Thesis (doctoral)--Universität Leiden, 2001. / "Stellingen" (2 p.) tipped in. Includes bibliographical references (p. 486-500) and index.

Thesis (Ph. D.)--Harvard University, 1985. / Vol. 3, consists of a catalogue raisonne of the works of the artist. Typescript (photocopy). Ann Arbor, Mich. : University Microfilms International, 1986. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (v. 2, leaves 533-606).

Originally presented as the author's thesis (doctoral)--Freie Universität Berlin, 2002.

This dissertation offers a new reading of Jan van der Heyden’s art through an analysis of his depiction of bricks. The minuteness with which the artist rendered bricks is frequently mentioned, their significance however, both in relation to his art and in relation to the early modern Dutch city has largely gone unnoticed. This in-depth study of Van der Heyden’s work and methods not only enriches our understanding of his paintings, but also stresses that his practice as an artist was fundamentally linked to his work as an inventor of technology. Both in his art and inventions Van der Heyden exhibited a profound interest in materials, experimentation, and the urban fabric. Additionally, this study has implications for our interpretation of the Dutch seventeenth-century painted cityscape more broadly. Cityscapes have rarely been examined in light of art theoretical treatises. Van der Heyden’s art, as well as the earliest known commentaries on his paintings however, underscore that such lack of interest is unfounded. Van der Heyden’s bricks, it will appear throughout these chapters, are an embodiment of his broad interests and wide-raging skills. They give expression to both theory and practice, as well to the formation of a Dutch identity. In Van der Heyden’s bricks, therefore, we recognize his interest in and contributions to art, technology, and the city.

Culitivated Tastes argues for a new evaluation of colonial landscape art and representations of nature from the Netherlands Indies (colonial Indonesia). The thesis focuses on examples from Java, Sumatra, Ambon and Bali during the nineteenth and early twentieth centuries, but also discusses early post-colonial literature. It uses paintings and photography, with supporting references to Dutch colonial novels, to argue that images of landscape and nature were linked to the formation of Dutch colonial identities and, more generally, to the politics of colonial expansion. Paintings were not simply colonial kitsch (mooi Indi??, or 'beautiful Indies', images): they were the purest expression of Dutch ideals about the peaceful, prosperous landscapes that were crucial to uncontested colonial rule. Often these ideals were contradicted by historical reality. Indeed, paintings rarely showed Dutch interventions in Indies landscapes, particularly those that were met with resistance and rebellion. Colonial photographs often supported the painterly ideals of peace and prosperity, but in different ways: photographs celebrated European intrusions upon and restructuring of Indonesian landscapes, communicating the notions of progress and rational, benevolent rule. It is in literature that we find broader discussions of nature, which includes climate as well as topography. Here representations of landscape and nature are explicitly linked to the formation of colonial identities. Dutch anxieties about the boundaries of racial and gender identities were embedded within references to Indies landscape and nature. Inner colonial worlds intersected with perceptions of the larger environment in literature: here the ideals and triumphs associated with Dutch colonial expansion were juxtaposed against fears related to remaining European in a tropical Asian landscape.

Culitivated Tastes argues for a new evaluation of colonial landscape art and representations of nature from the Netherlands Indies (colonial Indonesia). The thesis focuses on examples from Java, Sumatra, Ambon and Bali during the nineteenth and early twentieth centuries, but also discusses early post-colonial literature. It uses paintings and photography, with supporting references to Dutch colonial novels, to argue that images of landscape and nature were linked to the formation of Dutch colonial identities and, more generally, to the politics of colonial expansion. Paintings were not simply colonial kitsch (mooi Indi??, or 'beautiful Indies', images): they were the purest expression of Dutch ideals about the peaceful, prosperous landscapes that were crucial to uncontested colonial rule. Often these ideals were contradicted by historical reality. Indeed, paintings rarely showed Dutch interventions in Indies landscapes, particularly those that were met with resistance and rebellion. Colonial photographs often supported the painterly ideals of peace and prosperity, but in different ways: photographs celebrated European intrusions upon and restructuring of Indonesian landscapes, communicating the notions of progress and rational, benevolent rule. It is in literature that we find broader discussions of nature, which includes climate as well as topography. Here representations of landscape and nature are explicitly linked to the formation of colonial identities. Dutch anxieties about the boundaries of racial and gender identities were embedded within references to Indies landscape and nature. Inner colonial worlds intersected with perceptions of the larger environment in literature: here the ideals and triumphs associated with Dutch colonial expansion were juxtaposed against fears related to remaining European in a tropical Asian landscape.

Thèse--Algiers. / Bibliography: p. 157-158.

The seventeenth century saw a large increase in family-related portrait materials, including group family portraits, family portrait collections, and family memorial albums. In this thesis, I contend with the meanings and functions of family portraits created in the Netherlands in an attempt to illuminate the motives behind the rise in the number of portraits of the family during this period. I focus on the ways in which Dutch families utilised portraiture as a vehicle for constructing personal and national identity. In an age of extraordinary economic success, religious tension, and political upheaval, portraits of the members of the expanding Dutch ‘middle class’, who had the means and the desire to commission them, reveal a conscious inclination to define and substantiate a fashioned identity as the new urban elite of a Republic in the making. My study assesses family portraits as sites where identity and changing notions of selfhood were envisioned and performed. The shifting notions of ‘family’, and the increasing popularity of commissioning portraits seems to signal attempts to configure and imagine their relationship to Dutch society. I propose that the amount of portraits related to the family commissioned alongside an exploration of and struggle with identity is a symptom of the anxiety surrounding politics, religion, and social changes, for which the family often served as a metaphor. New perspectives on portrait theory and identity, especially those of Ann Jensen Adams and Joanna Woodall, contributed to the shaping of this thesis, particularly as a means to comprehend how portraits functioned in the lives of families. There are four chapters that make up the body of this thesis. In each chapter, I focus on specific works of art chosen for their suitability in highlighting certain concepts and anxieties about identity and the family in its cultural context at their extremes.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished