{"id":3617,"date":"2014-08-20T14:34:18","date_gmt":"2014-08-20T12:34:18","guid":{"rendered":"https:\/\/www.vanhellenberghubar.org\/?page_id=3617"},"modified":"2022-01-18T10:24:53","modified_gmt":"2022-01-18T09:24:53","slug":"inhoudsopgave","status":"publish","type":"page","link":"https:\/\/www.vanhellenberghubar.org\/index.php\/projecten\/de-genade-van-de-steiger\/toegang\/inhoudsopgave\/","title":{"rendered":"Inhoudsopgave van &#8216;De genade van de steiger&#8217;"},"content":{"rendered":"<p><span style=\"color: #800000;\"><em>Inhoudsopgave \u2014<\/em> <\/span>Nu roep ik je met de onderstaande Pinksterwens wel op om het verhaal over <a href=\"#gerrits\">Piet Gerrits<\/a> te lezen, maar dat is zo eenvoudig nog niet! <em>&#8216;De genade van de steiger&#8217;<\/em> is namelijk&nbsp;<a href=\"https:\/\/www.vanhellenberghubar.org\/index.php\/projecten\/de-genade-van-de-steiger\/bestellen\/\">uitverkocht<\/a> en kan alleen nog antiquarisch besteld worden. Je kunt het boek wel opvragen via een van de &#8211; openbare &#8211; bibliotheken die Nederland rijk is! Laat me je helpen met deze <a href=\"https:\/\/www.bibliotheek.nl\/catalogus\/titel.343310457.html\/de-genade-van-de-steiger\/\">link<\/a>!<\/p>\n<p><iframe loading=\"lazy\" style=\"border: none; overflow: hidden;\" src=\"https:\/\/www.facebook.com\/plugins\/post.php?href=https%3A%2F%2Fwww.facebook.com%2FVanHH.Org2all%2Fposts%2F2387172091518463&amp;width=500\" width=\"500\" height=\"588\" frameborder=\"0\" scrolling=\"no\"><\/iframe>&nbsp;<\/p>\n<h5><span style=\"color: #800000;\"><strong>1 Een vergeten generatie (verantwoording) <\/strong><span style=\"color: #000000;\">15<\/span><\/span><\/h5>\n<p><strong> 1.1 Opmaat <\/strong>15<br \/>\n<strong>1.2 Vraagstelling <\/strong>16<br \/>\n<em>&nbsp; &nbsp; &nbsp; Principium charitatis<\/em> 18<br \/>\n<strong>1.3 Opzet en samenvatting <\/strong>19<br \/>\n<em>&nbsp; &nbsp; &nbsp; De kunstschilder op de steiger<\/em> 19<br \/>\n<em>&nbsp; &nbsp; &nbsp; Tussen hoofd en hand<\/em> 20<br \/>\n<em>&nbsp; &nbsp; &nbsp; Een eclectische geest<\/em> 22<br \/>\n<em>&nbsp; &nbsp; &nbsp; Canon<\/em> 22<br \/>\n<em>&nbsp; &nbsp; &nbsp; De epische mise-en-sc\u00e8ne en de Beuroner beurtzang<\/em> 21<br \/>\n<em>&nbsp; &nbsp; &nbsp; Synthetisme en symbolisme<\/em> 21<br \/>\n<em>&nbsp; &nbsp; &nbsp; De expressionistische stam<\/em> 21<br \/>\n<em>&nbsp; &nbsp; &nbsp; Wisselspelers<\/em> 22<br \/>\n<em>&nbsp; &nbsp; &nbsp; Slotbeschouwing<\/em> 22<br \/>\n<em>&nbsp; &nbsp; &nbsp; Waardenstellende termen en begrippen<\/em> 22<br \/>\n<em>&nbsp; &nbsp; &nbsp; Annotatie<\/em> 22<br \/>\n<strong>1.4 Productie <\/strong>22<br \/>\n<strong>1.5 Instrument voor rehabilitatie <\/strong>23<\/p>\n<h5><span style=\"color: #800000;\"><strong>2 De kunstschilder op de steiger (vorming en onderwijs)<\/strong><\/span> 25<\/h5>\n<p><strong>2.1 Entree in de historiografie<\/strong> 25<br \/>\n<strong>2.2 De actoren<\/strong> 29<br \/>\n<em>&nbsp; &nbsp; &nbsp; Kerkschilders<\/em> 29<br \/>\n<em>&nbsp; &nbsp; &nbsp; Kerkschilder \/ restaurateur<\/em> 29<br \/>\n<em>&nbsp; &nbsp; &nbsp; Kunstschilders<\/em> 29<br \/>\n<em>&nbsp; &nbsp; &nbsp; Huis- en kerkdecoratieschilders<\/em> 30<br \/>\n<em>&nbsp; &nbsp; &nbsp; Wisseling van de wacht<\/em> 34<br \/>\n<strong>2.3 De Rijksacademie van Beeldende Kunsten te&nbsp;Amsterdam<\/strong> 34<br \/>\n<em>2.3.1 Derkinderen en het \u2018correctief voor den nood der tijden\u2019<\/em> 34<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Interbellumlijn<\/em> 35<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Typus<\/em> 35<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Iconen<\/em> 35<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Netwerk<\/em> 36<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Reflectie<\/em> 37<br \/>\n<em>2.3.2 De aanloop van de onderwijshervorming<\/em> 37<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De Gids van 1902<\/em> 37<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Engagement<\/em> 40<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kabinetskunst<\/em> 41<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kritiek op de tekenkunst en het ambachtsonderwijs<\/em> 41<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Derkinderen als ambachtsman<\/em> 42<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De Gids van 1905 en de monumentale kunsten<\/em> 42<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Grafische kunsten<\/em> 43<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Grafische muurschilderkunst<\/em> 44<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Biblia pauperum<\/em> 44<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Illustratoren<\/em> 44<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De Gids van 1908<\/em> 44<br \/>\n<em>2.3.3 De collegestof van Derkinderen<\/em> 45<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Hoorcolleges met lichtbeelden<\/em> 45<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Inleiding over het academisch programma<\/em> 45<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Klassieke oudheid en polychromie<\/em> 46<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De kathedralen en de biblia pauperum<\/em> 46<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De sociale positie van de kunstenaar<\/em> 47<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Glasschilderkunst<\/em> 47<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De ontbrekende barok<\/em> 47<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Zelfbeeld<\/em> 47<br \/>\n<em>2.3.4 De steen der wijzen<\/em> 47<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Figurist<\/em> 48<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Tempera of wasverf<\/em> 48<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Fresco en case\u00efneverf<\/em> 49<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Witte raaf<\/em> 49<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Praktijk<\/em> 49<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Excerpten over technieken<\/em> 50<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De pleisterlaag als drager van de schildering<\/em> 50<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De kwaliteit van de muur<\/em> 51<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Verfrecepturen<\/em> 51<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Audsley<\/em> 51<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Honing<\/em> 51<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Wasverf<\/em> 51<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De \u2018spirit Fresco\u2019 van Gambier Parry<\/em> 52<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Stereochromie<\/em> 52<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Case\u00efneverf<\/em> 52<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Steen der wijzen<\/em> 53<br \/>\n<em>2.3.5 Roland Holst aan het roer<\/em> 53<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; R.N. Roland Holst<\/em> 53<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Directeur<\/em> 54<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Tekenen en ontwerpen<\/em> 