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liberation from
Spanish rule. In 1597 the northern provinces seceded from the empire of the Spanish Habsburgs and established a republic âthe Seven United Provincesâ. Tacitusâs account was chosen as the motif for some of the paintings decorating the walls of Amsterdamâs Town Hall. Begun in 1648, the Town Hall and was the Republicâs 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 Rembrandtâs 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 Tacitusâs account more closely. In Rembrandtâs 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 Rembrandtâs 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.
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liberation from
Spanish rule. In 1597 the northern provinces seceded from the empire of the Spanish Habsburgs and established a republic âthe Seven United Provincesâ. Tacitusâs account was chosen as the motif for some of the paintings decorating the walls of Amsterdamâs Town Hall. Begun in 1648, the Town Hall and was the Republicâs 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 Rembrandtâs 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 Tacitusâs account more closely. In Rembrandtâs 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 Rembrandtâs 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.
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nordliga provinserna i de spanska habsburgarnas imperium ut och bildade republiken âDe sju förenade provinsernaâ. Historien valdes som motiv för nĂ„gra av vĂ€ggdekorationerna i
Amsterdams rÄdhus. RÄdhuset pÄbörjades 1648 och var ett av republikens största byggnadsprojekt. Huset blev en symbol för dess makt och rikedom. Uppdraget att pÄ fyra av rÄdhusets vÀggfÀlt skildra förfÀdernas frihetskamp, gavs ursprungligen till Govaert Flinck, en av Rembrandts elever. Flinck hann knappt pÄbörja arbetet innan han plötsligt och ovÀntat avled. Rembrandt blev dÄ ombedd att slutföra motivet med trohetseden, vilket var det enda som Flinck hade pÄbörjat. Flinck hade följt traditionen och mÄlat bataver och romare som likvÀrdiga parter i klassiska rustningar. Rembrandt valde istÀllet att mera troget följa Tacitus text. I Rembrandts tolkning av Tacitus behÀrskar Claudius Civilis scenen genom sina dyrbara klÀder och den höga huvudbonad i blÄtt och orange. MajestÀtiskt höjer han sitt tunga svÀrd för att lÄta mÀnnen runt bordet svÀra honom sin trohetsed. Enligt legenden förlorade Claudius sitt ena öga nÀr han satt fÀngslad hos romarna. Rembrandt trotsar traditionen genom att avbilda hövdingen framifrÄn sÄ att hans enögdhet inte kan undgÄ nÄgon. 1662 var Rembrandt klar och den monumentala mÄlningen sattes pÄ plats. Senare samma Är togs mÄlningen av okÀnda skÀl ned. Det finns inga samtida dokument som förklarar varför mÄlningen inte fick sitta kvar, men flera forskare tror att Rembrandts okonventionella framstÀllningssÀtt inte uppskattades av bestÀllarna. Rembrandts stil med ljusdunkelmÄleri och tjock fÀrgpÄlÀggning var ocksÄ nÄgot omodern i en tid dÄ historiemÄleriet alltmer kommit att prÀglas av en kylig klassicism.
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nordliga provinserna i de spanska habsburgarnas imperium ut och bildade republiken âDe sju förenade provinsernaâ. Historien valdes som motiv för nĂ„gra av vĂ€ggdekorationerna i
Amsterdams rÄdhus. RÄdhuset pÄbörjades 1648 och var ett av republikens största byggnadsprojekt. Huset blev en symbol för dess makt och rikedom. Uppdraget att pÄ fyra av rÄdhusets vÀggfÀlt skildra förfÀdernas frihetskamp, gavs ursprungligen till Govaert Flinck, en av Rembrandts elever. Flinck hann knappt pÄbörja arbetet innan han plötsligt och ovÀntat avled. Rembrandt blev dÄ ombedd att slutföra motivet med trohetseden, vilket var det enda som Flinck hade pÄbörjat. Flinck hade följt traditionen och mÄlat bataver och romare som likvÀrdiga parter i klassiska rustningar. Rembrandt valde istÀllet att mera troget följa Tacitus text. I Rembrandts tolkning av Tacitus behÀrskar Claudius Civilis scenen genom sina dyrbara klÀder och den höga huvudbonad i blÄtt och orange. MajestÀtiskt höjer han sitt tunga svÀrd för att lÄta mÀnnen runt bordet svÀra honom sin trohetsed. Enligt legenden förlorade Claudius sitt ena öga nÀr han satt fÀngslad hos romarna. Rembrandt trotsar traditionen genom att avbilda hövdingen framifrÄn sÄ att hans enögdhet inte kan undgÄ nÄgon. 1662 var Rembrandt klar och den monumentala mÄlningen sattes pÄ plats. Senare samma Är togs mÄlningen av okÀnda skÀl ned. Det finns inga samtida dokument som förklarar varför mÄlningen inte fick sitta kvar, men flera forskare tror att Rembrandts okonventionella framstÀllningssÀtt inte uppskattades av bestÀllarna. Rembrandts stil med ljusdunkelmÄleri och tjock fÀrgpÄlÀggning var ocksÄ nÄgot omodern i en tid dÄ historiemÄleriet alltmer kommit att prÀglas av en kylig klassicism.
