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University Art Galleries (UMassD)
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exhibition_title:
TABERNACLE, TEMPLE, KING, ADULTERESS. Depictions of Jewish Religion and Life in 17th and 18th Century European Prints
exhibition_title
TABERNACLE, TEMPLE, KING, ADULTERESS. Depictions of Jewish Religion and Life in 17th and 18th Century European Prints
exhibition_title
false
exhibition_dates:
June 10 - September 9, 2004
exhibition_dates
June 10 - September 9, 2004
exhibition_dates
false
exhibition_year:
2004
exhibition_year
2004
exhibition_year
false
exhibition_location:
University Art Gallery (UMass Dartmouth Galleries)
exhibition_location
University Art Gallery (UMass Dartmouth Galleries)
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false
exhibition_curator:
Lasse B. Antonsen
exhibition_curator
Lasse B. Antonsen
exhibition_curator
false
exhibition_note:
June 10 - September 9, 2004 The earliest print in the exhibition is a woodcut from around 1548 (late Northern Renaissance), but most of the prints are from the 1680's and the 1730's and the majority is by the Dutch Mennonite artist and poet, Jan Luyken. Almost all of the more than eighty prints on view were acquired from a collection in Holland. Additional prints were acquired from collections in England and the US. Some of the prints were included in bibles, but most come from late 17th century books that explore the history and religion of the Jewish people. Based on a close reading of the Old Testament, these books attempted a scientific and artistic exploration of topics such as the architecture of the Tabernacle and the different temples in Jerusalem, but also of other areas such as the life of Moses, the Jewish alphabets, methods of punishment, adultery, divorce, and the anointing of kings. Especially important in this endeavor was the Amsterdam publisher, Wilhelmus Goeree, whose books on The Jewish Republic an example of which is on display almost all featured prints by Jan Luyken . Although Jan Luyken was a great artist in his own right, his goal was to visualize and dramatize the great events taking place in the desert during the Exodus from Egypt, for example, or other similar events that often feature "a cast of a thousand." In a time period that did not have television and films, Luyken was tremendously important as a popularizer of historical events, serving a role that today is generally met by movies and television. Also on view are examples of stricter architectural recreations of the Temple, the columns of Jachin and Boaz, the brazen sea, etc., although these renderings are in their own way as "inspired" as the renderings that intentionally are more literary and dramatic. With the Treaty of Westphalia (Peace of Munster) in 1648, the Netherlands had emerged as a new and very different nation from anything that had existed before. As the first "modern" nation, it established religious tolerance and freedom of conscience. As a result, it drew large numbers of persecuted minorities, including Huguenots, Jews, Anabaptists, Amish and Mennonites. All these religious and ethnic groups contributed greatly to Holland's Golden Age of commerce, art, literature and science. The prints on view in this exhibition can be seen as a manifestation of this new civic freedom and respect for the individual, the new respect for religions, and the simultaneous respect for the separation of church and state. This is the period that eventually led to the Enlightenment, the Industrial Revolution, and Western Society, as we know it today. Jan Luyken (1649-1712) Jan Luyken was born in Amsterdam on April 16, 1649, into a family that had become Mennonites shortly before his birth. His father was a schoolteacher and writer. Jan Luyken was nineteen years old when his father died. After his father's death, he began to study painting at the studio of Martins Saeghmolen. Although Luyken became a fine painter, he eventually concentrated solely on being an engraver. It is estimated that more than 3,500 prints are by his hand. While studying with Saeghmolen, Jan Luyken began to frequent the tavern, Zaete Rust (Sweet Rest), run by the innkeeper poet, Jan Zoet. At this time Jan Luyken began to write sensual love poetry, which he often recited before an admiring crowd. A female vocal group called the Amstel Nymphets set his poetry to music and performed it. In 1671, a selection of these poems was published under the title of Jan Luyken's Dutch Harp: Producing the Newest and Happiest of Melodies. The collection became extremely popular and received rave reviews. By 1673, Jan Luyken was twenty-four years old and a celebrated artist and poet. He had also married and had a two-year old son, named Casper. At this point, though, he turned his back on his former life and became a devout Christian, renewing his ties to the Mennonite church. A few years later the writing of Jacob Bohme further strengthened his desire to withdraw from life and devote his time to his artistic career and to the writing of religious poetry. Over the years he withdrew further and further into a life of solitude and contemplation. Eventually his son convinced him to continue his work as an artist, to which he agreed as long as he would only receive enough money for subsistence living. The son, Casper, was a fine engraver himself, and worked closely with his father. During his lifetime, Jan Luyken published additional collections of poetry, among them, Treasures of the Soul (1678), Jesus and the Soul (1687), Sparks of Love (1687), and This Unworthy World (1710), all illustrated with his own etchings. A copy of a Dutch 1941 edition of a collection of his poetry is on view. In 1685 Jan Luyken created 104 plates for a work called, Martyrs Mirror (The Drama of the Martyrs: From the Death of Jesus Christ up to the recent times). It especially focuses on the suffering of the Anabaptists and Mennonites. The book was translated and published by the Mennonites of eastern Pennsylvania in 1751. It was, and remained, the largest book printed in colonial America. Two prints from the original Dutch edition are on view in this case. Jan Luyken illustrated many historical and religious books, especially books on Jewish religion and life, and the majority of prints in this exhibition are by him, though some were done by his son Casper. Jewish religion and history was of great interest to many within the Protestant movement since it provided access to a possible religious-historical recording of God's direct contact with humankind.
