it. Alter the course of a stream, and the flora of a whole area will be changed; eliminate an animal species, and another will be given immediate and overwhelming increase. The peasant does not believe that it will ever be possible to produce rain or shine at will.
It would be wrong to conclude from this that the conservative viewpoint is above all linked with sedentarism and man’s attachment to the soil, since it has been demonstrated that no human collectivity is more conservative than the nomads. In all his constant wandering, the nomad is intent on preserving his heritage of language and custom; he consciously resists the erosion of time, for to be conservative means not to be passive.
This is a fundamentally aristocratic characteristic; in this the nomad resembles the noble, or, more exactly, the nobility of warrior- caste origin necessarily has much in common with the nomad. At the same time, however, the experience of a nobility that has not been spoiled by court and city life, but is still close to the land, resembles that of the peasant, with the difference that it comprises much wider territorial and human relationships.
When the nobility, by heredity and education, is aware of the essential oneness of the powers of nature and the powers of the soul, it possesses a superiority that can hardly be acquired in any other way; and whoever is aware of a genuine superiority has the right to insist upon it, just as the master of any art has the right to prefer his own judgement to that of the unskilled.
It must be understood that the ascendancy of the aristocracy depends on both a natural and an ethical condition: the natural condition is that, within the same tribe or family, one can, in general terms, depend on the transmission by inheritance of certain qualities and capabilities; the ethical condition is expressed in the saying noblesse oblige: the higher the social rank —and its corresponding privilege— the greater the responsibility and the burden of duties; the lower the rank, the smaller the power and the fewer the duties, right down to the ethically unconcerned existence of passive people.
If things are not always perfect, this is not principally because of the natural condition of heredity, for this is sufficient to guarantee indefinitely the homogeneous nature of a “caste”; what is much more uncertain is the accomplishment of the ethical law that demands a just combination of freedom and duty. There is no social system that excludes the misuse of power; and if there were, it would not be human, since man can only be man if he simultaneously fulfills a natural and a spiritual law. The misuse of hereditary power therefore proves nothing against the law of nobility. On the contrary, the example alone of those few people, who, when deprived of hereditary privilege, did not therefore renounce their inherited responsibility, proves the ethical calling of the aristocracy.
When, in many countries, the aristocracy fell because of its own autocracy, this was not so much because it was autocratic towards the lower orders, but rather because it was autocratic towards the higher law of religion, which alone provided the aristocracy with its ethical basis, and moderated by mercy the right of the strong.
Since the fall, not merely of the hierarchic nature of society, but of almost all traditional forms, the consciously conservative man stands as it were in a vacuum. He stands alone in a world which, in its all opaque enslavement, boasts of being free, and, in all its crushing uniformity, boasts of being rich. It is screamed in his ears that humanity is continually developing upwards, that human nature, after developing for so and so many millions of years, has now undergone a decisive mutation, which will lead to its final victory over matter. The consciously conservative man stands alone amongst manifest drunks, is alone awake amongst sleep-walkers who take their dreams for reality.
From understanding and experience he knows that man, with all his passion for novelty, has remained fundamentally the same, for good or ill; the fundamental questions in human life have always remained the same; the answers to them have always been known, and, to the extent that they can be expressed in words, have been handed down from one generation to the next. The consciously conservative man is concerned with this inheritance.
Since nearly all traditional forms in life are now destroyed, it is seldom vouchsafed to him to engage in a wholly useful and meaningful activity. But every loss spells gain: the disappearance of forms calls for a trial and a discernment; and the confusion in the surrounding world is a summons to turn, by-passing all accidents, to the essential.
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Titus Burckhardt: What is Conservatism?
CPH 18 running Thirlmere - Buxton...
Often referred to as "Tin Hares", having evolved at the same time as the mechanical lures used in greyhound racing in Australia, the first vehicle was placed in service on 17 December 1923 and based at Culcairn, in southern New South Wales.
They were lightweight vehicles and considerable care was taken in the original selection of materials used in their construction. One of the most innovative features was the underframe. No bolts or rivets were used in its construction and it was fabricated entirely by welding. It is believed to be the first application of such technique on a railway vehicle in Australia. The body was of timber construction, using mainly Queensland yellow wood, pines and cedars. The cars were finished externally with tongue and grooved timber below the window line.
As built, the normal seating capacity was 45, 21 in 1st class and 24 in 2nd (or economy) class. A further seven could be accommodated on the flap seats provided in the guard's compartment. An additional feature of these cars were the prized seats either side of the driver (the drivers cab being centrally located in the middle of the carriage, there was one passenger seat located either side of the cab, looking directly ahead).
As built, they were fitted with petrol engines of either Leyland or Thornycroft manufacture and a three-speed mechanical transmission controlled by a massive lever in the cab. Experiments were made with AEC and Winton motors in some vehicles. During World War 2, to conserve fuel, gas producer units were fitted to six vehicles. Five of these were damaged when fire spread to the vehicle. Beginning in 1945, a programme began to replace the petrol motors with GM diesels. It was at this time that multiple unit controls were fitted.
A total of 37 vehicles were built and they operated many branch line services throughout the state, from Kyogle in the north to the Riverina in the south, as well as extensively through the central western regions, until their widespread withdrawal in November 1983 and replacement by road transport. A fleet of 12 CPHs continued to be used extensively in the Wollongong area, working north to Waterfall, west to Moss Vale and south to Port Kembla and Kiama. In Newcastle CPHs provided passenger services on the Belmont until these ceased in April 1971.
They also operated pre-electrification service on many Sydney suburban services. These include Bankstown to Lidcombe, Clyde to Carlingford, Liverpool to Campbelltown, Westmead to Rogans Hill, Kingsgrove to East Hills, Hornsby to Cowan, Blacktown to Richmond and Sutherland to Waterfall. In November 1984 the last Sydney area motors were withdrawn from Richmond services along with most of those in Wollongong. The final two CPHs, 36 & 37, were withdrawn after the Moss Vale to Wollongong service ceased in September 1985.
A large conserved ruin of a late 13th Century castle. It was besieged for nine weeks in 1339, captured and devastated, and the owner killed. King Charles IV. purchased the castle from his heirs in 1356, and restored it. It was used by the wealthiest families as a strongpoint, and was often besieged. It´s importance vanished in the 17th Century, many objects were damaged in the 18th Century when the new owners searched for a treasure. Extensive conservation was done after WW2, the chapel was completely restored and roofed. The area was opened to public in 1994, and is a very nice weekend trip target.
Coventry Transport Museum opened in 1980, after it became clear that the road transport collection was outgrowing the space it occupied in the Herbert Art Gallery & Museum. The Museum’s current collection of vehicles is acknowledged as being one of the finest in the world, and the largest in public ownership.
The Museum’s collection consists of motor cars, commercial vehicles, cycles and motorcycles. In addition, extensive collections of automobilia, books, photographs and a wealth of other archive material is held and conserved at the Coventry History Centre at the Herbert Art Gallery & Museum.
This is what's left of the Conservatory at Witley Court. Part of a palatial house set near the stunning ruins of Witley Court, ravaged by fire in 1937 and now under the care of English Heritage, who tend to the grounds and ruins amazingly. It sits above and to the left of Worcester, near the Malvern Hills and en route to Ludlow. Before the fire the house played host to parties, Royals and the aristocracy.
Many species of birds including these sandpipers conserve their body heat by standing on one leg. They use that energy later running up and down the beach pecking their beaks below the sand to hunt for snails, insects and other snacks from the salty sea. The are fun to watch as they scurry about. This group of marine birds was on my favorite beach in San Diego, California.
