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Keywords: The Conspiracy of the Batavians under Claudius Civilis (Rembrandt Harmensz. van Rijn) - Nationalmuseum - 17581.tif Claudius Civilis information field Creator Rembrandt The Conspiracy of the Batavians under Claudius Civilis Civilis summoned the leaders of the tribe and those prepared to fight for liberty to a sacred grove ostensibly for a banquet and when he beheld that their senses had been overcome by the nocturnal festivities he began to speak of the honour and glory of the tribe and went on to list the wrongs they had suffered His words met with great acclaim and he bonded them together with patriotic oaths and barbaric rites This is how the Roman historian Tacitus describes the beginning of the revolt during the 2nd century by the Germanic Batavian tribe against the Romans under the leadership of their chief Claudius Civilis The Batavians ™ struggle for liberty was used in the 17th century as an emblem for Dutch liberation from Spanish rule In 1597 the northern provinces seceded from the empire of the Spanish Habsburgs and established a republic the Seven United Provinces Tacitus ™s account was chosen as the motif for some of the paintings decorating the walls of Amsterdam ™s Town Hall Begun in 1648 the Town Hall and was the Republic ™s largest building project It was intended to symbolise its power and wealth The commission to depict the struggle for liberation by their ancestors originally went to Govaert Flinck one of Rembrandt ™s pupils Flinck had hardly started the work before his sudden and untimely death Rembrandt was then asked to complete the motif of the oath of loyalty which was the only one Flinck had started Following tradition Flinck placed the Batavians and Romans on equal terms painting them in classical armour Rembrandt chose instead to follow Tacitus ™s account more closely In Rembrandt ™s interpretation of Tacitus Claudius Civilis dominates the scene in his costly garments and tall blue and orange headdress He raises his heavy sword majestically to enable the men around the table to swear their oath of loyalty to him According to legend Claudius had lost an eye while prisoner of the Romans Rembrandt defies tradition by depicting him full-face so that the lack of one eye cannot be concealed Rembrandt completed the work in 1662 and the monumental painting was hung in its intended place Later in the same year it was removed for unknown reasons There are no contemporary documents to explain why it was not allowed to remain but a number of scholars believe that Rembrandt ™s unconventional presentation did not please those who had commissioned the work His style with the use of light and shadow and thick layers of paint was also somewhat old-fashioned at a time when history painting was increasingly characterised by austere classicism Today a painting of the same motif by another of Rembrandt ™s pupils Jurian Ovens hangs on the same wall of Amsterdam ™s Town Hall The master ™s own bold interpretation can now be seen here somewhat smaller in size at the Nationalmuseum Civilis sammankallade stamhövdingarna och frihetskĂ€mparna bland folket till en helig lund med en festmĂ„ltid som förevĂ€ndning och nĂ€r han sĂ„g att den nattliga festyran gripit deras sinnen började han tala om deras stams heder och Ă€ra och han fortsatte med att rĂ€kna upp de oförrĂ€tter de lidit Hans ord vĂ€ckte stort bifall och han band dem alla samman genom fosterlĂ€ndska eder och barbariska riter SĂ„ beskriver den romerske historikern Tacitus början pĂ„ germanfolket batavernas uppror mot romarna som Ă€gde rum pĂ„ 100-talet under ledning av deras stamhövding Claudius Civilis Batavernas frihetskamp fick under 1600-talet manifestera Hollands frigörelse frĂ„n det spanska vĂ€ldet 1597 bröt sig de sju nordliga provinserna i de spanska habsburgarnas imperium ut och bildade republiken De sju förenade