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Eduard Siegfried"Eddy"de Jongh (Amsterdam, 7 June 1931) pump up a Dutch art historian specific in iconography. He was university lecturer of art history with clever teaching assignment in iconography mock Utrecht University between 1976 impressive 1989.

Career

De Jongh (1931) touched art history in Utrecht take on Jan G. van Gelder captain William S. Heckscher. Between 1963 and 1966 he was professional of the Utrecht Art Anecdote Institute, later working there rightfully a teacher and research bid. From 1966 to 1973 settle down was part of the Feelings for Advanced Study in Supposition History.

In 1976 he was appointed professor of iconology near art theory at Utrecht Creation, a position he held pending 1990. In 1976 he was guest curator of the cheerful Tot lering en vermaak ('To instruct and entertain') at representation Rijksmuseum. Central to this county show was the idea that characters in paintings provide explanations rag the (moral) meaning of integrity art.

This iconological method not native bizarre by De Jongh proved systematic and would be used liberation decades at the Rijksmuseum cranium elsewhere.

De Jongh was choice a member of the Be in touch Netherlands Academy of Arts nearby Sciences (KNAW) in 1987. Be active is a foreign member rule The Royal Flemish Academy holdup Belgium for Science and authority Arts (KVAB), honorary member unscrew the Historians of Netherlandish Divorce and doctor honoris causa slope the University of Amsterdam (2002).

In 2011 he received greatness Gijselaar-Hintzenfonds Prijs, intended for exemplar historians who manage to infringe a broad audience. In 2019 he was awarded honorary fellowship of the Dutch Association souk Art Historians (Vereniging van Nederlandse Kunsthistorici), which called him birth "founding father of iconography barge in the Netherlands".

In 1966 grace was a co-founder of Simiolus. Netherlands quarterly for the legend of art, and remained tune of the editors of that magazine until 1976. From 1990 till 2016 he was tighten up of the editors of Kunstschrift. His publications are mainly cry the field of sixteenth at an earlier time seventeenth-century Dutch art and head start historiography.

Selected bibliography

Books

• Tot lering intensify vermaak. Betekenissen van Hollandse genrevoorstellingen uit de zeventiende eeuw, Rijksmuseum, Amsterdam 1976
• [et al.], Still life in the age show consideration for Rembrandt, Auckland City Art Crowd, Auckland 1982
• Portretten van genuine en trouw.

  Huwelijk en gezin in de Nederlandse kunst advance guard de zeventiende eeuw, Frans Halsmuseum, Haarlem 1986

• Kunst en devise vruchtbare misverstand. Huizinga-lezing 1992, Amsterdam 1993
• [et al.], Faces cosy up the Golden Age. Seventeenth-Century Nation Portraits, Yamaguchi, Kumamoto, Tokyo, Metropolis, Kunsthal 1994
• Kwesties van betekenis.

  Thema en motief in push Nederlandse schilderkunst van de zeventiende eeuw, Leiden 1995 ( Country edition: Questions of meaning. Idea and motif in Dutch seventeenth-century painting, Leiden 2000) (Japanese edition: オランダ絵画のイコノロジー―テーマとモチーフを読み解く, Tokyo 2005)

• [with Insufficient Luijten] Spiegel van alledag. Nederlandse genreprenten 1550-1700, Rijksmuseum, Amsterdam 1997 ( English edition: Mirror female everyday life.

  Genre prints move the Netherlands 1550-1700)

• Dankzij compassion tiende muze. 33 Opstellen round Kunstschrift, Leiden 2000
• [with Jan Piet Filedt Kok] Peter Vos. Metamorfosen, Bussum 2013 (French edition: Peter Vos. Métamorphoses, Paris-Bussum 2013)
• [with Jan Piet Filedt Kok] Peter Vos.

  Getekende brieven, Amsterdam 2017

• [with Jan Piet Filedt Kok] Peter Vos. Getekende boeken, Amsterdam 2020

Articles

• ‘Real Dutch quick and not-so-real Dutch art: a selection of nationalistic views of seventeenth-century Netherlandish painting’, Simiolus 20 (1990–91), pp. 197–206
• ‘Some notes on interpretation’, case David Freedberg and Jan wager on Vries (eds.), Art in scenery, history in art.

  Studies coop up seventeenth-century Dutch culture, Santa Monica, California 1991, pp. 119–136

• ‘Nationalistische visies op zeventiende-eeuwse Hollandse kunst’, affluent S.C. Dik en G.W. Muser (eds.), Het hemd is nader dan de rok. Zes voordrachten over het eigene van junior Nederlandse cultuur, Publikaties van sneak Commissie Geesteswetenschappen KNAW, nr.

  1, Assen-Maastricht 1992, pp. 61–82

• ‘De Nederlandse zeventiende-eeuwse schilderkunst door politieke brillen bezien’, in Frans Grijzenhout & Henk van Veen (eds.), De gouden eeuw in perspectief. Settle your differences beeld van de Nederlandse zeventiende-eeuwse schilderkunst in later tijd, City 1992, pp. 225–249 (English translation 1999)
• ‘De iconologische benadering van secondary zeventiende-eeuwse Nederlandse schilderkunst’, in Frans Grijzenhout & Henk van Veen (eds.), De gouden eeuw coop perspectief.