... Qui n'a pas gardé ou conservé en lui le souvenir de ces années qui ont marquées un nouveau souffle de liberté et de paix... et ça dans la plus grande simplicité... Les fleurs étaient les armes puissantes devant les affrontements militaire et les chars d'assauts... Une fleur placée dans le canon d'un fusil par une jeune adolescente faisait fondre le militaire qui le tenait... Les temps ont bien changés... Mais conservons en nous.. ces magnifiques souvenirs des années '70 ...
Photo prise dans Notre Majestueux Parc de la Gatineau, au Québec
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" Nostalgia of the '70 " ... Who didn't keep or didn't preserve in him the memory of these years which marked a new breath of freedom and peace… and that in greatest simplicity... The flowers were the powerful weapons in front by the confrontations of soldier and the tanks... A flower placed in the gun by a young teenager dissolved the soldier who held it… Times really did changed … But let us preserve in us, these splendid memories of the '70 ...
Picture taken in Our Beautiful Parc de la Gatineau in Québec
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Land Rover 2A Station Wagon Restoration, Designed by Border Rovers and Built by Retroworks.
Extensively tested and used for 6 months. Bumper still bears the scars from The Beast From The East.
Owned and operated by Border Rovers:
07515899390
NEW JERSEY’S BALD EAGLE POPULATION CONTINUES TO SOAR
January 14th, 2016
CONSERVE WILDLIFE FOUNDATION OF NEW JERSEY RELEASES RESULTS OF 2015 STATE BALD EAGLE REPORT
by Lindsay McNamara, Communications Manager
Conserve Wildlife Foundation of New Jersey today released the 2015 Bald Eagle Report, highlighting the number of nesting pairs, active nests and nest productivity for the raptors throughout New Jersey with data collected by New Jersey Department of Environmental Protection Division of Fish and Wildlife biologists, CWF biologists and committed volunteers.
“With 161 pairs of bald eagles this past year — up from just a single nest in the early 1980’s — the dramatic ongoing recovery of bald eagles across the northeast continues to inspire so many of us,” said David Wheeler, Conserve Wildlife Foundation Executive Director. “The thrill of seeing a bald eagle fly across the sky is unparalleled. This report captures how these eagles are continuing their All-American return.”
The report notes that thirteen new eagle pairs were found this season, nine in the south, two in Central Jersey and two in Northern New Jersey.
For more info: www.conservewildlifenj.org/blog/2016/01/14/new-jerseys-ba...
Cuyahoga Valley National Park conserves and reclaims the rural landscape along the Cuyahoga River between Akron and Cleveland in Northeast Ohio's Cuyahoga and Summit counties.
The 32,572-acre (50.9 square mile) park is administered by the National Park Service, but within its boundaries are areas independently managed as county parks or as public or private businesses. Cuyahoga Valley was originally designated as a National Recreation Area in 1974, then redesignated as a national park 26 years later in 2000, and remains the only national park that originated as a national recreation area.
Cuyahoga Valley is the only national park in the state of Ohio and one of three in the Great Lakes Basin, with Isle Royale National Park in Lake Superior and Indiana Dunes National Park bordering Lake Michigan. Cuyahoga Valley also differs from the other national parks in the U.S. in that it is adjacent to two large urban areas and it includes a dense road network, small towns, and public and private attractions.
Information from: en.wikipedia.org/wiki/Cuyahoga_Valley_National_Park
Truss Bridge - Bukit Timah Railway Station, King Albert Park:
Exif:
Aperture: F8;
Focal Length: 29mm;
ISO: 100
Exposure: 239 seconds
Filters stacked in order:
1. NiSi Natural Night Light Pollution Filter
2. Wine Country Camera CPL
Foreground and Leaves framing the side artificially light painted with a white light.
The join of the tracks artificially light painted with a Lumecube and orange filter.
And it is said, sometimes one sees shadows on the bridge where there are none. Some say these are haunted places but I leave that to the fertility of one's imagination.
The Bukit Timah railway station was constructed in the style of traditional small town railway stations found in the United Kingdom and is reminiscent of European country cottages. The single-storey building had an open platform and six structural bays, as well as a stationmaster's office, open and closed waiting areas, and a signals office. The station also served as an unloading point for racehorses due to its proximity to the former Singapore Turf Club.
Like the rest of the railway line after it was sold to the Federated Malay States Railway (FMSR) in the 1910s, ownership of the Bukit Timah Railway Station and the land it sat on was later transferred to FMSR’s successor, Keretapi Tanah Melayu (KTM). When KTM ended train services between Woodlands and Tanjong Pagar in 2011, Bukit Timah and other stations likewise ceased operations.
The now-defunct Bukit Timah Railway Station is the only suburban station which still stands today, and it is often frequented by railway, heritage and photography enthusiasts. As a well-loved local landmark, the station itself was accorded conservation status by the Urban Redevelopment Authority in 2011. Two railway truss bridges, at Fuyong Estate and on Bukit Timah Road near King Albert Park, have also been conserved.
Rijks Museum - National Museum of Netherlands
Vision
The Rijksmuseum links individuals with art and history.
Mission
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.
É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
Orinoco Eco Camp is located on the north eastern edge of the Delta Orinoco nature reserve which was established in 1991 in order to conserve the plants, animals and birds of this area.
The Orinoco River Delta is inhabited by the Warao Indians and the camp is designed and construction according to their customs. The sleeping huts are located in clearings in the jungle and have thatched roofs but no walls. Visitors sleep in intimate contact with the forest in beds or hammocks protected by mosquito nets.
After reaching the camp we’ll give you a brief tour of the facilities and then you have time to settle into your rooms before heading out for the day’s adventures. During your stay you can join in the following activities:
Jungle walk: A native Warao guide will lead you on a walk through the dense jungle of the Orinoco Delta; and for those who have never penetrated virgin jungle before the experience is unforgettable. The tranquil silence is punctuated by the songs and calls of birds and the scary screeching of howler monkeys as you wander through a myriad of exotic plant life. Wellington boots are provided for all guests.
Canoe excursion: Warao means "canoe people" and there is no better way to explore the delta than a canoe. A native guide will take you up narrow backwaters tunnelling through the dense vegetation where other boats can’t go. Venturing deep into the jungle will give you unique glimpses of the delta fauna; including multihued exotic birds like the Toucan and Macaw, fresh water dolphins, multihued butterflies and howler and capuchin monkeys.
Buffalo Farm visit: An evening visit to a local farm where the dense rainforest meets the open swamp introduces you to the contrasting landscapes of the delta and opens up a view of a spectacular sunset. The Buffalo farm is populated by many interesting animals and horse riding can be arranged.
Night Safari: A favourite adventure for guests is a night-time canoe trip to spot crocodiles and water snakes, before or after dinner depending on the river water level.
Warao style private cabin
Your accommodation in the camp is in private cabins, Warao style, each with a wonderful view of the river, often garlanded with floating beds of bora, purple hyacinth. Sleeping is in single or double beds or in hammocks if you prefer. There are toilets, showers, and wash basins in the "common house", as well as outlets to recharge batteries for your electronic and camera equipment. The groups and the boats that carry them are kept as small as possible to minimize our carbon footprint and to let you see more wildlife and enjoy more intimate contact with the local Indians.
We make a point of caring for all the fauna and flora. Many of the animals and birds in the camp have been raised from infancy and treat the camp as their home.
