Samuel Van Research Articles

Zwadderen in oil paint

Landscape painting can directly address concepts of the world’s origin and its organization. Dutch dune landscapes, however, were and continue to be extremely unstable environments, consisting of damp hollows and wind-borne sand, and resisting any attempt to be shaped or organized. Theresa Brauer’s essay asks its readers to closely examine two of Jan van Goyen’s landscapes that exhibit exceptional fluidity both in painting technique – Van Goyen utilizes a wet-on-wet application of oil pigments – and in the subject they depict: the transitional coastal landscape of Holland. The works are discussed in dialogue with Samuel van Hoogstraten’s description of a painting technique he calls zwadderen, and with Joost van den Vondel’s poetic yet dismissive reflection on incidental forms in landscape painting. The essay contextualizes Jan van Goyen’s landscapes within the framework of nature-theoretical discourse prevalent in the seventeenth century, which contemplates a particular world in a state of motion.

Angela Jager. Review of "Samuel van Hoogstraten's Introduction to the Academy of Painting; or, The Visible World" by Celeste Brusati.

Angela Jager. Review of "Samuel van Hoogstraten's Introduction to the Academy of Painting; or, The Visible World" by Celeste Brusati.

Notes on Contributors

Notes on Contributors

Improved Drilling Efficiencies Using Offline Cementing Saves Time, Reduces Costs

This article, written by JPT Technology Editor Chris Carpenter, contains highlights of paper SPE 196600, “Improved Drilling Efficiencies Using Offline Cementing Saves Days on Well and Reduces Costs,” by Samuel Van Meter, SPE, and Kristin Kutchak, SPE, Halliburton, and Habib Guerrero, SPE, Inflection Energy, prepared for the 2019 SPE Eastern Regional Meeting, Charleston, West Virginia, 15–17 October. The paper has not been peer reviewed. Drilling in the Appalachian Basin in Pennsylvania has evolved since its inception. Operators have shifted their focus from mere wellbore delivery to delivering wells in the shortest amount of time to reduce risks and costs and drive efficiency. The complete paper presents a case study in which offline cementing improved operational efficiency by reducing drilling times and provided significant cost savings. Introduction For decades, the focus during drilling operations has been on achieving faster rate of penetration (ROP) and drilling time to reduce well costs. However, the significance of ROP improvement accounts for less than 25% of the full well-construction cycle. Many areas with possible efficiency gains have yet to be explored within the cycle. When an operator began making plans to switch from traditional drilling (top-down drilling of surface through production sections, per well) to batch-set drilling (drilling all surface sections, followed by all intermediate sections, then all production sections), the service company proposed the offline cementing method as a cost-saving and efficiency-conscious measure. Theory and Definitions The concept of offline cementing itself is quite simple: The openhole section is drilled, and casing is run to total measured depth and hung in the wellhead. Then, the rig skids to the next well, begins rigging up, and drills the next openhole section. While the rig is preparing on the next well, the cement-service provider can perform operations on the previously drilled or cased well section. Risks with this type of operation were assessed during pre-job planning. Multiple risk assessments were conducted on location before the onset of operations, and a job-site analysis (JSA) was also completed. Pennsylvania state regulations dictate that, on surface and intermediate strings, cement must reach a compressive strength of 350 psi and a minimum static time of 8 hours before moving forward with operations after the primary operation. Because of this wait time, off-line cementing is ideal. Operators can skid the rig, leaving the cemented pipe to cure while rigging up on the next well. This helps increase efficiency by minimizing the nonproductive time (NPT) incurred during the 8-hour wait time.