54<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Viollet-le-Duc en het lemma Peinture<\/em> 55<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Symboliek<\/em> 57<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Sgraffito<\/em> 58<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Het werven van opdrachten<\/em> 59<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Reflectie<\/em> 59<br \/>\n<em>2.3.6 Campendonk en de voorhoede van de Wederopbouw<\/em> 60<br \/>\n<strong>2.4 De Roomsche academie<\/strong> 65<br \/>\n<em>2.4.1 De Katholieke Leergangen in Tilburg<\/em> 66<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; \u2018Roomschen dat zijn wij\u2019<\/em> 66<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De \u2018Roomsche Academie\u2019<\/em> 67<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Tilburgse Leergangen<\/em> 67<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Henri Sicking<\/em> 67<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Albert Verschuuren<\/em> 69<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Reflectie<\/em> 71<br \/>\n<strong>2.5 Het onzichtbare leger van vakschilders<\/strong> 72<br \/>\n<em>&nbsp; &nbsp; &nbsp; Hi\u00ebrarchie<\/em> 72<br \/>\n<em>&nbsp; &nbsp; &nbsp; Het \u2018mindere ambacht\u2019<\/em> 73<br \/>\n<em>&nbsp; &nbsp; &nbsp; Hybride positie<\/em> 73<br \/>\n<em>&nbsp; &nbsp; &nbsp; Opleidingen in het interbellum<\/em> 74<br \/>\n<em>&nbsp; &nbsp; &nbsp; Roermond als pars pro toto<\/em> 74<br \/>\n<em>&nbsp; &nbsp; &nbsp; Leermiddelen en vakliteratuur<\/em> 75<br \/>\n<em>&nbsp; &nbsp; &nbsp; Landelijk perspectief<\/em> 76<br \/>\n<em>&nbsp; &nbsp; &nbsp; Van leerling tot leraar, werknemer en kunstenaar<\/em>:<br \/>\n<em>&nbsp; &nbsp; &nbsp; Augustijn Hermans<\/em> 76<br \/>\n<em>&nbsp; &nbsp; &nbsp; Profiel<\/em> 77<br \/>\n<em>&nbsp; &nbsp; &nbsp; De firma Perey te Venlo<\/em> 77<br \/>\n<em>&nbsp; &nbsp; &nbsp; Oosterman<\/em> 80<br \/>\n<strong>2.6 Werken in de nichemarkt<\/strong> 80<\/p>\n<h5><span style=\"color: #800000;\"><strong>3 Tussen hoofd en hand (materialen en technieken)<\/strong>&nbsp;<\/span>83<\/h5>\n<p><strong> 3.1 De fysieke schildering op de muur<\/strong> 83<br \/>\n<strong>3.2 De schildertechniek van de kruiswegstaties in de&nbsp;Lambertuskerk in Maastricht<\/strong> 84<br \/>\n<em>&nbsp; &nbsp; &nbsp; De frescotechniek<\/em> 84<br \/>\n<em>&nbsp; &nbsp; &nbsp; Kruiswegstaties in de Lambertuskerk<\/em> 84<br \/>\n<em>&nbsp; &nbsp; &nbsp; Herkennen van de frescotechniek<\/em> 84<br \/>\n<em>&nbsp; &nbsp; &nbsp; Voorstudies<\/em> 84<br \/>\n<em>&nbsp; &nbsp; &nbsp; Artistieke beperkingen<\/em> 86<br \/>\n<em>&nbsp; &nbsp; &nbsp; De pleisterlaag<\/em> 86<br \/>\n<em>&nbsp; &nbsp; &nbsp; Schildertechniek<\/em> 86<br \/>\n<em>&nbsp; &nbsp; &nbsp; De toegepaste verf<\/em> 86<br \/>\n<em>&nbsp; &nbsp; &nbsp; Pigment- en bindmiddelanalyses<\/em> 87<br \/>\n<em>&nbsp; &nbsp; &nbsp; De conditie van de kruiswegstaties<\/em> 87<br \/>\n<strong>3.3 De frescotechniek van Jan Gr\u00e9goire<\/strong> 87<br \/>\n<em>&nbsp; &nbsp; &nbsp; De colleges van Derkinderen<\/em> 87<br \/>\n<strong>3.4 De frescotechniek in Nederland<\/strong> 89<br \/>\n<em>&nbsp; &nbsp; &nbsp; Fresco\u2019s in het interbellum<\/em> 90<br \/>\n<strong>3.5 M\u00fcnchen als het centrum van de hernieuwde&nbsp;belangstelling voor oude technieken<\/strong> 91<br \/>\n<strong>3.6 Keimverf<\/strong> 92<br \/>\n<em>&nbsp; &nbsp; &nbsp; Keim in Nederland<\/em> 92<br \/>\n<em>&nbsp; &nbsp; &nbsp; Keim K\u00fcnstlerfarben of A-Techniek<\/em> 93<br \/>\n<em>&nbsp; &nbsp; &nbsp; Keim Dekorfarben of B-Techniek<\/em> 93<br \/>\n<strong>3.7 De schilderingen van Jaap \u2013 Fran\u00e7ois \u2013 Mes in de&nbsp;Lambertuskerk te Maastricht<\/strong> 94<br \/>\n<em>&nbsp; &nbsp; &nbsp; Decoratieve schilderingen<\/em> 95<br \/>\n<strong>3.8 De schildertechniek van Mes in de Lambertuskerk te&nbsp;Maastricht<\/strong> 95<br \/>\n<strong>3.9 Pigment- en bindmiddelanalyse<\/strong> 97<br \/>\n<strong>3.10 Het verval van schilderingen op de muur: oorzaken en&nbsp;oplossingen<\/strong> 98<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp;Losse dragers<\/em> 100<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp;Recapitulatie<\/em> 101<br \/>\n<strong>3.11 Andere verftechnieken voor muurschilderingen in&nbsp;het interbellum<\/strong> 101<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp;Tempera<\/em> 101<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp;Case\u00efne<\/em> 102<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp;Lijnolie<\/em> 102<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp;Bijenwas<\/em> 103<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp;Bindmiddel en vernis<\/em> 103<\/p>\n<h5><span style=\"color: #800000;\"><strong>4 Een eclectische geest (de kunstkritiek)&nbsp;<\/strong><\/span>107<\/h5>\n<p><strong> 4.1 Woorden<\/strong> 107<br \/>\n<strong>4.2 Albert Plasschaert<\/strong> 108<br \/>\n<em>&nbsp; &nbsp; &nbsp; Locus classicus<\/em> 108<br \/>\n<em>&nbsp; &nbsp; &nbsp; Profiel<\/em> 108<br \/>\n<em>&nbsp; &nbsp; &nbsp; Strategie<\/em> 109<br \/>\n<em>&nbsp; &nbsp; &nbsp; In het spoor van Aurier<\/em> 110<br \/>\n<em>&nbsp; &nbsp; &nbsp; De architect<\/em> 110<br \/>\n<em>&nbsp; &nbsp; &nbsp; Decorum<\/em> 111<br \/>\n<em>&nbsp; &nbsp; &nbsp; Inhoudelijk en decoratief<\/em> 111<br \/>\n<em>&nbsp; &nbsp; &nbsp; Eclectisch<\/em> 113<br \/>\n<em>&nbsp; &nbsp; &nbsp; Picturaal decoratief<\/em> 114<br \/>\n<em>&nbsp; &nbsp; &nbsp; Recapitulatie<\/em> 114<br \/>\n<strong>4.3 Het Gildeboek<\/strong> 115<br \/>\n<em>4.3.1 Bernard H. Molkenboer o.p.<\/em> 115<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Positionering<\/em> 115<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Stand van zaken<\/em> 116<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Polychromie<\/em> 116<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Tweedeling<\/em> 117<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Dialectiek<\/em> 117<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Beuron<\/em> 117<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Toorop en Derkinderen<\/em> 118<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Recapitulatie<\/em> 120<br \/>\n<em>4.3.2 Rector J.B.W.M. M\u00f6ller<\/em> 121<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Positionering<\/em> 121<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Jonge kunstenaars<\/em> 121<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Vorm versus idee<\/em> 122<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kunstsystemen<\/em> 122<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Toorop<\/em> 123<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Toeschouwer<\/em> 124<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp;<\/em> Meditatieve<em> sturing<\/em> 124<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kunst zonder kunst<\/em> 125<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Geest en stof, symbolisme en synthetisme<\/em> 125<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Het vrij scheppend vermogen<\/em> 125<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Nogmaals Aurier<\/em> 