The Warao Indians still live in their traditional rain forest culture that has existed for thousands of years. For visitors coming from a modern consumer society meeting them is an extraordinary experience which can stimulate and enhance your appreciation of life.
GOVERNOR TOMBLIN WELCOMES ELK TO WEST VIRGINIA
Twenty elk released at Tomblin Wildlife Management Area
CHARLESTON, W.Va. (December 19, 2016) - Governor Earl Ray Tomblin today joined representatives from the West Virginia Division of Natural Resources, the Rocky Mountain Elk Foundation and The Conservation Fund to welcome elk from Kentucky to West Virginia. Today's welcoming ceremony, held at the Tomblin Wildlife Management Area, included the arrival of 20 elk to Southern West Virginia.
"Today, I was proud to join both state and federal partners to celebrate a historic conservation effort in the Mountain State," Gov. Tomblin said. "Today's reintroduction is the beginning of a wonderful success story, one that has received overwhelming support from sportsmen and women across West Virginia. I look forward to the increased recreational wildlife opportunities and the economic impact this project will have on our state now and for decades to come."
Elk were native to West Virginia more than 140 years ago. Legislation in 2015 authorized the Division of Natural Resources to begin an active elk restoration plan, starting with finding enough suitable land for the elk management area to sustain an elk population.
Through a partnership with The Conservation Fund, more than 32,000 acres of publicly accessible land has been acquired for wildlife management and wildlife recreation. The DNR also recently acquired an additional 10,000 acres under lease agreements. In total, the DNR now manages more than 42,000 acres of land within an 11-mile radius of the initial elk release site.
"The reintroduction of a once-native wildlife species to sustainable populations is part of the mission of the Division of Natural Resources, and all of our staff are proud to be part of this effort to bring elk back to our state," said DNR Director Bob Fala. "With many thanks to one key partner, The Conservation Fund, we have added the largest single land parcel in state history to provide for both our fledgling elk restoration program and for other wildlife as well. We also are deeply appreciative of all the support provided by the Rocky Mountain Elk Foundation, which has provided assistance from the beginning and continues to do so as this project will expand in coming years."
"The Rocky Mountain Elk Foundation applauds Gov. Tomblin, Director Fala and all who have a role in bringing back elk to the Mountain State. It's a tremendous payday for RMEF's volunteers and members in West Virginia and the surrounding area," said Blake Henning, RMEF chief conservation officer. "We are proud to be part of such a successful collaborative partnership that made this happen in a relatively short time but with great leadership shown by the folks in West Virginia state government."
The restoration of elk into West Virginia is a major conservation initiative, involving a number of partners, including: U.S. Forest Service, Land Between the Lakes National Recreation Area; U.S. Fish and Wildlife Service; The Conservation Fund; Rocky Mountain Elk Foundation; West Virginia Department of Agriculture; West Virginia Department of Environmental Protection - Division of Mining and Reclamation; Kentucky Department of Fish and Wildlife Resources; Virginia Department of Game and Inland Fisheries; National Fish and Wildlife Foundation - Walmart Acres for America Program; Knobloch Family Foundation; Richard King Mellon Foundation; Ecosystem Investment Partners; Ark Land Company; Alpha Natural Resources; Arch Coal; West Virginia State Chapter of the National Wild Turkey Federation; West Virginia Bowhunters Association; West Virginia Trophy Hunters Association; the Outdoor Heritage Conservation Fund; and numerous volunteers.
SUPPORTING QUOTES:
Joe Manchin, U.S. Senator, West Virginia
"As a lifelong sportsman I am thrilled to see elk successfully reintroduced into West Virginia. The reintroduction of elk will bring new economic opportunities to southern West Virginia by showcasing our wild and wonderful outdoor heritage. I wish to applaud all those involved with the successful reintroduction of elk into the Mountain State."
Shelley Moore Capito, U.S. Senator, West Virginia
"It has been over 100 years since wild elk freely roamed our state, and I am thrilled the Division of Natural Resources is reintroducing this species to a place they previously called home. I was a strong advocate for this project, signing a letter of support that enabled funding to bring this idea to fruition. This is exciting news for our state, and I hope all West Virginians will have the opportunity to see and appreciate these magnificent animals."
Evan Jenkins, U.S. Representative, West Virginia's 3rd District
"Thanks to public and private efforts to protect elk habitat, we are now able to successfully reintroduce elk to West Virginia. Wild elk have not lived in West Virginia since 1865, but decades of work have paid off as these majestic creatures make their home again in our great state. I congratulate everyone involved in making this ambitious project a reality."
Joe Hankins, West Virginia Director, The Conservation Fund
The Conservation Fund is helping the State conserve 32,396 acres of working forestland in southern West Virginia-the largest single conservation acquisition in State history-to create a large, protected block of prime habitat for elk restoration.
"The Conservation Fund is proud to partner with the West Virginia Division of Natural Resources in establishing a vast protected landscape of sustainably managed land for the new elk population. This historic effort is creating new opportunities on land that once supported the state through it resources, and it is redefining conservation in West Virginia to provide multiple tangible economic and environmental benefits to local communities. We thank Governor Tomblin for his leadership, the DNR for seeing this vision through, and U.S. Senators Manchin and Capito and U.S. Representative Jenkins for their continued support of this project and important conservation programs like the Pittman-Robertson Wildlife Restoration Program."
Jeff Trandahl, Executive Director and CEO, National Fish and Wildlife Foundation
A grant from the Acres for America program, established by Walmart and the National Fish and Wildlife Foundation, supported the transfer of 10,922 acres from The Conservation Fund to the WV DNR in 2016.
"The return of any species to its native range is a reason for celebration. Bringing such a magnificent species as the elk back to the hills of West Virginia is one of the most significant reintroductions in recent years. The National Fish and Wildlife Foundation applauds the work of the State of West Virginia and we are proud to help support this effort."
John Clark, Vice President of Store Planning, Walmart
"Walmart is proud to support the longstanding efforts to bring elk back to West Virginia today. We know they will both thrive and help to inspire future generations of West Virginians to take care of and appreciate the state's incredible wildlife and natural resources."
Photos available for media use. All photos should be attributed “Photo courtesy of Office of the Governor.”
Portrait of Cornelia, Clara and Johanna Veth, Jan Veth, 1885
olieverf op doek, h 88.5cm × w 108cm. More details
Veth was young and still living at home when he portrayed his three sisters with painstaking honesty. His father assessed the likenesses of his daughters with equal candour: ‘My opinion of these portraits is, and will always be, that they are excellent likenesses, which are anything but flattering, and there are a few sharp edges, which I would rather have seen some-what softened.’
Rijks Museum - National Museum of Netherlands
Vision:
The Rijksmuseum links individuals with art and history.
Mission:
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
"Clipped the wings on this one. They can't all be pearls ya know?"
NEW JERSEY’S BALD EAGLE POPULATION CONTINUES TO SOAR
January 14th, 2016
CONSERVE WILDLIFE FOUNDATION OF NEW JERSEY RELEASES RESULTS OF 2015 STATE BALD EAGLE REPORT
by Lindsay McNamara, Communications Manager
Conserve Wildlife Foundation of New Jersey today released the 2015 Bald Eagle Report, highlighting the number of nesting pairs, active nests and nest productivity for the raptors throughout New Jersey with data collected by New Jersey Department of Environmental Protection Division of Fish and Wildlife biologists, CWF biologists and committed volunteers.
