Jan Weenix
From The Art and Popular Culture Encyclopedia
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| + | '''Jan Weenix''' or '''Joannis Wenix''' (between 1640/1649 – 19 September 1719 (buried)) was a [[Netherlands|Dutch]] painter. He was trained by his father, [[Jan Baptist Weenix]], together with his cousin [[Melchior d'Hondecoeter]]. Like his father, he devoted himself to a variety of subjects, but his fame is chiefly due to his paintings of dead game and of hunting scenes. Many pictures in this genre formerly ascribed to the elder Weenix are now generally considered to be the works of the son. | ||
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| - | Guirlande de fleurs avec grotte Pausilippe by Robert Hubert and Veerendael, see [[Pausilippe]] | ||
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| - | Chasse au sanglier by [[Abraham Hondius ]] | ||
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| - | Gibier et armes de chasse by [[Jan Weenix]] | ||
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| - | La source purgative by [[Johannes Lingelbach]] | ||
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| - | A couple of Greuzes and one Samuel Reynolds | ||
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| - | Fleurs sur une table de marbre by Johan Laurentz Jensen | ||
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| - | Bergers au repos by Nicolas-Antoine Taunay | ||
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| - | Another Jensen | ||
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| - | Deux troncs d'arbres by Louis Gauffier | ||
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| - | Etude d'arbres by Louis Gauffier | ||
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| - | Onze réductions de portray by Louis Gauffier | ||
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| - | Les rendez-vous d'amour by Diaz de la pena | ||
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| - | Ariane abondonée by Tassaert | ||
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| - | Etude de pieds et de mains by Gericault | ||
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| - | Mazeppa by Louis Boulanger | ||
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| - | Un philosophe by Ary Scheffer | ||
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| - | Albaydé and Portrait of Alfred Bruyas by Cabanel | ||
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| - | The Wrath of Achlles by Benouville | ||
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| - | Sainte Catherine d'Alexandrie portée au tombeau by Henri Lehman | ||
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| - | Venus by Cabanel | ||
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| - | Sainte Marguerite terassant le dragon by Peyson | ||
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| - | Portrait of Marie Suzanne Celestine by Deveria | ||
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| - | La mort de Charles IX by Monvoisin | ||
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| - | Orphée by Redon | ||
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| - | Portrait of Baudelaire by Courbet | ||
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| - | Le bord de mer a Palavas by Courbet | ||
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| - | Le pont d'Ambrussum by Courbet | ||
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| - | The famous bottom by Courbet from La Source | ||
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| - | [[Dominic Cummings]] and his 'weirdos and misfits' [https://dominiccummings.com/2020/01/02/two-hands-are-a-lot-were-hiring-data-scientists-project-managers-policy-experts-assorted-weirdos/] | ||
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| - | [[Never Look Away]] | ||
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| - | [[stationaire economie]] [[Klaas van Egmond]] | ||
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| - | RIP John 'dots over peoples faces' Baldessari (1931 – 2020) | ||
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| - | [[John Baldessari]] was an American artist. | ||
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| - | There is a short documentary on his work and legacy narrated by Tom Waits. | ||
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| - | https://www.youtube.com/watch?v=eU7V4GyEuXA | ||
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| - | A typical work is ''[[Painting for Kubler]]'' (1967–68) which paraphrased some theses from art historian [[George Kubler]]'s book ''[[The Shape of Time]]'' (1962). | ||
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| - | In his own analysis, he said he would be best remembered as "the guy who puts dots over peoples faces." | ||
