Charley Toorop's (1891-1955) deep admiration for Vincent van Gogh dissected in four fascinating essays.
Charley Toorop's work has its own originality and power. That does not mean that she had no eye for the work of other artists. On the contrary. Toorop admired the paintings of Piet Mondriaan, but also of foreign contemporaries such as Pablo Picasso and Fernand Léger.
Dankzij de Nederlandse contacten met o.a. Otto van Rees, Charley Toorop en Jan Wolkers, groeide Zadkine uit tot een van de invloedrijkste beeldhouwers van het modernisme.
De Russisch-Franse beeldhouwer Ossip Zadkine (1888-1967) onderhield sterke banden met Nederland. Wie kent niet zijn oorlogsmonument 'De verwoeste stad' in Rotterdam? Al aan het begin van de twintigste eeuw sloot hij in Parijs vriendschappen met Nederlandse kunstenaars als Otto van Rees en Charley Toorop.
Features original costumes from Titanic (1997) alongside rare historical garments from 1908-1918
Explores a transformative era in fashion history and its social context
Includes work by renowned contemporary designers like Iris van Herpen and John Galliano
Highlights contrasts between haute couture and traditional dress aboard the Titanic
Companion to the major exhibition at Kunstmuseum Den Haag
Engages with themes of class, progress, emancipation, and identity
Published to accompany an exhibition at Kunstmuseum The Hague, Netherlands, between 27 September 2025 and 25 January 2026
Titanic & Fashion takes you on a captivating journey through time and style, featuring original costumes from the iconic 1997 film Titanic and rarely seen garments from the 1910s. The book explores a revolutionary era in fashion (1908-1918), when corsets were cast off and visionary designers like Coco Chanel and Lucile redefined modern dress. This period of emancipation, technological optimism, and class division echoes many aspects of our world today.
Combined with works by contemporary designers such as Iris van Herpen and John Galliano for Margiela, the book creates a compelling dialogue between past and present. From dreamy gowns to bold statements, fashion becomes a vehicle for stories of hope, struggle, and identity. Aboard the Titanic, these worlds collided - from wealthy travellers in haute couture to migrants in traditional dress - all aboard a ship that came to symbolise both progress and peril.
Published to accompany an exhibition at Kunstmuseum The Hague, Netherlands, between 27 September 2025 and 25 January 2026.
Rembrandt in a red beret: the vanishings and reappearances of a self-portrait follows the fortunes of a fascinating painting along two lines. First is the history of the painting as a precious collector's object, a story almost too unlikely to be true. In 1823 it was bought by the future King Willem II as one of his first purchases for the greatest collection of paintings ever assembled by a Dutch individual. For nearly a hundred years it remained with his heirs, coming to Weimar. Then, in 1921 it was stolen from the Weimar Museum, to turn up in 1945 in Dayton, Ohio, owned by a man who said he bought it in 1934 from a German sailor on the New York waterfront. What followed is revealed in this book for the first time, based on declassified U.S. government information. In 1947 the U.S. government seized the Rembrandt under such strict terms that 20 years later, when it wanted to return it to Germany, it was forced to go into legislative and diplomatic gymnastics to do so. Upon its return, an heir to the Weimar title sued for its restitution, and after seven years of one trial after another, she got it. She sold it in 1983 to the private collector who still owns it. Since 1921 it has been on public display only for 10 days in Dayton (1947) and 10 weeks in Washington (1967). The book also traces the critical history of the painting as a Rembrandt. In 1969 his authorship was disputed by Horst Gerson, an opinion that was seconded by the Rembrandt Research Project. Examining all the evidence and arguments, the eminent Rembrandt specialist Gary Schwartz comes to the conclusion that there is no reason not to accept the painting for what it looks like - a self-portrait of the great master, painted by his own hand.
De kunstenaarskolonie Egmond, waar Gari Melchers en George Hitchcock het leven en landschap schilderden.
Nederland was in het laatste kwart van de negentiende eeuw een populair reisdoel voor kunstenaars. Ook de Amerikaanse kunstenaars Gari Melchers en George Hitchcock bezochten in de jaren 1880 ons land. In 1884 vestigden ze zich in Egmond aan Zee, destijds niet meer dan een klein, geïsoleerd vissersdorp. Daar schilderden ze het leven van de bevolking en het landschap.
Published to accompany the exhibit of The Last Caravaggio at the Museum Het Rembrandthuis, Amsterdam, which runs until 13th February 2011.
In this book, Caravaggio's last painting, John the Baptist Reclining, is set for the first time against Caravaggio's other masterpieces. Prominent art experts and critics reveal the adventurous circumstances under which this painting has travelled all over the world during the past 400 years. The essays provide a thoroughly in-depth examination of the piece, covering biographical notes on the painter, evidence for the painting's authenticity and technical analysis based on first-hand observation of the painting itself
