Rijksuniversiteit Groningen: Practice Lab 2025

Students taking part in the Art History BA programme were asked by the RUG to reflect on the interconnection of nature/culture theme through art and landscape. We offered the use of the Jan Menze van Diepen collection.

We invited them to write a short text on an object of their choosing.

The students also wrote a report on how the collection can be made more visible to art history students like themselves.

Their considered response will be most useful in helping to improve access.

Met dank aan Tamara Töreki die koos om te schrijven over een topografisch gezicht van Groningen, 1674 [JMD-T-048][ed. Van Diepen Stichting]:

This print was created during a period when the Dutch Republic, including Groningen, was asserting its power and political autonomy. The image features the largely imagined fortress of Groningen and its surrounding landscape, a city and its environment intertwined in both cultural and political terms.

In the engraving, the city’s silhouette stands against the horizon with its defensive walls and fortifications. The symbol of power and military strength. Yet, the surrounding natural landscape, the river, fields, and meadows, are not presented as distant or irrelevant. They are depicted as an integral component of the city’s identity.

The river, for instance, functions as both a physical and symbolic boundary. It links the city to its networks of trade and military movement while also emphasizing the human ability to control and shape the natural world. The theme of managing nature for practical and defensive purposes was prevalent in Dutch topographical art of the period.

The artists, Ioannes Peeters and Gaspar Bouttats, were prominent figures in the Flemish printmaking tradition, known for their intricate topographical engravings. Peeters, an accomplished engraver, was influenced by the Flemish tradition of blending artistic precision with geographical detail. Bouttats, who is best known for his skill in aqua forti (also called etching), brought a fine level of detail and nuance to the print, capturing the city’s landscape with remarkable clarity.

The figures included in the foreground add an element of human scale and life to the composition. This reinforces the idea of a symbiotic relationship between the people, the city, and the land. The natural world, while depicted with precision, is never separate from the culture it supports; rather, the two are inseparably linked in the creation of this image of Groningen.

Sparkling colour litho of Corneille

In the Van Diepen collection is a sparkling colour litho of the famous artist Corneille.

Corneille Guillaume Beverloo was born in Liège, Belgium, from Dutch parents. From an early age he signed with his first name. I thought it was too pretentious to put my last name under what I had made.

He lived and worked in Liège until 1939, in Haarlem until 1940, and then followed lessons at the Rijksacademie in Amsterdam together with Karel Appel. A trip to Budapest in 1947 had a lasting impact on his work. He got to know the writings and work of Paul Klee and Joan Miró. He then travelled to many countries, including Africa and America. In these travels he sought the contrast between culture and nature, the tension between civilization and the primitive. From 1950 he lived and worked in Paris.

In 1948, Corneille was co-founder of the international COBRA group, named after the three local names from which the group members came: Copenhagen, Brussels and Amsterdam. An important concept for this group was the experiment, either individually or jointly. Equally important was internationalism, the contacts between artists from many countries.

The Cobra artists were champions of a free, spontaneous and natural art. They worked in a way that, according to the general public, looked childish and unskilled. That’s possible my son could also “was a phrase that was often used to characterize the work of Cobral members.

Corneille had many foreign contacts, but also the work of Dutch painters like Karel Appel and Constant attracted him. He was also very interested in the work of poets such as Elburg, Lucebert, Kouwenaar and Achterberg. In his graphic oeuvre he collaborated with Simon Vinkenoog and Hugo Claus.

Corneille practiced many techniques. He painted, watercoloured, drew, etched, lithographed and made wood and copper engravings. He used dynamic colours, and simple depictions with, for example, women, birds, trees and leaves.  In his last years he had a studio in Paris. He lived in Auvers-sur-Oise, where he died on 5 September 2010. Corneille was buried there in the same cemetery as before Vincent van Gogh.

The colour litho of Corneille in Van Diepen collection is not dated, but was purchased in 1961 and therefore from before that year. The representation is abstract, in which spheres and planes are scattered in two rectangular frames. The main colours are red, green, old pink and black.

Artist; Corneille (Corneille Guillaume Beverloo) (1922-2010)

Title; Without title

Dating; None

Signature; Bottom right-hand side (with pencil): Corneille

Technique; Color litho on paper, 9 / 120

Dimensions; 72 x 54 cm

Inventory number; JMD-O-084

Palace House ten Bosch painted from the garden side

This painting was made by J. J. Destree (1827-1888),and shows an original view at the Palace Huis ten Bosch in The Hague.

It’s painted from the garden side, with a diagonal view of the east facade. It shows the palace at the time of Queen Sophie (1818-1877), the first wife of King William III. She lived here for most of the year, after the (secret) separation in 1851.

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