“With 161 pairs of bald eagles this past year — up from just a single nest in the early 1980’s — the dramatic ongoing recovery of bald eagles across the northeast continues to inspire so many of us,” said David Wheeler, Conserve Wildlife Foundation Executive Director. “The thrill of seeing a bald eagle fly across the sky is unparalleled. This report captures how these eagles are continuing their All-American return.”
The report notes that thirteen new eagle pairs were found this season, nine in the south, two in Central Jersey and two in Northern New Jersey.
For more info: www.conservewildlifenj.org/blog/2016/01/14/new-jerseys-ba...
Des stalles du château de Gaillon sont conservées dans la basilique Saint-Denis près de Paris. Ce château était la résidence de loisir des archevêques de Rouen. Commandées au début du XVIe siècle par Georges d’Amboise, ces stalles ont été construites lorsque cet archevêque, devenu légat du pape et premier conseiller de Louis XII a fait transformer le château médiéval en palais de la Renaissance. Seules stalles en France à présenter de nombreux panneaux de marqueterie et une iconographie inédite, elles forment un mobilier unique, chef-d’œuvre de cette période charnière entre gothique et Renaissance, arborant une grande mixité de styles. Ces stalles sont les chaires qui étaient destinées aux trois chanoines qui officiaient dans la chapelle haute du château de Gaillon, dédiée à saint Georges. Elles étaient ceintes d’une clôture en boiset constituaient ainsi le chœur liturgique de l'édifice.
Les stalles en chêne sont composées de deux rangées disposées côté nord et sud du transept de la basilique de Saint-Denis. La rangée nord présente un ensemble de six stalles, la rangée sud de cinq stalles et une isolée. Seules douze stalles ont été créées au XVIe siècle alors que le programme iconographique en prévoyait quatorze. De 2,83 m de haut, elles composées d’un siège et d’un dorsal, ce dernier comprenant deux registres : un bas-relief surmontant un panneau de marqueterie. Tous les éléments sont sculptés ou marquetés. De manière unique, les dossiers, les dorsaux et les voussures des dais sont galbés. De même les chaires ont des largeurs variées, fixées par celles des bas-reliefs des dorsaux. Pour s’adapter, les largeurs d’autres composants ont été rectifiées. La mixité de style se retrouve dans la globalité, les interdorsaux et deux dais étant gothiques alors que les faibles reliefs sont apparentés aux grotesques de la Renaissance, les bas-reliefs et les marqueteries des dorsaux étant quant à eux à la fois d’inspiration péninsulaire et septentrionale.
Sont illustrées sur les bas-reliefs originaux des dorsaux deux scènes de la vie d’Anne et Joachim, parents de la vierge Marie, cinq scènes de la vie de saint Jean-Baptiste le précurseur et sept scènes de la vie de saint Georges selon les textes d’Évangile ou de la Légende dorée. Nombre d’autres saints sont présentés en pied, sous forme de statuettes sur les interdorsaux ou de bas-reliefs sur les soubassements des jouées, notamment les quatre évangélistes sur ces derniers. Sur les panneaux marquetés des quadrants des parcloses sont figurées les affres des enfers des condamnés selon les sept péchés capitaux, avec les planètes et leurs influences. Les représentations sont inspirées des gravures du Calendrier des bergers imprimé à cette époque.
Les miséricordes figurent des scènes des Métamorphoses d’Ovide ainsi que les arts libéraux selon la Margarita Philosophica de G. Reisch. Les artisans se sont inspirés de gravures d’ouvrages imprimés au début du XVIe siècle, par exemple le soldat romain Caius Mucius Scaevola devant le roi Étrusque Porsenna y étant représenté exposant ainsi des thématiques propres à la culture antique. De manière également tout à fait inédite, les 7 vertus, cardinales et théologales, et 7 sibylles sont figurées et représentées sur les panneaux de marqueterie du premier registre des dorsaux. Les allégories et les prophétesses sont encadrées d’architectures identiques deux à deux qui les mettent en concordance. Les sibylles ont été choisies parmi celles du manuscrit des Heures de Louis de Laval dont les auteurs ont cité les prophéties. Ces dernières proviennent du manuscrit des Institutions divines de Lactance qui était de nouveau traduit et que le cardinal a lui-même fait enluminer. Ce grand rhéteur du IVe siècle ayant quant à lui repris les oracles rédigés dans les Oracles sibyllins.
Georges Ier d’Amboise n’a pas manqué de faire valoir qu’il était le commanditaire des stalles en demandant à ce que ses armes et sa devise y figurent à de nombreuses reprises. Le légat a donné pour modèles aux artisans des stalles des enluminures ou gravures de manuscrits faisant partie de sa splendide bibliothèque, digne d'un grand érudit humaniste. Il fit venir l’Italie en choisissant la marqueterie figurative en sus de la sculpture, seule technique utilisée à l'époque en France. Sans renier la tradition en faisant figurer les saints, il a fait représenter de manière inédite leur cycle de vie, dont il a choisi des événements bien spécifiques. De plus, il a incité les fidèles à s’instruire et à étudier les auteurs antiques en faisant sculpter des allégories des arts libéraux et des personnages mythiques ou héroïques. Enfin, par le dialogue des sibylles et des vertus, il a montré que la rhétorique de Lactance était convaincante. Il a ainsi non seulement introduit en France la mode italienne dans le mobilier, le décor et les ornements du château de Gaillon, mais surtout donné corps à l’esprit humaniste en faisant de ses stalles les messagères qui appellent à une vie vertueuse, dans la foi au Christ annoncé à tous les hommes (cf. wikipédia, merci Glass Angel pour la photo).
Knole (/noʊl/) is a country house and former archbishop's palace owned by the National Trust. It is situated within Knole Park, a 1,000-acre (400-hectare) park located immediately to the south-east of Sevenoaks in west Kent. The house ranks in the top five of England's largest houses, under any measure used, occupying a total of four acres.[1]
The current house dates back to the mid-15th century, with major additions in the 16th and, particularly, the early 17th centuries. Its grade I listing reflects its mix of late-medieval to Stuart structures and particularly its central façade and state rooms. In 2019 an extensive conservation project, "Inspired by Knole", was completed to restore and develop the structures of the buildings and thus help to conserve its important collections.[2] The surrounding deer park has also survived with varying degrees of management in the 400 years since 1600.
Early-Stuart Knole and the Sackvilles
Since Dudley had originally granted a 99-year lease, Thomas Sackville could only take it back by buying out the remaining 51 years of the lease for £4000, which he did in 1603. Lennard was happy to sell, not only because of his mounting debts but also because he wished to gain the Dacre title, which he did in 1604 from a commission headed by the lord treasurer, Thomas Sackville. This is unlikely to have been a coincidence.[34] Sackville's descendants, the Earls and Dukes of Dorset and Barons Sackville have owned or lived in the property ever since.[35]
North West Front, Knole, Sevenoaks
Thomas Sackville, at that time Lord Buckhurst, had considered a number of other sites to build a house commensurate with his elevated status in court and government. However, he could not overlook the multiple advantages of Knole: a good supply of spring water (rare for a house on a hill), plentiful timber, a deer park and close enough proximity to London.[36] He immediately began a large building programme. This was supposed to have been completed within two years, employing some 200 workmen, but the partially-surviving accounts show that there was continuing, vast expenditure even in 1608–9.[30] Since Sackville had had a distinguished career at court under Elizabeth and then been appointed Lord High Treasurer to James VI and I, he had the resources to undertake such a programme. Perhaps, with his renovations to the state rooms at Knole, Sackville hoped to receive a visit by the King, but this does not seem to have occurred and the lord treasurer himself died during the building work, in April 1608, at the age of about 72.
