The Rough Guide To Amsterdam Part 5

Display at De Hollandsche Schouwburg When the museum reopens, there will be several other exhibition areas devoted to the trade union movement.

The Old Jewish Quarter and Eastern docklands The Plantagebuurt The Plantagebuurt Verzetsmuseum The excellent Verzetsmuseum Verzetsmuseum, at Plantage Kerklaan 61 (Dutch Resistance Museum; TuesFri 10am5pm; Mon, Sat & Sun 11am5pm; 6.50; www.verzetsmuseum.org), relates the story of the German occupation German occupation of the Netherlands and the progress of the Resistance in World War II, from the invasion of May 1940 to the liberation of 1945. Thoughtfully presented, the display along the central gangway examines the main themes of the occupation, dealing honestly with the fine balance between cooperation and collaboration. On either side, smaller display areas are devoted to different aspects of the of the Netherlands and the progress of the Resistance in World War II, from the invasion of May 1940 to the liberation of 1945. Thoughtfully presented, the display along the central gangway examines the main themes of the occupation, dealing honestly with the fine balance between cooperation and collaboration. On either side, smaller display areas are devoted to different aspects of the Resistance Resistance, like the coordinated transport strike towards the end of the war and more ad hoc responses, like the so-called Melkstaking Melkstaking (Milk Strike) in the spring of 1943, when hundreds of milk producers refused to deliver, in protest at the Germans' threatened deportation of 300,000 former (demobilized) Dutch soldiers to labour camps in Germany. There is also a particularly interesting section on the Jews, outlining the way in which the Germans gradually isolated them, breaking their connections with the rest of the Dutch population before moving in for the kill. Interestingly, the Dutch Resistance proved especially adept at forgery, forcing the Germans to make the ident.i.ty cards they issued more and more complicated but without much success. A further sub-section focuses on the Dutch East Indies, modern-day Indonesia, where many of the inhabitants initially welcomed the j.a.panese when they brushed the Dutch aside during the j.a.panese invasion of the islands in 1942. The Indonesians soon learnt that the j.a.panese were not to be preferred to their old masters, but when the Dutch tried to rea.s.sert their control at the end of World War II in a shoddy and shameful colonial war, the Indonesians fought back, eventually winning independence in 1949. (Milk Strike) in the spring of 1943, when hundreds of milk producers refused to deliver, in protest at the Germans' threatened deportation of 300,000 former (demobilized) Dutch soldiers to labour camps in Germany. There is also a particularly interesting section on the Jews, outlining the way in which the Germans gradually isolated them, breaking their connections with the rest of the Dutch population before moving in for the kill. Interestingly, the Dutch Resistance proved especially adept at forgery, forcing the Germans to make the ident.i.ty cards they issued more and more complicated but without much success. A further sub-section focuses on the Dutch East Indies, modern-day Indonesia, where many of the inhabitants initially welcomed the j.a.panese when they brushed the Dutch aside during the j.a.panese invasion of the islands in 1942. The Indonesians soon learnt that the j.a.panese were not to be preferred to their old masters, but when the Dutch tried to rea.s.sert their control at the end of World War II in a shoddy and shameful colonial war, the Indonesians fought back, eventually winning independence in 1949.

Throughout the museum, a first-rate range of old photographs photographs ill.u.s.trates the (English and Dutch) text along with a host of original ill.u.s.trates the (English and Dutch) text along with a host of original artefacts artefacts, from examples of illegal newsletters to signed German death warrants and, perhaps most moving of all, farewell letters thrown from the Auschwitz train. Apart from the treatment of the Jews, perhaps the most chilling feature of the occupation was the use of indiscriminate reprisals reprisals to terrify the population. Adopted in 1944, when the Dutch Resistance became a major irritant, this policy of ma.s.s reprisals cowed most of the population most of the time, though there was always a minority courageous enough to resist. Some of these brave men and women are commemorated by little metal sheets, which provide potted biographical notes and it's this mixture of the general and the personal that is the museum's particular strength. to terrify the population. Adopted in 1944, when the Dutch Resistance became a major irritant, this policy of ma.s.s reprisals cowed most of the population most of the time, though there was always a minority courageous enough to resist. Some of these brave men and women are commemorated by little metal sheets, which provide potted biographical notes and it's this mixture of the general and the personal that is the museum's particular strength.

The Old Jewish Quarter and Eastern docklands The Oosterdok Just to the north of the Plantagebuurt lies the Oosterdok Oosterdok, whose network of artificial islands was dredged out of the River IJ to increase Amsterdam's shipping facilities in the seventeenth century. By the 1980s, this mosaic of docks, jetties and islands had become something of a post-industrial eyesore, but since then an ambitious redevelopment programme has turned things around and parts of the area are now occupied by some of the city's most popular housing. The only obvious sights here are the Nederlands Scheepvaartmuseum Nederlands Scheepvaartmuseum (Netherlands Maritime Museum), though the interior is closed for a major refit until 2012, maybe later, and the NEMO science and technology centre, which is primarily geared towards kids. (Netherlands Maritime Museum), though the interior is closed for a major refit until 2012, maybe later, and the NEMO science and technology centre, which is primarily geared towards kids.

The Old Jewish Quarter and Eastern docklands The Oosterdok The Oosterdok The Dutch East India Company The Dutch East India CompanyFounded in 1602, the Dutch East India Company Dutch East India Company (the VOC Verenigde Oostindische Compagnie) was the chief pillar of Amsterdam's wealth for nearly two hundred years. Its high-percentage profits came from importing spices into Europe, and to secure its supplies the company's ships ventured far and wide, establishing trading links with India, Sri Lanka, Indo-China, Malaya, China and j.a.pan, though modern-day Indonesia was always the main event. Predictably, the company had a cosy relationship with the merchants who steered the Dutch government; the company was granted a trading monopoly in all the lands east of the Cape of Good Hope and could rely on the warships of the powerful Dutch Navy if they got into difficulty. Neither was their business purely mercantile; the East India Company exercised unlimited military, judicial and political powers in those trading posts it established, the first of which was Batavia in Java in 1619. (the VOC Verenigde Oostindische Compagnie) was the chief pillar of Amsterdam's wealth for nearly two hundred years. Its high-percentage profits came from importing spices into Europe, and to secure its supplies the company's ships ventured far and wide, establishing trading links with India, Sri Lanka, Indo-China, Malaya, China and j.a.pan, though modern-day Indonesia was always the main event. Predictably, the company had a cosy relationship with the merchants who steered the Dutch government; the company was granted a trading monopoly in all the lands east of the Cape of Good Hope and could rely on the warships of the powerful Dutch Navy if they got into difficulty. Neither was their business purely mercantile; the East India Company exercised unlimited military, judicial and political powers in those trading posts it established, the first of which was Batavia in Java in 1619.In the 1750s, the Dutch East India Company went into decline, partly because the British expelled them from most of the best trading stations, but mainly because the company had borrowed too heavily. The French army of occupation had little time for the privileges and pretensions of the VOC, abolishing its ruling council and ultimately dissolving the company in 1799.

