Van Lennep

Reisverslagen Van Hogendorp en Van Lennep weer online

In de zomer van 1823 maakten Jacob van Lennep en Dirk van Hogendorp een voetreis door Nederland. Allebei hielden ze nauwkeurig aantekeningen bij, die werden vastgelegd in reisverslagen. Van Lennep stuurde zijn verslag in brieven aan zijn zus Antje. Later heeft hij deze brieven twee keer bewerkt tot een dagboek. In 1942 verzorgde M. Elisabeth Kluit onder de titel Nederland in den goeden ouden tijd er de eerste uitgave van. Van Hogendorps verslag is nog nooit op papier gepubliceerd.

In het verleden hebben Marita Mathijsen en Karin Hooogeland diplomatische edities van de beide reisverslagen gepubliceerd op een website die inmiddels afgesloten is. Het Huygens Instituut voor Nederlandse Geschiedenis heeft ze nu weer online toegankelijk gemaakt op de website De voetreis van Jacob van Lennep en Dirk van Hogendorp in 1823,

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,

De Negentiende Eeuw 2013, nr. 4

De Negentiende Eeuw 37 (2013) 4: ‘Op reis in de negentiende eeuw’

Jan Hein Furnée en Leonieke VermeerOp reis in de negentiende eeuw. Inleiding 257-263

Abstract (EN)
Travel in the nineteenth century. Introduction.Recent international scholarship has revised the traditional image of the nineteenth century as period of fundamental change between the premodern, elitist Grand Tour and the age of modern mass tourism. In Dutch historiography, Gerrit Verhoeven has recently shown that premodern travel culture in many ways included ‘modern’ travel patterns. However, the historiography of nineteenth-century Dutch travel culture is in many ways still in its infancy. This special issue of De Negentiende Eeuw presents some new contributions to the field, offering a quantitative analysis of travel egodocuments, two case studies of travel motives, attitudes and experiences in unpublished travel reports, and a study of the role of the first Dutch travel agency in the evolution of tourism. The overall conclusion is that in the nineteenth century travel culture certainly witnessed many important changes – newly emerging transportation technologies, advancement of travel industry, a modest broadening of the travelling public – but that the processes of modernisation and transformation were in many ways less dramatic than earlier historians have tended to suggest.
Anna P.H. GeurtsReizen en schrijven door Noord-Nederlanders. Een overzicht 264-288

Abstract (EN)
Travel and writing by Northern Netherlanders. An overview.Contrary to received wisdom, evidence from egodocuments suggests that Northern Netherlanders did not begin to travel more in the nineteenth century. Furthermore, the proportion of female travellers-writers remained small, those occupied at home hardly received any opportunities for travel, and the large majority outside the university-educated elite left little evidence of their travel experiences. These things only started to change around 1900. Meanwhile, the commercialisation of travel was not a nineteenth-century phenomenon, nor did journey timing and choice of destination standardise. Much of this can be explained by the fact that work remained a central travel motivation.
Willemijn KoningEen ‘bijna onbereikbare stralenkrans van vreugde en weelde’. Betrokkenheid en distantie in de Parijse stadsverkenningen van jonge Amsterdamse elitezonen, ca. 1850 289-311

Abstract (EN)
‘A nigh unattainable constellation of joy and wealth’. Engagement and distance during Parisian explorations by young Amsterdam elite sons, ca. 1850.Countless books and articles have been written about the travel experiences of the seventeenth and eighteenth century young elite during their so-called ‘Grand Tours’. However, the exploits of their nineteenth century counterparts have remained largely untold. This article is based upon the travelogues of three young men from the Dutch urban upper-class. It casts light on the nature of urban tourism at the time, to Paris in particular, and on tourists’ travel motivations, experiences and expectations. The article shows that although leisure was an important aspect of these journeys, the travelers were searching for profundity too. In the way these journeymen approached the people and places they encountered, they struck an interesting balance between keeping sufficient distance to properly observe, while also getting close enough to truly take their experiences to heart.
Mickey Hoyle‘Levensgenot en dolce far niënte in onze eeuw van haast en agitatie’. De ervaring van binnenlandse plezierreisjes door de Amsterdamse elite (casus Jan Boissevain, 1865) 312-330

