Frictions and friendships. Cultural encounters in the nineteenth century

ESNA Conference 2019

The Hague, Netherlands Institute for Art History (RKD): 19 & 20 June 2019
Organised by ESNA (European Society for Nineteenth-Century Art), RKD – Netherlands Institute for Art History, The Hague and NWO (Netherlands Organisation for Scientific Research)

The exhibition The Dutch in Paris, which was on show in the Van Gogh Museum, Amsterdam and in the Petit Palais, Paris during the fall of 2017 and spring of 2018 respectively, aimed to visualize the artistic exchange between Dutch and French artists between 1789 and 1914. As part of a larger research project, set up by the RKD – Netherlands Institute for Art History, the exhibition generated so much response that ESNA, in collaboration with the RKD and NWO, decided to organize an international conference on the subject, focusing specifically on international as well as national and local points of encounter and how they facilitated artistic exchange.

Vincent van Gogh wrote in 1883: ‘I would certainly very much like to spend some time in Paris, because I believe I would get the friction [in Dutch: ‘wrijving’] with artists that I’ll have to have at some point’. Van Gogh used the word ‘friction’ in a positive sense, as an encounter in which he could learn and develop his ideas and his art. Peter Burke defined encounters as information and objects that flow in different directions, even if unequally. He noted that ‘Ideas, information, artefacts and practices are not simply adopted but on the contrary, are adapted to their new cultural environment. They are first decontextualized and then recontextualized, domesticated or localized. In short, they are translated’.

Burke, however, does not address the strategy and process of encounters. In his quest for friction, Van Gogh sought the utopia of a shared workspace but ended up with broken friendships. Frictions and encounters can abrade and chafe but can nevertheless lead to artistic exchange. The various processes involved in the realization of artistic exchange might have friendship at their base but can just as easily be born out of more antagonistic points of view. This paradox, which can be tested through, for example, theories of friendship, hospitality, solidarity, communication, and productive conflict, among others, is what we want to explore during the conference.

Please click here for the full programme
Tickets are available via the RKD webshop.

Modernism in migration

CfP: Modernism in migration

Call for papers

Modernism in Migration: Relocating Artists, Objects and Institutions, 1900–1960

Theme outline

In the production and reception of art, processes of migration play a crucial role. This is particularly true for modernism and the historical avant-gardes of the twentieth century, when artists’ transnational networks and migrations across countries and continents greatly impacted artistic developments. Besides artists and agents such as art dealers and art historians, works of art and art institutions also migrated. For an upcoming issue of Stedelijk Studies, we invite scholars to explore forms of migration and their influence on the development and dissemination of modern art around the world from 1900–1960.

Artists migrated to metropolises such as Paris in the twentieth century for inspiration and education, leading to collaborations with colleagues, gallerists, and other art promoters. Artists’ experiences under new and alien circumstances were often reflected in their work. Migrations were not always by choice: artists and art agents were forced into involuntary emigration or exile by colonialist and political developments, such as those prompted by National Socialism. Whatever the impetus, between 1900 and 1960 artists and collectors migrated globally on an unprecedented scale and, along with these migrants, their works of art moved as well.

This issue of Stedelijk Studies complements an upcoming exhibition about Migrants in Paris at the Stedelijk Museum Amsterdam (September 2019–January 2020), but will offer an in-depth exploration of migration from a greater variety of angles. We understand migration, just as modernism in the arts, as a global phenomenon. We are looking for theoretical explorations as well as art historiographical approaches and case studies, and especially welcome articles that explore gender, queer, and postcolonial perspectives, among others.

Potential topics include:

  • The migrant artist in the metropolis (e.g., centers such as Paris, Berlin, New York, Buenos Aires, São Paolo, Shanghai, Jakarta, etc.)
  • Migration away from such centers in search of the peripheral
  • International and transnational artists’ networks, associations, and collaborations
  • International and transnational art trade and collection building
  • (Inner) emigration vs. exile of artists and art agents
  • (Trade) routes and dislocation of art objects and collections (voluntary or forced)
  • Dislocation/relocation of institutions (e.g., Bauhaus, Warburg)
  • The impact of emigration on the artist’s work and on art history as a discipline
  • Cultural transfer and translation

The thematic issue Modernism in Migration: Relocating Artists, Objects, and Institutions, 1900–1960 will be edited by Dr. Tessel M. Bauduin and Dr. Gregor Langfeld (both of the University of Amsterdam).

