Diss.--Ruhr-Universität--Bochum, 1987.

This thesis emphasizes the senses of the audience in reception of Jan van Eyck’s heroic Ghent Altarpiece. This pivotal work may have demanded the viewer engage in a hierarchy of devotion ranging from intimate and private to public and liturgical. Jan van Eyck engages in a strategy of representation that focus and specify various aspects of vision to create a multivalent devotional experiences for the viewer. This thesis compares some of the visual uses of frames in miniatures and how they relate to altarpiece formats and hierarchies of vision. Reception of the Ghent Altarpiece is also discussed in relation to Augustine of Hippo’s theory of tri-partite vision as well as his theory of cross-modal uses of the sense in dialogues of spiritual truth. Sound is also a vital component of the devotional experience of the Ghent Altarpiece. Issues of music and speech acts are discussed to underscore the multivalent devotional uses of the Ghent Altarpiece. / text

Adults in North American society lack the natural ability of children to play and explore their environments in a non-judgemental, non-programmed manner. The underlying theories of James Carse and Johan Huizinga examine play and its effects on adult culture. St. Louis Adult Education and Learning Centre in downtown Cambridge, Ontario serves as a testing ground for an adult play-space. Presently, the school lacks any public, non-programmed spaces to accommodate the student population, largely comprised of single, teenage mothers. Aldo van Eyck’s architecture, together with his theoretical essays, heralded the importance of play in culture and to the individual. Van Eyck created a network of playgrounds to revitalize and rehabilitate the city of Amsterdam after the Second World War. His designs of the temporary Sonsbeek Pavilion and sculpture garden in Arnhem, the Netherlands, brought play into the cultural realm of 1966. Van Eyck’s design of the Sonsbeek pavilion concretizes the play-theories of Carse and Huizinga. A collage of the Sonsbeek Pavilion inserted into the empty grounds at St. Louis tests the play theories of van Eyck, Carse and Huizinga. It provides a space for play where no play currently exists. The Sonsbeek Pavilion’s heavy, concrete walls and labyrinthian plan swallow the players, who become immersed in a place of play. As the player moves through the pavilion, the view shifts to provide or block views of the adjacent spaces. The pavilion proposes a site of exploration and surprise. It provides the possibility for the adult students, the teenage mothers, their children, and the surrounding community to play.

Adults in North American society lack the natural ability of children to play and explore their environments in a non-judgemental, non-programmed manner. The underlying theories of James Carse and Johan Huizinga examine play and its effects on adult culture. St. Louis Adult Education and Learning Centre in downtown Cambridge, Ontario serves as a testing ground for an adult play-space. Presently, the school lacks any public, non-programmed spaces to accommodate the student population, largely comprised of single, teenage mothers. Aldo van Eyck’s architecture, together with his theoretical essays, heralded the importance of play in culture and to the individual. Van Eyck created a network of playgrounds to revitalize and rehabilitate the city of Amsterdam after the Second World War. His designs of the temporary Sonsbeek Pavilion and sculpture garden in Arnhem, the Netherlands, brought play into the cultural realm of 1966. Van Eyck’s design of the Sonsbeek pavilion concretizes the play-theories of Carse and Huizinga. A collage of the Sonsbeek Pavilion inserted into the empty grounds at St. Louis tests the play theories of van Eyck, Carse and Huizinga. It provides a space for play where no play currently exists. The Sonsbeek Pavilion’s heavy, concrete walls and labyrinthian plan swallow the players, who become immersed in a place of play. As the player moves through the pavilion, the view shifts to provide or block views of the adjacent spaces. The pavilion proposes a site of exploration and surprise. It provides the possibility for the adult students, the teenage mothers, their children, and the surrounding community to play.