exhibition_note_
June 10 - September 9, 2004 The earliest print in the exhibition is a woodcut from around 1548 (late Northern Renaissance), but most of the prints are from the 1680's and the 1730's and the majority is by the Dutch Mennonite artist and poet, Jan Luyken. Almost all of the more than eighty prints on view were acquired from a collection in Holland. Additional prints were acquired from collections in England and the US. Some of the prints were included in bibles, but most come from late 17th century books that explore the history and religion of the Jewish people. Based on a close reading of the Old Testament, these books attempted a scientific and artistic exploration of topics such as the architecture of the Tabernacle and the different temples in Jerusalem, but also of other areas such as the life of Moses, the Jewish alphabets, methods of punishment, adultery, divorce, and the anointing of kings. Especially important in this endeavor was the Amsterdam publisher, Wilhelmus Goeree, whose books on The Jewish Republic an example of which is on display almost all featured prints by Jan Luyken . Although Jan Luyken was a great artist in his own right, his goal was to visualize and dramatize the great events taking place in the desert during the Exodus from Egypt, for example, or other similar events that often feature "a cast of a thousand." In a time period that did not have television and films, Luyken was tremendously important as a popularizer of historical events, serving a role that today is generally met by movies and television. Also on view are examples of stricter architectural recreations of the Temple, the columns of Jachin and Boaz, the brazen sea, etc., although these renderings are in their own way as "inspired" as the renderings that intentionally are more literary and dramatic. With the Treaty of Westphalia (Peace of Munster) in 1648, the Netherlands had emerged as a new and very different nation from anything that had existed before. As the first "modern" nation, it established religious tolerance and freedom of conscience. As a result, it drew large numbers of persecuted minorities, including Huguenots, Jews, Anabaptists, Amish and Mennonites. All these religious and ethnic groups contributed greatly to Holland's Golden Age of commerce, art, literature and science. The prints on view in this exhibition can be seen as a manifestation of this new civic freedom and respect for the individual, the new respect for religions, and the simultaneous respect for the separation of church and state. This is the period that eventually led to the Enlightenment, the Industrial Revolution, and Western Society, as we know it today. Jan Luyken (1649-1712) Jan Luyken was born in Amsterdam on April 16, 1649, into a family that had become Mennonites shortly before his birth. His father was a schoolteacher and writer. Jan Luyken was nineteen years old when his father died. After his father's death, he began to study painting at the studio of Martins Saeghmolen. Although Luyken became a fine painter, he eventually concentrated solely on being an engraver. It is estimated that more than 3,500 prints are by his hand. While studying with Saeghmolen, Jan Luyken began to frequent the tavern, Zaete Rust (Sweet Rest), run by the innkeeper poet, Jan Zoet. At this time Jan Luyken began to write sensual love poetry, which he often recited before an admiring crowd. A female vocal group called the Amstel Nymphets set his poetry to music and performed it. In 1671, a selection of these poems was published under the title of Jan Luyken's Dutch Harp: Producing the Newest and Happiest of Melodies. The collection became extremely popular and received rave reviews. By 1673, Jan Luyken was twenty-four years old and a celebrated artist and poet. He had also married and had a two-year old son, named Casper. At this point, though, he turned his back on his former life and became a devout Christian, renewing his ties to the Mennonite church. A few years later the writing of Jacob Bohme further strengthened his desire to withdraw from life and devote his time to his artistic career and to the writing of religious poetry. Over the years he withdrew further and further into a life of solitude and contemplation. Eventually his son convinced him to continue his work as an artist, to which he agreed as long as he would only receive enough money for subsistence living. The son, Casper, was a fine engraver himself, and worked closely with his father. During his lifetime, Jan Luyken published additional collections of poetry, among them, Treasures of the Soul (1678), Jesus and the Soul (1687), Sparks of Love (1687), and This Unworthy World (1710), all illustrated with his own etchings. A copy of a Dutch 1941 edition of a collection of his poetry is on view. In 1685 Jan Luyken created 104 plates for a work called, Martyrs Mirror (The Drama of the Martyrs: From the Death of Jesus Christ up to the recent times). It especially focuses on the suffering of the Anabaptists and Mennonites. The book was translated and published by the Mennonites of eastern Pennsylvania in 1751. It was, and remained, the largest book printed in colonial America. Two prints from the original Dutch edition are on view in this case. Jan Luyken illustrated many historical and religious books, especially books on Jewish religion and life, and the majority of prints in this exhibition are by him, though some were done by his son Casper. Jewish religion and history was of great interest to many within the Protestant movement since it provided access to a possible religious-historical recording of God's direct contact with humankind.
