「藝術永恆，人生短暫」Ars longa: REMBRANDT van Rijn(1606 - 1669荷蘭素描家、畫家和版畫家。) 350th ANNIVERSARY 2019《探索的線條：從倫勃朗的蝕刻版畫中學習》
倫勃朗·哈爾曼松·範·萊茵（Rembrandt Harmenszoon van Rijn）是一位荷蘭素描家、畫家和版畫家。他是一位在三種媒材上都極具創新精神且作品豐富的藝術大師，通常被認為是藝術史上最偉大的視覺藝術家之一，也是荷蘭藝術史上最重要的藝術家。 （維基百科）
出生：1606年7月15日，荷蘭萊頓
逝世：1669年10月4日，荷蘭阿姆斯特丹
時期：巴洛克時期、荷蘭黃金時代、義大利文藝復興時期、更多
藝術永恆，人生短暫 - 維基百科
https://en.wikipedia.org/wiki/Ars_longa,_vita_brevis
「藝術永恆，人生短暫」是一句源自希臘語的格言的拉丁語譯文。這句拉丁文格言通常被翻譯為「藝術永恆，人生短暫」。
藝術永存：倫勃朗畫冊榮獲三項殊榮
2019年1月31日
博物館展覽的生命力遠不止於公開展出——它將以藝術靈感、觀眾記憶、網路平台和印刷畫冊的形式延續下去。
林布蘭畫冊
大衛·O·布朗/約翰遜藝術博物館
赫伯特·F·約翰遜藝術博物館於2017年出版的一本畫冊如今已榮獲多項大獎。 《探索的線條：從倫勃朗的蝕刻版畫中學習》最近榮獲了美國大學藝術協會（CAA）頒發的2019年度阿爾弗雷德·H·巴爾小型博物館、圖書館、收藏和展覽圖書獎。得獎者將於2月13日至16日在紐約市舉行的CAA第107屆年會上接受表揚。
該展覽圖錄榮獲2018年亨利·艾倫·莫伊藝術傑出圖錄獎，以及2018年國際版畫經銷商協會圖書獎榮譽提名。
「探索之路」展覽以倫勃朗·範·萊茵的藝術及其藝術實踐為研究和教學的靈感來源，於2017年9月23日至12月17日在約翰遜博物館展出，並於2018年2月6日至5月13日在奧柏林學院艾倫紀念藝術博物館展出，該博物館也是本次博物館的聯合主辦方。展覽由約翰遜博物館早期歐美藝術策展人、西摩·R·阿斯金1947屆校友安德魯·C·韋斯洛格爾和當時在奧柏林學院任教的安達利布·巴迪·班塔共同策展。
目錄收錄了策展人和教職研究人員的文章，其中包括 Weislogel 和 C. Richard Johnson Jr.（康乃爾科技學院電機與電腦工程教授兼計算藝術與人文領域的 Jacobs 研究員）關於與學生在康乃爾大學開展的倫勃朗蝕刻版畫水印識別 (WIRE) 計畫的合作。
Born: July 15, 1606, Leiden, Netherlands
Died: October 4, 1669, Amsterdam, Netherlands
Ars longa, vita brevis is a Latin translation of an aphorism coming originally from Greek. The Latin quote is often rendered in English as Art is long, life is short.
Ars longa: Rembrandt catalog receives three honors
Museum exhibitions have lives lasting well past their public display – in artistic inspiration, viewers’ memories, online portals and print catalogs.
One such catalog, produced by the Herbert F. Johnson Museum of Art in 2017, is now a multiple award winner. “Lines of Inquiry: Learning from Rembrandt’s Etchings” most recently was honored with the College Art Association’s 2019 Alfred H. Barr Jr. Book Award for Smaller Museums, Libraries, Collections and Exhibitions. Award winners will be presented during the CAA’s 107th Annual Conference, Feb. 13-16 in New York City.
The catalog also received the 2018 Henry Allen Moe Prize for Catalogs of Distinction in the Arts, and an honorable mention for the 2018 International Fine Print Dealers Association Book Award.
Positioning Rembrandt van Rijn’s art and artistic practice as inspirational resources for research and teaching, “Lines of Inquiry” ran Sept. 23 to Dec. 17, 2017, at the Johnson Museum, and Feb. 6 to May 13, 2018, at the Allen Memorial Art Museum at Oberlin College, co-organizer of the exhibit. It was co-curated by Andrew C. Weislogel, the Seymour R. Askin Jr. ’47 Curator of Earlier European and American Art at the Johnson Museum; and Andaleeb Badiee Banta, then at Oberlin.
The catalog includes articles by the curators and faculty researchers, including Weislogel and C. Richard Johnson Jr. (professor of electrical and computer engineering and a Jacobs Fellow in Computational Arts and Humanities at Cornell Tech) on collaborations with students on the related Watermark Identification in Rembrandt’s Etchings (WIRE) Project at Cornell.