En 1964, tras más de 20 años viviendo en Amsterdam con su familia, Aldo van Eyck se traslada a Loenen aan de Vecht. Meses antes había adquirido una construcción modesta, de unos 200 metros cuadrados repartidos en dos plantas y un desván, construida en el siglo XVII y remodelada en el XVIII. La suya será la tercera transformación de un edificio, protegido actualmente como monumento, para convertirlo en una vivienda en la que, junto a Hannie, vivió hasta 1999. La casa de Loenen ha permanecido hasta hoy inédita y sin publicar, como el único proyecto de Van Eyck ocupado por él mismo como proceso permanente durante 35 años: una casa que no es más que una casa. Esta tesis toma el proyecto como objeto de estudio, intentando fijar la casa como casa antes de su desaparición y simultáneamente abrir la casa como libro publicado para sucesivas lecturas e interpretaciones. Esto significa que el trabajo resulta en una suma de tres esfuerzos. El primero que documenta, levanta, cataloga, fotografía, graba y archiva la materia física que conforma la casa para poner todo el material a disposición del que quiera visitarla virtualmente. El segundo que entrevista, conversa, escucha, comprende a sus habitantes y sus preocupaciones para recoger la casa que aún queda, comprendiendo la importancia de lo cotidiano en la reconstrucción del hogar. El tercero que lanza una interpretación sobre el material elaborado, que lo ordena según una mirada intencional, que vuelve a proyectar la casa para descubrir el proceso de generación de la obra, para hacerla legible al público. En definitiva, la investigación propone una larga estancia en interior de la casa de Loenen aan de Vecht. A través de ella, de la colección de arte vernáculo, la biblioteca, las maquetas, las pinturas de vanguardia, las fotografías del archivo; la tesis se asoma al museo imaginario de Aldo van Eyck. Al fin y al cabo, la historia de un hombre es un largo rodeo alrededor de su casa. / In 1964, after more than 20 years living in Amsterdam with his family, Aldo van Eyck moved to Loenen aan de Vecht. Months before they had acquired a modest construction, about 200 square meters spread over two floors and an attic, built in the seventeenth century and refurbished in the eighteenth. His will be the third transformation of a building, currently protected as a rijksmonument, to turn it into a house in which he and Hannie lived until 1999. The house has remained unpublished and unknown, as the last place lived by the Van Eyck's family, inhabited as a permanent process, for 35 years: a house that's just a house. This thesis takes the project as an object of study, trying to record the house as a house before its disappearance and simultaneously to open it as a published material for successive readings and interpretations. This means that the research results in a sum of three efforts. The first one that documents, raises, catalogs, photographs, records and archives the physical reality of the house to provide all the material to those who want to visit it virtually. The second that interviews, talks, listens, understands its inhabitants and their concerns to capture the house that still remains, understanding the importance of the everydayness in the making of a home. And the third that performs an interpretation based on the data collection, which orders the documents according to an intentional gaze, which designs the house from scratch to discover its generation process, to make it readable to the public. In short, this research proposes a long stay inside the house in Loenen aan de Vecht. From its insides, from the collection of vernacular art, the library, the architectural models, the avant-garde paintings, the photographs of the archive; the thesis builds Aldo van Eyck's musée imaginaire. After all, a man's story is a long detour around his house. / En 1964, després de més de 20 anys vivint a Amsterdam amb la seua família , Aldo Van Eyck es trasllada a Loenen aan de Vecht. Mesos abans havia adquirit una construcció modesta, de uns 200 metres quadrats repartits en dos plantes i una cambra, construïda en el segle XVII i remodelada en el XVIII. La seua era la tercera transformació d'un edifici, protegit actualment com a monument, per a convertir-ho en un habitatge on, junt a Hannie, visqué fins 1999. La casa de Loenen ha romàs fins hui inèdita i sense publicar, com l'únic projecte de Van Eyck ocupat per ell mateix com a procés permanent durant 35 anys: una casa que no es més que una casa. Esta tesi pren el projecte com a subjecte d'estudi, intentant fixar la casa com a casa abans de la seua desaparició i al mateix temps obrir la casa com a llibre publicat per a successives lectures i interpretacions. Açò significa que el treball resulta en una suma de tres esforços. El primer que documenta, alça, cataloga, fotografia, grava i arxiva la matèria física que conforma la casa per a posar tot el material a la disposició de qui vullga visitar-la virtualment. El segon que entrevista, conversa, escolta, comprén als seus habitants i les seues preocupacions per a recollir la casa que encara queda, comprenent la importància d'allò quotidià en la reconstrucció del llar. El tercer que llança una interpretació sobre el material elaborat, que l'ordena segons la mirada internacional, que torna a projectar la casa per a descobrir el procés de generació de l'obra, per a fer-la llegible al públic. En definitiva, la investigació proposa una llarga estància a l'interior de la casa de Loenen aan de Vecht. A través d'ella, de la col·lecció d'art vernacle, la biblioteca, les maquetes, les pintures de vanguardia, les fotografies de l'arxiu; la tesis aguaita el museu imaginari de Aldo Van Eyck. Al cap i a la fi, la història d'un home es una llarga volta entorn a sa casa. / Campos Uribe, A. (2018). Aldo van Eyck: le Musée imaginaire. La casa de Aldo y Hannie van Eyck en Loenen aan de Vecht [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/111845 / TESIS