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| - | RIP Syd Mead (1933 – 2019) | ||
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| - | [[Syd Mead]] was an American [[concept artist]] best known for his work on ''[[Blade Runner]]'' (1982), ''[[Tron]]'' (1982) and ''[[Aliens (film)|Aliens]]'' (1986). | ||
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| - | https://www.youtube.com/watch?v=b018CzxbKMY | ||
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| - | Only three months after the death of [[Luigi Colani]] (1928 – 2019) comes the death of Mead. | ||
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| - | They were in different but comparable branches of [[concept art]]. | ||
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| - | Both were obsessed with futuristic [[aerodynamics]]. | ||
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| - | [[2020 Baghdad International Airport airstrike]] | ||
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| - | [[Back from Montpellier (21/12/19-5/1/20)]] | ||
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| - | Weggegooide stukken bij schrijven van [[Betekenis als gebruik: het geval muziek]] | ||
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| - | De zoektocht naar betekenis is een van de meest fundamentele van het leven en bij uitbreiding van de filosofie. Wie zijn we? Wat doen we hier? Waarom zijn we hier? Die vragen behoren tot de meest gestelde filosofische vragen. De ‘meaning of life’ is er de meest prangende van. Betekenis heeft verschillende betekenissen. Als ik vraag, wat betekent dat, kan het antwoord zijn, met wat stemt dat overeen, de zogenaamde correspondentietheorie. Maar de vraag kan ook betekenen, “wat is het nut van dan dit?”. | ||
| - | Taal heeft betekenis en nut. Het verwijst naar de werkelijkheid en het is nuttig vanuit darwinistisch perspectief. | ||
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| - | Deze paper verkent het snijvlak van een aantal concepten in relatie tot muziek: betekenis, taal, gebruik en evolutie. | ||
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| - | Betekenis is gebruik, zei Wittgenstein. | ||
| - | Ik maak een zijsprong. | ||
| - | Al een tijdje denk ik na over teleologie. Over doelgerichtheid en meer bepaald het ontbreken ervan. Tegelijkertijd dacht ik veel na over darwinisme en waarom dat op zo weinig plaatsen in de filosofie aan bod kwam. Zelfs niet bij de cursus van Erik Myin over ‘radical enactivism’, dat een haast darwinistisch perspectief biedt op ‘basic minds without content’ vermeldde Darwin niet. | ||
| - | In dat opzicht vond ik een opzienbarend boek van Peter Munz: Philosophical Darwinism. | ||
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| - | In de opleiding zei iemand “Mijn man kan geen muziek lezen, ik vind het altijd heel vreemd als iemand geen noten kan lezen”.” Je zou voor minder tot de slotsom komen dat muziek een echte taal is als in de zin “Ik spreek Nederlands, Frans, Engels en muziek.” | ||
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| - | Muziek heeft misschien geen betekenis, noch nut. | ||
| - | Over de betekenis van muziek wordt sinds Hanslick gediscussieerd. | ||
| - | Over het nut sinds Pinker het een nutteloos bijverschijnsel van het menselijke taalvermogen noemde vanuit darwinistische perspectief: | ||
| - | Muziek dus nutteloos. | ||
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| - | Noten | ||
| - | “Betekenis is gebruik: het geval muziek” was de originele titel | ||
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| - | ''[[Zingen is geluk]]'' by [[Barber van de Pol]]. | ||
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| - | It took me five days to read ''[[Philosophical Darwinism]]'', it's the perfect companion piece to ''[[A Darwinian Left]]''. | ||
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| - | Just a few more hours and it will be 2020, which means that the work of a new batch of artists will pass into the public domain in countries of the death-70 regime. | ||
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| - | In Europe this means that this will become public domain: | ||
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| - | * [[Axel Munthe]], Swedish psychiatrist (''[[The Story of San Michele]]'') | ||
| - | * [[Umberto Brunelleschi]], Italian artist | ||
| - | * [[Leonard Bloomfield]], American linguist | ||
| - | * [[Maurice Maeterlinck]], Belgian writer | ||
| - | * [[Tod Robbins]], American author ("[[Spurs (short story) |Spurs]]") | ||
| - | * [[E. J. Bellocq]], an American photographer | ||
| - | * [[George Gurdjieff]], Soviet spiritual teacher | ||
| - | * [[James Ensor]], Belgian painter | ||