126<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Verkade als ambassadeur<\/em> 127<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Recapitulatie<\/em> 127<br \/>\n<strong>4.4 Pieter van der Meer de Walcheren en Jacques&nbsp;Maritain<\/strong> 130<br \/>\n<em>4.4.1 Het netwerk van een bekeerling anno 1920<\/em> 130<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Profiel<\/em> 130<br \/>\n<em>4.4.2 De esthetica van Jacques Maritain<\/em> 131<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kunst en scholastiek<\/em> 131<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De \u2018deugd van Kunst\u2019<\/em> 132<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De Gemeenschap<\/em> 132<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De kruisweg van Servaes<\/em> 133<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kloof<\/em> 133<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Theologische supervisie<\/em> 134<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Drie regels<\/em> 134<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Innerlijke vrijheid<\/em> 136<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Recapitulatie<\/em> 136<br \/>\n<em>4.4.3 Het kritisch idioom van Van der Meer<\/em> 136<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Aan de boezem van Maritain<\/em> 137<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De niet-woorden<\/em> 138<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Schilderkunstige woordenschat<\/em> 138<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Nogmaals Maritain<\/em> 140<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Toetssteen: de context van de dagbladpers<\/em> 142<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Bergensche school<\/em> 142<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Recapitulatie<\/em> 143<br \/>\n<strong>4.5 Jan Engelman<\/strong> 144<br \/>\n<em>&nbsp; &nbsp; &nbsp; Entree<\/em> 145<br \/>\n<em>4.5.1 Programma<\/em> 145<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Engelman versus Bremmer<\/em> 145<br \/>\n<em>4.5.2 Een \u2018plastisch en po\u00ebtisch esperanto\u2019<\/em> 147<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Nieuwe Nederlandsche Schilderkunst<\/em> I 147<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Romantisch<\/em> 147<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Habitus<\/em> 148<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De geboorte van een term<\/em> 149<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De term expressionisme bij Engelman<\/em> 152<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Esperanto<\/em> 152<br \/>\n<em>4.5.3 Barok als alternatief expressionisme<\/em> 153<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De introductie van de kwalificatie barok<\/em> 153<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De laatste gemeenschapskunst<\/em> 155<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Charles Eyck als barokke kunstenaar<\/em> 155<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De barokke middeleeuwer<\/em> 158<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Barok Limburg<\/em> 158<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Modern barok<\/em> 159<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Barok versus bidimensionaliteit<\/em> 161<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Limburgse school<\/em> 161<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Barok en nieuwe zakelijkheid<\/em> 162<br \/>\n<em>4.5.4 Tussen joie de vivre en devotie<\/em> 162<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Een \u2018eclectische geest\u2019<\/em> 165<br \/>\n<strong>4.6 Naschrift: in de periferie van de kunstkritiek<\/strong> 166<br \/>\n<em>&nbsp; &nbsp; &nbsp; Klaterende drukte<\/em> 166<br \/>\n<em>&nbsp; &nbsp; &nbsp; De anti-Cuypers claque<\/em> 167<br \/>\n<em>&nbsp; &nbsp; &nbsp; Boemerang<\/em> 168<\/p>\n<p><a title=\"Collage Genade van de steiger (2013)\" href=\"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2019\/12\/23891106944_4cc7cefa3e_o.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"alignnone\" title=\"Collage Genade van de steiger (2013)\" src=\"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2019\/12\/23891106944_4cc7cefa3e_o.jpg?resize=640%2C480&#038;ssl=1\" alt=\"Collage Genade van de steiger (2013)\" width=\"640\" height=\"480\"\/><\/a><\/p>\n<h5><span style=\"color: #800000;\"><strong>5 Canon van de monumentale kerkelijke schilderkunst in&nbsp;het interbellum (kopstukken en stromingen)&nbsp;<\/strong><\/span>171<\/h5>\n<p><strong>5.1 Tableau<\/strong> 171<br \/>\n<strong>5.2 Instrumentarium<\/strong> 172<br \/>\n<em>5.2.1 Van woorden naar waarden<\/em> 172<br \/>\n<em>5.2.2 Symboliek, iconografie en liturgie<\/em> 173<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Devotie en decorum<\/em> 173<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Verbeelding<\/em> 173<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Alberdingk Thijm<\/em> 174<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Nieuwbarn<\/em> 174<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Liturgie<\/em> 174<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Intermezzo: de symboliek van de plattegrond van&nbsp;het kerkgebouw<\/em> 175<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Timmers<\/em> 176<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Methode<\/em> 176<br \/>\n<strong>5.3 Canon I | De epische mise-en-sc\u00e8ne en de Beuroner&nbsp;beurtzang<\/strong> 177<br \/>\n<strong>5.4 De gebroeders Dunselman<\/strong> 178<br \/>\n<em>5.4.1 Jan Dunselman als historieschilder apr\u00e8s la lettre<\/em> 179<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Vorming<\/em> 179<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Academisch genre pur sang<\/em> 179<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Historia<\/em> 180<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Prix de Rome<\/em> 180<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Ongebaande paden<\/em> 180<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De Violier en Beuron<\/em> 181<br \/>\n<em>5.4.2 Rolverdeling en technieken<\/em> 183<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Siamese tweeling<\/em> 183<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Technieken<\/em> 184<br \/>\n<em>5.4.3 De Nicolaaskerk: historieschilderkunst en Beuroner&nbsp;schema\u2019s<\/em> 186<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Symboliek<\/em> 187<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Schilder van de kruiswegen<\/em> 189<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Gemene deler met Beuron<\/em> 190<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Beuron elders in de Nicolaaskerk<\/em> 191<br \/>\n<em>5.4.4 Kees Dunselman in de Obrechtkerk: een iconografische&nbsp;exercitie<\/em> 193<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Programma<\/em> 193<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De lijn van Christus Koning<\/em> 194<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Het Paaslam<\/em> 194<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Drie-eenheid<\/em> 