The Old Jewish Quarter and Eastern docklands The Oosterdok The Oosterdok Entrepotdok At the northern end of Plantage Kerklaan, just beyond the Verzetsmuseum Verzetsmuseum, a footbridge leads over to Entrepotdok Entrepotdok, on the nearest and most interesting of the Oosterdok islands. Old brick warehouses warehouses stretch along much of the quayside, distinguished by their spout gables, multiple doorways and overhead pulleys. Built by stretch along much of the quayside, distinguished by their spout gables, multiple doorways and overhead pulleys. Built by the the Dutch East India Company Dutch East India Company in the eighteenth century, they were once part of the largest warehouse complex in continental Europe, a gigantic customs-free zone established for goods in transit. On the ground floor, above each main entrance, every warehouse sports the name of a town or island; goods for onward transportation were stored in the appropriate warehouse until there were enough to fill a boat or barge. The warehouses have been tastefully converted into offices and apartments, a fate they share with the central Dutch East India Company compound, whose modest brickwork culminates in a chunky Neocla.s.sical entrance at the west end of Entrepotdok on Kadijksplein. in the eighteenth century, they were once part of the largest warehouse complex in continental Europe, a gigantic customs-free zone established for goods in transit. On the ground floor, above each main entrance, every warehouse sports the name of a town or island; goods for onward transportation were stored in the appropriate warehouse until there were enough to fill a boat or barge. The warehouses have been tastefully converted into offices and apartments, a fate they share with the central Dutch East India Company compound, whose modest brickwork culminates in a chunky Neocla.s.sical entrance at the west end of Entrepotdok on Kadijksplein.

The Old Jewish Quarter and Eastern docklands The Oosterdok The Oosterdok The Nederlands Scheepvaartmuseum The Nederlands Scheepvaartmuseum Nederlands Scheepvaartmuseum (Netherlands Maritime Museum; closed until further notice; (Netherlands Maritime Museum; closed until further notice; www.scheepvaartmuseum.nl) occupies the old a.r.s.enal of the Dutch Navy, a vast sandstone structure built on the Oosterdok beside Kattenburgerplein in the 1650s. It's underpinned by no fewer than 18,000 wooden piles driven deep into the riverbed at enormous expense, a testament to the nautical ambitions of the Dutch elite. The building's four symmetrical facades are dour and imposing despite the odd stylistic flourish, princ.i.p.ally some quaint dormer windows and Neocla.s.sical pediments, and they surround a central, cobbled courtyard under which was kept a copious supply of freshwater to supply the ships. It's the perfect location for a Maritime Museum and when it reopens, probably in 2012, it promises to be one of the city's key attractions.

The Old Jewish Quarter and Eastern docklands The Oosterdok The Oosterdok ARCAM, NEMO and the Bibliotheek Set on the Prins Hendrikkade waterfront is ARCAM ARCAM (TuesSat 15pm; free; (TuesSat 15pm; free; www.arcam.nl), the Amsterdam Centre for Architecture, housed in a distinctive aluminium and gla.s.s structure designed by the Dutch architect Rene van Zuuk Rene van Zuuk. The design was much praised at the time of its construction, but the building does look rather disconcertingly like the head of a golf club. Inside, a small gallery area is used for an imaginative programme of temporary exhibitions on contemporary architecture in general and building plans for Amsterdam in particular.

[image]

ARCAM (Amsterdam Centre for Architecture) Moored behind ARCAM are all sorts of antique boats and barges boats and barges, which together make an informal record of the development of local shipping; the earliest boats date from the middle of the nineteenth century, and plaques, in English and Dutch, give the historical lowdown on the more important vessels. The boats lead towards the ma.s.sive elevated hood that rears up above the entrance to the River IJ tunnel. A good part of this hood is now occupied by NEMO NEMO (TuesSun 10am5pm; Mon open same hours during school holidays and in July & Aug; 11.50, under-4s free; (TuesSun 10am5pm; Mon open same hours during school holidays and in July & Aug; 11.50, under-4s free; www.e-nemo.nl), a (pre-teenage) kids' attraction par excellence par excellence, with all sorts of interactive science and technological exhibits spread over six decks. For more on NEMO, see "The zoo and museums".

Outside, moored at the NEMO jetty, is a full-scale replica of an East Indiaman, the 78-metre De Amsterdam De Amsterdam (same times; 2 with NEMO ticket, otherwise 5). The ship has been temporarily relocated here while the Maritime Museum, which owns it, is closed. The original ship first set sail in 1748, but came to an ignominious end, getting stuck on the British coast near Hastings. Visitors can wander its decks and galleys, storerooms and gun bays at their leisure. (same times; 2 with NEMO ticket, otherwise 5). The ship has been temporarily relocated here while the Maritime Museum, which owns it, is closed. The original ship first set sail in 1748, but came to an ignominious end, getting stuck on the British coast near Hastings. Visitors can wander its decks and galleys, storerooms and gun bays at their leisure.

From NEMO a footbridge leads over the harbour to the brand-new city library, the Bibliotheek Bibliotheek, which occupies a large and well-appointed modern block on Oosterdokskade (daily 10am10pm; free internet access; www.oba.nl). From here, a second, even longer nautical walkway leads along the edge of the harbour back to Centraal Station. Alternatively, you can take Prins Hendrikkade for the short walk west to the Oudeschans ca.n.a.l (see "Kloveniersburgwal"), which serves as an attractive introduction to the Old Centre.

