#Wijnand Otto Jan Nieuwenkamp

[random-brushstrokes]

Wijnand Otto Jan Nieuwenkamp - View in Dordrecht (1897)

[monkeyssalad-blog]

NIEUWENKAMP, Wijnand. Eigen Haard, 1898 by Halloween HJB Via Flickr: Wijnand Otto Jan Nieuwenkamp's iconic image for the Dutch periodical, "Eigen Haard".

[gentlyepigrams]

NIEUWENKAMP, Wijnand. Eigen Haard, 1898 by Halloween HJB Via Flickr: Wijnand Otto Jan Nieuwenkamp's iconic image for the Dutch periodical, "Eigen Haard".

[dutch-and-flemish-painters]

Nieuwenkamp on a bike, Pura Meduwe Karang temple, Bali

Wijnand Otto Jan Nieuwenkamp (often abbreviated as W. O. J. Nieuwenkamp) (Amsterdam, July 27, 1874 – Fiesole, April 23, 1950), was a Dutch multi-faceted autodidact. As an artist he was active as a painter, draftsman, sculptor, etcher, lithographer, and designer of book covers and of ex-libris. In addition, he was also known as a writer, architect, explorer, ethnologist and collector of East Asian art. He was the first European artist to visit Bali, being greatly influenced by and himself influencing the island's art and culture, and making it better known in wider world. He was also deeply involved with various other parts of the then Dutch East Indies.

[potolawas]

Sketsa jembatan dan gedung perkantoran di Batavia, kemungkinan di Kali Besar, Batavia, sekitar 2 Juli 1919. Ada yang tahu lokasi sekarangnya jadi apa? Silakan tambahkan info dikomentar, terimakasih🙏 • 📸: Rijksmuseum - Wijnand Otto Jan Nieuwenkamp • #potolawas #potolawasjakarta #batavia #kalibesar (di Kali Besar) https://www.instagram.com/p/CTJ4mElhJd8/?utm_medium=tumblr

[callmeanxietygirl]

¿Qué hace un relieve ciclista tallado en la piedra de un remoto templo de Bali? ¿Cómo llegó hasta allí? Todo tiene una explicación, y también esta asombrosa figura: los lugareños inmortalizaron a Wijnand Otto Jan Nieuwenkamp (1874-1950), un explorador holandés que recaló en Bali en 1904 y que llevó consigo la primera bicicleta que se pudo ver en la isla. Te contamos esta asombrosa historia aquí: https://www.ciclosfera.com/retrovisor-ciclista-de-piedra/

[apisonadora60]

Grabado de Wijnand Otto Jan Nieuwenkamp en el templo Pura Maduwe Katrang (Bali)

(Flickr / Yeowatzup)

[blprompt]

Image taken from page 27 of 'Oude Hollandsche Steden aan de Zuiderzee door W. O. J. Nieuwenkamp en J. G. Veldheer'

Image taken from: Title: "Oude Hollandsche Steden aan de Zuiderzee door W. O. J. Nieuwenkamp en J. G. Veldheer" Author: Nieuwenkamp, Wijnand Otto Jan Contributor: VELDHEER, Jacob Gerard. Shelfmark: "British Library HMNTS 10270.g.8." Page: 27 Place of Publishing: Haarlem Date of Publishing: 1897 Issuance: monographic Identifier: 002656149 Explore: Find this item in the British Library catalogue, 'Explore'. Download the PDF for this book (volume: 0) Image found on book scan 27 (NB not necessarily a page number) Download the OCR-derived text for this volume: (plain text) or (json) Click here to see all the illustrations in this book and click here to browse other illustrations published in books in the same year. Order a higher quality version from here. from BLPromptBot http://ift.tt/2B8ROEc

[yama-bato]

Wijnand Otto Jan Nieuwenkamp

Rhenen

Woodcut, 1911

http://adventuresintheprinttrade.blogspot.com

[dutch-and-flemish-painters]

The Moon of Pejeng, also known as the Pejeng Moon, in Bali is the largest single-cast bronze kettle drum in the world. and "the largest known relic from Southeast Asia's Bronze Age period." It is "considered highly sacred by local people." It is thought to be a relic of early rice cultivation rituals. The drum is 186.6 centimetres (73.5 in) high and the diameter of the tympano is 160 centimetres (63 in). It is kept at Pura Penataran Sasih Temple in Pejeng, near Ubud, in the Petauan River valley which, along with the adjacent Pakerisan River valley, forms the heartland of South Bali where complex irrigated rice culture first evolved on the island.