| - | * [[Richard Connell]], American author and journalist, best known for his short story "[[The Most Dangerous Game]]" | ||
| - | * [[Lead Belly]], African-American blues musician | ||
| - | * [[Hervey Allen]], American author (''[[Israfel: The Life and Times of Edgar Allan Poe]]'') | ||
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| - | RIP Neil 'Monty Python' Innes (1944 – 2019) | ||
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| - | https://www.youtube.com/watch?v=qJ6VkYPLme4 | ||
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| - | [[Neil Innes]] was an English comedian ([[Monty Python]]), musician ([[The Rutles]], [[Bonzo Dog Doo-Dah Band]]) and writer. | ||
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| - | [[Neil Innes]] (1944 – 2019) was an [[English writer]], comedian and musician. He collaborated with [[Monty Python]] and played in [[The Rutles]] and the [[Bonzo Dog Doo-Dah Band]]. | ||
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| - | Scene from [[The Innes Book of Records]], originally aired 24 January, 1979, Neil and the Women's League of Health & Beauty, filmed at the American Museum in Bath, UK. | ||
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| - | RIP Sue 'Lolita' Lyon (1946 – 2019) | ||
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| - | [[Sue Lyon]] was an [[American actress]] best-known as the [[nymphet]] of ''[[Lolita (1962 film)|Lolita]]'' (1962). | ||
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| - | My film bible ''[[Cult Movie Stars]]'' has this: | ||
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| - | "Amid much publicity stating she was too young even to see the film, an unknown blonde was cast in the title role in ''[[Lolita (1962 film)|Lolita]]''." | ||
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| - | Her final film role was in the mildly amusing ''[[Alligator (film)|Alligator]]''. | ||
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| - | [[Panamarenko]] and [[Hugo Heyrman]] '[[ice-cube]]s action' on the Antwerp [[Conscienceplein]], [[July 6]], [[1968]]. | ||
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| - | [[De oude dame]], finished it 30/12/19, the beginning, when Sophie 'rescues' the old woman from the soon te be [[demolished]] building, is magical. | ||
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| - | :"Nederlands historicus [[Geerten Waling]]: '[[Maarten Boudry]] is een onafhankelijk denker, die wars is van dogma's'. Geerten Waling: “Het debat is ..." --Nederlands historicus Geerten Waling: 'Maarten Boudry is een ..." --DM 29/12/19 | ||
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| - | Of all the disco "bands", [[El Coco]] (Rinder and Lewis) had the best designed sleeves, many of which showed a retro [[art deco revival|Art Deco]]-ish [[big band]] look als evident in [[Kid Creole and the Coconuts]]/[[Dr. Buzzard's Original Savannah Band]] and [[Lou Deprijck]]. | ||
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| - | "[[Melodies]]" by [[Made in U.S.A.]] ([[Crown Heights Affair]], 1977, De-Lite Records) is reminiscent of that style. | ||
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| - | RIP Alasdair 'Lanark' Gray (1934 – 2019) | ||
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| - | https://www.youtube.com/watch?v=AwWzNBvGoT8 | ||
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| - | [[Alasdair Gray]] was a Scottish writer and artist. | ||
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| - | His magnum opus ''[[Lanark: A Life in Four Books|Lanark]]'' (1981) features a skin disease called 'dragonhide'. | ||
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| - | Adjectives applicable to this work are grotesque, fantastique and rabelaisian. | ||
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| - | The book has a tendency to depress. | ||
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| - | Update: The skin disease 'dragonhide' reminds me of ''[[Maldoror]]'': ""I am filthy. I am riddled with lice. Hogs, when they look at me, vomit. My skin is encrusted with the scabs and scales of leprosy, and covered with yellowish pus." | ||
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| - | ''[[Beyond World War III]]'' () by [[Mikey Dread]] | ||
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| - | "[[Jah Jah Love (In The Morning)]]" | ||
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| - | [[R.C.Lewontin]] "What is the basis of judgement?" | ||
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| - | ‘Organism and Environment’, in [[Henry Charles Plotkin]] (ed.), Learning, Development and Culture, p. 164. | ||