The Old Jewish Quarter and Eastern docklands The Oosterdok The Oosterdok ARCAM, NEMO and the Bibliotheek ARCAM, NEMO and the Bibliotheek Onward routes from the Nederlands Scheepvaartmuseum Onward routes from the Nederlands ScheepvaartmuseumFrom the Maritime Museum, there's a choice of several routes: if you're heading west, both the Ca.n.a.l Bus Ca.n.a.l Bus and the and the Museumboot Museumboot will speedily return you to Centraal Station from the neighbouring will speedily return you to Centraal Station from the neighbouring NEMO centre NEMO centre. Alternatively, you can walk back to Centraal Station in about fifteen minutes, either along Prins Hendrikkade or rather more appealingly via the footbridge spanning the water between NEMO and the Oosterdokskade, the location of the new city library, the Bibliotheek. Finally, diligent sightseers can either venture southeast to the De Gooyer windmill De Gooyer windmill or northeast preferably by tram from Centraal Station to the tangle of River IJ islands that comprise or northeast preferably by tram from Centraal Station to the tangle of River IJ islands that comprise Zeeburg Zeeburg.

The Old Jewish Quarter and Eastern docklands The Oosterdok The Oosterdok Museum Werf 't Kromhout and De Gooyer windmill At no. 147 on Hoogte Kadijk is the Museum Werf 't Kromhout Museum Werf 't Kromhout (Tues 10am3pm; 5; (Tues 10am3pm; 5; www.machinekamer.nl), one of the city's few remaining shipyards shipyards. In their heyday, the Eastern docklands were strewn with shipyards just like this one. The first major contraction came at the end of the nineteenth century when steel and steam replaced timber and few of the existing yards were big enough to make the switch successfully. A number, including 't Kromhout, struggled on, by concentrating on the repair and construction of smaller insh.o.r.e and ca.n.a.l boats. Even so, 't Kromhout almost went bust in 1969 and was only saved by turning into a combination of working shipyard and tourist attraction, its yard full of old boats, its museum littered with ancient engines and shipyard tools.

Continuing southeast along Hoogte Kadijk from 't Kromhout, it's about 500m to De Gooyer windmill De Gooyer windmill, standing tall between two ca.n.a.ls at Funenkade 5. Amsterdam was once dotted with windmills, used for pumping water and grinding corn, but most were demolished years ago and this is a rare survivor. If you have come this far, you'll be pleased to discover that the bar and mini-brewery in the old public baths adjoining the windmill the Brouwerij Het IJ Brouwerij Het IJ (daily 38pm) sells an excellent range of beers and ales. They brew an alarmingly strong amber ale called Columbus (9 percent), as well as less frightening stuff, such as the creamy Natte (6.5 percent). (daily 38pm) sells an excellent range of beers and ales. They brew an alarmingly strong amber ale called Columbus (9 percent), as well as less frightening stuff, such as the creamy Natte (6.5 percent).

It takes about twenty minutes to walk back from the windmill to the Nederlands Scheepvaartmuseum, or take bus #22 from neighbouring Zeeburgerstraat.

The Old Jewish Quarter and Eastern docklands Zeeburg To the north and east of the Oosterdok, Zeeburg Zeeburg basically the old docklands between the city library (see " basically the old docklands between the city library (see "ARCAM, NEMO and the Bibliotheek") and KNSM Island has become one of the city's most up-and-coming districts. Actually a series of artificial islands and peninsulas connected by bridges, the docks here date back to the end of the nineteenth century, but like dockland areas all over Europe they fell into disuse and disrepair during the 1970s with the advent of large container ships, which couldn't travel this far upriver. By the early 1990s the area was virtually derelict, but it was then that the city council began a ma.s.sive renovation, which has been going on for the past twenty years or so. As a result, this is the fastest-developing part of Amsterdam, with a mixture of renovated dockside structures and new landmark buildings that give it a modern (and very watery) feel that's markedly different from the city centre despite being just a ten-minute walk from Centraal Station. It's the general appearance of the district, rather than any specific sight, which provides its main appeal, so you're best off exploring by bike, especially as distances are at least in Amsterdam terms comparatively large: from the library to the east end of KNSM Island is about 4km. Alternatively, there are two useful transport connections from Centraal Station: tram #26 to Sporenburg island via Piet Heinkade and bus #42 to Java Island and KNSM Island.

[image]

The Old Jewish Quarter and Eastern docklands Zeeburg Zeeburg Java and KNSM islands From the library on Oosterdokskade, it's a signed five- to ten-minute walk underneath the rail and over the tram lines to two of the Eastern docklands' prime buildings, the Muziekgebouw Muziekgebouw, a brand-new, high-spec, multipurpose music auditorium overlooking the River IJ, and the neighbouring Amsterdam Pa.s.senger Terminal Amsterdam Pa.s.senger Terminal, a gla.s.s-walled behemoth, where visiting cruise ships now berth.

A short stroll east leads you to the 200-metre-long Jan Schaeferbrug Jan Schaeferbrug, which spans the IJ across to Java Island Java Island, a long and narrow sliver of land, where tall residential blocks, mostly five storeys high, line up along the four mini-ca.n.a.ls that cut across it. In form and layout these high-rises are a successful contemporary take on the seventeenth-century ca.n.a.l houses of the city centre, with a string of quirky, wrought-iron bridges adding extra style and panache.

The east end of Java Island merges seamlessly with KNSM Island KNSM Island, which is named after the shipping company (the Royal Dutch Steamboat Company) that was once based here. Leafy KNSM-Laan KNSM-Laan runs down the centre of the island, flanked by modern blocks, of which the German-designed runs down the centre of the island, flanked by modern blocks, of which the German-designed Piraeus Piraeus apartment building, at the west end of the street, gives the clearest impression of the clumsily monumental nature of much of the architecture here. That said, waterside apartment building, at the west end of the street, gives the clearest impression of the clumsily monumental nature of much of the architecture here. That said, waterside Surinamekade Surinamekade, on the north side of the island, is much prettier, decorated with houseboats, barges and decommissioned fishing smacks.