provinserna Historien valdes som motiv för nĂ„gra av vĂ€ggdekorationerna i Amsterdams rĂ„dhus RĂ„dhuset pĂ„börjades 1648 och var ett av republikens största byggnadsprojekt Huset blev en symbol för dess makt och rikedom Uppdraget att pĂ„ fyra av rĂ„dhusets vĂ€ggfĂ€lt skildra förfĂ€dernas frihetskamp gavs ursprungligen till Govaert Flinck en av Rembrandts elever Flinck hann knappt pĂ„börja arbetet innan han plötsligt och ovĂ€ntat avled Rembrandt blev dĂ„ ombedd att slutföra motivet med trohetseden vilket var det enda som Flinck hade pĂ„börjat Flinck hade följt traditionen och mĂ„lat bataver och romare som likvĂ€rdiga parter i klassiska rustningar Rembrandt valde istĂ€llet att mera troget följa Tacitus text I Rembrandts tolkning av Tacitus behĂ€rskar Claudius Civilis scenen genom sina dyrbara klĂ€der och den höga huvudbonad i blĂ„tt och orange MajestĂ€tiskt höjer han sitt tunga svĂ€rd för att lĂ„ta mĂ€nnen runt bordet svĂ€ra honom sin trohetsed Enligt legenden förlorade Claudius sitt ena öga nĂ€r han satt fĂ€ngslad hos romarna Rembrandt trotsar traditionen genom att avbilda hövdingen framifrĂ„n sĂ„ att hans enögdhet inte kan undgĂ„ nĂ„gon 1662 var Rembrandt klar och den monumentala mĂ„lningen sattes pĂ„ plats Senare samma Ă„r togs mĂ„lningen av okĂ€nda skĂ€l ned Det finns inga samtida dokument som förklarar varför mĂ„lningen inte fick sitta kvar men flera forskare tror att Rembrandts okonventionella framstĂ€llningssĂ€tt inte uppskattades av bestĂ€llarna Rembrandts stil med ljusdunkelmĂ„leri och tjock fĂ€rgpĂ„lĂ€ggning var ocksĂ„ nĂ„got omodern i en tid dĂ„ historiemĂ„leriet alltmer kommit att prĂ€glas av en kylig klassicism Idag pryds vĂ€ggfĂ€ltet i Amsterdams rĂ„dhus av en mĂ„lning av samma motiv av ytterligare en elev till Rembrandt Jurian Ovens MĂ€starens egen djĂ€rva tolkning av motivet hĂ€nger i nedskuret format hĂ€r pĂ„ Nationalmuseum header Civilis summoned the leaders of the tribe and those prepared to fight for liberty to a sacred grove ostensibly for a banquet and when he beheld that their senses had been overcome by the nocturnal festivities he began to speak of the honour and glory of the tribe and went on to list the wrongs they had suffered His words met with great acclaim and he bonded them together with patriotic oaths and barbaric rites This is how the Roman historian Tacitus describes the beginning of the revolt during the 2nd century by the Germanic Batavian tribe against the Romans under the leadership of their chief Claudius Civilis The Batavians ™ struggle for liberty was used in the 17th century as an emblem for Dutch liberation from Spanish rule In 1597 the northern provinces seceded from the empire of the Spanish Habsburgs and established a republic the Seven United Provinces Tacitus ™s account was chosen as the motif for some of the paintings decorating the walls of Amsterdam ™s Town Hall Begun in 1648 the Town Hall and was the Republic ™s largest building project It was intended to symbolise its power and wealth The commission to depict the struggle for liberation by their ancestors originally went to Govaert Flinck one of Rembrandt ™s pupils Flinck had hardly started the work before his sudden and untimely death Rembrandt was then asked to complete the motif of the oath of loyalty which was the only one Flinck had started Following tradition Flinck placed the Batavians and Romans on equal terms painting them in classical armour Rembrandt chose instead to follow Tacitus ™s account more closely In Rembrandt ™s interpretation of Tacitus Claudius Civilis dominates the scene in his costly garments and tall blue and orange headdress He raises his heavy sword majestically to enable the men around the table to swear their oath of loyalty to him According to legend Claudius had lost an eye while prisoner of the Romans Rembrandt defies tradition by depicting him full-face so that the lack of one eye cannot be concealed Rembrandt