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| - | "The neat formula ‘by chance mutation and selective retention’ is due to [[Donald T.Campbell]]’s paper ‘[[Evolutionary Epistemology]]’ of 1974." [[PD]] | ||
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| - | See, e.g., [[R.Norman]], ''[[Hegel's Phenomenology]]'', London, Sussex University Press, 1976, p. 11 | ||
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| - | ‘[[Kants Lehre vom Apriorischen im Lichte gegenwärtiger Biologie]]’, [[Blätter für deutsche Philosophie]], 1941, 15, 94–125. | ||
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| - | [[Konrad Lorenz]] | ||
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| - | <HR> | ||
| - | ''[[Beasts of the Modern Imagination: Darwin, Nietzsche, Kafka, Ernst and Lawrence]]'' by [[Margot Norris]] | ||
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| - | Primate behavior - Page 328 | ||
| - | https://books.google.be › books | ||
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| - | James L. Fobes, James E. King - 1982 - Snippet view | ||
| - | read monkeys for preexistence." Or, at another point, "Origin of man now proved.—Metaphysics must flourish.—He who understands baboon would do more toward metaphysics than Locke." By "metaphysics," Darwin apparently means ... | ||
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| - | *[[noumena]], [[phenomena]] | ||
| - | *[[rationalism]], [[empiricism]] | ||
| - | *[[innate]], [[blank slate]] | ||
| - | *[[a priori]], [[a posteriori]] | ||
| - | *[[inductive]], [[deductive]] | ||
| - | *[[synthetic]], [[analytic]] | ||
| - | *[[nominalism]], [[realism]] | ||
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| - | See "noumena", "phenomena", "rationalism", "empiricism", "innate", "blank slate", "a priori", "a posteriori", "inductive", "deductive", "synthetic", " analytic", "nominalism", "realism" | ||
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| - | Winch is perhaps most famous for his early book, The Idea of a Social Science and its Relation to Philosophy (1958), an attack on positivism in the social sciences, drawing on the work of R. G. Collingwood and Ludwig Wittgenstein's later philosophy. | ||
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| - | [[Peter Winch]] | ||
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| - | RIP Jerry 'I Am What I Am' Herman (1931 – 2019) | ||
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| - | [[Jerry Herman]] was an [[American composer]] and [[lyricist]], known for his work in [[Broadway theatre|Broadway]] [[musical theater]]. He composed the scores for the hit Broadway musicals ''[[Hello, Dolly! (musical)|Hello, Dolly!]]'', ''[[Mame (musical)|Mame]]'', and ''[[La Cage aux Folles (musical)|La Cage aux Folles]]''. He was nominated for the [[Tony Award]] five times, and won twice, for ''Hello, Dolly!'' and ''La Cage aux Folles''. | ||
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| - | https://www.youtube.com/watch?v=mufjc9y8lAs | ||
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| - | By pure coincidence I was watching ''[[Paris Is Burning]]'' (1990) this afternoon, it features the Jerry Herman-penned gay anthem "[[I Am What I Am]]" from ''La Cage Aux Folles''. | ||
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| - | https://www.youtube.com/watch?v=xf6Cn2y2xEc | ||
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| - | Hof van Beroep Antwerpen over Maasmechelen zaak, zie [[neutraliteitsbeginsel]] | ||
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| - | Rechtbank: “De leerlingen moeten hun persoonlijkheid kunnen ontwikkelen in een vrije omgeving, zodat ze zelf een oordeel kunnen vormen over de eigen identiteit, ook op religieus vlak, en die van de anderen.” | ||
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| - | Rechtbank: “Ook zal een dergelijke leeromgeving de vrije schoolkeuze van de ouders vrijwaren. Ouders die kiezen voor het gemeenschapsonderwijs, mogen legitiem verwachten dat hun kinderen in een neutrale leeromgeving worden onderwezen, zonder sociale druk, of bekeringsijver.” | ||
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| - | GO!: “We stellen na een eerste lezing vast dat het hof onze argumentatie volgt en dat het vindt dat het GO! met het verbod een legitieme doelstelling nastreeft. [...] Concreet betekent dit dat het verbod voor de betrokken leerlingen gehandhaafd blijft.” | ||
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| - | Motto: . . . en alles, wat men weet, niet slechts heeft horen ruisen en bruisen, laat zich in drie woorden zeggen. [[Kurnberger]] | ||
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| - | "De theorie van Darwin heeft met filosofie niet meer te maken dan welke andere hypothese van de natuurwetenschap dan ook." --vertaling Victor Gijsbers | ||