Thomas Sackville's Jacobean great house, like others such as Hatfield and Audley End, have been called "monuments to private greed".[37] Unlike any surviving English great house apart from Haddon Hall, Knole today still looks as it did when Thomas died, having managed "to remain motionless like this since the early 17th century, balanced between growth and decay."[38]
Thomas's son, Robert Sackville, second earl of Dorset, took over the titles and estates, gave a description of his father's work on re-modelling Knole: "late re-edified wth a barne, stable, dovehouse and other edifices, together wth divers Courts, the gardens orchards and wilderness invironed wth a stone wall, well planted wth choise frute, and beawtified wth ponds, and manie other pleasureable delights and devises are situate wthin the Parke of knoll, the charge of new building of the said house and making planting and furnishing of the said ponds yards gardens orchards and wilderness about Seaven yeares past Thirty thosand pounds at the least yet exstant uppon Accounpts. All wch are now in the Earle of dorsetts owne occupacon and are worth to bee sold."[39]
The second earl did not enjoy Knole for long, since he died in January 1609.[40] His two sons, in turn, inherited the title and estates, first Richard Sackville, third earl of Dorset (1589–1624) and then the much more politically significant Edward Sackville, fourth earl of Dorset (1590–1652).[41] None of these earls lived permanently at Knole. In the first earl's case, this was no doubt due to the renovations. The third earl lived mostly at court, though he is known to have kept his hunting horses and hounds there.[42]
The wife of the 3rd Earl, Lady Anne Clifford, lived at Knole for a time during the couple's conflict over her inheritance from her father, George Clifford, third earl of Cumberland.[43] A catalogue of the household of the Earl and Countess of Dorset at Knole from this time survives. It records the names and roles of servants and indicates where they sat at dinner. The list includes two African servants, Grace Robinson, a maid in the laundry, and John Morockoe, who worked in the kitchen. Both are described as "Blackamoors".[44] In 1623, a large part of Knole House burnt down.[45]
Knole during the Civil War, Commonwealth and Restoration
Edward Sackville, in a miniature by John Hoskins, 1635
Edward, a relatively moderate royalist, was away from Knole in the summer of 1642, when he and his cousin and factotum Sir John Sackville fell under suspicion of stockpiling arms and preparing local men to fight for Charles I during the Civil War. The rumours of the cache of arms reached Parliament in an intercepted letter for which Sir John was notionally the source. On Sunday 14 August 1642, Parliament sent three troops of horse under Colonel Edwin Sandys, a member of a Kentish puritan family, to seize these arms from Knole. Sir John was in the congregation for the parish Sunday service and Sandys waited with his troops outside the church until it had finished. Local people tried to rescue him but they quickly judged that the troops were too strong for them, and Sir John was arrested and taken to the Fleet prison.[46]
Sandys's troops then moved to Knole where, according to the earl of Dorset's steward, they caused damage to the value of £186, and 'The Armes they have wholie taken awaie there being five wagenloads of them (sic passim).' [47] In fact, the arms were largely of more interest to antiquarians than to soldiers; they included, for example, thirteen 'old French pistolls whereof four have locks [and] the other nine have none'. Sandys claimed that he had seized 'compleat armes for 500 or 600 men', but this is untrue.[48] Nevertheless, the House of Lords resolved that 'such [arms] as are fit to be made use of for the Service of the Kingdom are to be employed'.[49] In addition, the House was sequestrated.[50] Edward accepted the seizures and damage to Knole as an inevitable part of the Civil War, as he explained in a speech to Charles I and his peers in Oxford, in 1642: 'For my particular, in these wars I have suffered as much as any, my Houses have been searcht, my Armes taken thence, and my sonne and heire committed to prison; yet I shall wave these discourtesies, because I know there was a necessity they should be so. Wikipedia
California Native Plants Conserve Water and Display Daily Beauty - t.co/aTY6xNJ6Pg t.co/GQ8bRyWXX0 (via Twitter twitter.com/EnergySaversCA/status/733006091638996992)
Rijks Museum - National Museum of Netherlands
Vision
The Rijksmuseum links individuals with art and history.
Mission
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.
É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente
.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
No way would I ever pick an orchid. I would never pick a wild flower! Gone are the days for pressing wild flowers in this era. No way ever! We need to conserve nature for future generations to enjoy. We need to respect it.
This was a local council grass verge hacking casualty. If I had picked this flower I would have been in trouble so why should our local council be able to hack away grass verges down a country lane? I am launching a local campaign along with some support from other folk who love the village where I live. The council seems to think it needed to cut the byway for traffic safety. Whoever bothers to drive anywhere near these orchids where there were about 35 last year, is a complete mystery to me. The only people who go anywhere near are flytippers and rubbish dumpers!!! I am so angry. Last evening when I found the flailed grassy patches I went ballistic and was unfit to drive home.
Someone needs to answer for their actions. This bee orchid was put into water as soon as possible, but heaven only knows where the rootstock was. The flailing grass cutting left the earth as bare as a scree with not even a grass root in sight. The clover had also gone where bumble bees had been and across the road there had been ox eye daises, where last year I had seen ringlet butterflies, meadow brown, small and large skippers, marbled whites and an argiotope spider. Wahhhhhh!!!!
If you are in Uk please join in the verges campaign at plantlife.org.uk/ and sign their petition. It is so important we speak up for wildlife.
www.plantlife.org.uk/roadvergecampaign
UK people, please feel free to share on Facebook! Thank you. The more the better.
All my photos and written word have copyright and belong to me, LizzieDeb. Strictly no use of any picture without my written permission. Thank you.
Message me on Flickr, or contact me via
<a href="http://www.photoharvester.co.uk"
www.flickr.com/groups/bbcspringwatch/discuss/721576521769...
Des stalles du château de Gaillon sont conservées dans la basilique Saint-Denis près de Paris. Ce château était la résidence de loisir des archevêques de Rouen. Commandées au début du XVIe siècle par Georges d’Amboise, ces stalles ont été construites lorsque cet archevêque, devenu légat du pape et premier conseiller de Louis XII a fait transformer le château médiéval en palais de la Renaissance. Seules stalles en France à présenter de nombreux panneaux de marqueterie et une iconographie inédite, elles forment un mobilier unique, chef-d’œuvre de cette période charnière entre gothique et Renaissance, arborant une grande mixité de styles. Ces stalles sont les chaires qui étaient destinées aux trois chanoines qui officiaient dans la chapelle haute du château de Gaillon, dédiée à saint Georges. Elles étaient ceintes d’une clôture en boiset constituaient ainsi le chœur liturgique de l'édifice.
Les stalles en chêne sont composées de deux rangées disposées côté nord et sud du transept de la basilique de Saint-Denis. La rangée nord présente un ensemble de six stalles, la rangée sud de cinq stalles et une isolée. Seules douze stalles ont été créées au XVIe siècle alors que le programme iconographique en prévoyait quatorze. De 2,83 m de haut, elles composées d’un siège et d’un dorsal, ce dernier comprenant deux registres : un bas-relief surmontant un panneau de marqueterie. Tous les éléments sont sculptés ou marquetés. De manière unique, les dossiers, les dorsaux et les voussures des dais sont galbés. De même les chaires ont des largeurs variées, fixées par celles des bas-reliefs des dorsaux. Pour s’adapter, les largeurs d’autres composants ont été rectifiées. La mixité de style se retrouve dans la globalité, les interdorsaux et deux dais étant gothiques alors que les faibles reliefs sont apparentés aux grotesques de la Renaissance, les bas-reliefs et les marqueteries des dorsaux étant quant à eux à la fois d’inspiration péninsulaire et septentrionale.
