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.
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Master Thesis
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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).
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