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532:âCivilis 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.â
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546:âCivilis 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.â
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SĂ„ beskriver den romerske historikern
Tacitus början pÄ germanfolket batavernas uppror mot romarna, som Àgde rum pÄ 100-talet under ledning av deras stamhövding Claudius Civilis. Batavernas frihetskamp fick under 1600-talet manifestera Hollands frigörelse frÄn det spanska vÀldet. 1597 bröt sig de sju
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SĂ„ beskriver den romerske historikern
Tacitus början pÄ germanfolket batavernas uppror mot romarna, som Àgde rum pÄ 100-talet under ledning av deras stamhövding Claudius Civilis. Batavernas frihetskamp fick under 1600-talet manifestera Hollands frigörelse frÄn det spanska vÀldet. 1597 bröt sig de sju
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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 Bataviansâ struggle for liberty was used in the 17th century as an emblem for Dutch
534:
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 Bataviansâ struggle for liberty was used in the 17th century as an emblem for Dutch
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Nationalmuseum has placed those images in the Public Domain which have been acquired exclusively by digital reproduction of those works of art that are no longer protected by copyright. Nationalmuseum does not consider that a new copyright emerges for the reproduction.
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Today a painting of the same motif by another of
Rembrandtâs pupils, Jurian Ovens hangs on the same wall of Amsterdamâs Town Hall. The masterâs own bold interpretation can now be seen here, somewhat smaller in size, at the Nationalmuseum, Stockholm,
593:
Today a painting of the same motif by another of
Rembrandtâs pupils, Jurian Ovens hangs on the same wall of Amsterdamâs Town Hall. The masterâs own bold interpretation can now be seen here, somewhat smaller in size, at the
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In many jurisdictions, faithful reproductions of two-dimensional public domain works of art are not copyrightable. The Wikimedia Foundation's position is that these works are not copyrightable in the United States (see
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Idag pryds vÀggfÀltet i Amsterdams rÄdhus av en mÄlning av samma motiv av ytterligare en elev till Rembrandt, Jurian Ovens. MÀstarens egen djÀrva tolkning av motivet hÀnger i nedskuret format hÀr pÄ Nationalmuseum.
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Idag pryds vÀggfÀltet i Amsterdams rÄdhus av en mÄlning av samma motiv av ytterligare en elev till Rembrandt, Jurian Ovens. MÀstarens egen djÀrva tolkning av motivet hÀnger i nedskuret format hÀr pÄ Nationalmuseum.
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1763:|style=information field}} |artist = {{Creator:Rembrandt}} |title = {{en|The Conspiracy of the Batavians under Claudius Civilis}} {{sv|Batavernas...
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date QS:P,+1650-00-00T00:00:00Z/7,P1319,+1625-00-00T00:00:00Z/9,P1326,+1669-00-00T00:00:00Z/9,P1480,Q5727902
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Rembrandt van Rijn, Birth name: Rembrandt Harmenszoon van Rijn, Rembrandt Harmensz. van Rijn
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Rembrandt Harmensz. van Rijn: Batavernas trohetsed till Claudius Civilis. NM 578
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651:: height: 253 cm (99.6 in); width: 366 cm (12 ft); depth: 19 cm (7.4 in)
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to indicate why this work is in the public domain in the United States.