Sont illustrées sur les bas-reliefs originaux des dorsaux deux scènes de la vie d’Anne et Joachim, parents de la vierge Marie, cinq scènes de la vie de saint Jean-Baptiste le précurseur et sept scènes de la vie de saint Georges selon les textes d’Évangile ou de la Légende dorée. Nombre d’autres saints sont présentés en pied, sous forme de statuettes sur les interdorsaux ou de bas-reliefs sur les soubassements des jouées, notamment les quatre évangélistes sur ces derniers. Sur les panneaux marquetés des quadrants des parcloses sont figurées les affres des enfers des condamnés selon les sept péchés capitaux, avec les planètes et leurs influences. Les représentations sont inspirées des gravures du Calendrier des bergers imprimé à cette époque.
Les miséricordes figurent des scènes des Métamorphoses d’Ovide ainsi que les arts libéraux selon la Margarita Philosophica de G. Reisch. Les artisans se sont inspirés de gravures d’ouvrages imprimés au début du XVIe siècle, par exemple le soldat romain Caius Mucius Scaevola devant le roi Étrusque Porsenna y étant représenté exposant ainsi des thématiques propres à la culture antique. De manière également tout à fait inédite, les 7 vertus, cardinales et théologales, et 7 sibylles sont figurées et représentées sur les panneaux de marqueterie du premier registre des dorsaux. Les allégories et les prophétesses sont encadrées d’architectures identiques deux à deux qui les mettent en concordance. Les sibylles ont été choisies parmi celles du manuscrit des Heures de Louis de Laval dont les auteurs ont cité les prophéties. Ces dernières proviennent du manuscrit des Institutions divines de Lactance qui était de nouveau traduit et que le cardinal a lui-même fait enluminer. Ce grand rhéteur du IVe siècle ayant quant à lui repris les oracles rédigés dans les Oracles sibyllins.
Georges Ier d’Amboise n’a pas manqué de faire valoir qu’il était le commanditaire des stalles en demandant à ce que ses armes et sa devise y figurent à de nombreuses reprises. Le légat a donné pour modèles aux artisans des stalles des enluminures ou gravures de manuscrits faisant partie de sa splendide bibliothèque, digne d'un grand érudit humaniste. Il fit venir l’Italie en choisissant la marqueterie figurative en sus de la sculpture, seule technique utilisée à l'époque en France. Sans renier la tradition en faisant figurer les saints, il a fait représenter de manière inédite leur cycle de vie, dont il a choisi des événements bien spécifiques. De plus, il a incité les fidèles à s’instruire et à étudier les auteurs antiques en faisant sculpter des allégories des arts libéraux et des personnages mythiques ou héroïques. Enfin, par le dialogue des sibylles et des vertus, il a montré que la rhétorique de Lactance était convaincante. Il a ainsi non seulement introduit en France la mode italienne dans le mobilier, le décor et les ornements du château de Gaillon, mais surtout donné corps à l’esprit humaniste en faisant de ses stalles les messagères qui appellent à une vie vertueuse, dans la foi au Christ annoncé à tous les hommes (cf. wikipédia, merci Glass Angel pour la photo).
From the Wikipedia entries:
"Deer Isle is an island in Hancock County, Maine, United States. There are two communities on the island, Deer Isle and Stonington. It is on the eastern side of Penobscot Bay, connected by road to the Maine mainland through Little Deer Isle. Its only vehicular connection to the mainland is State Route 15 over Deer Isle Bridge.
The first people to live on Deer Isle, as early as 6,100 years ago, were Native Americans. Their descendants were known to early French explorers as Etchemins; some continued to live on the island even after Anglo-Americans established settlements. The first European to venture into the region was Estevan Gomez, a Portuguese working for the Spanish Crown. Gomez sailed his ship La Anunciada up Eggemoggin Reach, which divides Deer Isle from the mainland. The French, however, would be the most active in the region, establishing a fort in Castine and intermarrying with Abenaki natives. A body buried in full armor (believed to be French) was discovered on nearby Campbell Island.
Toward the end of the French and Indian War, Deer Isle was settled by New England colonists around 1760. From Berwick came descendants of Scots Covenanter George Gray, a prisoner of war taken at the 1650 Battle of Dunbar and shipped to America, his grandchildren (Joshua and Andrew) populated the area. Sailors on the island became noted for maritime skills, some even serving as crew in the America's Cup Races of 1895 and 1899. Ironically, their ancestors hadn't come looking for a life on the sea, but on the land. Following a southerly migration from the mainland above, the first settlers established farms and built cabins on the northern part of Deer Island. On the southern part, Green's Landing (as Stonington was initially known) would be settled after 1800.
Soil became exhausted from over farming and deforestation, so inhabitants of Deer Isle took to the sea. They became active in shipbuilding, seafaring and fishing. Green's Landing, a sparsely populated fishing village, didn't change much until the granite boom after 1870, when quarrying became a major occupation. Stone excavated here was used to build important structures across the country, including the Museum of Fine Arts, Boston. Europeans, mainly from Italy, were imported as stonecutters. Some were housed in barracks on Crotch Island, while others lived in hotels and large boarding houses built for that purpose. Many of the original buildings have been transformed since into restaurants, galleries and shops.
On February 18, 1897, Green's Landing was set off and incorporated by the Maine State Legislature as Stonington, named for its granite quarries. To the west of the main harbor lies Steamboat Wharf, now home to the Isle au Haut Boat Company. Prior to that it was a sardine factory. Before the Deer Isle-Sedgwick Bridge connected to the mainland in 1939, the wharf was an essential link to Deer Isle in general, and Stonington in particular. Steamboats arrived daily from ports such as Rockland, transporting freight and passengers from as far as Boston. The harbor has long been filled with Friendship Sloops, which are powered by sail only. Lobstermen once used them to haul traps. Most of their trips were to the outer islands (like York Island) near Isle au Haut, fishing during the week and returning to the harbor on weekends. This changed with the advent of gasoline or diesel engines, along with new hull designs, which enabled fishermen to make day trips to fishing grounds in Penobscot Bay."
Deer Isle is a spectacular island community of 24,000 acres and 112 miles of shoreline, comprising the towns of Deer Isle and Stonington and outlying islands.
Island Heritage Trust is a community-based, non-profit land trust contributing to the well-being of the island community by conserving its distinctive landscape and natural resources, maintaining public access to valued trails, shoreline and islands, and by providing educational programming for all ages.
www.islandheritagetrust.org/visit.html
.....
History
Shipyard: Chantiers Jouët, in Sartrouville
Commissioning: 1949
Status: conserved
Technical characteristics
Length: 11.5 m
Midship: 3.23 m
Draught: 0.93 m
Air draft: 7.00 m
displacement: 10.4 tonnes
Propulsion: 2 Baudouin DB2M engines (1949)
Power: 2 × 28 hp
Speed: 7.9 knots
Career
shipper: Aimée-Hilda Association
Flag: France
Homeport: Ploumanac'h
indicative: PL334386
Protection: Heritage Interest Boat (2015)
History
In august 1944, the German army destroys the shelter and its lifeboat in the Cove of Pors Kamor . In August 1948 a strong emotion in the absence of any means of help in front of the sinking of the Petite Annie provokes a burst of generosity to put a lifeboat back into service. Thanks to the donations of Madame Aimée Fournier and Miss Hilda Gelis Didot, the construction of this new canoe was carried out at the Jouët shipyard in Sartrouville in 1949 1 . They become the godmother and their first names are used to baptize Aimée-Hilda .