The Old Jewish Quarter and Eastern docklands Zeeburg Zeeburg Sporenburg and Borneo island From beside the Piraeus building, the Verbindingsdam Verbindingsdam causeway leads south across the water to the causeway leads south across the water to the Sporenburg peninsula Sporenburg peninsula and the blunt modernism of the structure known as and the blunt modernism of the structure known as The Whale The Whale, a large and distinctive residential block designed by architect Frits van Dongen and completed in 1995. It takes its name from its size and shape, the sharp outlines of which apparently allow the sun to better warm the building. On the southern edge of Sporenburg is Panamakade, where two bridges lead over to the modern, cubic terraces of Borneo island: the more westerly bridge is flat and ordinary, the other, the precipitous Pythonbrug Pythonbrug, is named after its curvy, snakelike shape.

From the west end of Borneo island Borneo island, C van Eesterenlaan slices south across a wide strip of water, the old Entrepothaven, bound for Zeeburgerkade, home to the Nederlands Persmuseum Nederlands Persmuseum at no. 10 (Dutch Press Museum; TuesFri 10am5pm & Sun noon5pm; 4.50; at no. 10 (Dutch Press Museum; TuesFri 10am5pm & Sun noon5pm; 4.50; www.persmuseum.nl). The museum has a mildly interesting series of displays on the leading Dutch newspapermen of yesteryear, beginning with Abraham Casteleyn, who first published a combined business and political newssheet in the 1650s. Of more immediate interest perhaps are the cartoons, often vitriolic attacks on those in power both in the Netherlands and elsewhere.

The Old Jewish Quarter and Eastern docklands Zeeburg Zeeburg The Lloyd Hotel and around To the west of the Sporenburg peninsula at Oostelijke Handelskade 34 stands the super-slick Lloyd Hotel Lloyd Hotel, in an imaginatively revamped former 1920s prison. Close by are three minor points of interest: the Brasilie Brasilie shopping centre, which occupies a former cocoa warehouse, the shopping centre, which occupies a former cocoa warehouse, the Odessa Odessa, a replica of a Russian merchant ship, now a restaurant, and the former offices of the KHL shipping line KHL shipping line, now the KHL Koffiehuis KHL Koffiehuis, which once controlled this part of the dockland until the company went bankrupt in 1935.

To get back to Centraal Station, take tram #26 on Piet Heinkade, a couple of minutes' walk from the Lloyd Hotel Lloyd Hotel.

The Museum Quarter and the Vondelpark During the nineteenth century, Amsterdam burst out of its restraining ca.n.a.ls, gobbling up the surrounding countryside with a slew of new, residential suburbs suburbs. These neighbourhoods are mostly described in "The outer districts", but Amsterdam's two leading museums museums, packed into a relatively small area around the edge of Museumplein, deserve their own section. The larger of the two, the Rijksmuseum Rijksmuseum, is in the throes of a major and extraordinarily long-winded revamp (scheduled to end in 2013), but the kernel of the collection a superb sample of Dutch paintings Dutch paintings from the seventeenth century, Amsterdam's Golden Age is still on display in the Philips Wing, the only part of the museum to remain open during the refurbishment. Similarly impressive is the nearby from the seventeenth century, Amsterdam's Golden Age is still on display in the Philips Wing, the only part of the museum to remain open during the refurbishment. Similarly impressive is the nearby Van Gogh Museum Van Gogh Museum, which boasts the most satisfying collection of van Gogh paintings in the world, with important works representative of all his artistic periods. Together, the two museums form one of Amsterdam's biggest draws to be supplemented by the contemporary art of the neighbouring Stedelijk Museum Stedelijk Museum, due to reopen in 2010 after a complete refit. And, after all this art, you can head off into the expansive Vondelpark Vondelpark for a stroll. for a stroll.

[image]

The Museum Quarter and the Vondelpark Museumplein Pancake-flat Museumplein Museumplein is a large open s.p.a.ce extending south from the Rijksmuseum to Van Baerlestraat, its wide lawns and gravelled s.p.a.ces used for a variety of outdoor activities, from visiting circuses to political demonstrations. Other than being the location of the three museums described in this section, there's not a great deal to it, though the group of slim steel blocks about three-quarters of the way down on the left-hand side forms a is a large open s.p.a.ce extending south from the Rijksmuseum to Van Baerlestraat, its wide lawns and gravelled s.p.a.ces used for a variety of outdoor activities, from visiting circuses to political demonstrations. Other than being the location of the three museums described in this section, there's not a great deal to it, though the group of slim steel blocks about three-quarters of the way down on the left-hand side forms a war memorial war memorial, commemorating the men, women and children who perished in the concentration camp at Ravensbruck.

The Museum Quarter and the Vondelpark Museumplein Museumplein The Rijksmuseum Facing out towards the Singelgracht ca.n.a.l, at the head of Museumplein, the Rijksmuseum Rijksmuseum (daily 9am6pm, Friday until 8.30pm; 11; audio guide 5; (daily 9am6pm, Friday until 8.30pm; 11; audio guide 5; www.rijksmuseum.nl) occupies an imposing pile designed by Petrus J.H. Cuypers Petrus J.H. Cuypers (18271921) also the creator of Centraal Station in the early 1880s. The leading Dutch architect of his day, Cuypers specialized in neo-Gothic churches, but this commission called for something more ambitious, the result being a reworking of the neo-Renaissance style then popular in the Netherlands, complete with towers and turrets, galleries, dormer windows and medallions. More importantly, the museum possesses an extravagant collection of (18271921) also the creator of Centraal Station in the early 1880s. The leading Dutch architect of his day, Cuypers specialized in neo-Gothic churches, but this commission called for something more ambitious, the result being a reworking of the neo-Renaissance style then popular in the Netherlands, complete with towers and turrets, galleries, dormer windows and medallions. More importantly, the museum possesses an extravagant collection of paintings paintings from every pre-twentieth-century period of Dutch art, together with a vast h.o.a.rd of from every pre-twentieth-century period of Dutch art, together with a vast h.o.a.rd of applied art and sculpture applied art and sculpture. Until the rest of the museum reopens in 2013, the Philips Wing Philips Wing is the only section receiving visitors, its entrance tucked away along Jan Luijkenstraat. The positive news is that the wing's thirteen rooms are used to good effect to display the essence of the permanent collection under the t.i.tle "The Masterpieces" a splendid selection of seventeenth-century Dutch paintings from the is the only section receiving visitors, its entrance tucked away along Jan Luijkenstraat. The positive news is that the wing's thirteen rooms are used to good effect to display the essence of the permanent collection under the t.i.tle "The Masterpieces" a splendid selection of seventeenth-century Dutch paintings from the Gouden Eeuw Gouden Eeuw (Golden Age), as well as (Golden Age), as well as delftware delftware, silverware silverware and various other resonant items from Dutch history. There is some rotation, but you can count on seeing all the leading Rembrandts plus a healthy sample of canvases by Steen, Hals, Vermeer and their leading contemporaries. and various other resonant items from Dutch history. There is some rotation, but you can count on seeing all the leading Rembrandts plus a healthy sample of canvases by Steen, Hals, Vermeer and their leading contemporaries.