“The Marvelous Unknown of Another’s Making”: Aislinn Hunter’s A Peepshow With Views of the Interior: Paratexts

Aislinn Hunter is a Canadian writer whose work reveals a consistent fascination with visual and material culture. Although her books span multiple genres, this essay focuses on her most experimental (and, it is suggested, under-read) work to date, A Peepshow With Views of the Interior: Paratexts (2009). This essay offers an analysis of the book’s intricate design, which is simultaneously paratextual and ekphrastic (the title of A Peepshow indicates one source of its inspiration in the seventeenth-century work of the highly experimental Dutch realist painter Samuel van Hoogstraten). The article begins with a consideration of the relevance of the paratextual form to A Peepshow’s concerns with the object world and a Heideggerian philosophy of things. The analysis then shifts to consider the relationship between paratext and ekphrasis as parallel arts of “framing,” especially as demonstrated by the example of van Hoogstraten’s famous perspective box embedded within Hunter’s own Peepshow. Finally, the essay seeks to extrapolate some broader implications from the encounter with this particular text, which both implicitly (in its very structure) and explicitly (in its critique of contemporary visual and verbal literacies) invites one to contemplate the effects of the medial transformation underway in the shift to more dispersed and nonlinear digitized textual forms.

Introduction: Art and Religious Reform in Early Modern Europe

This introduction situates the essays of this special issue within current scholarship on art and religious reform in early modern Europe. The first section considers iconoclasm and the settlements reached in its aftermath, and emphasizes the richness and diversity of the Protestant and Catholic visual cultures that evolved alongside movements for religious reform. The second section considers the individual essays, and draws out common themes: the relationship between image and word; artists’ and patrons’ responses to new understandings of Christian history and soteriology; images’ role in the construction of confessional boundaries, but also their ability to transgress those boundaries. The introduction highlights the plurality of methodological approaches adopted by the contributors, which reminds us that although attention to the social and political contexts in which images were produced and received is an essential part of both historical and art-historical analysis, the power of art can never be fully captured through words.

The Origins of Broken Colours

This study examines the origins and understanding of the concept of 'broken colours' in the seventeenth century. The phrase relates to mixtures of colours, often to those resulting in a reduced chromatic value, but included more kinds of colour mixtures when used by early modern writers. It appeared in the art literature of England, the Low Countries, Germany and France in short sequence, and seems to have been directly associated with an ancient expression for colour mixtures, 'corrupted colours'. The interpretation of ancient mentions of 'corrupted colours' by the scholar Franciscus Junius, published in Latin, English and Dutch, are investigated together with discussions of 'broken colours' by Edward Norgate in England, Samuel van Hoogstraten in Holland, Joachim von Sandrart in Germany and Charles Alphonse Dufresnoy, Roger de Piles and the members of the Académie Royale in France.

Een onbekend Zelfportret van de jonge Samuel van Hoogstraten

The article discusses the history of a 17th century self portrait by Samuel van Hoogstraten, a student of the Dutch painter Rembrandt Harmenszoon van Rijn, which the author argues has been relegated to surprising obscurity until recently despite ample documentation of its existence and its provenance. The portrait is a drawing of pen and pencil in brown, red, and black and is 17x13.5 cm, portraying van Hoogstraten sketching on paper. Its first owner was Horace His de la Salle, and was owned by various proprietors until its arrival in Amsterdam, the Netherlands in 1823 as part of the donated collection of Dirk Versteegh (1751-1822).

An Eighteenth-Century Dutch Patron of Bookbinding

AbstractA group of 110 gold-tooled bindings, covering mainly incunabula, as well as a few sixteenth-, seventeenth-, and eighteenth-century works, was produced in a bindery in The Hague during the eighteenth century, presumably for one collector. This article describes the detective work which has led to the identification of the owner of these finely bound books as Samuel van Huls, a Hague magistrate and avid collector of books and pictures.

Between mind and body: painting the inner movements according to Samuel van Hoogstraten and Franciscus Junius

Between mind and body: painting the inner movements according to Samuel van Hoogstraten and Franciscus Junius

Cold world: the deathly void of sound

The essay begins by proposing an auditory engagement with the paintings of Caravaggio. By interpreting visual representations of sound and listening in visual media, it is possible to construct a more comprehensive history of listening prior to the invention of sound recording in the late nineteenth century. A relationship is suggested between seventeenth century devices such as Samuel van Hoogstraten's Peep Show and the beginnings of cinema. The essay also makes links between indications of microsound in painting and the growing importance of hyper-real sound design in American cinema between 1967 and 1979. The use of pop songs in films after Kenneth Anger's Scorpio Rising is explored, leading to a mapping of the connections between quasi-documentary narrative film, hip hop sampling, crime fiction and David Simon's television series, The Wire.