Stedelijk Studies

Stedelijk Studies is a high-quality, peer-reviewed academic journal published by the Stedelijk Museum Amsterdam. The journal comprises research related to the Stedelijk collection, exploring institutional history, museum studies (e.g., education and conservation practice), and current topics in the field of visual arts and design.


Deadline for the abstract is February 20, 2019. Deadline for the article (4,000–5,000 words) is May 20, 2019. Publication of the issue will be in November, 2019. Manuscripts and other editorial correspondence should be sent to: Esmee Schoutens, Managing Editor Stedelijk Studies,

5e Daendelslezing Gert Oostindie: ‘Postkoloniale beeldenstormen’

Historicus Gert Oostindie neemt onze omgang met het koloniale verleden kritisch onder de loep. Ook het actuele, soms hoog oplopende publieke debat daarover komt aan bod tijdens de 5de Daendelslezing en aansluitende forumdiscussie in het Rijksmuseum op woensdag 25 april, 13:30-17:30.

Postkoloniale beeldenstormen

De afgelopen maanden is een heftig debat gevoerd over de waardering van Nederlands koloniale verleden, waar gevoelens van spijt, schuld en schaamte soms stuitten op historisch-wetenschappelijke verwijten van anachronisme en presentisme. Het debat gaat inmiddels over allerlei onderwerpen: van de eventuele teruggave van koloniaal erfgoed en de inrichting van een slavernijmuseum tot de specifieke positie van nazaten van de inwoners van voormalige koloniën.
In de discussie worden slachtoffers soms tegenover daders gesteld, zwarte woede tegenover ‘witte onschuld’.

In zijn lezing zal Gert Oostindie, hoogleraar koloniale en postkoloniale geschiedenis aan de Universiteit Leiden en directeur van het KITLV, kritisch reflecteren op de omgang met ons koloniale verleden. Zowel de vakhistorische dimensie als het actuele publieke debat komen daarbij aan bod, evenals de rol die Herman Willem Daendels (Hattem 1762-1818 Elmina) heeft gespeeld in Nederlands-Indië en aan de Goudkust.


De lezing wordt gevolgd door een forumdiscussie over Nederlands koloniale verleden: de herinnering daaraan en de actualiteit van die herinnering, waarbij ook de zaal wordt betrokken. Deelnemers aan dit forum zijn Gert Oostindie, Martine Gosselink, hoofd geschiedenis van het Rijksmuseum, Wim Manuhutu, oud-directeur van het Museum Maluku, Aspha Bijnaar, onderzoeker en schrijver, en Karwan Fatah-Black, onderzoeker. De discussie wordt gemodereerd door Niek van Sas, emeritus hoogleraar Geschiedenis aan de Universiteit van Amsterdam en voorzitter van de Stichting Daendels.

Informatie en aanmelding

Voor meer informatie en aanmelding voor de lezing, zie:

Gothic Modernisms

Conferentie ‘Gothic Modernisms’

A two-day international conference discussing the legacies, histories and contested identities of European Gothic/early-modern visual cultures in (global) modernity, in particular in modernism and the avant-gardes. Rijksmuseum, 29 & 30 June, 2017.

Provisional Programme

DAY 1 – 29 JUNE 2017

9.00-9.30 Registration
9.30-9.40 Welcome – Taco Dibbits, Director of the Rijksmuseum
9.40-9.50 Opening words – Juliet Simpson
9.50-11.10 Panel 1: Gothic ‘Revivals’ – Politics and Poetry of Buildings, Play and Panic
Chair: Juliet Simpson (Coventry University)

  • Matthew Reeve (Queen’s University, Kingston/Royal Society of Antiquaries, London): ‘Politics of bodies, politics of buildings: from “play” to “panic” in the Gothic architecture of the long eighteenth century’
  • Jozefien Feynaerts (Ghent University): ‘Le choix du style: neo-Tudor prison gatehouses in 19th-century Belgium’
  • Ole Fischer (Utah University): ‘The birth of modernity from the spirit of Gothic? Henry van de Velde and the figure of the iron cathedral’
11.10-11.30 Coffee & tea
11.30-12.45 Panel 2: Belgian Gothic Modern Interiors/Uncanny Spaces
Chair: Jan-Dirk Baetens (Radboud University, Nijmegen)