— Daniel Aloi
🖼 The year 2019 marks the 350th anniversary of Rembrandt van Rijn's death. The Dutchman was not only a great painter but also a master of self presentation. If there had been selfies at that time, his self portraits probably would have gotten the most likes:
Time vs Fleet of Moments
The basis data for the phony Rembrandt came from 3D scans of about 350 original works by the 17th-century Dutch master. The team developed a special ...
List of Mennonite Subjects in Rembrandt's Art.. .... D. W. Friesen & Sons. Altona, Manitoba ... Harmensz van Rijn, which occurred 350 years ago, is being ...
Dec 21, 2018 - Uploaded by holland.com
In 2019, it will be the 350th anniversary of the death of Rembrandt van Rijn, one of ... living memories ...房龙文集:致天堂守门人
（美）房龙 ；朱子仪
北京出版社 / 2002-01-01
Hendrik Willem van Loon (January 14, 1882 – March 11, 1944) was a Dutch-American historian and journalist.
Contents1 Life and works |
Life and works
He was born in Rotterdam, the son of Hendrik Willem van Loon and Elisabeth Johanna Hanken. He went to the United States in 1902 to study at Cornell University, receiving his degree in 1905. He was a correspondent during the Russian Revolution of 1905 and in Belgium in 1914 at the start of World War I. He later became a professor of history at Cornell University (1915-17) and in 1919 became an American citizen.
In 1906 he married Eliza Ingersoll Bowditch, daughter of a Harvard professor, by whom he had two sons, Henry Bowditch and Gerard Willem. He had two later marriages, to Eliza Helen Criswell in 1920 and playwright Frances Goodrich Ames in 1927, but after a divorce from Ames he returned to Criswell (it is debatable whether or not they re-married) who inherited his estate in 1944.
From the 1910s until his death, Van Loon wrote many books, illustrating them himself. Most widely known among these is The Story of Mankind, a history of the world especially for children, which won the first Newbery Medal in 1922. The book was later updated by Van Loon and has continued to be updated, first by his son and later by other historians.
However, he also wrote many other very popular books aimed at young adults. As a writer he was known for emphasizing crucial historical events and giving a complete picture of individual characters, as well as the role of the arts in history. He also had an informal and thought-provoking style which, particularly in The Story of Mankind, included personal anecdotes.
Asked how to say his name, he told The Literary Digest "I still stick to the Dutch pronunciation of the double o—Loon like loan in 'Loan and Trust Co.' My sons will probably accept the American pronunciation. It really does not matter very much." (Charles Earle Funk, What's the Name, Please?, Funk & Wagnalls, 1936.)
Bibliography
A partial list of works by Hendrik Willem van Loon, with first publication dates and publishers.
- The Fall of the Dutch Republic, 1913, Houghton Mifflin Co.
- The Rise of the Dutch Kingdom, 1915, Doubleday Page & Co.
- The Golden Book of the Dutch Navigators, 1916, The Century Co.
- A Short History of Discovery, 1917, David McKay
- Ancient man; the beginning of civilizations, 1920, Boni and Liveright
- The Story of Mankind, 1921, Boni and Liveright
- The Story of the Bible, 1923, Boni and Liveright
- The Story of Wilbur the Hat, 1925, Boni and Liveright
- Tolerance, 1925, Boni and Liveright
- The Liberation of Mankind: the story of man's struggle for the right to think, 1926, Boni and Liveright
- America, 1927, Boni and Liveright
- Adriaen Block, 1928, Block Hall
- Multiplex man, or the Story of survival through invention, 1928
- Life and Times of Peter Stuyvesant, 1928, Henry Holt
- Man the Miracle Maker, 1928, Horace Liveright
- R. v. R.: the Life and Times of Rembrant van Rijn, 1930, Horace Liveright
- If the Dutch Had Kept Nieuw Amsterdam, in If, Or History Rewritten, edited by J. C. Squire, 1931
- Van Loon's Geography, 1932, Simon and Schuster
- An Elephant Up a Tree, 1933, Simon and Schuster
- An Indiscreet Itinerary, 1933, Harcourt, Brace
- The story of inventions: Man, the Miracle Maker, 1934, Horace Liveright
- Ships: and How They Sailed the Seven Seas, 1935, Simon and Schuster
- Around the World With the Alphabet, 1935, Simon and Schuster
- Erasmus "The Praise of Folly" with a short life of the author by Gerard Willem Van Loon, 1942 . For the Classic Club, by Walter J.Black of New York.