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When you use a public domain work please credit the author or creator.
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Click on a date/time to view the file as it appeared at that time.
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https://www.wga.hu/html/r/rembran/painting/z_other/bataves.html
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59° 19âČ 43âł N, 18° 04âČ 40âł E
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User:Daniel Mietchen/Wikidata lists/Scientific journals
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87:(5,228 Ă 3,348 pixels, file size: 50.09 MB, MIME type:
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User:Jane023/Paintings in the Nationalmuseum Stockholm
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The Conspiracy of Claudius Civilis (cut-down), 1661â62
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The Conspiracy of the Batavians under Claudius Civilis
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Utilisateur:Jane023/Liste des peintures de Rembrandt
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Commons is a freely licensed media file repository.
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1881:Benutzerin:Jane023/GemÀlde von Rembrandt van Rijn
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639:height: 196 cm (77.1 in); width: 309 cm (10.1 ft)
1861:UsuĂ ria:Jane023/Llista d'obres de Rembrandt
1232:The author died in 1669, so this work is in the
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1808:User:Jane023/Rembrandt catalog raisonné, 1914
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1798:User:Jane023/Paintings in the Rijksmuseum
1327:Europeanas Public Domain Usage Guidelines
950:, 3 October 1945 - 17 February 1946
1971:AnvÀndare:Jane023/Nationalmuseum samling
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1976:AnvÀndare:André Costa (WMSE)/Natmus2
946:MĂ€sterverk i Nationalmusei samlingar
246:Dutch painter, printmaker and drawer
1921:La Conspiration de Claudius Civilis
1788:User:Jane023/Paintings by Rembrandt
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1050:The Complete Paintings of Rembrandt
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1040:Rembrandt catalogue raisonné, 1908
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1420:image with frame
115:description page there
2205:Horizontal resolution
1737:09:52, 7 October 2016
805:www.nationalmuseum.se
2181:Number of components
1911:Utilisateur:Kretuski
1333:to comply to them.
563:Gaius Julius Civilis
435:artist QS:P170,Q5598
262:4 October 1669
74:5,228 Ă 3,348 pixels
70:2,560 Ă 1,639 pixels
2242:13:10, 1 March 2005
2213:Vertical resolution
2173:Image data location
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2157:Compression scheme
2139:Bits per component
2076:Rembrandt van Rijn
1754:AndreCostaWMSE-bot
1331:no legal liability
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1600:main subject
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616:Unknown date
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123:You can help
113:
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22:File history
2248:Color space
2107:Image title
788:Established
760:Coordinates
711:Native name
522:Description
489:Object type
329:(1631-1669)
291:Work period
243:Description
2200:52,510,032
1769:File usage
1748:(50.09 MB)
1722:Dimensions
1439:based on:
1141:Permission
977:References
961:Q109468055
931:Q109467771
791:1792
667:Collection
634:Dimensions
89:image/tiff
27:File usage
1961:Rembrandt
1778:Rembrandt
1719:Thumbnail
1716:Date/Time
874:n80046782
861:500234181
835:156520578
745:Stockholm
599:Svenska:
585:English:
578:InfoField
543:Svenska:
529:English:
479:Svenska:
471:English:
453:InfoField
402:n79142935
389:500011051
326:Amsterdam
314:Amsterdam
284:Amsterdam
184:Rembrandt
144:Rembrandt
2134:3,348 px
2126:5,228 px
2094:Metadata
1996:Q2234397
1851:Đ Đ”ĐŒĐ±ŃĐ°ĐœĐŽ
1680:operator
1468:Captions
1044:, 465 B
895:WorldCat
887:35717670
737:Location
494:painting
423:WorldCat
415:35139809
363:64013650
37:Metadata
2216:300 dpi
2208:300 dpi
1841:۱Ù
ۚ۱ۧÙŰȘ
1761:Q433458
1733:current
1728:Comment
1492:depicts
1472:English
1068:)
1065:English
824:Q842858
801:Website
538:Sweden.
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2176:14,024
2131:Height
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1054:, 415
1034:, 101
1024:, 482
1014:, 298
1004:, 354
917:NM 578
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752:Sweden
748:111 48
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649:Framed
621:Medium
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320:Leiden
308:Leiden
277:Leiden
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