  • Dominique Bauer (KU Leuven): ‘Enclosures, windows and mirrors. The Gothic interior in the work of Georges Rodenbach and Xavier Mellery’
  • Aude Campmas (University of Southampton): ‘Gothic passion and interiority in
    J.K. Huysmans’s St. Lydwine of Schiedam’
  • Claire Moran (Queen’s University, Belfast): ‘Moody Princesses at home in Maeterlinck, Rodenbach and Khnopff’
12.45-14.00 Lunch & visit to the Rijksmuseum collections
14.00-15.45 Panel 3: Gothic Alterities at the Fin-de-Siècle
Chair: Rachel Esner (University of Amsterdam)

  • Laura Morowitz (Wagner College, NY): ‘Alt-Deutsch and avant-garde: The prints of Joseph Sattler’
  • Stefan Huygebaert (Ghent University): ‘The image of Gothic law in (anti-)Modernist art’
  • Graça Correa (Lisbon University): ‘Landscapes of the Gothic uncanny in Symbolist theatre’
  • Marja Lahelma (University of Edinburgh/University of Helsinki): ‘Gothic elements in Nordic fin-de-siècle art’
15.45-16.05 Coffee & tea
16.05-17.00 Plenary and Q&A – Professor Elizabeth Emery (Montclair State University, NY)
Chair: Tessel M. Bauduin (University of Amsterdam)
17.00-18.00 Visit to the exhibition Small Wonders
Guided tours for conference guests by curators Ingmar Reesing (UvA) & Frits Scholten (Rijksmuseum)

DAY 2 – FRIDAY 30 JUNE 2017

9.00-9.20 Registration
9.20-9.30 Opening words – Tessel M. Bauduin
9.30-11.15 Panel 4: Gothic Modern Cathedrals ― Politics and Potencies of Buildings beyond the ‘Gothic’
Chair: Petra Brouwer (University of Amsterdam)

  • Maria Männig (Karlsruhe University of Design): ‘From Schlegel to Le Corbusier: Modern concepts in Hans Sedlmayr’s “Cathedral”’
  • J. Kirk Irwin (Birkbeck College, University of London): ‘Medieval and Modernist space’
  • Robert S. Nelson (Yale University): ‘Modernism and colonialism in the neo-Gothic of Southeast Asia’
  • Matthew Mullane (Princeton University): ‘The cathedral and the pagoda: Itō Chūta’s Gothic world’
11.15-11.45 Coffee & tea
11.45-13.15 Panel 5: Reimagining Gothic Nationalisms and Avant-Gardes
Chair: Jenny Reynaerts (Rijksmuseum)

  • Leena Elina Valkeapää (University of Jyväskylä): ‘Gothic Modern discovered: the process of the art historical expeditions in Finland, 1871–1902’
  • Stephanie Glaser (Ruhr-Universität Bochum): ‘The Gothic spirit: Cultural nationalisms on the eve of World War I’
  • Marjan Groot (Vrije Universiteit, Amsterdam): ‘Gothic Modernism and Expressionism in the 1920s in the Netherlands’
13.15-14.30 Lunch & visit to the Rijksmuseum collections
14.30-16.15 Panel 6: Contested German Gothic Identities: Legacies, Ideologies, Museums
Chair: Anna Maria von Bonsdorff (Ateneum Finnish National Gallery)

  • William Diebold (Reed College, Portland): ‘The Magdeburg and Bamberg Riders on display in modern Germany’
  • Gitta Ho (Deutsches Forum für Kunstgeschichte, Paris): ‘George Grosz and the art of Late Gothic’
  • Leonie Beiersdorf (Germanisches Nationalmuseum, Nuremberg): ‘Art history’s anthropological turn and its support of Gothic Modernisms’
16.15-16.45 Coffee & tea
16.45-17.30 Round table & closing remarks – Tessel M. Bauduin and Juliet Simpson
17.30 Close of conference
17.45 Drinks reception

For more information, see
Registration on
Fee (125€; 40€ for students) includes access to the Rijksmuseum Collections on both days, a guided visit to the exhibition Small Wonders, coffee, tea, lunch, snacks and drinks. Questions and comments can be directed to dr. Tessel M. Bauduin, University of Amsterdam: t[dot]m[dot]bauduin[at]uva[dot]nl
This conference is part of a trilogy. For earlier events see ‘Visions of the North’.