195<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Heilig Hart, Margareta Maria Alacoque en Theresia van&nbsp;Avila<\/em> 197<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Jozef<\/em> 197<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Petrus<\/em> 198<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Franciscus van Assisi<\/em> 199<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Clara<\/em> 199<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Maria onbevlekt ontvangen<\/em> 201<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Koortravee<\/em> 202<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Tondi met heiligen<\/em> 204<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Microkosmos<\/em> 204<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Positionering van het programma<\/em> 206<br \/>\n<em>5.4.5 Tussentijdse balans en waardering<\/em> 208<br \/>\n<strong>5.5 Een orthodoxe Beuroner: Jan Oosterman<\/strong> 208<br \/>\n<em>&nbsp; &nbsp; &nbsp; Jan Oosterman (1876-1963)<\/em> 208<br \/>\n<em>&nbsp; &nbsp; &nbsp; Het programma van de Catharinakerk in Den Bosch&nbsp;(1918-1919)<\/em> 208<br \/>\n<em>&nbsp; &nbsp; &nbsp; Beuroner idioom<\/em> 209<br \/>\n<em>&nbsp; &nbsp; &nbsp; Positionering<\/em> 210<br \/>\n<em>&nbsp; &nbsp; &nbsp; De kerk van Petrus Stoel van Antiochi\u00eb in Uden<\/em> 210<br \/>\n<em>&nbsp; &nbsp; &nbsp; Balans<\/em> 212<br \/>\n<strong>5.6 De strijdbare aardse en hemelse orde van&nbsp;F.H. Bach<\/strong> 212<br \/>\n<em>5.6.1 Twaalf rolmodellen in het schip<\/em> 213<br \/>\n<em>5.6.2 Het monachale ideaal tussen engelenkoren, oudsten en het&nbsp;verloren paradijs<\/em> 214<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Triomferende kerk<\/em> 214<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Gabri\u00ebl-Chamae<\/em>l 214<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Michael<\/em> 215<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Gods naam<\/em> 215<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Emmanuel<\/em> 216<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; JX<\/em> 217<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Drie gevleugelde ringen<\/em> 217<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Annunciatie<\/em> 219<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Priester-engelen<\/em> 219<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De beschouwelijke en de strijdbare kerk<\/em> 220<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Een vrouw als Eva en de pelgrim Adam<\/em> 221<br \/>\n<em>5.6.3 Aardse en hemelse stijl: Riegls dichotomie<\/em> 222<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Haptisch versus spiritueel<\/em> 222<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Riegls dichotomie<\/em> 222<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Beltrum als toetssteen<\/em> 223<br \/>\n<em>5.6.4 Evaluatie en waardering<\/em> 225<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Naschrift: de lijdende kerk<\/em> 225<br \/>\n<strong>5.7 Tussen architect, atelier en kunstenaar: Joseph Cuypers&nbsp;en Joan Collette<\/strong> 227<br \/>\n<em>5.7.1 De werkplaatsen van Cuypers &amp; Co en de Beuroner&nbsp;school<\/em> 227<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Beuroner tendenzen<\/em> 227<br \/>\n<em>5.7.2 De Beuroner stijlindicator<\/em> 228<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Stijlindicator<\/em> 228<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Rooi Hartenkapel in Tilburg<\/em> 228<br \/>\n<em>5.7.3 De kapel van kasteel De Haar<\/em> 229<br \/>\n<em>5.7.4 De uitmonstering van de Laurentiuskerk te Dongen<\/em> 230<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Mariakapel te Dongen<\/em> 230<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De apsiscyclus van Joseph Cuypers en Joan Collette<\/em> 234<br \/>\n<em>5.7.5 Evaluatie en waardering<\/em> 238<br \/>\n<strong><span id=\"gerrits\" class=\"sta-anchor \" aria-hidden=\"true\"><\/span>5.8 Het epos van het Heilige Land: Piet Gerrits&nbsp;(1878-1957)<\/strong> 239<br \/>\n<em>5.8.1 Het Heilige Land<\/em> 239<br \/>\n<em>5.8.2 De Heilig Landstichting<\/em> 240<br \/>\n<em>5.8.3 Gerardus Majellakerk in Tilburg<\/em> 241<br \/>\n<em>5.8.4 De Cenakelkerk in de Heilig Landstichting<\/em> 244<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Byzantium \u00e0 la Beuron in de Cenakelkerk<\/em> 244<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De strijdbare kerk in de centraalbouw<\/em> 246<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Ornamenten<\/em> 251<br \/>\n<em>5.8.5 Evaluatie en waardering <\/em>253<br \/>\n<strong>5.9 Op Beuroner wieken: Charles Eyck<\/strong> 254<br \/>\n<em>&nbsp; &nbsp; &nbsp; Tussen Beuron en Ravenna<\/em> 254<br \/>\n<em>&nbsp; &nbsp; &nbsp; Ranken en cassettes<\/em> 255<br \/>\n<em>&nbsp; &nbsp; &nbsp; Stilistische tweedeling<\/em> 255<br \/>\n<em>&nbsp; &nbsp; &nbsp; Het programma van de apsis<\/em> 256<br \/>\n<em>&nbsp; &nbsp; &nbsp; Beuroner typologie<\/em> 258<br \/>\n<em>&nbsp; &nbsp; &nbsp; Stilering<\/em> 259<br \/>\n<em>&nbsp; &nbsp; &nbsp; Assistentie en techniek<\/em> 260<br \/>\n<em>&nbsp; &nbsp; &nbsp; Evaluatie en waardering<\/em> 260<br \/>\n<strong>5.10 De terugkeer van Derkinderen: naschrift en&nbsp;slotbeschouwing<\/strong> 260<br \/>\n<em>5.10.1 De Beuroner klanken in de Eerste Bossche Wand<\/em> 261<br \/>\n<em>5.10.2 De nieuwe Bavo (1894-1930)<\/em> 263<br \/>\n<em>5.10.3 Han Bijvoet als epische einzelg\u00e4nger (1897-1975)<\/em> 263<br \/>\n<em>5.10.4 Overige kunstenaars aan de zijlijn<\/em> 266<br \/>\n<em>5.10.5 Kritiek, kenniswinst en waardering<\/em> 266<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kritiek<\/em> 266<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kenniswinst<\/em> 267<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Beoordelingscriteria<\/em> 267<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Esthetica<\/em> 267<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp;Cultuurhistorische waarde<\/em> 269<\/p>\n<h5><span style=\"color: #800000;\"><strong>6 Canon II Synthetisme en symbolisme<\/strong><\/span>&nbsp;271<\/h5>\n<p><strong> 6.1 Jargon en spelersveld<\/strong> 271<br \/>\n<strong>6.2 Toorops katholieke symbolisme<\/strong> 273<br \/>\n<em>6.2.1 Op weg naar de transcendentie<\/em> 274<br \/>\n<em>6.2.2 Het Roomsche Kerkgebouw (1908)<\/em> 276<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Hemelse Jeruzalem<\/em> 276<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Alternatieve leesrichting<\/em> 278<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Aards Paradijs<\/em> 278<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Lijdende kerk<\/em> 280<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Tussenbalans en vooruitblik<\/em> 280<br \/>\n<em>6.2.3 Kosmisch symbolisme (1921-1927)<\/em> 281<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Maria Rosa Mystica in de metropoo<\/em>l 281<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Het spel van de harp<\/em> 284<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Parallellen<\/em> 286<br \/>\n<em>6.2.4 De kruisweg van Oosterbeek (1916-1919)<\/em> 287<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Chronologie<\/em> 290<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; \u2018Rijthmisch lijnbeweeg\u2019<\/em> 290<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Karel van den Oever<\/em> 291<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Frans Erens<\/em> 293<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Lijden, strijden en overwinnen<\/em> 294<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Tussenbalans<\/em> 298<br \/>\n<em>6.2.5 De pelgrim (1921)<\/em> 298<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; David en Esther<\/em> 300<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Bezielde geometrie en kosmisch symbolisme<\/em> 301<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Sacra conversazione<\/em> 301<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Heb je naaste lief<\/em> 302<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De strijd om het bezit<\/em> 302<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Slapende zielen<\/em> 303<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Nijd en afgunst<\/em> 303<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Gevleugelde zielen<\/em> 304<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kinderziel<\/em> 304<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Christoffel<\/em> 304<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De psychomachia en Diepenbrock<\/em> 305<br \/>\n<em>6.2.6 De pelgrim voorbij: Willem van Konijnenburg en Joan&nbsp;Collette<\/em> 306<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Zacharia<\/em> 306<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Verbi divini inspiratio<\/em> 307<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De triomf van Thomas van Aquino<\/em> 307<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; 14e Zondag na Pinksteren<\/em> 310<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Vooruitblik<\/em> 310<br \/>\n<strong>6.3 De Roomse Haagse School<\/strong> 311<br \/>\n<em>6.3.1 In de periferie van grote meesters: Alex Asperslagh<\/em> 312<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De heilige familie<\/em> 312<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Paulus voor het Kruis<\/em> 313<br \/>\n<em>6.3.2 Thorn Prikker terug in Den Haag: Lou Asperslagh<\/em> 314<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; In den beginne: Toorop<\/em> 314<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Thorn Prikker<\/em> 315<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Symbolisme en synthetisme<\/em> 317<br \/>\n<em>6.3.3 Een breed register aan stijlen: Toon Ninaber van Eyben<\/em> 318<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Grafiek<\/em> 318<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Glasschilderkunst<\/em> 319<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Barokke muurschilderingen<\/em> 320<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Tegeltableaus<\/em> 321<br \/>\n<em>6.3.4 Stijlpluralist pur sang: Joan Collette<\/em> 321<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De Drie-eenheid<\/em> 321<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Vrij katholiek werk<\/em> 323<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Muurschilderkunst<\/em> 323<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Positie<\/em> 323<br \/>\n6.3.5 Op het liturgisch kruispunt: Lode Sengers 324<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Liturgie en natuur<\/em> 324<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Delft<\/em> 325<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Retabelaltaar Den Haag<\/em> 326<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Overige werk<\/em> 327<br \/>\n<em>6.3.6 Toetssteen: Augustijn Hermans en Gerhard Jansen<\/em> 328<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Moza\u00efek en altaar in Tilburg<\/em> 329<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Netwerk<\/em> 331<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kapel Joannes de Deo<\/em> 331<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Gerhard Jansen<\/em> 335<br \/>\n<em>6.3.7 Evaluatie: kritiek en waardering<\/em> 336<br \/>\n<strong>6.4 Anton Molkenboer<\/strong> 339<br \/>\n<em>6.4.1 O.L. Vrouwe van Goede Raad in Den Haag&nbsp;(1922-1923)<\/em> 339<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Tweeluik op de dualiteit<\/em> 339<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Het Geloofs- en het Gebodenraam<\/em> 341<br \/>\n<em>6.4.2 De Antonius Abtkerk in Scheveningen (1925-1928)<\/em> 348<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Symbolisme in iconografie en uitvoering<\/em> 349<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kritiek van Engelman<\/em> 353<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kapellen, kruisweg, engelenmoza\u00efek, moza\u00efekband en&nbsp;glas-in-lood<\/em> 355<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Triomfboog<\/em> 355<br \/>\n<em>6.4.3 Een pluriforme moza\u00efst<\/em> 356<br \/>\n<em>6.4.4 Evaluatie: de pictor imaginarius<\/em> 358<br \/>\n<strong>6.5 Chris Lebeau<\/strong> 359<br \/>\n<em>6.5.1 Het kosmische programma in de oudkatholieke kerk te&nbsp;Leiden (1926-1931)<\/em> 359<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De opmaat in Amsterdam<\/em> 359<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Christus pantocrator<\/em> 360<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Theosofische Drie-eenheid?<\/em> 361<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Strijdende kerk en priesterschap<\/em> 361<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De evangelisten en de samenleving<\/em> 362<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Geloof<\/em> 364<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Hoop<\/em> 365<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Liefde<\/em> 365<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Christus in triplo<\/em> 366<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De trap des levens<\/em> 367<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Technische uitwerking<\/em> 369<br \/>\n<em>6.5.2 Evaluatie: tussen Amsterdam en Leiden<\/em> 370<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Het mystieke Amsterdam<\/em> 371<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Het aardse Leiden<\/em> 371<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Slotsom<\/em> 371<br \/>\n<strong>6.6 Een representatieve achterhoede: naschrift en&nbsp;slotbeschouwing<\/strong> 372<br \/>\n<em>&nbsp; &nbsp; &nbsp; La longue dur\u00e9e<\/em> 372<br \/>\n<em>6.6.1 De achterhoede: Jan Gr\u00e9goire<\/em> 372<br \/>\n<em>6.6.2 Herman Walstra<\/em> 373<br \/>\n<em>6.6.3 Willem Wiegmans<\/em> 373<br \/>\n<em>6.6.4 Lodewijk Schelfhout<\/em> 373<br \/>\n<em>6.6.5 R.N. Roland Holst op de achtergrond<\/em> 376<br \/>\n<em>6.6.6 Kritiek, kenniswinst en waardering<\/em> 376<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kunstkritiek<\/em> 376<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kenniswinst<\/em> 376<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Schoonheid, betekenis