completed the work in 1662 and the monumental painting was hung in its intended place Later in the same year it was removed for unknown reasons There are no contemporary documents to explain why it was not allowed to remain but a number of scholars believe that Rembrandt ™s unconventional presentation did not please those who had commissioned the work His style with the use of light and shadow and thick layers of paint was also somewhat old-fashioned at a time when history painting was increasingly characterised by austere classicism Today a painting of the same motif by another of Rembrandt ™s pupils Jurian Ovens hangs on the same wall of Amsterdam ™s Town Hall The master ™s own bold interpretation can now be seen here somewhat smaller in size at the Nationalmuseum Civilis sammankallade stamhövdingarna och frihetskĂ€mparna bland folket till en helig lund med en festmĂ„ltid som förevĂ€ndning och nĂ€r han sĂ„g att den nattliga festyran gripit deras sinnen började han tala om deras stams heder och Ă€ra och han fortsatte med att rĂ€kna upp de oförrĂ€tter de lidit Hans ord vĂ€ckte stort bifall och han band dem alla samman genom fosterlĂ€ndska eder och barbariska riter SĂ„ beskriver den romerske historikern Tacitus början pĂ„ germanfolket batavernas uppror mot romarna som Ă€gde rum pĂ„ 100-talet under ledning av deras stamhövding Claudius Civilis Batavernas frihetskamp fick under 1600-talet manifestera Hollands frigörelse frĂ„n det spanska vĂ€ldet 1597 bröt sig de sju nordliga provinserna i de spanska habsburgarnas imperium ut och bildade republiken De sju förenade provinserna Historien valdes som motiv för nĂ„gra av vĂ€ggdekorationerna i Amsterdams rĂ„dhus RĂ„dhuset pĂ„börjades 1648 och var ett av republikens största byggnadsprojekt Huset blev en symbol för dess makt och rikedom Uppdraget att pĂ„ fyra av rĂ„dhusets vĂ€ggfĂ€lt skildra förfĂ€dernas frihetskamp gavs ursprungligen till Govaert Flinck en av Rembrandts elever Flinck hann knappt pĂ„börja arbetet innan han plötsligt och ovĂ€ntat avled Rembrandt blev dĂ„ ombedd att slutföra motivet med trohetseden vilket var det enda som Flinck hade pĂ„börjat Flinck hade följt traditionen och mĂ„lat bataver och romare som likvĂ€rdiga parter i klassiska rustningar Rembrandt valde istĂ€llet att mera troget följa Tacitus text I Rembrandts tolkning av Tacitus behĂ€rskar Claudius Civilis scenen genom sina dyrbara klĂ€der och den höga huvudbonad i blĂ„tt och orange MajestĂ€tiskt höjer han sitt tunga svĂ€rd för att lĂ„ta mĂ€nnen runt bordet svĂ€ra honom sin trohetsed Enligt legenden förlorade Claudius sitt ena öga nĂ€r han satt fĂ€ngslad hos romarna Rembrandt trotsar traditionen genom att avbilda hövdingen framifrĂ„n sĂ„ att hans enögdhet inte kan undgĂ„ nĂ„gon 1662 var Rembrandt klar och den monumentala mĂ„lningen sattes pĂ„ plats Senare samma Ă„r togs mĂ„lningen av okĂ€nda skĂ€l ned Det finns inga samtida dokument som förklarar varför mĂ„lningen inte fick sitta kvar men flera forskare tror att Rembrandts okonventionella framstĂ€llningssĂ€tt inte uppskattades av bestĂ€llarna Rembrandts stil med ljusdunkelmĂ„leri och tjock fĂ€rgpĂ„lĂ€ggning var ocksĂ„ nĂ„got omodern i en tid dĂ„ historiemĂ„leriet alltmer kommit att prĂ€glas av en kylig klassicism Idag pryds vĂ€ggfĂ€ltet i Amsterdams rĂ„dhus av en mĂ„lning av samma motiv av ytterligare en elev till Rembrandt Jurian Ovens MĂ€starens egen djĂ€rva tolkning av motivet hĂ€nger i nedskuret format hĂ€r pĂ„ Nationalmuseum date Olja pĂ„ duk Size cm 309 196 Framed Size cm 366 253 19 Institution Nationalmuseum Stockholm accession number 17581 NM 578 place of creation Nationalmuseum Nationalmuseum Stockholm cooperation project Licensed-PD-Art PD-old-auto PD-Nationalmuseum_Stockholm 1669 Media contributed by Nationalmuseum Stockholm 2016-10 Paintings in the Nationalmuseum Stockholm The Conspiracy of Claudius Civilis
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