- Air-Storming (radio talk), 1935, Harcourt, Brace
- Love me not, 1935
- A World Divided is a World Lost, 1935
- The Home of Mankind; the story of the world we live in, 1936
- The Songs We Sing (with Grace Castagnetta), 1936, Simon and Schuster
- The Arts, 1937, Simon and Schuster
- Christmas Carols (with Grace Castagnetta), 1937, Simon and Schuster
- Observations on the mystery of print and the work of Johann Gutenberg, 1937
- Our Battle: Being One Man's Answer to "My Battle" by Adolf Hitler, 1938
- How to Look at Pictures, 1938
- Folk Songs of Many Lands (with Grace Castagnetta), 1938
- The Last of the Troubadours, 1939
- The Songs America Sings (with Grace Castagnetta), 1939
- My School Books, 1939
- Invasion, 1940
- The Story of the Pacific, 1940
- The Life and Times of Bach, 1940
- Good Tidings, 1941
- Van Loon's Lives, 1942
- Christmas Songs, 1942
- The Message of the Bells, 1942
- Fighters for Freedom: the Life and Times of Thomas Jefferson and Simon Bolivar, 1943
- The Life and Times of Scipio Fulhaber, Chef de Cuisine, 1943
- Adventures and Escapes of Gustavus Vasa, 1945
- Report to Saint Peter - an unfinished, posthumously published autobiography, 1947
Books about Van Loon
- Cornelis van Minnen (2005). Van Loon: Popular Historian, Journalist, and FDR Confidant, Palgrave Macmillan. ISBN 1-4039-7049-1.
- Gerard Willem Van Loon (1972). The story of Hendrik Willem van Loon, Lippincott. ISBN 0-397-00844-9.
- Erasmus with a short life of the author by Gerard Willem Van Loon (1972). The Praise of Folly, For the Classic Club, by Walter J.Black of New York.
Trivia
The Italian songwriter Francesco Guccini has composed a song, dedicated to the memory of his father. The song is titled "Van Loon" because Guccini's father loved Van Loon's books when he was young and appears in the album Signora Bovary.
External links
Wikimedia Commons has media related to:
- Biography from the Universalist Historical Society (UUHS)
- Works by Hendrik Willem Van Loon at Project Gutenberg
******The Project Gutenberg Etext of The Story of Mankind******
FOREWORD
For Hansje and Willem:
WHEN I was twelve or thirteen years old, an uncle of
mine who gave me my love for books and pictures promised
to take me upon a memorable expedition. I was to go with
him to the top of the tower of Old Saint Lawrence in Rotterdam.
And so, one fine day, a sexton with a key as large as that
of Saint Peter opened a mysterious door. ``Ring the bell,''
he said, ``when you come back and want to get out,'' and with
a great grinding of rusty old hinges he separated us from the
noise of the busy street and locked us into a world of new and
strange experiences.
For the first time in my life I was confronted by the phenomenon
of audible silence. When we had climbed the first
flight of stairs, I added another discovery to my limited
knowledge of natural phenomena--that of tangible darkness. A
match showed us where the upward road continued. We went
to the next floor and then to the next and the next until I had
lost count and then there came still another floor, and suddenly
we had plenty of light. This floor was on an even height with
the roof of the church, and it was used as a storeroom. Covered
with many inches of dust, there lay the abandoned symbols
of a venerable faith which had been discarded by the good
people of the city many years ago. That which had meant life
and death to our ancestors was here reduced to junk and rub-
bish. The industrious rat had built his nest among the carved
images and the ever watchful spider had opened up shop between
the outspread arms of a kindly saint.
The next floor showed us from where we had derived our
light. Enormous open windows with heavy iron bars made
the high and barren room the roosting place of hundreds of
pigeons. The wind blew through the iron bars and the air was
filled with a weird and pleasing music. It was the noise of the
town below us, but a noise which had been purified and cleansed
by the distance. The rumbling of heavy carts and the clinking
of horses' hoofs, the winding of cranes and pulleys, the hissing
sound of the patient steam which had been set to do the work
of man in a thousand different ways--they had all been
blended into a softly rustling whisper which provided a beautiful
background for the trembling cooing of the pigeons.
Here the stairs came to an end and the ladders began. And
after the first ladder (a slippery old thing which made one feel
his way with a cautious foot) there was a new and even greater
wonder, the town-clock. I saw the heart of time. I could hear
the heavy pulsebeats of the rapid seconds--one--two--three--
up to sixty. Then a sudden quivering noise when all the wheels
seemed to stop and another minute had been chopped off eternity.
Without pause it began again--one--two--three--until
at last after a warning rumble and the scraping of many wheels
a thunderous voice, high above us, told the world that it was
the hour of noon.
On the next floor were the bells. The nice little bells and
their terrible sisters. In the centre the big bell, which made
me turn stiff with fright when I heard it in the middle of the
night telling a story of fire or flood. In solitary grandeur it
seemed to reflect upon those six hundred years during which
it had shared the joys and the sorrows of the good people of
Rotterdam. Around it, neatly arranged like the blue jars in
an old-fashioned apothecary shop, hung the little fellows, who
twice each week played a merry tune for the benefit of the
country-folk who had come to market to buy and sell and hear
what the big world had been doing. But in a corner--all alone
and shunned by the others--a big black bell, silent and stern,
the bell of death.
Then darkness once more and other ladders, steeper and
even more dangerous than those we had climbed before, and
suddenly the fresh air of the wide heavens. We had reached
the highest gallery. Above us the sky. Below us the city--
a little toy-town, where busy ants were hastily crawling hither
and thither, each one intent upon his or her particular business,
and beyond the jumble of stones, the wide greenness of the
open country.
It was my first glimpse of the big world.
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