voor de wetenschap en&nbsp;cultuurhistorische waarde<\/em> 377<\/p>\n<h5><span style=\"color: #800000;\"><strong>7 Canon III de expressionistische stam<\/strong><\/span>&nbsp;379<\/h5>\n<p><strong> 7.1 Liturgie, vormconcepten en exponenten<\/strong> 379<br \/>\n<em>&nbsp; &nbsp; &nbsp; Alibi voor de moderne kunst<\/em> 379<br \/>\n<em>&nbsp; &nbsp; &nbsp; Gotiek \u2013 barok \u2013 expressionisme<\/em> 380<br \/>\n<em>&nbsp; &nbsp; &nbsp; Factuur en handschrift, plastisch en picturaal<\/em> 382<br \/>\n<em>&nbsp; &nbsp; &nbsp; Symbolisme en synthetisme<\/em> 382<br \/>\n<em>&nbsp; &nbsp; &nbsp; Pond\u00e9ration, \u2018nieuwe ruimtelijke logica\u2019 of&nbsp;\u2018verhoudingsbeelding\u2019<\/em> 384<br \/>\n<strong>7.2 De waaier van Clemens Meuleman<\/strong> 385<br \/>\n<em>&nbsp; &nbsp; &nbsp; De handelaar<\/em> 385<br \/>\n<em>&nbsp; &nbsp; &nbsp; Standaardwer<\/em>k 386<br \/>\n<em>&nbsp; &nbsp; &nbsp; Vooruitblik<\/em> 388<br \/>\n<strong>7.3 Joep Nicolas<\/strong> 389<br \/>\n<em>&nbsp; &nbsp; &nbsp; Artistieke vorming<\/em> 389<br \/>\n<em>7.3.1 Asselt: de \u2018groote symphonie der doodenmysteri\u00ebn\u2019<\/em> 390<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De mecenas in Asselt<\/em> 390<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Legendevorming<\/em> 390<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Programma<\/em> 391<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Noorderportaal<\/em> 392<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Zuiderportaal<\/em> 396<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De apotheose in de kapel<\/em> 397<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Schilderstijl<\/em> 399<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De positie van de Aflegging van Christus<\/em> 402<br \/>\n<em>7.3.2 De inspiratie van Derkinderen en de Goudse glazen<\/em> 403<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Nieuwe barok<\/em> 403<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Derkinderen<\/em> 404<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Goudse glazen<\/em> 405<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Breda<\/em> 406<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Pluriforme kunstenaar<\/em> 406<br \/>\n<em>7.3.3 Vermurail<\/em> 407<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Naar een monumentaal handschrift<\/em> 407<br \/>\n<em>7.3.4 Slotbeschouwing<\/em> 408<br \/>\n<strong>7.4 Henri Jonas<\/strong> 408<br \/>\n<em>&nbsp; &nbsp; &nbsp; De Amsterdamse scene<\/em> 408<br \/>\n<em>7.4.1 De glazen van de Koepelkerk<\/em> 409<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Davidraam<\/em> 409<br \/>\n<em>7.4.2 De Madonna en Jonas als pictor doctus<\/em> 411<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Zelfportret in de aanbidding van Maria<\/em> 411<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Maritaineske pictor doctus<\/em> 411<br \/>\n<em>7.4.3 De Mariacyclus in de Koepelkerk \u2018al fresco\u2019 in keimverf<\/em> 413<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Het \u2018middenluik\u2019<\/em> 413<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De \u2018zijpanelen\u2019<\/em> 414<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Vormgeving en factuur<\/em> 415<br \/>\n<strong>7.5 Matthieu Wiegman<\/strong> 415<br \/>\n<em>&nbsp; &nbsp; &nbsp; Klassieke opmaat in Frankrijk<\/em> 415<br \/>\n<em>7.5.1 De engelencyclus in de Obrechtkerk<\/em> 417<br \/>\n<em>7.5.2 Het programma rond Maria Middelares in het&nbsp;noordertransept<\/em> 418<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De bruiloft van Kana<\/em> 419<br \/>\n<em>7.5.3 Het programma rond eucharistie en evangelisatie in het&nbsp;zuidertransept<\/em> 420<br \/>\n<em>De wonderbaarlijke vermenigvuldiging van vis en&nbsp;brood<\/em> 420<br \/>\n<em>Eucharistie en evangelisatie<\/em> 422<br \/>\n<em>7.5.4 Reflectie op de beeldspraak<\/em> 422<br \/>\n<strong>7.6 Otto van Rees<\/strong> 423<br \/>\n<em>&nbsp; &nbsp; &nbsp; Kubisme<\/em> 424<br \/>\n<em>&nbsp; &nbsp; &nbsp; Netwerk in Nederland<\/em> 424<br \/>\n<em>7.6.1 Tussen klassiek en barok<\/em> 425<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De klassieke kop<\/em> 426<br \/>\n<em>7.6.2 Piet\u00e0kapel met de bewening in de Obrechtkerk<\/em> 426<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De figuren in de nissen<\/em> 428<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Symbiose<\/em> 428<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Tussen rouwen en verlossing<\/em> 429<br \/>\n<em>7.6.3 Historiografische reflectie<\/em> 430<br \/>\n<strong>7.7 De muur als een blad papier: Jos ten Horn<\/strong> 431<br \/>\n<strong>7.8 Jean Adams<\/strong> 435<br \/>\n<em>&nbsp; &nbsp; &nbsp; Tussen hamer en aambeeld<\/em> 436<br \/>\n<em>&nbsp; &nbsp; &nbsp; Het monumentale oeuvre<\/em> 437<br \/>\n<em>7.8.1 Nunhem: Paulus en Religio catholica<\/em> 437<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Paulus, liefde en Maritain<\/em> 439<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Religio, vrijheid en Maritain<\/em> 440<br \/>\n<em>7.8.2 De catechese op het priesterkoor en in de kinderkapel<\/em> 440<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kinderlijke benadering<\/em> 440<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Initiatiesacramenten<\/em> 441<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Waardig, instructief en toegankelijk<\/em> 441<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Moederlijk<\/em> 442<br \/>\n<em>7.8.3 Het drievoudige thema van de zonnebloem<\/em> 442<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Zucht naar God<\/em> 442<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Vondel<\/em> 443<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Van Gogh<\/em> 443<br \/>\n<em>7.8.4 Experiment met een monumentale stijl<\/em> 444<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Wiegman<\/em> 445<br \/>\n<em>7.8.5 Evaluatie<\/em> 445<br \/>\n<strong>7.9 Charles Eyck<\/strong> 445<br \/>\n<em>&nbsp; &nbsp; &nbsp; Architectuur van Boosten<\/em> 447<br \/>\n<em>&nbsp; &nbsp; &nbsp; Canon van de mis<\/em> 447<br \/>\n<em>&nbsp; &nbsp; &nbsp; Driehoekscompositie en boom<\/em> 448<br \/>\n<em>&nbsp; &nbsp; &nbsp; Detaillering<\/em> 449<br \/>\n<em>&nbsp; &nbsp; &nbsp; Koepel<\/em> 449<br \/>\n<em>&nbsp; &nbsp; &nbsp; Programma, stijl en missionering<\/em> 450<br \/>\n<strong>7.10 Eug\u00e8ne Laudy<\/strong> 451<br \/>\n<em>&nbsp; &nbsp; &nbsp; Debuut<\/em> 451<br \/>\n<em>&nbsp; &nbsp; &nbsp; Relatie tot Eyck<\/em> 451<br \/>\n<em>&nbsp; &nbsp; &nbsp; De iconografische professional<\/em> 455<br \/>\n<strong>7.11 De overvloed van de weelde: naschrift en&nbsp;slotbeschouwing<\/strong> 456<br \/>\n<em>7.11.1 Lambert Simon<\/em> 457<br \/>\n<em>7.11.2 Jacob Ydema<\/em> 458<br \/>\n<em>7.11.3 Jaap Mes<\/em> 460<br \/>\n<em>7.11.4 Kritiek, kenniswinst en waardering<\/em> 463<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; De overvloed van de weelde<\/em> 463<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kunstkritiek<\/em> 463<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Kenniswinst<\/em> 