Abstract (EN)
Escaping the city. Domestic pleasuretrips by the Amsterdam elite (the case of Jan Boissevain 1865).Most studies of nineteenth-century Dutch travel practices focus on the last remnants of the Grand Tour or on trips to spas or cultural capitals. The short domestic jaunts that Dutch urban elites made in this period have never been researched. The journey that Jan Boissevain made to Gelderland in 1865 is a telling case study that illustrates the unique category that these journeys formed in the broader spectrum of nineteenth-century tourism. In this article I will show how they differed not only from Dutch trips to other countries but also from trips made by foreign travellers.
Anke Stegehuis‘Met Lissone op reis!’ De betekenis van de eerste reisorganisator in het Nederlandse toerisme, 1876-1927 331-354

Abstract (EN)
‘Traveling with Lissone!’ The significance of the first tour operator in Dutch tourism, 1876-1927.Scholars have often stated that with the rise of travel agencies like that of Thomas Cook, mass tourism made its entrance in the nineteenth century. This article investigates that statement for the Netherlands based on information around its first major travel agency: Lissone & Zoon. That company, founded in 1876 and now merged into the billion dollar TUI Travel company, has made a significant contribution to the Dutch traveling culture. A first stock-tacking and analysis of Lissone’s travelers, prices and destinations leads to the conclusion that, although there is to a certain extent a broadening of the traveling public, travelling with Lissone would continue to be a fairly elitist affair, till the early decades of the twentieth century.
Boekzaal der geleerde wereld 355-359

  • Rick Honings en Peter van Zonneveld, De gefnuikte arend. Het leven van Willem Bilderdijk (1756-1731). Amsterdam: Prometheus Bert Bakker, 2013. (Dini Helmers)
  • Ignaz Mattey, Eer verloren, al verloren. Het duel in de Nederlandse geschiedenis. Zutphen: Walburg Pers, 2012. (Rudolf Dekker)
  • Robert Verhoogt, De wereld vanuit een luchtballon. Een nieuw perspectief op de negentiende eeuw. Amsterdam: Amsterdam University Press, 2013. (Marlite Halbertsma)
  • Ben de Pater, Tom Sintobin e.a., Koninginnen aan de Noordzee. Scheveningen, Oostende en de opkomst van de badcultuur rond 1900. Hiversum: Verloren, 2013. (Ileen Montijn)

De Negentiende Eeuw 32 (2008) 1: ‘Reizende ideeën’

Henk te VeldeRedactioneel 1-2
Joep LeerssenBomen hebben wortels, mensen hebben benen, ideeën hebben vleugels. Een introductie 3-14

Abstract (EN)
Trees have roots, people have legs, ideas have wings. An introduction.Taking a philological field trip in 1837 by A.H. Hoffmann von Fallersleben as an example, this essay demonstrates how the rise of medievalism and national philology in the Netherlands was not a homegrown development, but a result of Dutch-Flemish, Flemish-German and Dutch-German cross-currents. The sample case is used to demonstrate various approaches in transnational history. Polysystem theory, Cultural Transfer, histoire croisée, innovation-diffusion modelling and Actor-Network Theory are all useful correctives to infrastructural determinism. But the implict capacity of culture to communicate and disseminate itself beyond its context of origin (already reflected in the ninth-century manuscript discovered by Hoffmann on his field trip) should be recognized as a fundamental starting point in all historical research.
Nico RanderaadDe statistische reizen van Jan Ackersdijck 15-26

Abstract (EN)
The statistical travels of Jan Ackersdijck.This contribution analyzes the different stages of the scientific travels of Jan Ackersdijck (1790-1861), professor of law, history, statistics, and political economy at the Universities of Liège and Utrecht. Prior to the late 1840s, the journeys of Ackersdijck fit in with the model of traditional, eighteenth-century scientific travelling, also known as ars apodemico. In the last 15 years of his life however, he participated in a number of international scientific congresses. These congresses were a new form of knowledge exchange, that significantly expanded in the second half of the nineteenth century.
Christian BertramIsaac Warnsinck, Karl Friedrich Schinkel en de hervorming van de Nederlandse architectuur rond 1840 27-36