Tentoonstelling J. W. Bilders in Kleef

Johannes Warnardus Bilders: Bezield landschap

19 februari t/m 25 juni 2017 in het B.C. Koekkoek-Huis te Kleef.

De in Utrecht geboren Johannes Warnardus Bilders (Utrecht 1811-1890 Oosterbeek) geldt als voorloper van de zogenoemde Haagse School van het vroege Nederlandse impressionisme. In 70 schilderijen, tekeningen en grafiek zal het oeuvre van deze tijdgenoot van Koekkoek uit Nederland voor het eerst in Duitsland worden gepresenteerd.

Bilders kreeg zijn eerste tekenlessen aan de stedelijke Tekenschool en werd lid van de kunstvereniging „Kunstliefde“. Les in schilderen heeft hij nooit gehad, hij leerde het vak door zijn contacten met collega-schilders en het bestuderen van de toonaangevende kunstenaars van zijn tijd, zoals bijvoorbeeld B.C.Koekkoek. In 1839 ondernam hij een reisje naar Duitsland en ontdekte, samen met een bevriend kunstenaar, het rivierlandschap van Rijn en Ahr. Tot 1859 volgden er nog vele verdere studiereizen naar het buurland, aan de Rijn, naar Wiesbaden (waar hij koning Willem III bezocht) en naar het Zwarte Woud.

Vanuit Utrecht ging hij ook vaak naar Gelderland om er te werken, zoals in het jaar 1840 in de omgeving van Beek en 1841 voor het eerst naar Oosterbeek bij Arnhem. Hij was zo ingenomen van die plaats met zijn heidevelden en oeroude bomen, dat hij al in het daaropvolgende jaar besloot zich hier te vestigen. Hier werd hij na verloop van tijd tot een centrale vaderfiguur voor de jonge kunstenaars die eveneens naar Oosterbeek kwamen. In navolging van de Franse kolonie van kunstenaars die in de buitenlucht schilderden werd Oosterbeek later het „Nederlandse Barbizon“ genoemd. Het late werk van Bilders weerspiegelt iets van het voorbeeld van deze Franse schilderkunst, ook al is Bilders nooit in Frankrijk geweest. Met zijn zoon Gerard samen zonden zij hun werk in naar verschillende wereldtentoonstellingen.

1858 verhuisde Bilders met zijn familie naar Amsterdam. Daar werkte hij mee aan de totstandkoming van de Galerie in Arte et Amicitiae, de belangrijkste Nederlandse kunstvereniging. Uit zijn laatste jaren dateren tekeningen in groot formaat, gemaakt met houtskool of wit en zwart krijt. Na de dood van zijn eerste vrouw en van zijn zoon Gerard leerde Bilders 1880 de schilderes Maria van Bosse kennen, die al langer van hem les had gehad, en keerde in dat jaar terug naar Oosterbeek. Samen ontdekten ze nu de aangrenzende landschappen van de Achterhoek en van de provincies Drente en Groningen. Op 79-jarige leeftijd stierf Bilders in Oosterbeek aan een longontsteking.

Deze tentoonstelling werd mogelijk gemaakt door de samenwerking met het Museum Veluwezoom, Kasteel Doorwerth en het RKD (Nederlands Instituut voor Kunstgeschiedenis) in Den Haag. Er verschijnt een catalogus van Jeroen Kapelle en Manon van der Mullen met rijke illustraties en een samenvatting van de tekst in het Duits.