464<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Waardering vanuit de hoofdcriteria: schoonheid,&nbsp;betekenis voor de wetenschap<\/em><\/p>\n<p><em> en cultuurhistorische&nbsp;waarde<\/em> 466<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Priesters en leken<\/em> 466<br \/>\n<em>&nbsp; &nbsp; &nbsp; &nbsp; Iconografen<\/em> 466<\/p>\n<h5><span style=\"color: #800000;\"><strong>8. Bijlagen<\/strong><\/span>&nbsp;468<\/h5>\n<p><strong> 8.1 Waardenstellende termen en begrippen<\/strong> 468<br \/>\n<em>8.1.1 Uitgangspunten<\/em> 468<br \/>\n<em>8.1.2 Verklarende termen en begrippen<\/em> 469<br \/>\n<em>8.1.3 Verwijzende termen en begrippen<\/em> 475<br \/>\n<strong>8.2 Het traktaatje van Jan \u2013Willibrord &#8211; Verkade<\/strong> 476<\/p>\n<h5><span style=\"color: #800000;\"><strong>9. Bronnenlijst<\/strong><\/span>&nbsp;478<\/h5>\n<p><strong> 9.1 Lijst van afkortingen<\/strong> 478<br \/>\n<strong>9.2 Geraadpleegde archieven<\/strong> 478<br \/>\n<strong>9.3 Bibliografie<\/strong> 478<br \/>\n<span style=\"color: #800000;\"><strong>Noten<\/strong><\/span> 483<br \/>\n<em>Hoofdstuk 1<\/em> 483<br \/>\n<em>Hoofdstuk 2<\/em> 483<br \/>\n<em>Hoofdstuk 3<\/em> 486<br \/>\n<em>Hoofdstuk 4<\/em> 487<br \/>\n<em>Hoofdstuk 5<\/em> 490<br \/>\n<em>Hoofdstuk 6<\/em> 493<br \/>\n<em>Hoofdstuk 7<\/em> 496<br \/>\n<em>8. Bijlagen<\/em> 496<br \/>\n<em>Bijschriften<\/em> 498<br \/>\n<span style=\"color: #800000;\"><strong>Register<\/strong><\/span> 500<br \/>\n<em>Namen<\/em> 500<br \/>\n<em>Topografica<\/em> 504<br \/>\n<em>Begrippen<\/em> 505<\/p>\n<hr \/>\n<div id=\"attachment_14563\" style=\"width: 650px\" class=\"wp-caption alignnone\"><a href=\"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2019\/05\/2019-Hemelvaart-Jan-Dunselman-Lisse.jpg?ssl=1\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-14563\" data-attachment-id=\"14563\" data-permalink=\"https:\/\/www.vanhellenberghubar.org\/index.php\/projecten\/de-genade-van-de-steiger\/toegang\/register-begrippen\/2019-hemelvaart-jan-dunselman-lisse\/#main\" data-orig-file=\"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2019\/05\/2019-Hemelvaart-Jan-Dunselman-Lisse.jpg?fit=1469%2C1052&amp;ssl=1\" data-orig-size=\"1469,1052\" data-comments-opened=\"0\" data-image-meta=\"{&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Jan Dunselman, Pseudo-statie van de Kruisweg in de Agathakerk van Lisse (1903-1911). Beeldbank RCE-Sjaan van der Jagt\/Pixelpolder 2012.\" data-image-description=\"&lt;p&gt;#GvdSteiger&lt;\/p&gt;\n\" data-image-caption=\"&lt;p&gt;Jan Dunselman, Pseudo-statie van de Kruisweg in de Agathakerk van Lisse (1903-1911). Beeldbank RCE-Sjaan van der Jagt\/Pixelpolder 2012.&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2019\/05\/2019-Hemelvaart-Jan-Dunselman-Lisse.jpg?fit=640%2C458&amp;ssl=1\" class=\"size-large wp-image-14563\" src=\"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2019\/05\/2019-Hemelvaart-Jan-Dunselman-Lisse.jpg?resize=640%2C458&#038;ssl=1\" alt=\"Jan Dunselman, Pseudo-statie van de Kruisweg in de Agathakerk van Lisse (1903-1911). Beeldbank RCE-Sjaan van der Jagt\/Pixelpolder 2012.\" width=\"640\" height=\"458\" srcset=\"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2019\/05\/2019-Hemelvaart-Jan-Dunselman-Lisse.jpg?resize=1024%2C733&amp;ssl=1 1024w, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2019\/05\/2019-Hemelvaart-Jan-Dunselman-Lisse.jpg?resize=300%2C215&amp;ssl=1 300w, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2019\/05\/2019-Hemelvaart-Jan-Dunselman-Lisse.jpg?resize=800%2C573&amp;ssl=1 800w, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2019\/05\/2019-Hemelvaart-Jan-Dunselman-Lisse.jpg?resize=768%2C550&amp;ssl=1 768w, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2019\/05\/2019-Hemelvaart-Jan-Dunselman-Lisse.jpg?w=1469&amp;ssl=1 1469w, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2019\/05\/2019-Hemelvaart-Jan-Dunselman-Lisse.jpg?w=1280&amp;ssl=1 1280w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><\/a><p id=\"caption-attachment-14563\" class=\"wp-caption-text\"><em>Jan Dunselman, Pseudo-statie van de Kruisweg in de Agathakerk van Lisse (1903-1911). Beeldbank RCE-Sjaan van der Jagt\/Pixelpolder 2012.<\/em><\/p><\/div>\n<p>Verkorte link:&nbsp;http:\/\/bit.ly\/1NI24oP<\/p>\n<p>\u2190 Terug naar <a title=\"De genade van de steiger\" href=\"https:\/\/www.vanhellenberghubar.org\/index.php\/projecten\/de-genade-van-de-steiger\/\"><em>De genade van de steiger<\/em><\/a>!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Inhoudsopgave \u2014 Nu roep ik je met de onderstaande Pinksterwens wel op om het verhaal over Piet Gerrits te lezen, maar dat is zo eenvoudig nog niet! &#8216;De genade van de steiger&#8217; is namelijk&nbsp;uitverkocht en kan alleen nog antiquarisch besteld worden. Je kunt het boek wel opvragen via een van de &#8211; openbare &#8211; bibliotheken [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":3591,"parent":3546,"menu_order":48,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"_jetpack_hide_featured_image":false,"_jetpack_featured_image_duplicate_dismissed":0,"footnotes":""},"tags":[529,516,82,739,1795,2026],"class_list":["post-3617","page","type-page","status-publish","has-post-thumbnail","hentry","tag-historieschilderkunst","tag-jan-gregoire","tag-obrechtkerk","tag-paulus","tag-symbolisme","tag-synthetisme"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Inhoudsopgave van &#039;De genade van de steiger&#039; - VanHellenbergHubar.org<\/title>\n<meta name=\"description\" content=\"Inhoudsopgave | Ontdek onder meer welke kunstenaars voorkomen in &#039;De genade van de steiger&#039;, het boek over monumentale kerkelijke schilderkunst (1890-1950)\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.vanhellenberghubar.org\/index.php\/projecten\/de-genade-van-de-steiger\/toegang\/inhoudsopgave\/\" \/>\n<meta property=\"og:locale\" content=\"nl_NL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Inhoudsopgave van &#039;De genade van de steiger&#039; 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Dus vandaar deze heerlijk ouderwetse inhoudsopgave van de pagina's, gevolgd door een register op het eerste woord van de berichten\/blogs. Stand van zaken \u2014 We zitten nu op circa 165 berichten en\u2026","rel":"","context":"In \"blogs\"","block_context":{"text":"blogs","link":"https:\/\/www.vanhellenberghubar.org\/index.php\/tag\/blogs\/"},"img":{"alt_text":"De sitemap als virtuele variant van de entree van een gebouw. 