David van der Kellen

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David van der Kellen (born January 2, 1827 in Utrecht , † September 9, 1895 in Nieuwer-Amstel , province of North Holland ) was a Dutch history , genre and interior painter as well as draftsman , graphic artist , art historian and curator . From 1876 to 1895 he headed the Dutch Museum of History and Art (Nederlandsch Museum voor Geschiedenis en Kunst) .

Life

Filips Willem wordt uit de hogeschool te Leuven ontvoerd (The kidnapping of Philipp Wilhelm of Orange from the University of Leuven) , van der Kellens history painting, Amsterdam Museum

Van der Kellen, son of the medalist David van der Kellen the Younger and brother of the medalist Johan Philip van der Kellen , first underwent a craft training with his father in Utrecht in the 1840s. He also received drawing lessons from the Utrecht painter Bruno van Straaten (1786–1870). In the years 1843 to 1845 he attended the Royal Academy van Beeldende Kunsten in Amsterdam . There the painter Jan Adam Kruseman (1804–1862) was one of his teachers. In 1845 van der Kellen went to Düsseldorf , which at the time was an internationally preferred location for artistic training thanks to the Düsseldorf School of Painting . There he took private lessons from the history painter Heinrich Mücke . Then he returned to Utrecht.

Around 1850 he moved to Amsterdam, where he worked as a freelance painter and in 1853 became a member of the artists' association Arti et Amicitiae . From 1859 at the latest he worked as their librarian. In addition, van der Kellen was one of the founding members of the Royal Society for Antiquity in Amsterdam (Koninklijk Oudheidskundig Genootschap) . This society, consisting of influential Amsterdam citizens, was founded in 1858 after a successful folklore, national history exhibition by the artists' association Arti et Amicitiae and pursued the aim of building a national museum in Amsterdam on the basis of a mainly privately owned collection of objects of social life and handicrafts. Van der Kellen was appointed curator of the collection.

As early as 1859, this collection was given an exhibition room on the Herengracht in a building called “Tecum habit”. After its steadily growing inventory had been housed elsewhere from 1865 in a larger room, where it could be exhibited and opened to the public, the collection moved to a building on Spuistraat in 1876, a spacious building that the entrepreneur Gerard Adriaan Heineken (1841– 1893) had previously used as a brewery. Until the opening of the Rijksmuseum Amsterdam building , to which the collection moved in 1885, the Koninklijke Oudheidkundig Genootschap held its folklore and handicraft exhibitions there.

With the collection moving to the Rijksmuseum Amsterdam building, van der Kellen, who had managed the collection since 1876, remained its director. From 1875 he also acted as head of the collection of the Dutch Museum of History and Art (Nederlandsch Museum voor Geschiedenis en Kunst) , which was founded in The Hague and was also moved to the Rijksmuseum Amsterdam building until 1887 , which was continued as an independent museum in Amsterdam until 1927 . Furthermore, van der Kellen took over the management of the Royal Cabinet of Rarities (Koninklijk Kabinet van Zeldzaamheden) in 1876 , the collection of which was largely transferred to the Rijksmuseum Amsterdam in 1883. Until his death in 1895, van der Kellen held the post of director of the Netherlands Museum of History and Art in the Rijksmuseum Amsterdam.

Under the constant influence of Victor de Stuers (1843–1916), the head of the department for art and science in the Dutch Ministry of the Interior, van der Kellen's curatorial endeavor was to collect evidence of folk, everyday and everyday culture , especially traditional costumes , and to put them into museums present. For example, they acquired a “costume gallery ” for the Dutch Museum of History and Art, which had been shown at the Paris World Exhibition in 1878 . After the opening of this costume exhibition in January 1879, the annual number of visitors to the museum increased from 8,405 to 15,685.

Fonts (selection)

  • De relikwiën van het Huis van Oranje in the Nederlandsch Museum . In: Nederlandsche Kunstbode 1 (1879), pp. 3–5.
  • Drijfwerken in the Nederlandsch Museum . In: Nederlandsche Kunstbode 1 (1879), pp. 241–244.

literature

  • Thieme-Becker , Volume XX (1927), p. 89 f.
  • David van der Kellen (III) . In: Pieter A. Scheen: Lexicon Nederlandse Beeldende Kunstenaars, 1750–1950 . The Hague 1994, p. 584.

Web links

Individual evidence

  1. ↑ Bettina Baumgärtel , Sabine Schroyen, Lydia Immerheiser, Sabine Teichgröb: Directory of foreign artists. Nationality, residence and studies in Düsseldorf . In: Bettina Baumgärtel (Hrsg.): The Düsseldorf School of Painting and its international impact 1819–1918 . Michael Imhof Verlag, Petersberg 2011, ISBN 978-3-86568-702-9 , Volume 1, p. 433
  2. ^ Adriaan de Jong: The conductors of memory. Museumization and nationalization of folk culture in the Netherlands 1815–1940 . Waxmann Verlag, Münster 2007, ISBN 978-3-8309-1667-3 , p. 142 ff.
personal data
SURNAME Kellen, David van der
BRIEF DESCRIPTION Dutch history, genre and interior painter
DATE OF BIRTH January 2, 1827
PLACE OF BIRTH Utrecht
DATE OF DEATH September 9, 1895
Place of death Nieuwer-Amstel , North Holland Province