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exhibition_genre:
history
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history
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exhibition URL:
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http://www1.umassd.edu/cvpa/universityartgallery/past/2004/temple_tabernacles.cfm
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copyright notice:
COPYRIGHT NOTIFICATION: Under the direction of the Visual Resource Center digital collections are made available to the UMass Dartmouth campus community for the sole purpose of classroom instruction and study in accordance U.S. Copyright Laws . All other uses are prohibited and are subject to copyright infringements.
copyright_notice
COPYRIGHT NOTIFICATION: Under the direction of the Visual Resource Center digital collections are made available to the UMass Dartmouth campus community for the sole purpose of classroom instruction and study in accordance U.S. Copyright Laws . All other uses are prohibited and are subject to copyright infringements.
copyright notice
false
credit line:
UMass Dartmouth Art Galleries
credit_line
UMass Dartmouth Art Galleries
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false
artist name:
Jan Luyken
artist_name
Jan Luyken
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false
artist name:
Luyken , Jan
artist_name
Luyken , Jan
artist name
false
artist_nationality:
American
artist_nationality
American
artist_nationality
false
artist_vital dates:
17th century and 18th century
artist_vital_dates
17th century and 18th century
artist_vital dates
false
artist_biographical note:
osef Sudek (b. March 17, 1896, Kolin, Bohemia d. September 15, 1976) was a Czech photographer, best known for his haunting night-scapes of Prague. Originally a bookbinder, Sudek was badly injured during action by the Hungarian Army on the Italian Front of World War I in 1916. Although he had no experience with photography and was one-handed due to his amputation, he was given a camera and studied photography for two years in Prague under Jaromir Funke. His Army disability pension gave him leeway to make art, and he worked during the 1920s in the romantic Pictorialist style. Always pushing at the boundaries, a local camera club expelled him for arguing about the need to move forwards from 'painterly' photography. Sudek then founded the progressive Czech Photographic Society in 1924. Despite only having one arm, he used large, bulky cameras with the aid of assistants. Sudek's photography is sometimes said to be modernist. But this is only true of a couple of years in the 1930s, during which he undertook commercial photography and thus worked "in the style of the times". Primarily, his personal photography is neo-romantic. His early work included many series of light falling in the interior of St. Vitus cathederal. During and after World War II Sudek created haunting night-scapes and panoramas of Prague, photographed the wooded landscape of Bohemia, and the window-glass that led to his garden (the famous The Window of My Atelier series). He went on to photograph the crowded interior of his studio (the Labyrinths series). His first Western show was at George Eastman House in 1974 and he published 16 books during his life. Sudek's individualism did not fit in with the new post-war Czech Socialist Republic, but fortunately the strong artistic tradition of the country meant that there were many mavericks in the establishment who supported his work, and it continued to be published. Finally he was to become the first photographer to be honoured by the Republic with the title of 'Artist of Merit' and in his 70th year, his life's work was recognized by the 'Order of Labour'. Known as the "Poet of Prague", Sudek never married, and was a shy, retiring person. He never appeared at his exhibit openings and few people appear in his photographs. Despite the privations of the war and Communism, he kept a renowned record collection of classical music. He died, still keen to do more work, at the age of 80 in 1976.