Abstract (EN)
Isaac Warnsinck, Karl Friedrich Schinkel and the reform of Dutch Architecture around 1840.Isaac Warnsinck (1811-1857), a young Dutch architect, visited Germany on a grand tour through Europe in 1838-1839. During this journey, architectural history captured his attention, as he searched for inspiration for a new, genuinly Dutch architecture. With other Dutchmen, he shared the view that this Dutch architecture had to be an amalgam of tradional Dutch soberness and a new need for architectural representation after the secession of Belgium from the Netherlands in 1831. Warnsinck found this kind of ‘quiet grandeur’ in the buildings of the Prussian architect Karl Friedrich Schinkel, whom he visited in Berlin. Back home, Warnsinck tried to introduce the Prussian model into the Netherlands.
Jozef VosTastbare betrekkingen. De introductie van het brailleschrift in Nederland 37-51

Abstract (EN)
Tangible ties. The introduction of the Braille system in the Netherlands.In 1837 the Braille system was introduced at the Institute for the Education of the Blind in Amsterdam. In the long run the use of Braille made all kinds of printed matter accessible to blind people, thus becoming an important means for their social and intellectual integration. The quick spread of Braille resulted from the vast international network of institutions for the blind, which made a lively exchange of educational experiences possible. Until about 1890 however, the Braille system, in the Netherlands as in other countries, was primarily used for writing. Only after the improvement of printing techniques and the establishment of special libraries Braille became the main method for reading too.
Wessel KrulGeïmporteerde cultuurmodellen. C. Busken Huet, J. van Santen Kolff en het voorbeeld van het buitenland 52-66

Abstract (EN)
Foreign examples, 1865-1880. Proposals to modernize Dutch culture according to a French or German model in the writings of C. Busken Huet and J. van Santen Kolff.The reduction of the Netherlands to a minor European power after 1830 resulted in a protracted crisis in the Dutch sense of national identity. In the 1860s and 1870s several writers proposed a modernisation of the arts and public opinion in the Netherlands according to a cultural model derived from one of the neighbouring countries. C. Busken Huet insisted on following the centralized and authoritarian model of the French Second Empire, whereas J. van Santen Kolff looked at the combination of nationalism and ‘realism’ (which in his opinion included Wagnerian symbolism) current in contemporary Germany. Disappointed by the indifference with which their proposals were received, they finally left the Netherlands and settled in the respective countries they endorsed as examples. Although their remedies were not fully applied, both writers did make a major contribution to the renewal of cultural life in Holland.
Christianne Smit‘O, tint’le ook in ons dat hoog gevoel!’ De weldadige hand der Toynbee-beweging 67-85

Abstract (EN)
‘O, may the same, noble feeling excite us, too!’ The benevolent hand of the Toynbee-movement.In the range of initiatives that were started to solve the ‘social question’ in the last quarter of the 19th century, the social program developed at Toynbee Hall in London became a source of inspiration for reformers all over the world. For many reformers this kind of social work – offering education and civilisation, based on personal contact – seemed the right answer to solve the distinction between the classes. Often inspired by a visit to Toynbee Hall, a network of Dutch reformers (m/f) eagerly transferred the idea to the Netherlands, creating a specific Dutch version of an international ideal.
Helleke van den BraberInternationaal theaterverkeer aan het einde van de 19e eeuw. De casus Marie Kalff 86-100

Abstract (EN)
International theatre traffic in late nineteenth century. The case of Marie Kalff.Dutch theatre culture has always been internationally oriented. In the nineteenth century, theatre artists from the Netherlands keenly kept up with the latest trends on the stages of Paris and Berlin, and established ties with actors, directors and managers from abroad. Still, this international exchange rarely proceeded without difficulties. The Dutch actress Marie Kalff, who between 1899 and 1903 served as a mediator between Dutch and French theatre culture, made several attempts to introduce French symbolist theatre in the Netherlands. She failed. Only years later, other intermediaries, oriented towards England and Germany rather than France, succeeded in putting symbolism on the map.