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| - | Democratie leidt tot consumentisme | ||
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| - | Dus de stelling werkt maar een is een mogelijk tegenvoorbeeld. | ||
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| - | Optie 1: één voorbeeld is niet statistisch relevant genoeg om een politiek economisch mechanisme naar de prullenbak te verwijzen. Het gaat hier namelijk niet over een absoluut mechanisme als de zwaartekracht, maar over probabiliteit. | ||
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| - | optie 2: de Chinese overheid heeft een lange traditie van autoritaire vaderlijkheid vervat in het confucianisme. Ze zijn ook gekend voor hun lange termijn denken. Het is ook een cultuur van filosoferen en elitair denken. Dus: de Chinese heersende klasse ziet dat de heersende klasse in het westen machtiger is dan zij en dat dit voortspruit uit economische dominantie. Die dominantie komt dat weer voort uit het kapitalistische model van eeuwige groei gestoeld op het multipliereffect (een economische wetmatigheid die stelt dat als er in de economische ketting iets beweegt dat dan alles beweegt. Bvb investeringen 'versnellen' consumptie). Dit multipliereffect was de grote 'economische fout' in het model van Karel Marx. Hij had hier namelijk geen rekening mee gehouden. Hij ging ervan uit dat de rijken rijker zouden worden en de armen armer, maar dat klopt niet in een kapitalistisch systeem. De arbeiders worden samen met het patronaat rijker. Dat is fundamenteel. Want daarom is het ook zo dat de rijken om nog rijker te worden ook de 'armen' rijker moeten maken. Dat is de eerste reden om te switchen van economisch model. Maar dit houdt risico's in want deze rijkdom voor de armen werkt emanciperend. De laatste decennia is hierin langzaam verandering gekomen. We merken dat consumptie in eerste instantie emanciperend werkt, maar overconsumptie werkt net verlammend het verslimt niet het verdomt. En de tweede reden dat dit niet emanciperend werkt is dat door de huidige technologie consumptie net zeer veel mogelijkheden inhoud om je bevolking te controleren. (monitoring van smartphones, big data, ...) Het wordt dus voor autoritaire regimes interessant om hun bevolking niet langer onder controle te houden door kunstmatige armoede maar door rijkdom. Dit is de tweede reden om te switchen van economisch model. | ||
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| - | Dus: historisch is het zo dat democratie en (over)consumptie hand in hand zijn ontstaan. Maar nu we overconsumptie en zijn gevolgen leren kennen, merken we dat overconsumptie een nieuw soort autoritair regime uitlokt. (jij had toch ook 'the trap' gezien op youtube?) | ||
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| - | Je mag dit uitwerken en publiceren onder de titel: 'Een geschiedenis van consumptie: van emancipatie tot onderwerping'. [[KM]] | ||
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| - | RIP [[Allee Willis]] (1947 – 2019) | ||
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| - | Allee Willis was an American eccentric best-known as a songwriter, writing or co-writing "[[I'll Be There for You (The Rembrandts song)|I'll Be There For You]]" (1994, ''[[Friends]]'' theme song), "[[September (Earth, Wind & Fire song)|September]]" (1978) and "[[Boogie Wonderland]]" (1979) by Earth, Wind & Fire and "[[What Have I Done to Deserve This? (song)|What Have I Done to Deserve This?]]" (1987) by Pet Shop Boys. | ||
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| - | https://www.youtube.com/watch?v=pMxvVsIMstQ | ||
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| - | There are plenty of short portraits of her on YouTube, most of them filmed in her house which, she says, was the MGM partyhouse built in 1937. | ||
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| - | There is also her 1974 album ''[[Child Star]]''. | ||
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| - | https://www.youtube.com/watch?v=JN3-MWVJnbo | ||
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| - | She also recorded the song "[[Big Adventure]]" (1985) with [[Pee-Wee Herman]]. | ||
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| - | [[Philosophical Darwinism]] | ||
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| - | RIP [[Peter Wollen]] (1938 – 2019) | ||
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| - | [[Peter Wollen]] was a British [[Film theory|film theorist]], [[filmmaker]]. and [[Political journalism|political journalist]]. | ||
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| - | He is best-known for his book ''[[Signs and Meaning in the Cinema]]'' (1969), his marriage to an collaboration with [[Laura Mulvey|Laura "Visual Pleasure and Narrative Cinema" Mulvey]]. | ||