The Dong Son people made the drum around 300 B.C., more than two thousand years ago. According to Balinese legend, the Pejeng Moon was a wheel of the chariot that pulled the real moon through the night sky. One night, as the chariot was passing over Pejeng, the wheel detached and fell to earth, landing in a tree, where it glowed nearly as brightly as the real moon. This light disturbed a thief who, annoyed, climbed the tree and urinated on it; the thief paid for his sacrilege with his life. The moon eventually cooled and has been preserved as a sacred relic by the local villagers. It is the largest and most complete type of drum known as the Pejeng type drums which have been found in Bali and Java, Indonesia. The Pejeng Moon was first reported to the western world by G.E. Rumphius in his book The Ambonese Curiosity Cabinet, published in 1705. The Moon was first systematically described by the Dutch artist W.O.J. Nieuwenkamp who reproduced the famous face motif.

Georg Eberhard Rumphius (originally: Rumpf; baptized c. November 1, 1627 – June 15, 1702) was a German-born botanist employed by the Dutch East India Company in what is now eastern Indonesia, and is best known for his work Herbarium Amboinense produced in the face of severe personal tragedies, including the death of his wife and a daughter in an earthquake, going blind from glaucoma, loss of his library and manuscripts in major fire, and losing early copies of his book when the ship carrying it was sunk. In addition to his major contributions to plant systematics, he is also remembered for his skills as an ethnographer and his frequent defense of Ambonese peoples against colonialism.

[dutch-and-flemish-painters]

Nico Jungmann - Portrait of W.O.J. Nieuwenkamp  (1909)

Nicolaas Wilhelm Jungmann (in England frequently spelled Jungman; 5 February 1872 – 14 August 1935) was an Anglo-Dutch painter of landscapes and figural subjects, a book-illustrator and decorator.

Wijnand Otto Jan Nieuwenkamp (often abbreviated as W. O. J. Nieuwenkamp) (Amsterdam, July 27, 1874 – Fiesole, April 23, 1950), was a Dutch multi-faceted autodidact. As an artist he was active as a painter, draftsman, sculptor, etcher, lithographer, and designer of book covers and of ex-libris. In addition, he was also known as a writer, architect, explorer, ethnologist and collector of East Asian art. He was the first European artist to visit Bali, being greatly influenced by and himself influencing the island's art and culture, and making it better known in wider world. He was also deeply involved with various other parts of the then Dutch East Indies.

Though he took some lessons at the Amsterdamse Kunstnijverheidsschool (Amsterdam School of Applied Arts), Nieuwenkamp was mainly a self-taught artist – reckoned more a graphic artist than a painter. Working primarily in ink, his drawings were executed in rich sepia tones. There is a clear influence of Art Nouveau on his work, though he did not strictly belong to that movement. In 1900, the year of his marriage to Anna Wilbrink, he built a houseboat called De Zwerver (The Wanderer), which was also his own nickname. In it, he sailed through the Netherlands, Belgium and Germany, holding exhibitions on board where his works could be purchased. At the time he had considerable interest in the old Dutch towns and villages of the Zuider Zee and his book on the subject was also translated to English and German.

From the late 1890s and for several decades afterwards, he repeatedly journeyed to Far East and Middle East, and in particular to various islands of the Dutch East Indies (presentday Indonesia) – starting with Java in 1898 and 1904, and then Bali and Lombok in 1906 and 1907. In the aftermath of the brutal Dutch military intervention of 1906, destroying the last independent kingdom on Bali, he painted the ruins of the town of Denpasar, destroyed by Dutch troops. The drawing appeared in his book "Bali and Lombok" (1906–1910), which also included pioneering ethnographic and archaeological studies and is considered an important early book about this island. Bali made a deep impact on Nieuwenkamp, and he returned to the island again and again over the years – not only to make his own art but to learn the Balinese traditional painting. The Access Bali website, maintained by the island's present-day authorities, notes that Nieuwenkamp "played a critical role in creating the myth of Bali, most importantly through his support of the German doctor and amateur photographer, Gregor Krauser. Together they held the first exhibition of Balinese Art in Amsterdam in 1918, with Krauser's photos and Nieuwenkamp's drawings. It is Krauser's later book which brought many later artists to Bali". In 1913 and 1914 he was in British India. From 1917 to 1919 he traveled to Java, Bali and Timor. In 1924–1925 he traveled to Sumatra, Java and Bali, under an assignment for the Handelsvereeniging Amsterdam (Commercial Association of Amsterdam). In 1933–1934 he traveled to Egypt. In 1936/1937 he traveled to Bali for the last time. A planned later trip was prevented by the outbreak of World War II. Following these travels, he wrote and illustrated various articles and books. Many of his articles were published in the journal "Nederlandsch Indië, Oud en Nieuw" (Dutch Indies, Old and New). Also scientific journals published his contributions. After 1925, much of Nieuwenkamp's work was related to the Barabudur, a major 9th-century Buddhist monument in Central Java. A scholar of Hindu and Buddhist architecture, Nieuwenkamp developed 1931 the Borobudur ancient lake theory, according to which the Kedu Plain was once a lake, and Barabudur initially represented a lotus flower floating on that lake. Nieuwenkamp's theory is up to the present the basis for discussion and debate among archaeologists and geologists, involved in research of this important site. Nieuwenkamp was the first person to systematically describe the Bronze Age object known in Bali as the Moon of Pejeng, the largest single-cast bronze kettle drum in the world and the focus of various local legends and myths. Nieuwenkamp reproduced the Moon's famous face motif.