[image]

The Rijksmuseum Bear in mind that the relatively small size of the exhibition s.p.a.ce means that queues queues can be long, especially in summer and at weekends it's a good idea to book online first or come early in the day. can be long, especially in summer and at weekends it's a good idea to book online first or come early in the day.

The Museum Quarter and the Vondelpark Museumplein Museumplein The Rijksmuseum The Rijksmuseum Rooms 1 to 5 The Philips Wing begins in style with two large galleries Rooms 1 and 2 which give the historical background to the Dutch Golden Age Dutch Golden Age with features on the country's success as a trading nation and its naval prowess. Among the paintings on display here is the breezily self-confident with features on the country's success as a trading nation and its naval prowess. Among the paintings on display here is the breezily self-confident The Celebration of the Treaty of Munster The Celebration of the Treaty of Munster, by Bartholomeus van der Helst Bartholomeus van der Helst (161370) he became one of Amsterdam's most popular portraitists after Rembrandt abandoned the normal protocols of portraiture to adopt an introspective, religious style that did not impress the city's burghers one bit. For the Dutch at least, the treaty was well worth celebrating: signed in 1648, it ended the Thirty Years' War and recognized the United Provinces (now the Netherlands) as an independent state, free of Habsburg control. Opposite van der Helst's painting a smaller work, by (161370) he became one of Amsterdam's most popular portraitists after Rembrandt abandoned the normal protocols of portraiture to adopt an introspective, religious style that did not impress the city's burghers one bit. For the Dutch at least, the treaty was well worth celebrating: signed in 1648, it ended the Thirty Years' War and recognized the United Provinces (now the Netherlands) as an independent state, free of Habsburg control. Opposite van der Helst's painting a smaller work, by Gerard ter Borch Gerard ter Borch, witnesses the event itself. The Thirty Years' War had convulsed most of western Europe by pitting Catholic against Protestant. Adriaen van de Venne Adriaen van de Venne (15891662) was quite clear which side he was on; his curious (15891662) was quite clear which side he was on; his curious Fishing for Souls Fishing for Souls, in Room 2, has the disorganized Catholics on the right river bank and the Protestants merrily heaving in souls on the left.

Room 3 contains several antique dolls dolls' houses houses, Room 4 is mostly silverware silverware, and Room 5 showcases a large a.s.sortment of delftware delftware, from plates and tiles through to vases, chargers and flower holders. Dating from the late sixteenth century, the earlier pieces are comparatively plain, typically decorated with rural, cla.s.sical or biblical scenes, whereas the later porcelain is more elaborate and often copied from or in imitation of Chinese ceramics Chinese ceramics.

The Museum Quarter and the Vondelpark Museumplein Museumplein The Rijksmuseum The Rijksmuseum Rooms 1 to 5 Rooms 1 to 5 Delftware DelftwareNamed after the Dutch city of Delft Delft, where it was manufactured, delftware delftware traces its origins to fifteenth-century Mallorca, where craftsmen developed traces its origins to fifteenth-century Mallorca, where craftsmen developed majolica majolica, a kind of porous pottery that was glazed with metallic oxides. During the Renaissance, these techniques were exported to Italy from where they spread north, first to Antwerp and then to the United Provinces (aka the Netherlands). Initially, delft pottery designs designs featured landscapes, portraits and Bible stories, while the top end of the market was dominated by more ornate Chinese porcelain imported by the Dutch East India Company. However, when a prolonged civil war in China broke the supply line, Delft's factories quickly took over the luxury side of the market by copying Chinese designs. By the 1670s, Delft was churning out blue-and-white tiles, plates, panels, jars and vases of all descriptions by the thousand, even exporting to China, where they undercut Chinese producers. The delft factories were themselves undercut by the British and the Germans from the 1760s on, and by the time Napoleon arrived they had all but closed down. There was a modest revival of the delft industry in the 1870s and there are several Dutch producers today, but it's mostly cheap, ma.s.s-produced stuff of little originality. featured landscapes, portraits and Bible stories, while the top end of the market was dominated by more ornate Chinese porcelain imported by the Dutch East India Company. However, when a prolonged civil war in China broke the supply line, Delft's factories quickly took over the luxury side of the market by copying Chinese designs. By the 1670s, Delft was churning out blue-and-white tiles, plates, panels, jars and vases of all descriptions by the thousand, even exporting to China, where they undercut Chinese producers. The delft factories were themselves undercut by the British and the Germans from the 1760s on, and by the time Napoleon arrived they had all but closed down. There was a modest revival of the delft industry in the 1870s and there are several Dutch producers today, but it's mostly cheap, ma.s.s-produced stuff of little originality.