artist_biographical_note
osef Sudek (b. March 17, 1896, Kolin, Bohemia d. September 15, 1976) was a Czech photographer, best known for his haunting night-scapes of Prague. Originally a bookbinder, Sudek was badly injured during action by the Hungarian Army on the Italian Front of World War I in 1916. Although he had no experience with photography and was one-handed due to his amputation, he was given a camera and studied photography for two years in Prague under Jaromir Funke. His Army disability pension gave him leeway to make art, and he worked during the 1920s in the romantic Pictorialist style. Always pushing at the boundaries, a local camera club expelled him for arguing about the need to move forwards from 'painterly' photography. Sudek then founded the progressive Czech Photographic Society in 1924. Despite only having one arm, he used large, bulky cameras with the aid of assistants. Sudek's photography is sometimes said to be modernist. But this is only true of a couple of years in the 1930s, during which he undertook commercial photography and thus worked "in the style of the times". Primarily, his personal photography is neo-romantic. His early work included many series of light falling in the interior of St. Vitus cathederal. During and after World War II Sudek created haunting night-scapes and panoramas of Prague, photographed the wooded landscape of Bohemia, and the window-glass that led to his garden (the famous The Window of My Atelier series). He went on to photograph the crowded interior of his studio (the Labyrinths series). His first Western show was at George Eastman House in 1974 and he published 16 books during his life. Sudek's individualism did not fit in with the new post-war Czech Socialist Republic, but fortunately the strong artistic tradition of the country meant that there were many mavericks in the establishment who supported his work, and it continued to be published. Finally he was to become the first photographer to be honoured by the Republic with the title of 'Artist of Merit' and in his 70th year, his life's work was recognized by the 'Order of Labour'. Known as the "Poet of Prague", Sudek never married, and was a shy, retiring person. He never appeared at his exhibit openings and few people appear in his photographs. Despite the privations of the war and Communism, he kept a renowned record collection of classical music. He died, still keen to do more work, at the age of 80 in 1976.
artist_biographical note
false
artist_URL:
artist_url
http://www.josefsudek.net/
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false
artist_reference:
artist_reference
http://www.rogallery.com/Sudek_Josef/Sudek_Josef_Biography.html
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false
work_title:
A collection of prints decipting Jewish Religion and Life from the 17th and 18th century
work_title
A collection of prints decipting Jewish Religion and Life from the 17th and 18th century
work_title
false
work_medium:
ink on paper
work_medium
ink on paper
work_medium
false
work_technique:
photography
work_technique
photography
work_technique
false
work_date:
17th and 18th century
work_date
17th and 18th century
work_date
false
work_note:
Joseph Sudek, Czechoslovakian, trained as a bookbinder (his younger sister went into photography) but had a become a keen amateur photographer before being called into military service in the First World War in 1915. He produced several albums of pictures - including landscapes showing splintered trees and other war damage - during his almost three years of war service, which ended when he was wounded by artillery fire from his own side during an attack, resulting in the loss of his right arm. Sudek's pictures often play on the lower tones of the photographic scale, full of mystery and darkness. He was not afraid to produce prints with a very limited tonal scale. His small, unorthodox and intensely personal pictures were often dismissed by photographic critics attuned as they were to the kind of full-scale print we associate with the work of Ansel Adams and the American 'straight photography' tradition. His work has an earthy and elemental quality; it is intense and dramatic, full of emotion.
work_note
Joseph Sudek, Czechoslovakian, trained as a bookbinder (his younger sister went into photography) but had a become a keen amateur photographer before being called into military service in the First World War in 1915. He produced several albums of pictures - including landscapes showing splintered trees and other war damage - during his almost three years of war service, which ended when he was wounded by artillery fire from his own side during an attack, resulting in the loss of his right arm. Sudek's pictures often play on the lower tones of the photographic scale, full of mystery and darkness. He was not afraid to produce prints with a very limited tonal scale. His small, unorthodox and intensely personal pictures were often dismissed by photographic critics attuned as they were to the kind of full-scale print we associate with the work of Ansel Adams and the American 'straight photography' tradition. His work has an earthy and elemental quality; it is intense and dramatic, full of emotion.
work_note
false
work_topic:
Prague - city/landscape and still life
work_topic
Prague - city/landscape and still life
work_topic
false
work_reference:
work_reference
http://www.pbase.com/omoses/josef_sudek
work_reference
false
date_of_ record:
2013
date_of__record
2013
date_of_ record
false
name_cataloger:
BC
name_cataloger
BC
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false