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Je leest er meer over hieronder na de inhoudsopgave. Onderstaande fotoreportages van het onderzoek naar 'De genade van de steiger' ... ... staan niet langer on line vanwege de kosten van\u2026","rel":"","context":"In \"#GvdS\"","block_context":{"text":"#GvdS","link":"https:\/\/www.vanhellenberghubar.org\/index.php\/tag\/gvds\/"},"img":{"alt_text":"A. Federle in de oud-katholieke Gertrudiskerk te Utrecht (1932).","src":"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2020\/11\/Gertrudis-Utrecht-bvhh-2012-10-lq-.jpg?fit=900%2C1200&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2020\/11\/Gertrudis-Utrecht-bvhh-2012-10-lq-.jpg?fit=900%2C1200&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2020\/11\/Gertrudis-Utrecht-bvhh-2012-10-lq-.jpg?fit=900%2C1200&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2020\/11\/Gertrudis-Utrecht-bvhh-2012-10-lq-.jpg?fit=900%2C1200&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":5136,"url":"https:\/\/www.vanhellenberghubar.org\/index.php\/projecten\/de-genade-van-de-steiger\/bestellen\/","url_meta":{"origin":3617,"position":2},"title":"&#8216;De genade van de steiger&#8217; is uitverkocht!","author":"Bernadette van Hellenberg Hubar","date":"23 januari 2015","format":false,"excerpt":"Met \u00e9\u00e9n klik op de afbeelding k\u00f3n je De genade van de steiger\u00a0bestellen! Dat kan dus niet meer, want het boek is uitverkocht. Gelukkig blijkt het bij verschillende webwinkels nog verkrijgbaar te zijn en verder wordt het ook tweedehands en antiquarisch aangeboden. Ga maar eens googelen. Je kunt het boek\u2026","rel":"","context":"In \"#GvdSteiger\"","block_context":{"text":"#GvdSteiger","link":"https:\/\/www.vanhellenberghubar.org\/index.php\/tag\/gvdsteiger\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2015\/01\/GvdSteiger-screenshot-Walburg-Pers-rond.png?fit=743%2C749&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2015\/01\/GvdSteiger-screenshot-Walburg-Pers-rond.png?fit=743%2C749&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2015\/01\/GvdSteiger-screenshot-Walburg-Pers-rond.png?fit=743%2C749&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2015\/01\/GvdSteiger-screenshot-Walburg-Pers-rond.png?fit=743%2C749&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":18229,"url":"https:\/\/www.vanhellenberghubar.org\/index.php\/archief\/webitems\/spreadsheets-onderzoek-genade-van-de-steiger\/","url_meta":{"origin":3617,"position":3},"title":"Spreadsheets onderzoek &#8216;De genade van de steiger&#8217;","author":"Bernadette van Hellenberg Hubar","date":"15 november 2021","format":false,"excerpt":"Spreadsheets onderzoek 'De genade van de steiger' \u2014 Zoals op de hoofdpagina aangegeven, hebben we in het kader van het drie-jarige project 'De genade van de steiger' (2011-2013) verschillende spreadsheets opgezet, die we hier online hebben gezet.1 Spreadsheet 'Genade van de steiger' We beginnen met het meest omvangrijke spreadsheet: het\u2026","rel":"","context":"In \"boek\"","block_context":{"text":"boek","link":"https:\/\/www.vanhellenberghubar.org\/index.php\/tag\/boek\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2018\/12\/Matthieu-Wiegman-broodvermenigvuldiging-Obrechtkerk.png?fit=1200%2C756&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2018\/12\/Matthieu-Wiegman-broodvermenigvuldiging-Obrechtkerk.png?fit=1200%2C756&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2018\/12\/Matthieu-Wiegman-broodvermenigvuldiging-Obrechtkerk.png?fit=1200%2C756&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2018\/12\/Matthieu-Wiegman-broodvermenigvuldiging-Obrechtkerk.png?fit=1200%2C756&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2018\/12\/Matthieu-Wiegman-broodvermenigvuldiging-Obrechtkerk.png?fit=1200%2C756&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1689,"url":"https:\/\/www.vanhellenberghubar.org\/index.php\/archief\/webitems\/toegang\/","url_meta":{"origin":3617,"position":4},"title":"Hoe je nader toegang krijgt","author":"Bernadette van Hellenberg Hubar","date":"23 juni 2014","format":false,"excerpt":"Toegang \u2014 Hieronder hebben we een paar oplossingen op een rij gezet die toegang geven tot onze haast encyclopedische website. Eigenlijk hoor ik thuis op het Djemaa el Fnaplein in Marrakesh, want ik ben een rasechte verhalenverteller.* En zoals dat gaat met verhalen, het worden er niet minder, maar altijd\u2026","rel":"","context":"In &quot;Bern4dette&quot;","block_context":{"text":"Bern4dette","link":"https:\/\/www.vanhellenberghubar.org\/index.php\/category\/bern4dette\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2014\/05\/Marrakesh-bvhh-19-26-mrt-14-medium-235.jpg?fit=1024%2C768&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2014\/05\/Marrakesh-bvhh-19-26-mrt-14-medium-235.jpg?fit=1024%2C768&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2014\/05\/Marrakesh-bvhh-19-26-mrt-14-medium-235.jpg?fit=1024%2C768&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2014\/05\/Marrakesh-bvhh-19-26-mrt-14-medium-235.jpg?fit=1024%2C768&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1148,"url":"https:\/\/www.vanhellenberghubar.org\/index.php\/projecten\/de-genade-van-de-steiger\/","url_meta":{"origin":3617,"position":5},"title":"De genade van de steiger","author":"Bernadette van Hellenberg Hubar","date":"10 februari 2014","format":false,"excerpt":"Jan Toorop, De genade van de steiger en wat dies meer zij ... De kruisweg van Toorop ... Omslag van 'De genade van de steiger'. De foto's op de omslag en in het boek kunnen gedownload worden via de beeldbank van de RCE en zijn merendeels gemaakt door Pixelpolder. Signalement\u2026","rel":"","context":"In &quot;Genade van de steiger&quot;","block_context":{"text":"Genade van de steiger","link":"https:\/\/www.vanhellenberghubar.org\/index.php\/category\/onderzoek\/genade-van-de-steiger\/"},"img":{"alt_text":"Lezing 'Genade van de steiger' Probus Leudal en Thorner kwartier 26 mei 2016","src":"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2018\/12\/GvdS-lezing-Probus-26-mei-16.png?fit=1200%2C799&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2018\/12\/GvdS-lezing-Probus-26-mei-16.png?fit=1200%2C799&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2018\/12\/GvdS-lezing-Probus-26-mei-16.png?fit=1200%2C799&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2018\/12\/GvdS-lezing-Probus-26-mei-16.png?fit=1200%2C799&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/www.vanhellenberghubar.org\/wp-content\/uploads\/2018\/12\/GvdS-lezing-Probus-26-mei-16.png?fit=1200%2C799&ssl=1&resize=1050%2C600 3x"},"classes":[]}],"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/www.vanhellenberghubar.org\/index.php\/wp-json\/wp\/v2\/pages\/3617","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.vanhellenberghubar.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.vanhellenberghubar.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.vanhellenberghubar.org\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.vanhellenberghubar.org\/index.php\/wp-json\/wp\/v2\/comments?post=3617"}],"version-history":[{"count":47,"href":"https:\/\/www.vanhellenberghubar.org\/index.php\/wp-json\/wp\/v2\/pages\/3617\/revisions"}],"predecessor-version":[{"id":18503,"href":"https:\/\/www.vanhellenberghubar.org\/index.php\/wp-json\/wp\/v2\/pages\/3617\/revisions\/18503"}],"up":[{"embeddable":true,"href":"https:\/\/www.vanhellenberghubar.org\/index.php\/wp-json\/wp\/v2\/pages\/3546"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.vanhellenberghubar.org\/index.php\/wp-json\/wp\/v2\/media\/3591"}],"wp:attachment":[{"href":"https:\/\/www.vanhellenberghubar.org\/index.php\/wp-json\/wp\/v2\/media?parent=3617"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.vanhellenberghubar.org\/index.php\/wp-json\/wp\/v2\/tags?post=3617"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}