The Museum Quarter and the Vondelpark Museumplein Museumplein The Rijksmuseum The Rijksmuseum Rooms 6, 7 and 8 Upstairs, Room 6 holds early seventeenth-century paintings by Thomas de Keyser Thomas de Keyser, Gerard Honthorst Gerard Honthorst and and Hendrik Avercamp Hendrik Avercamp that together introduce several different genres portraiture, still life and nature. Room 7 contains several superb canvases by that together introduce several different genres portraiture, still life and nature. Room 7 contains several superb canvases by Frans Hals Frans Hals (15821666), most notably his (15821666), most notably his Merry Drinker Merry Drinker and the expansive and the expansive Marriage Portrait of Isaac Ma.s.sa and Beatrix Laen Marriage Portrait of Isaac Ma.s.sa and Beatrix Laen. Relaxing beneath a tree, a portly Isaac glows with contentment as his new wife sits beside him in a suitably demure manner. An intimate scene, the painting also carries a detailed iconography; the ivy at Beatrix's feet symbolizes her devotion to her husband, the thistle faithfulness, the vine togetherness and in the fantasy garden behind them the peac.o.c.k is a cla.s.sical allusion to Juno, the guardian of marriage. In the same room, look out for the cool church interiors of Pieter Saenredam Pieter Saenredam (15971665), whose (15971665), whose Old Town Hall of Amsterdam Old Town Hall of Amsterdam is a characteristically precise work in which the tumbledown predecessor of the current building (now the Royal Palace) witnesses the comings and goings of black-hatted townsmen in the stilted manner of a Lowry. is a characteristically precise work in which the tumbledown predecessor of the current building (now the Royal Palace) witnesses the comings and goings of black-hatted townsmen in the stilted manner of a Lowry.

In Room 8, examples of the work of Salomon van Ruysdael Salomon van Ruysdael (160270) a Haarlem artist with a penchant for soft, tonal river scenes share s.p.a.ce with the brightly coloured canvases of (160270) a Haarlem artist with a penchant for soft, tonal river scenes share s.p.a.ce with the brightly coloured canvases of Pieter Lastman Pieter Lastman (15831633). Lastman's most famous apprentice was (15831633). Lastman's most famous apprentice was Rembrandt Rembrandt and there are examples of the great man's early work here in this room too, most notably his portrait of Maria Trip, an Amsterdam oligarch kitted out in her pearls and gold lace finery. Room 8 also features some of the work of Rembrandt's better-known pupils, including and there are examples of the great man's early work here in this room too, most notably his portrait of Maria Trip, an Amsterdam oligarch kitted out in her pearls and gold lace finery. Room 8 also features some of the work of Rembrandt's better-known pupils, including Nicholas Maes Nicholas Maes (163293), whose caring (163293), whose caring Young Woman by the Cradle Young Woman by the Cradle is not so much a didactic tableau as an idealization of motherhood. Another pupil, is not so much a didactic tableau as an idealization of motherhood. Another pupil, Ferdinand Bol Ferdinand Bol (161680), painted (161680), painted Portrait of Elizabeth Bas Portrait of Elizabeth Bas in a style so close to that of his master that it was regarded as a Rembrandt until the director of the museum proved otherwise in 1911. Perhaps the most talented of Rembrandt's pupils was in a style so close to that of his master that it was regarded as a Rembrandt until the director of the museum proved otherwise in 1911. Perhaps the most talented of Rembrandt's pupils was Carel Fabritius Carel Fabritius, who was killed in 1654 at the age of 32, when Delft's gunpowder magazine exploded. His Portrait of Abraham Potter Portrait of Abraham Potter, a restrained, skilful work of soft, delicate hues, contrasts with the same artist's earlier The Beheading of St John the Baptist The Beheading of St John the Baptist, in which the head is served on a platter in chillingly grisly style.

The Museum Quarter and the Vondelpark Museumplein Museumplein The Rijksmuseum The Rijksmuseum Room 9 Room 9 has several fine examples of Rembrandt Rembrandt's later work, notably the celebrated Members of the Clothmakers Guild Members of the Clothmakers Guild and a late and a late Self-Portrait Self-Portrait, with the artist caught in mid-shrug as the Apostle Paul, a self-aware and defeated old man. Also here are the artist's touching depiction of his cowled son, t.i.tus t.i.tus, and The Jewish Bride The Jewish Bride, one of his very last pictures, finished in 1667. No one knows who the couple are, nor whether they are actually married (the t.i.tle came later), but the painting is one of Rembrandt's most telling, the paint dashed on freely and the hands touching lovingly as the art historian Kenneth Clark wrote, in "a marvellous amalgam of richness, tenderness and trust". In marked contrast to these paintings are a number of landscapes by Jan van Goyen Jan van Goyen and and Jacob van Ruisdael Jacob van Ruisdael.

The Museum Quarter and the Vondelpark Museumplein Museumplein The Rijksmuseum The Rijksmuseum Rooms 10 and 11 Room 10 holds some examples of the small, finely realized works of Gerard Dou Gerard Dou (161375) and (161375) and Gabriel Metsu Gabriel Metsu (162567), flashes of everyday life that sit well with the work of (162567), flashes of everyday life that sit well with the work of Johannes Vermeer Johannes Vermeer (163275). The latter is well represented; (163275). The latter is well represented; The Love Letter The Love Letter reveals a tension between servant and mistress the lute on the woman's lap was a well-known s.e.xual symbol while reveals a tension between servant and mistress the lute on the woman's lap was a well-known s.e.xual symbol while The Kitchen Maid The Kitchen Maid is an exquisitely observed domestic scene, right down to the nail and its shadow on the background wall. Similarly, in the precise is an exquisitely observed domestic scene, right down to the nail and its shadow on the background wall. Similarly, in the precise Young Woman Reading a Letter Young Woman Reading a Letter, the map behind her hints at the far-flung places her loved one is writing from. What you won't get, however, is Vermeer's Girl with a Pearl Earring Girl with a Pearl Earring this is on display in the Mauritshuis gallery in The Hague. this is on display in the Mauritshuis gallery in The Hague. Gerard ter Borch Gerard ter Borch (161781) also depicted apparently innocent scenes, both in subject and t.i.tle, but his (161781) also depicted apparently innocent scenes, both in subject and t.i.tle, but his Woman at a Mirror Woman at a Mirror glances in a meaningfully anxious manner at her servants, who look on with delicate irony from behind dutiful exteriors. There are yet more sub-texts in ter Borch's glances in a meaningfully anxious manner at her servants, who look on with delicate irony from behind dutiful exteriors. There are yet more sub-texts in ter Borch's Paternal Admonition Paternal Admonition just what exactly is the young woman being told off for? just what exactly is the young woman being told off for?