Pors Kamor's hold will be repaired and a new shelter is rebuilt with its cart and an electric winch.
Service
The lifeboat will be used from 1950 to 1975 at the rescue station of the Central Rescue Society (SCS) of Ploumanac'h, which became the National Sea Rescue Society (SNSM) in 1967 1 .
Put out of rescue service in 1975, she continued to serve as a service vessel in the floating port of Perros-Guirec .
In 1995, the association for the conservation, safeguard, management and operation of the Ploumanac'h Aimée-Hilda lifeboat was created 1 . After two years of restoration, it was relaunched in 1997 and is armed for navigation 5 th class.
The only lifeboat of this model still afloat, it participated in numerous maritime events. He was present at the Tonnerres de Brest in 2012 .
Cuyahoga Valley National Park conserves and reclaims the rural landscape along the Cuyahoga River between Akron and Cleveland in Northeast Ohio's Cuyahoga and Summit counties.
The 32,572-acre (50.9 square mile) park is administered by the National Park Service, but within its boundaries are areas independently managed as county parks or as public or private businesses. Cuyahoga Valley was originally designated as a National Recreation Area in 1974, then redesignated as a national park 26 years later in 2000, and remains the only national park that originated as a national recreation area.
Cuyahoga Valley is the only national park in the state of Ohio and one of three in the Great Lakes Basin, with Isle Royale National Park in Lake Superior and Indiana Dunes National Park bordering Lake Michigan. Cuyahoga Valley also differs from the other national parks in the U.S. in that it is adjacent to two large urban areas and it includes a dense road network, small towns, and public and private attractions.
Information from: en.wikipedia.org/wiki/Cuyahoga_Valley_National_Park
Des stalles du château de Gaillon sont conservées dans la basilique Saint-Denis près de Paris. Ce château était la résidence de loisir des archevêques de Rouen. Commandées au début du XVIe siècle par Georges d’Amboise, ces stalles ont été construites lorsque cet archevêque, devenu légat du pape et premier conseiller de Louis XII a fait transformer le château médiéval en palais de la Renaissance. Seules stalles en France à présenter de nombreux panneaux de marqueterie et une iconographie inédite, elles forment un mobilier unique, chef-d’œuvre de cette période charnière entre gothique et Renaissance, arborant une grande mixité de styles. Ces stalles sont les chaires qui étaient destinées aux trois chanoines qui officiaient dans la chapelle haute du château de Gaillon, dédiée à saint Georges. Elles étaient ceintes d’une clôture en boiset constituaient ainsi le chœur liturgique de l'édifice.
Les stalles en chêne sont composées de deux rangées disposées côté nord et sud du transept de la basilique de Saint-Denis. La rangée nord présente un ensemble de six stalles, la rangée sud de cinq stalles et une isolée. Seules douze stalles ont été créées au XVIe siècle alors que le programme iconographique en prévoyait quatorze. De 2,83 m de haut, elles composées d’un siège et d’un dorsal, ce dernier comprenant deux registres : un bas-relief surmontant un panneau de marqueterie. Tous les éléments sont sculptés ou marquetés. De manière unique, les dossiers, les dorsaux et les voussures des dais sont galbés. De même les chaires ont des largeurs variées, fixées par celles des bas-reliefs des dorsaux. Pour s’adapter, les largeurs d’autres composants ont été rectifiées. La mixité de style se retrouve dans la globalité, les interdorsaux et deux dais étant gothiques alors que les faibles reliefs sont apparentés aux grotesques de la Renaissance, les bas-reliefs et les marqueteries des dorsaux étant quant à eux à la fois d’inspiration péninsulaire et septentrionale.
Sont illustrées sur les bas-reliefs originaux des dorsaux deux scènes de la vie d’Anne et Joachim, parents de la vierge Marie, cinq scènes de la vie de saint Jean-Baptiste le précurseur et sept scènes de la vie de saint Georges selon les textes d’Évangile ou de la Légende dorée. Nombre d’autres saints sont présentés en pied, sous forme de statuettes sur les interdorsaux ou de bas-reliefs sur les soubassements des jouées, notamment les quatre évangélistes sur ces derniers. Sur les panneaux marquetés des quadrants des parcloses sont figurées les affres des enfers des condamnés selon les sept péchés capitaux, avec les planètes et leurs influences. Les représentations sont inspirées des gravures du Calendrier des bergers imprimé à cette époque.
Les miséricordes figurent des scènes des Métamorphoses d’Ovide ainsi que les arts libéraux selon la Margarita Philosophica de G. Reisch. Les artisans se sont inspirés de gravures d’ouvrages imprimés au début du XVIe siècle, par exemple le soldat romain Caius Mucius Scaevola devant le roi Étrusque Porsenna y étant représenté exposant ainsi des thématiques propres à la culture antique. De manière également tout à fait inédite, les 7 vertus, cardinales et théologales, et 7 sibylles sont figurées et représentées sur les panneaux de marqueterie du premier registre des dorsaux. Les allégories et les prophétesses sont encadrées d’architectures identiques deux à deux qui les mettent en concordance. Les sibylles ont été choisies parmi celles du manuscrit des Heures de Louis de Laval dont les auteurs ont cité les prophéties. Ces dernières proviennent du manuscrit des Institutions divines de Lactance qui était de nouveau traduit et que le cardinal a lui-même fait enluminer. Ce grand rhéteur du IVe siècle ayant quant à lui repris les oracles rédigés dans les Oracles sibyllins.
Georges Ier d’Amboise n’a pas manqué de faire valoir qu’il était le commanditaire des stalles en demandant à ce que ses armes et sa devise y figurent à de nombreuses reprises. Le légat a donné pour modèles aux artisans des stalles des enluminures ou gravures de manuscrits faisant partie de sa splendide bibliothèque, digne d'un grand érudit humaniste. Il fit venir l’Italie en choisissant la marqueterie figurative en sus de la sculpture, seule technique utilisée à l'époque en France. Sans renier la tradition en faisant figurer les saints, il a fait représenter de manière inédite leur cycle de vie, dont il a choisi des événements bien spécifiques. De plus, il a incité les fidèles à s’instruire et à étudier les auteurs antiques en faisant sculpter des allégories des arts libéraux et des personnages mythiques ou héroïques. Enfin, par le dialogue des sibylles et des vertus, il a montré que la rhétorique de Lactance était convaincante. Il a ainsi non seulement introduit en France la mode italienne dans le mobilier, le décor et les ornements du château de Gaillon, mais surtout donné corps à l’esprit humaniste en faisant de ses stalles les messagères qui appellent à une vie vertueuse, dans la foi au Christ annoncé à tous les hommes (cf. wikipédia, merci Glass Angel pour la photo).
A large conserved ruin of a late 13th Century castle. It was besieged for nine weeks in 1339, captured and devastated, and the owner killed. King Charles IV. purchased the castle from his heirs in 1356, and restored it. It was used by the wealthiest families as a strongpoint, and was often besieged. It´s importance vanished in the 17th Century, many objects were damaged in the 18th Century when the new owners searched for a treasure. Extensive conservation was done after WW2, the chapel was completely restored and roofed. The area was opened to public in 1994, and is a very nice weekend trip target.
Story & Recipe (in italian & lithuanian) is here: www.tartamour.com/2014/02/11/klementinu-dzemas-su-juodosi...