The Germanic origins of art: Dutch and English antiquity according to Verstegan, Junius and Van Hoogstraten

Seventeenth-century writers about Dutch art and language, wishing to promote a vernacular culture as a counterweight to the dominant ideals of Southern Europe, developed a view of Germanic antiquity. Exporting their visual art, the Dutch brought linguistic attitudes suggestive of a common Germanic history to Britain, as three authors exemplify: Richard Verstegan, Franciscus Junius and Samuel van Hoogstraten. Their writings presented simplicity as a distinctly Germanic quality. Imaginative etymologies, providing equivalents for the artistic vocabulary of humanism, proved that Germanic civilization was the purest continuation of classical antiquity since ‘bastard Latin languages’ had been corrupted by the Dark Ages. The pre-eminence of Netherlandish painting thus reflected the courage and integrity of the tribes praised by Tacitus. The aims formulated in Dutch art theory to ‘follow the simplicity of nature’ became interrelated to cultural ideals of masculinity and imperturbability.

At the Sign of the Oriental Lamp: The Musschenbroek Workshop in Leiden. 1660–1750 by Peter de Clercq

technology and culture Book Reviews 141 technology, urban historians, and anyone seeking an unusual glimpse of life in 17th-century Amsterdam. Daniel Winer Mr. Winer is a Ph.D. candidate in the Hagley Program at the University of Dela­ ware; his dissertation is on the development and meaning of firefighting from the 17th to 19th centuries. At the Sign ofthe Oriental Lamp: The Musschenbroek Workshop in Leiden. 1660-1750. By Peter de Clercq. Rotterdam: Erasmus, 1997. Pp. 326; illustrations, tables, appendixes, notes, bibliography, index. Hfl. 69.50 (paper). Recent years have seen a growing number of historians coming to appreciate the material aspects ofscience and beginning to examine both the apparatuses with which observations, experiments, and demonstrations were made—optical instruments such as telescopes and microscopes, and philosophical instruments such as whirling tables and air pumps and, later, electrostatic machines—and the in­ strument-makers and dealers whose technical sophistication and business acumen turned rough ideas into commercial products. Pe­ ter de Clercq, a curator in the Museum Boerhaave in Leiden, has made an important contribution to this literature with this intelli­ gent and lucid account of the Musschenbroek workshop, one of the first important centers of production of instruments designed for the new natural philosophy. The text presents a close examination of the scientific instrument business at a time when production still occurred in workshops and when distribution was still by direct sales from maker to customer. Appendices offer a preliminary checklist of extant Musschenbroek instruments and transcriptions of the eight extant Musschenbroeck trade catalogs, some of which are known through only one copy. The Musschenbroek family setded in Leiden in the early years of the 17th century, establishing a brass foundry at the Sign of the Ori­ ental Lamp. Their involvement with science began around 1660, when students and faculty at the nearby University of Leiden asked Samuel van Musschenbroek to supply them with microscopes and anatomical instruments. Johann van Musschenbroek, who took charge of the workshop following his brother’s death in 1681, ex­ panded the range of instruments and circle of customers. The busi­ ness expanded still further under the leadership of Johann’s son Jan, who ran the firm from 1707 until his death in 1748. Jan’s most important customer was Willem ’sGravesande, a professor at the Uni­ versity of Leiden, who purchased numerous instruments for his ex­ periments and classroom demonstrations, and who depicted many ofthem in his influential textbook, known in English as Mathematical 142 Book Reviews TECHNOLOGY AND CULTURE Elements ofNatural Philosophy, confirm’d by Experiments, or an Introduc­ tion to Sir Isaac Newton’s Philosophy. Other customers ranged from an anonymous burgemeesterto the stadholderWilliam IV and his educated wife, Anne of Hanover. Most of the Musschenbroek’s customers were in the Netherlands, but some were in Sweden, Germany, Italy, and Russia (but apparently none in France or Great Britain). The air pump was the most emblematic instrument of the new natural philosophy and, not surprisingly, the Musschenbroeks’ most important product. Although very few shop records survive, de Clercq has unearthed evidence of about forty Musschenbroek air pumps and estimates that this represents about one-third to onehalf of the firm’s total production. He also argues that by 1700 the Musschenbroeks were the leading purveyor of air pumps in Europe. This aspect of the story began in 1675 when Samuel made an air pump for Burchard de Voider, the first Leiden professor to teach natural philosophy. Voider had recently made a trip to England, seen the air pump that Robert Hooke had made for Robert Boyle, and desired a similar one for his own use. This instrument is now in the collections of the Museum Boerhaave. In 1679 Volder’s suc­ cessor, Wolferd Senguerd, asked Samuel to build an air pump of a somewhat different form; this design proved to be substantially eas­ ier to manipulate than the English model. It is clear that the Musschenbroeks had close collaborations with academics and that several Musschenbroek instruments incorpo­ rated important innovations, but there are few records indicating who invented what. De Clercq’s answer to the credit question, which I believe to be correct, is that scholars and craftsmen often possessed...