The paintings of Pieter de Hooch Pieter de Hooch (162984) are less symbolic more exercises in lighting but they're as good a visual guide to the everyday life and habits of the seventeenth-century Dutch bourgeoisie as you'll find as evidenced by his (162984) are less symbolic more exercises in lighting but they're as good a visual guide to the everyday life and habits of the seventeenth-century Dutch bourgeoisie as you'll find as evidenced by his Interior with Women beside a Linen Basket Interior with Women beside a Linen Basket, showing the women of the house changing the linen while a series of doorways reveals the ca.n.a.l bank in the background; and his curious A Mother's Duty A Mother's Duty in which the mother is delousing the child's head. in which the mother is delousing the child's head.

Room 10 also exhibits several works by Jan Steen Jan Steen (162579). Steen's (162579). Steen's Feast of St Nicholas Feast of St Nicholas, with its squabbling children, makes the festival a celebration of disorderly greed, while the drunken waywardness of his Merry Family Merry Family and and Family Scene Family Scene verge on the anarchic. Steen knew his bourgeois audience well; his caricatures of the proletariat blend humour with moral condemnation or at least condescension a mixture perfectly designed to suit their tastes. The artist was also capable of more subtle works, a famous example being his verge on the anarchic. Steen knew his bourgeois audience well; his caricatures of the proletariat blend humour with moral condemnation or at least condescension a mixture perfectly designed to suit their tastes. The artist was also capable of more subtle works, a famous example being his Woman at her Toilet Woman at her Toilet, which is full of a.s.sociations, referring to s.e.xual pleasures just had or about to be taken; for example, the woman is shown putting on a stocking in a conspicuous manner, the point being that the Dutch word for stocking, kous kous, is also a slang word for a woman's genitalia.

By contrast, in Room 11, Willem van de Velde II Willem van de Velde II's (16331707) preoccupations were nautical, his canvases celebrating either the might of the Dutch navy or the seaworthiness of the merchant marine, as in the churning seas of the superbly executed Gust of Wind Gust of Wind, whose counterpoint is to be found in the calm waters and gunfire of The Cannon Shot The Cannon Shot.

The Museum Quarter and the Vondelpark Museumplein Museumplein The Rijksmuseum The Rijksmuseum Rooms 10 and 11 Rooms 10 and 11 Rembrandt's progress Rembrandt's progressBorn in Leiden to a family of millers, Rembrandt Harmenszoon van Rijn Rembrandt Harmenszoon van Rijn (160669) picked up his first artistic tips as an apprentice to Pieter Lastman in Amsterdam in the early 1620s. It was here that the artist developed a penchant for mythological and religious subjects. After his apprenticeship, in around 1625, Rembrandt went back to Leiden to establish himself as an independent master painter and, this achieved, some six years later he returned to Amsterdam, where he was to stay for the rest of his life. (160669) picked up his first artistic tips as an apprentice to Pieter Lastman in Amsterdam in the early 1620s. It was here that the artist developed a penchant for mythological and religious subjects. After his apprenticeship, in around 1625, Rembrandt went back to Leiden to establish himself as an independent master painter and, this achieved, some six years later he returned to Amsterdam, where he was to stay for the rest of his life.In the early 1630s Rembrandt concentrated on portrait painting portrait painting, churning out dozens of pictures of the burghers of his day, a profitable business that made him both well-to-do and well known. In 1634 he married Saskia van Uylenburgh Saskia van Uylenburgh and five years later the couple moved into a smart house on Jodenbreestraat, now and five years later the couple moved into a smart house on Jodenbreestraat, now the Rembrandthuis museum the Rembrandthuis museum. All seemed well, and certainly Rembrandt's portraits of his wife are tender and loving, but these years were marred by the death of all but one of his children in infancy, the sole survivor being his much-loved t.i.tus t.i.tus (164168). (164168).In 1642 Rembrandt produced what has become his most celebrated painting, The Night Watch The Night Watch, but thereafter his career went into decline, essentially because he forsook portraiture to focus on increasingly sombre and introspective religious works religious works. Traditionally, Rembrandt's change of artistic direction has been linked to the death of Saskia in 1642, but although it is certainly true that the artist was grief-stricken, he was also facing increased compet.i.tion from a new batch of portrait artists, primarily Bartholomeus van der Helst, Ferdinand Bol and Govert Flinck. Whatever the reason, there were few takers for Rembrandt's religious works and he made matters worse by refusing to adjust his spending. The crunch came in 1656, when he was formally declared insolvent, and four years later he was obliged to sell his house and goods, moving to much humbler premises in the Jordaan (see "Bloemgracht"). By this time, he had a new cohabitee, Hendrickje Stoffels Hendrickje Stoffels (a clause in Saskia's will prevented them from ever marrying), and in the early 1660s, she and t.i.tus took Rembrandt in hand, sorting out his finances and his work schedule. With his money problems solved, a relieved Rembrandt then produced some of his finest paintings for example (a clause in Saskia's will prevented them from ever marrying), and in the early 1660s, she and t.i.tus took Rembrandt in hand, sorting out his finances and his work schedule. With his money problems solved, a relieved Rembrandt then produced some of his finest paintings for example The Jewish Bride The Jewish Bride emotionally deep and contemplative works with a rough finish, the paint often daubed with an almost trowel-like heaviness. Hendrickje died in 1663 and t.i.tus in 1668, a year before his father. emotionally deep and contemplative works with a rough finish, the paint often daubed with an almost trowel-like heaviness. Hendrickje died in 1663 and t.i.tus in 1668, a year before his father.