The Rijksmuseum Fellowship Programme

The Rijksmuseum operates a Fellowship Programme for outstanding candidates working on the art and history of the Low Countries whose principal concern is object-based research. The aim of the programme is to train a new generation of museum professionals: inquisitive object-based specialists who will further develop understanding of art and history for the future. The focus of research should relate to the Rijksmuseum’s collection, and may encompass any of its varied holdings, including Netherlandish paintings, sculpture, decorative arts, prints, drawings, photography and historical artefacts. The purpose of the programme is to enable applicants to base part of their research at the Rijksmuseum, to strengthen the bonds between the universities and the Rijksmuseum, and to encourage the understanding of Netherlandish art and history. The programme offers students and academic scholars access to the museum’s collections, library, conservation laboratories and curatorial expertise.


The Rijksmuseum Fellowship Programme provides opportunities for recent graduates (at the Master’s level), as well as doctoral and post-doctoral candidates. The programme is open to candidates of all nationalities and with varied specialisms. They may include art historians, curators, conservators, historians and scientists. Candidates should have proven research capabilities, academic credentials and excellent written and spoken knowledge of two languages (English and preferably Dutch or German). Fellowships will be awarded for a duration ranging from 6-24 months, starting in the academic year 2017-2018. Please review the Rijksmuseum website for detailed information on each individual Fellowship position.


Fellowship stipends are awarded to help support a Fellow’s study and research efforts during the tenure of their appointment. The stipend amount varies by funding source and Fellowship period. Visit the Rijksmuseum website for further information.

Application and procedure

Please review the eligibility, funding and application requirements by following the link to the Fellowship of your interest:

  • Andrew W. Mellon Fellowship for art historical research –
    Apply here
  • Johan Huizinga Fellowship for historical research –
    Apply here
  • Migelien Gerritzen Fellowship for conservation research – Apply here
  • Manfred & Hanna Heiting Fellowship for photo-historical research – Apply here

The closing date for all applications is 12 March 2017, at 6:00 p.m. (Amsterdam time/CET). No applications will be accepted after this deadline. All applications must be submitted online and in English. Applications or related materials delivered via email, postal mail, or in person will not be accepted.

Selection will be made by an international committee in April 2017. The committee consists of eminent scholars in the relevant fields of study from European universities and institutions, and members of the curatorial and conservation staff of the Rijksmuseum. Applicants will be notified by 1 May 2017. All Fellowships will start in September 2017.

Further information

For questions concerning the application procedure, contact Marije Spek, Coordinator of the Fellowship Programme (, +31 (0)20-6747395.

De Negentiende Eeuw 14 (1990) 1:
‘Kunst en kunstenaar in de negentiende eeuw’

W. van den Berg en Evert van Uitert ‘Symposium Kunst en kunstenaar in de negentiende eeuw (1989)’, 1-5.

Annemieke Hoogenboom, ‘De status van de beeldende kunstenaar en de oprichting van de Maatschappij ‘Arti et Amicitiae’, 6-23.

Saskia de Bodt, ‘Pulchri Studio. Het imago van een kunstenaarsvereniging in de negentiende eeuw’, 24-42.

Boudien de Vries, ‘De kunstlievende leden van Arti et Amicitiae en Pulchri Studio, 1850-1914’, 43-57.

Nop Maas, ‘Kunstenaarsleed. Verhalen over kunstenaars in de Nederlandse letterkunde van plusminus 1860-1885’, 58-75.

Lut Pil, ‘Kunstenaarsverenigingen en de beeldvorming van kunstenaar en landschap in de Belgische landschapslithografie’, 76-94.

Ton van Kalmthout, ‘Tempels aan de muzen gewijd. Multidisciplinaire kunstkringen in Nederland tussen 1880 en 1914’, 95-110.

De Negentiende Eeuw 4 (1980) 4: ‘De ontstaansgeschiedenis van het Rijksmuseum’

P.J.J. van Thiel, ‘De inrichting van de Nationale Konst-Gallery in 1800’, 138-157.

Fons Asselbergs, ‘”Het morgenrood eener wedergeboorte”: P.J.H. Cuypers, architect (1827-1921)’, 158-170.

Nop Maas, ‘Carel Vosmaer en het Rijksmuseum’, 171-206.

Jochen Becker: ‘”Ons Rijksmuseum wordt een tempel”: opmerkingen over het decoratieve programma van het Rijksmuseum’, 207-234.

Lydia Lansink, ‘De geschiedenis van het Museumplein’, 235-272.