| dc.rights.license | CC-BY-NC-ND | |
| dc.contributor.advisor | Kisters, A.C. | |
| dc.contributor.author | Kraaijeveld, I.J.M. | |
| dc.date.accessioned | 2013-09-18T17:00:57Z | |
| dc.date.available | 2013-09-18 | |
| dc.date.available | 2013-09-18T17:00:57Z | |
| dc.date.issued | 2013 | |
| dc.identifier.uri | https://studenttheses.uu.nl/handle/20.500.12932/14850 | |
| dc.description.abstract | This thesis explores the position of the artist and theoretic Richard Nicolaüs Roland Holst (1868-1938) in the Dutch artistic climate around 1900. Special attention is drawn to his writings on socially engaged monumental art, by which means his position as a community artist is adjusted. In order to make a comparison between his writings and artworks, two cycles of stained glass windows are discussed as well, namely the 7 windows at the Amsterdam Lyceum (made between 1920 and 1927) and the two windows for the Domkerk in Utrecht (1926 and 1936). | |
| dc.description.sponsorship | Utrecht University | |
| dc.format.extent | 2962880 bytes | |
| dc.format.mimetype | application/pdf | |
| dc.language.iso | en | |
| dc.title | Theory and practice: being in two minds?
Richard Roland Holst as a community artist and the relation between his theories and his practice of stained glass making. | |
| dc.type.content | Master Thesis | |
| dc.rights.accessrights | Open Access | |
| dc.subject.keywords | Richard Roland Holst (1868-1938), stained glass, Domkerk Utrecht, gemeenschapskunst, community art, Antoon Derkinderen (1859-1925), Rijksacademie, Amsterdam, glas in lood, kunsttheorie, monumentale kunst, monumental art, art theoretics | |
| dc.subject.courseuu | Art History of the Low Countries in its European Context | |