Surrealism in the Americas

on his attention to physiognomic detail, to the individuality of his sitters, but never mentions the appalling stiffness of the composition other than a general reference to his work of this period being 'fairly conventional'. This was an important civic commission and, from an artist who professed The Nightwatch as his most admired painting, such a contrast in treatment is difficult to applaud. But perhaps such a criticism misses the point made by Brusati's conclusion, that seventeenth-century individualism was not the soul-searching concept that it is now. Rather, 'individual identity in this period served less as a final goal than as a way station on the road to firm and decisive identification with normative structures'. Samuel van Hoogstraten was remarkably successful at forging a prominent identity within a set of complex social and professional structures of which he was demonstrably aware. Brusati presents us with an exemplary work of analytical biography; a biography that provides a kaleidoscope through which those structures might be examined; the relationships of such a life to society, to intellectual circles and to the practice and theory of the artist's field.

:Artifice and Illusion: The Art and Writing of Samuel van Hoogstraten

List of Illustrations Introduction 1: Career Paradigms and Critical Frameworks 2: The Making of a Dutch Painter-Poet 3: Self-Making and Self-Representation 4: Art as Self: Trompe l'Oeil 5: Self as Eye: The Perspective Box 6: The Academy of Painting and the Visible World Conclusion Notes Selected Bibliography Checklist of Paintings Index

Artifice and Illusion: The Art and Writing of Samuel van Hoogstraten

Artifice and Illusion: The Art and Writing of Samuel van Hoogstraten

Artifice and illusion: the art and writing of Samuel van Hoogstraten

Artifice and illusion: the art and writing of Samuel van Hoogstraten

John Bright and Samuel Van Houten: Radical liberalism and the working classes in Britain and The Netherlands 1860–1880

(1989). John Bright and Samuel Van Houten: Radical liberalism and the working classes in Britain and The Netherlands 1860–1880. History of European Ideas: Vol. 11, No. 1-6, pp. 593-604.

Samuel Van Houten and Dutch Liberalism, 1860-90

Samuel Van Houten and Dutch Liberalism, 1860-90

Samuel Van Valkenburg: politics and regional geography

Samuel Van Valkenburg was a prominent geographer working in the United States whose career spanned the period from the Treaty of Versailles to the Cold War. He is best known for his geopolitical writings of the pre World War II period, fashioning one of the few American-oriented geopolitical theories comparable to those of Mackinder or Hausofer. This paper traces the evolution of his work from geopolitical theory to war-time propaganda to post-war mainstream political geography. Central to this analysis is a comparison of his personal history with that of the general field of political geography. Special effort is made to inform current interest on the status of ‘empiricist’ political geography as well as on the history of the ‘political geography v. geopolitics’ debate. The conclusion drawn is that neither geopolitics nor political geography can be understood in relation to one another and the true comparison is and always has been between these and regional geography.