With his wife Anna, Nieuwenkamp had four children. The growth of his family, as well as his increasing accumulation of art objects collected on his trips abroad, forced him to abandon his houseboat and build a house on land. This move was the subject of his book My Home on the Water, My House on the Land. From 1910 to 1920 he was living and working at Edam in the Netherlands. Then he moved to Italy, initially drifting, then living in Rome. Later he bought a villa in Fiesole near Florence, which was the subject of a book — A Florentine Villa. There he remained until his death in 1950.

[dutch-and-flemish-painters]

Wijnand Otto Jan Nieuwenkamp - "Ruins of Denpasar" (1906) by Nieuwenkamp, originally published in the book "Bali and Lombok Eyewitness Travel", p.49.

Denpasar is the capital of Bali and the main gateway to the island. The city is also a hub for other cities in the Lesser Sunda Islands.

In the 18th and 19th century, Denpasar functioned as the capital of the Hindu Majapahit Kingdom of Badung. Thus, the city was formerly called Badung. The royal palace was looted and razed during the Dutch intervention in 1906. A statue in Taman Puputan (Denpasar's central square) commemorates the 1906 Puputan, in which as many as a thousand Balinese, including the King and his court, committed mass suicide in front of invading Dutch troops, rather than surrender to them.

The Dutch intervention in Bali in 1906 was a part of the Dutch colonial suppression, killing over 1,000 mostly civilians. It was part of the Dutch campaign for the suppression of most of the Netherlands East-Indies. The campaign killed the Balinese rulers of Badung and their wives and children and destroyed the southern Bali kingdom of Badung and Tabanan, and weakened the kingdom of Klungkung. It was the sixth Dutch military intervention in Bali.

Wijnand Otto Jan Nieuwenkamp (often abbreviated as W. O. J. Nieuwenkamp) (Amsterdam, July 27, 1874 – Fiesole, April 23, 1950), was a Dutch multi-faceted autodidact. As an artist he was active as a painter, draftsman, sculptor, etcher, lithographer, and designer of book covers and of ex-libris. In addition, he was also known as a writer, architect, explorer, ethnologist and collector of East Asian art. He was one of the first European artist to visit Bali, being greatly influenced by and himself influencing the island's art and culture, and making it better known in wider world. He was also deeply involved with various other parts of the then Dutch East Indies.

[potolawas]

Sketsa jembatan dan gedung perkantoran di Batavia, kemungkinan di Kali Besar, Batavia, sekitar 2 Juli 1919. Kini... Menjadi gedung kantor Jasa Raharja. Jl. Kali Besar Timur, Jakarta, sekitar 2021. • 📸: Rijksmuseum - Wijnand Otto Jan Nieuwenkamp / Google Earth • #potolawas #potolawasjakarta #batavia #kalibesar #jasaraharja (di Asuransi Jasa Raharja PT) https://www.instagram.com/p/CTPDXSsBfA5/?utm_medium=tumblr

[blprompt]

Image taken from page 52 of 'Oude Hollandsche Steden aan de Zuiderzee door W. O. J. Nieuwenkamp en J. G. Veldheer'

Image taken from: Title: "Oude Hollandsche Steden aan de Zuiderzee door W. O. J. Nieuwenkamp en J. G. Veldheer" Author: Nieuwenkamp, Wijnand Otto Jan Contributor: VELDHEER, Jacob Gerard. Shelfmark: "British Library HMNTS 10270.g.8." Page: 52 Place of Publishing: Haarlem Date of Publishing: 1897 Issuance: monographic Identifier: 002656149 Explore: Find this item in the British Library catalogue, 'Explore'. Download the PDF for this book (volume: 0) Image found on book scan 52 (NB not necessarily a page number) Download the OCR-derived text for this volume: (plain text) or (json) Click here to see all the illustrations in this book and click here to browse other illustrations published in books in the same year. Order a higher quality version from here. from BLPromptBot http://ift.tt/2qzYy9K