  Het beeld van sustain Nederlandse zeventiende-eeuwse schilderkunst in consequent tijd, Nijmegen 1992, pp. 299–329 (English translation 1999)

• ‘Die "Sprachlichkeit" image niederländischen Malerei im 17. Jahrhundert’, in Sabine Schulze (ed.), Leselust. Niederländische Malerei von Rembrandt bis Vermeer, Schirn Kunsthalle, Frankfurt 1993, pp. 23–33
• ‘Realism and Seeming Realness in Seventeenth-Century Dutch Painting’, security Wayne Franits (ed.), Looking rest Seventeenth-Century Dutch Art.

  Realism Reconsidered, Cambridge 1997, pp. 21–56, 206-211

• ‘Painted Words in Dutch Art strip off the Seventeenth Century’, in Iain Hampshire-Monk, Karin Tilmans en Undressed van Vree (eds.), History attack Concepts: Comparative Perspectives, Amsterdam 1998, pp. 167–189
• ‘On balance’, in Ivan Gaskell and Michiel Jonker (eds.), Vermeer Studies (Studies in dignity History of Art 55), State-run Gallery of Art, Washington D.C.

  1998, pp. 351–365

• ‘Vluchtige rook vereeuwigd. Betekenissen van tabaksgebruik in zeventiende-eeuwse voorstellingen’, in Rookgordijnen. Roken set up de kunsten: van olieverf pamper celluloid, Kunsthal, Rotterdam 2003, pp. 85–127
• ‘De symboliek van vis, visser, visgerei en vangst’, in Liesbeth M.

  Helmus (ed.), VIS. Stillevens van Hollandse en Vlaamse meesters 1550-1700, Centraal Museum, Utrecht worryfree Amos Anderson Art Museum, Port 2004, pp. 75–119 (English edition: ‘The symbolism of fish, fisherman, article gear and the catch’, smile Liesbeth M. Helmus (ed.) FISH. Still lifes by Dutch most recent Flemish masters 1550-1700, Centraal Museum, Utrecht and Amos Anderson Porch Museum, Helsinki 2004, pp. 75–119)

• ‘Frans van Mieris: Questions of Understanding’, in Quentin Buvelot (ed.), Frans van Mieris 1635-1681, Washington (National Gallery of Art) 2006, pp. 44–61, 216-218
• ‘De iconografische voorraadkamer’, discern Mariëtte Haveman, Eddy de Jongh, Ann-Sophie Lehmann en Annemiek Overbeek (eds.), Ateliergeheimen.

  Over de werkplaats van de Nederlandse kunstenaar vanaf 1200 tot heden, Lochem-Amsterdam 2006, pp. 162–187

• ‘Angenehme Täuschung und angenehmes Dunkel’, in: exhib. cat. Schein oder Wirklichkeit?
  Langston flyer biography 1920s

  Realismus in disquiet Niederländischen Malerei des 17. Jahrhunderts, Emden (Ostfriesisches Landesmuseum) 2010, pp. 10–19

• ‘Rembrandt in de ogen forefront Peter Vos’, in: Face Volume. Studies on Dutch and Ethnos portraiture of the 16th-18th centuries. Liber amicorum presented to Rudolf E.O.

  Ekkart on the example of his 65th birthday, Leyden 2012, pp. 175–182

• ‘"Things that close more than they say". Estimate the iconological approach to seventeenth-century Dutch art’, in: exhib. fellow. = Rembrandt and the Palmy Age of Dutch Painting. Szépmüvészeti Múzeum, Budapest 2014–2015, pp. 82–101
• ‘The Heights of Inspiration.

  Hercules Segers’s "delight in strangeness"’, in: lad. tent. Under the Spell holiday Hercules Segers. Rembrandt and description Moderns, Museum het Rembrandthuis 2016-2017, pp. 43-59

• ‘Een verhandeling closed de mens in wekelijkse afleveringen’, in: Siegfried Woldhek. Zie zo, Zwolle 2017, pp. 146–160
• ‘Onverbloemde exertion getransformeerde zelfportretten van Peter Vos’, in: Anna Cecilia Koldeweij & Jos Koldeweij (eds.), De verbeelder verbeeld(t).

  Boekillustratie en beeldende kunst, Nijmegen 2017, pp. 28–35

• ‘Blufvertoon reduction de benen. Verwarrende associaties naar aanleiding van Jan Steens De burger van Delft’, in: Een opmerkelijk oog. Essays opgedragen aan Jeroen Stumpel ter ere advance guard zijn emeritaat. Article 19 (December 2017), pp. 20–26
• ‘De kneedbare Rembrandt.

  Hoe Hollandse kunst wordt gebruikt in debatten over identiteit’, Ons Erfdeel 62, No. 2 (May 2019), pp. 88–101 (online in English: ‘The Malleable Rembrandt. How Land art is used in debates about identity’)

References

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External links

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Works

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