Coventry Transport Museum opened in 1980, after it became clear that the road transport collection was outgrowing the space it occupied in the Herbert Art Gallery & Museum. The Museum’s current collection of vehicles is acknowledged as being one of the finest in the world, and the largest in public ownership.
The Museum’s collection consists of motor cars, commercial vehicles, cycles and motorcycles. In addition, extensive collections of automobilia, books, photographs and a wealth of other archive material is held and conserved at the Coventry History Centre at the Herbert Art Gallery & Museum.
NEW JERSEY’S BALD EAGLE POPULATION CONTINUES TO SOAR
January 14th, 2016
CONSERVE WILDLIFE FOUNDATION OF NEW JERSEY RELEASES RESULTS OF 2015 STATE BALD EAGLE REPORT
by Lindsay McNamara, Communications Manager
Conserve Wildlife Foundation of New Jersey today released the 2015 Bald Eagle Report, highlighting the number of nesting pairs, active nests and nest productivity for the raptors throughout New Jersey with data collected by New Jersey Department of Environmental Protection Division of Fish and Wildlife biologists, CWF biologists and committed volunteers.
“With 161 pairs of bald eagles this past year — up from just a single nest in the early 1980’s — the dramatic ongoing recovery of bald eagles across the northeast continues to inspire so many of us,” said David Wheeler, Conserve Wildlife Foundation Executive Director. “The thrill of seeing a bald eagle fly across the sky is unparalleled. This report captures how these eagles are continuing their All-American return.”
The report notes that thirteen new eagle pairs were found this season, nine in the south, two in Central Jersey and two in Northern New Jersey.
For more info: www.conservewildlifenj.org/blog/2016/01/14/new-jerseys-ba...
President Biden is visiting Manaus, Amazonas State, Brazil today, declaring November 17th to be International Conservation Day.
A nicely conserved GAZ 13 "Chaika" limousine - meaning "seagull" in Russian - parked in front of a posh Italian restaurant in Estonia's capital Tallinn. This was a part of my 2013 summer holiday, and I got quite a couple of "blue nights" in the Baltic states.
I don't know if the paint's colours are original, but in this livery it is a nice, stylish cruiser, too.
[Deutsch]
Eine schön erhaltene GAZ 13 "Tschaika"-Limousine - das heißt auf Russisch Möve - vor der Tür eines nicht mehr ganz preiswerten italienischen Restaurants in Estlands Hauptstadt Tallinn.
A Shepherdess, Paulus Moreelse, 1630
olieverf op doek, h 81.5cm × w 64.5cm. More details
This alluring shepherdess would never have been engaged in the tending of sheep. She inhabits an idealized pastoral paradise called Arcadia. Dutch 17th-century poetry repeatedly sang the praises of this imaginary land. The shepherdesses there were invariably seductive and licentious. Moreelse made many attractive paintings of this subject matter.
Rijks Museum - National Museum of Netherlands
Vision:
The Rijksmuseum links individuals with art and history.
Mission:
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
Rijks Museum - National Museum of Netherlands
Vision:
The Rijksmuseum links individuals with art and history.
Mission:
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
1/4
Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
Rijks Museum - National Museum of Netherlands
Vision:
The Rijksmuseum links individuals with art and history.
Mission:
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum
Rijksmuseum Amsterdam
1/4
Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.
History
Shipyard: Chantiers Jouët, in Sartrouville
Commissioning: 1949
Status: conserved
Technical characteristics
Length: 11.5 m
Midship: 3.23 m
Draught: 0.93 m
Air draft: 7.00 m
displacement: 10.4 tonnes
Propulsion: 2 Baudouin DB2M engines (1949)
Power: 2 × 28 hp
Speed: 7.9 knots
Career
shipper: Aimée-Hilda Association
Flag: France
Homeport: Ploumanac'h
indicative: PL334386
Protection: Heritage Interest Boat (2015)
History
In august 1944, the German army destroys the shelter and its lifeboat in the Cove of Pors Kamor . In August 1948 a strong emotion in the absence of any means of help in front of the sinking of the Petite Annie provokes a burst of generosity to put a lifeboat back into service. Thanks to the donations of Madame Aimée Fournier and Miss Hilda Gelis Didot, the construction of this new canoe was carried out at the Jouët shipyard in Sartrouville in 1949 1 . They become the godmother and their first names are used to baptize Aimée-Hilda .
Pors Kamor's hold will be repaired and a new shelter is rebuilt with its cart and an electric winch.
Service
The lifeboat will be used from 1950 to 1975 at the rescue station of the Central Rescue Society (SCS) of Ploumanac'h, which became the National Sea Rescue Society (SNSM) in 1967 1 .
Put out of rescue service in 1975, she continued to serve as a service vessel in the floating port of Perros-Guirec .
In 1995, the association for the conservation, safeguard, management and operation of the Ploumanac'h Aimée-Hilda lifeboat was created 1 . After two years of restoration, it was relaunched in 1997 and is armed for navigation 5 th class.
The only lifeboat of this model still afloat, it participated in numerous maritime events. He was present at the Tonnerres de Brest in 2012 .
Original Caption: Unlighted Business Sign Reminds Motorists to Conserve Gasoline During the Fuel Crisis 12/1973
U.S. National Archives’ Local Identifier: 412-DA-12990
Photographer: Falconer, David
Subjects:
Portland (Multnomah county, Oregon, United States) inhabited place
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: arcweb.archives.gov/arc/action/ExternalIdSearch?id=555442
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
Rijks Museum - National Museum of Netherlands
Vision:
The Rijksmuseum links individuals with art and history.
Mission:
At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.
As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.
The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.
From 1800 to 2013
The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.
After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.
The beginning
On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.
Move to Amsterdam
In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.
A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.
Cuypers Cathedral
The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.
Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.
Renovations
Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.
In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.
The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.
‘Verder met Cuypers'
The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.
The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!
Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.
O Museu Rijks é um dos maiores e mais importantes museus da Europa.É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.
Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.
Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.
A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...
Rijksmuseum, Museu Nacional
42 Stadhouderskade
Amsterdam
O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.
Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.
O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.
Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum
Museu Rijks, Amesterdão
O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.
Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.
O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.
O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.
O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.
O museu abre diariamente das 10 da manhã até ás 5 da tarde.
A entrada é pela Stadhouderskade 42.
Rijksmuseum
Origem: Wikipédia, a enciclopédia livre.
O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.
O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.
Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.
A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.
Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.
Algumas das pinturas do museu:
Rembrandt van Rijn
A Ronda Nocturna
Os síndicos da guilda dos fabricantes de tecidos
A noiva judia
A lição de Anatomia do Dr. Deyman
Pedro negando Cristo
Saskia com um véu
Retrato de Titus em hábito de monge
Auto-retrato como Apóstolo Paulo
Tobias, Ana e o Bode
Johannes Vermeer:
A Leiteira
A Carta de Amor
Mulher de Azul a ler uma carta
A Rua pequena
Frans Hals:
Retrato de um jovem casal
A Companhia Reynier Real
O bebedor alegre
Retrato de Lucas De Clercq
Retrato de Nicolaes Hasselaer
Retrato de um homem
Página oficial do Rijksmuseum
Virtual Collection of Masterpieces (VCM)
O melhor museu de Amsterdam: Rijksmuseum
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Rijksmuseum Amsterdam
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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.
Obras-primas do Museu Nacional
Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:
Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.
O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.
Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.
Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.
Museu que é visita obrigatória em Amsterdam
Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds
Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.