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| - | There is an enigmatic video online in which Wollen "reads the U.S. Press: "[[People Magazine]]" and "[[Scientific American]]" in the Same Breath." from [[Paper Tiger Television]]. | ||
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| - | https://www.youtube.com/watch?v=bf1CDoiXXvU&t=1448s | ||
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| - | RIP Claudine 'bond girl' Auger (1941 – 2019) | ||
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| - | [[Claudine Auger]] was a French actress. I do not think she is related to [[Brian Auger]]. | ||
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| - | Auger will be remembered as a [[bond girl]] but in my universe, she is the mother in ''[[Exploits of a Young Don Juan]]'' (1986), Isolina in ''[[Yo Yo]]'' (1965), the "thief!" shouter in ''[[Terrain vague (film)|Terrain Vague]]'' (1960) and Renata in ''[[A Bay of Blood |Twitch of the Death Nerve]]'' (1971). | ||
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| - | Sometimes, the death of someone serves as a jumping board to something only [[tangentially]] related to the deceased. | ||
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| - | This is the case with the following film fragment of ''Yo Yo'' with its [[mime]] aesthetic. | ||
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| - | Enjoy. | ||
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| - | "Vienna quite complacently regarded herself as the capital of the music world. Her noble tradition of Haydn, Mozart, Beethoven, and Schubert was undoubtedly something to be proud of, but in their veneration of the past the Viennese had very little interest in newer trends. In the mid-nineteenth century they had been skeptical of such progressive composers as Schumann and Liszt, and their opposition to Wagner, crystallized in the writings of [[Edward Hanslick]], their foremost critic, was diametrically opposed to the enthusiastic reception given the music dramas by the Parisian intelligentsia." --''[[An Introduction To Twentieth Century Music]]'' by [[Peter Sijer Hansen]] | ||
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| - | "[[The Fundamental Qualities of Folk Music]]," but which is actually the best characterization I know of the modernist esthetic as applied to music: | ||
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| - | "Jeffrey Mark, 'The Fundamental Qualities of Folk Music," Music and Letters 10/3 (1929): | ||
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| - | ''[[On Letting the Music Speak for Itself: Some Reflections on Musicology and Performance]]''. Richard Taruskin. | ||
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| - | :"[[Volksbederf]] van links. Hier komen we bij de paradox van het moderne [[nationalisme]], waar ook de N-VA niet aan ontsnapt. In theorie is nationalisme inderdaad ..." --"[[Allemaal Vlamingen! (Maar jullie niet)]]", [[Tom Naegels]] | ||
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| - | ==See also== | ||
| - | *[[User:Jahsonic/Sandbox]] | ||
| - | *[[User:Jahsonic/Sandbox archive 1]] | ||
| - | *[[User:Jahsonic/Sandbox archive 2]] | ||
| - | *[[User:Jahsonic/Sandbox archive 3]] | ||
| - | *[[User:Jahsonic/Sandbox archive 4]] | ||
| - | *[[User:Jahsonic/Sandbox archive 5]] | ||
| - | *[[User:Jahsonic/Sandbox archive 6]] | ||
| - | *[[User:Jahsonic/Sandbox archive 7]] | ||
| - | *[[User:Jahsonic/Sandbox archive 8]] | ||
| - | *[[User:Jahsonic/Sandbox archive 9]] | ||
| - | *[[User:Jahsonic/Sandbox archive 10]] | ||
| - | *[[User:Jahsonic/Sandbox archive 11]] 20/4/19 | ||
| - | *[[User:Jahsonic/Sandbox archive 12]] 1/6/19 | ||
| - | *[[User:Jahsonic/Sandbox archive 13]] 10/7/19 | ||
| - | *[[User:Jahsonic/Sandbox archive 14]] 19/8/19 | ||
| - | *[[User:Jahsonic/Sandbox archive 15]] 7/9/19 | ||
| - | *[[User:Jahsonic/Sandbox archive 16]] 29/9/19 | ||
| - | *[[User:Jahsonic/Sandbox archive 17]] 05/11/19 | ||
| - | *[[User:Jahsonic/Sandbox archive 18]] 26/11/19 | ||
| - | *[[User:Jahsonic/Sandbox archive 19]] 22/12/19 | ||
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Jan Weenix or Joannis Wenix (between 1640/1649 – 19 September 1719 (buried)) was a Dutch painter. He was trained by his father, Jan Baptist Weenix, together with his cousin Melchior d'Hondecoeter. Like his father, he devoted himself to a variety of subjects, but his fame is chiefly due to his paintings of dead game and of hunting scenes. Many pictures in this genre formerly ascribed to the elder Weenix are now generally considered to be the works of the son.
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Jan Weenix" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