The Ince Hall Virgin and child is a painting of the Virgin and Child in an interior that was attributed to Jan van Eyck by the leading historians of early Netherlandish art from 1854 to 1956. Between 1956 and 1959 the work was subject to a technical and art historical analysis in Europe, in the re-classification of the work as a copy by a follower of Van Eyck, and possibly a forgery. Subsequently, a number of art historians have suggested that not even the composition of the work is Eyckian, and that the work is a pastiche based on Van Eyck’s paintings. Nevertheless, some authors have doubted the arguments for these reattributions. Some authors maintain the attributions to Van Eyck, and others suggest that the work may be a copy. This thesis is the first comprehensive critical reappraisal of the scientific and art historical analysis to be conducted. In the first chapter it examines the provenance and bibliography of the work. / In the second chapter it examines published and unpublished documents relating to the technical analysis found in Melbourne, Brussels, London and Amsterdam, which have been brought together for the first time. It also contains an interpretation of the work’s infrared reflectography that was produced, for the first time, for this thesis. It is argued that, contrary to the 1950's analysis, there is no technical impediment to an attribution of the work to Van Eyck. Furthermore, technical analysis reveals numerous correspondences to Van Eyck’s works, in the pigments, paint layer structures, underdrawing style and pentimenti. In the third chapter the relationship of the execution, composition and iconography to Van Eyck’s paintings is discussed. It is argued that the execution, composition and iconography are closely related to Van Eyck’s works. In the fourth chapter the attribution of the work as an original painting of Van Eyck, a copy, a pastiche or a forgery is discussed. It is concluded that the balance of the available evidence suggests the attribution of the work to Van Eyck, or his studio, is justifiable. The possibility that the work is a free copy is not excluded, but is undermined by the numerous correspondences to Van Eyck’s materials and technique and its relationship to the versions of the composition by other artists.

Thesis (M.A.)--University of Melbourne,School of Fine Arts, Classics and Archaeology, 2001. / Typescript (photocopy). Includes bibliographical references(leaves: 116-141).

No description available.

Denna kandidatuppsats undersöker den nederländska kompositören Jacob van Eycks verk Der Fluyten Lust-hof och den variationsstil som används inom verket. Detta skedde genom studier av Ruth van Baak Griffioens avhandling Jacob van Eyck’s Der Fluyten Lust-Hof och Thiemo Winds avhandling Jacob van Eyck and the Others samt egna studier av variationerna inom verket. Detta kulminerade i sju egenskrivna variationer över den svenska psalmen Den blomstertid nu kommer i Jacob van Eycks ikoniska stil. Genom arbetet har jag uppnått en ökad förståelse om van Eycks liv, hans variationsteknik samt en friare interpretation och stilistisk säkerhet vid framtida framförande av hans musik / This essay investigates the Dutch composer Jacob van Eycks work Der Fluyten Lust-hof and the style of diminution which is used within the work. Previous works about Jacob van Eyck, such as Jacob van Eyck’s Der Fluyten Lust-Hof by Ruth van Baak Griffioen and Jacob van Eyck and the others by Thiemo Wind, as well as my own studies of the work are consulted in the studying of van Eycks variation style. This culminated in seven variations of the Swedish psalm Den blomstertid nu kommer written by my own hand in Jacob van Eycks iconic style. Throughout this work I have gained a better understanding about van Eycks life, his diminution technique as well as achieved a freer interpretation and stylistic confidence when preforming van Eycks music. / <p>Alicia Petersson (1998-)</p><p>Variationer i Jacob van Eycks variationsstil över Den blomstertid nu kommer </p><p>Alicia Petersson, blockflöjt</p>

El protagonista fundamental de esta tesis doctoral es Aldo van Eyck. Mención aparte del interés suscitado por el conjunto de su trayectoria profesional y por su propia figura, la principal motivación del presente trabajo consiste en aproximarse a la visión que el maestro holandés tenía de la relación que se establece entre 'arquitectura' y 'sociedad' o, más específicamente, de cómo los arquitectos pueden (y deben) introducir mejoras significativas en los modos de vida de las personas (usuarios). Es decir, la tesis pretende analizar el concepto de "dimensión humana de la arquitectura" de Aldo van Eyck. Ya en el capítulo introductorio se definía la 'dimensión humana de la arquitectura' como el modo consciente en que ésta (la arquitectura) considera la interacción con sus futuros usuarios, con el claro objetivo de elaborar propuestas encaminadas a introducir mejoras en sus vidas. De acuerdo con esta definición, varios son los términos clave que la caracterizan. Por un lado, las palabras "consciente" y "considera" explicitan que existe una reflexión intencionada y voluntaria sobre la figura del usuario en la arquitectura, consecuencia por tanto de una preocupación o interés previo por el tema; en este sentido, se puede entender que, si no se da esta circunstancia (esta consideración consciente), difícilmente podrá hablarse de dimensión humana de la arquitectura. Y por otro lado, la palabra "interacción" evidencia que existe un intercambio, un recorrido de ida y vuelta entre la arquitectura y sus usuarios, de manera que el arquitecto acumula información sobre las características y condicionantes de éstos a través de la observación y la reflexión personal, para posteriormente tratar de elaborar propuestas capaces de mejorar sus modos de vida. Esto es, sin ánimo de restarle importancia a la culminación de objetivos lograda por una determinada intervención arquitectónica, es en su intencionalidad y compromiso respecto a los futuros usuarios donde verdaderamente se origina l / Fernández-Llebrez Muñoz, JÁ. (2013). La dimensión humana de la arquitectura de Aldo Van Eyck. Escrita y Construida: Reconocimiento de sus ideas y Estudio de su iglesia en La Haya [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/27638 / Palancia