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Also includes some descendants of Otto Beery. He was born in 1859 at Langnau, Berne, Switzerland and immigrated to the United States ca. 1885. He married Mary McCleary in 1890 at Passaic, New Jersey. They had five children, 1891-1906. He died in 1918 at Wallington, New Jersey.
This edited collection explores the ways in which our understanding of the past in Dutch history and culture can be rethought to consider not only how it forms part of the present but how it can relate also to the future. Divided into three parts – The Uses of Myth and History, The Past as Illumination of Cultural Context, and Historiography in Focus – this book seeks to demonstrate the importance of the past by investigating the transmission of culture and its transformations. It reflects on the history of historiography and looks critically at the products of the historiographic process, such as Dutch and Afrikaans literary history. The chapters cover a range of disciplines and approaches: some authors offer a broad view of a particular period, such as Jonathan Israel's contribution on myth and history in the ideological politics of the Dutch Golden Age, while others zoom in on specific genres, texts or historical moments, such as Benjamin Schmidt’s study of the doolhof, a word that today means ‘labyrinth’ but once described a 17th-century educational amusement park. This volume, enlightening and home to multiple paths of enquiry leading in different directions, is an excellent example of what a past-present doolhof might look like.
Johannes Vermeer (1632-1675) is world-famous for his scenes of daily life, such as a kitchen maid pouring milk, a woman having a music lesson, or a lady writing a letter. However, when Vermeer began painting around the age of 21, he focused primarily on traditional subjects derived from the Bible and classical mythology. Not only do these early works differ greatly from his later paintings in terms of subject matter, they also differ in style.The exhibition unites three paintings from the beginning of Vermeer's artistic career: the Mauritshuis' Diana and her nymphs of c. 1653-1654, is joined by Christ in the house of Martha and Mary (c. 1655) from the National Gallery of Scotland in Edinburgh, and The Procuress (1656) from the Staatliche Kunstsammlungen in Dresden. These three paintings afford an image of the artist seeking his own style. All three paintings have recently been restored."
Looking at more than two hundred Italian medieval and Renaissance mural cycles, Lavin examines—with the aid of computer technology—the "rearranged" chronologies of familiar religious stories found therein. "Like many masterpieces, Lavin's book builds upon a simple idea . . . it is possible to do a computer analysis of . . . visual narratives. . . . This is the first computer-based study of the visual arts of which I am aware that illustrates how those technologies can utterly transform the study of old master art. An extremely important book, one likely to become the most influential recent study of art of this period, The Place of Narrative is also a beautiful artifact."—David Carrier, Leonardo "Covering over a millennium and dealing with the whole of Italy, Lavin makes pioneering use of new methodology employing a computer database . . . [and] novel terminology to describe the disposition of scenes of church and chapel walls. . . . We should recognize this as a book of high seriousness which reaches out into new areas and which will fruitfully stimulate much thought on a neglected subject of very considerable significance."—Julian Gardner, Burlington Magazine