The Museum Quarter and the Vondelpark Museumplein Museumplein The Rijksmuseum The Rijksmuseum Room 12 Dominating Room 12, Rembrandt's The Night Watch The Night Watch ( (De Nachtwacht) of 1642 is the most famous of all the artist's paintings. Restored after being slashed in 1975, the scene is of a militia company militia company, the Kloveniersdoelen, one of the companies formed in the sixteenth century to defend the United Provinces (later the Netherlands) against Spain. As the Habsburg threat receded, so the militias became social clubs for the well heeled, who were eager to commission their own group portraits as signs of their prestige. Rembrandt charged the princely sum of one hundred guilders for each member of the company who wanted to be in the picture; sixteen out of a possible two hundred stumped up the cash, including the company's moneyed captain, Frans Banningh Cocq Frans Banningh Cocq, whose disapproval of Rembrandt's live-in relationship with Hendrickje Stoffels (see "Rembrandt's progress") was ultimately to polish off their friendship. Curiously, The Night Watch The Night Watch is, in fact, a misnomer the painting got the tag in the eighteenth century when the background darkness was misinterpreted. There were other misconceptions about the painting too, most notably that it was this work that led to the downward shift in Rembrandt's standing with the Amsterdam elite; in fact, there's no evidence that the militiamen weren't pleased with the picture, or that Rembrandt's commissions dwindled after it was completed. is, in fact, a misnomer the painting got the tag in the eighteenth century when the background darkness was misinterpreted. There were other misconceptions about the painting too, most notably that it was this work that led to the downward shift in Rembrandt's standing with the Amsterdam elite; in fact, there's no evidence that the militiamen weren't pleased with the picture, or that Rembrandt's commissions dwindled after it was completed.

Though not as subtle as much of the artist's later work, The Night Watch The Night Watch is an adept piece, full of movement and carefully arranged. Paintings of this kind were collections of individual portraits as much as group pictures, and for the artist their difficulty lay in doing justice to every single face while simultaneously producing a coherent group scene. Abandoning convention in vigorous style, Rembrandt opted to show the company preparing to march off a snapshot of military activity in which banners are unfurled, muskets primed and drums rolled. There are a couple of is an adept piece, full of movement and carefully arranged. Paintings of this kind were collections of individual portraits as much as group pictures, and for the artist their difficulty lay in doing justice to every single face while simultaneously producing a coherent group scene. Abandoning convention in vigorous style, Rembrandt opted to show the company preparing to march off a snapshot of military activity in which banners are unfurled, muskets primed and drums rolled. There are a couple of allegorical figures allegorical figures as well, most prominently a young, spotlit woman with a bird hanging from her belt, a reference to the Kloveniersdoelen's traditional emblem of a claw. Militia portraits commonly included cameo portraits of the artist involved, but in this case it seems that Rembrandt didn't insert his likeness, though some art historians insist that the pudgy-faced figure peering out from the back between the gesticulating militiamen is indeed the artist himself. as well, most prominently a young, spotlit woman with a bird hanging from her belt, a reference to the Kloveniersdoelen's traditional emblem of a claw. Militia portraits commonly included cameo portraits of the artist involved, but in this case it seems that Rembrandt didn't insert his likeness, though some art historians insist that the pudgy-faced figure peering out from the back between the gesticulating militiamen is indeed the artist himself.

Opposite The Night Watch The Night Watch is another Civic Guard portrait, is another Civic Guard portrait, The Meagre Company The Meagre Company, started by Frans Hals Frans Hals and finished by and finished by Pieter Codde Pieter Codde due to a dispute. It's a great painting, full of sensitively realized, individual portraits, but not only are the wildly differing painting styles of Hals and Rembrandt immediately apparent, but the more conservative arrangement of Hals's figures forms a striking contrast with Rembrandt's more fluid, dynamic work. due to a dispute. It's a great painting, full of sensitively realized, individual portraits, but not only are the wildly differing painting styles of Hals and Rembrandt immediately apparent, but the more conservative arrangement of Hals's figures forms a striking contrast with Rembrandt's more fluid, dynamic work.

The Museum Quarter and the Vondelpark Museumplein Museumplein The Van Gogh Museum Vincent van Gogh (185390) is arguably the most popular, most reproduced and most talked-about of all modern artists, so it's not surprising that the (185390) is arguably the most popular, most reproduced and most talked-about of all modern artists, so it's not surprising that the Van Gogh Museum Van Gogh Museum (daily 10am6pm, Friday until 10pm; 12.50, children 1317 years 2.50; audioguide 4; (daily 10am6pm, Friday until 10pm; 12.50, children 1317 years 2.50; audioguide 4; www.vangoghmuseum.nl), comprising a fabulous collection of the artist's work, is one of Amsterdam's top attractions.

The museum occupies two modern buildings on the north edge of Museumplein, with the key paintings housed in an angular building designed by a leading light of the De Stijl movement, Gerrit Rietveld Gerrit Rietveld (18881964), and opened to the public in 1973. Well conceived and beautifully presented, this part of the museum provides an introduction to the man and his art based on paintings that were mostly inherited from Vincent's art-dealer brother Theo. To the rear of Rietveld's building, connected by a ground-floor escalator, is the ultramodern annex. This aesthetically controversial structure financed by the same j.a.panese insurance company that paid $35 million for one of van Gogh's (18881964), and opened to the public in 1973. Well conceived and beautifully presented, this part of the museum provides an introduction to the man and his art based on paintings that were mostly inherited from Vincent's art-dealer brother Theo. To the rear of Rietveld's building, connected by a ground-floor escalator, is the ultramodern annex. This aesthetically controversial structure financed by the same j.a.panese insurance company that paid $35 million for one of van Gogh's Sunflowers Sunflowers canvases in 1987, and completed in 1998 provides temporary exhibition s.p.a.ce. Most of the canvases in 1987, and completed in 1998 provides temporary exhibition s.p.a.ce. Most of the exhibitions exhibitions held here focus on one aspect or another of van Gogh's art and draw heavily on the held here focus on one aspect or another of van Gogh's art and draw heavily on the permanent collection permanent collection, which means that the paintings displayed in the older building are regularly rotated.

As you might expect, the museum can get very crowded, and the queues queues can be long, so come early to avoid the crush or book online. can be long, so come early to avoid the crush or book online.

The Museum Quarter and the Vondelpark Museumplein Museumplein The Van Gogh Museum The Van Gogh Museum The collection Just beyond the museum entrance, a flight of stairs leads to the first floor first floor, where the paintings of van Gogh are presented in chronological order. The first go back to the artist's early years early years (188085) in Holland and Belgium: dark, sombre works in the main, ranging from an a.s.sortment of drab grey and brown still lifes to the gnarled faces and haunting, flickering light of (188085) in Holland and Belgium: dark, sombre works in the main, ranging from an a.s.sortment of drab grey and brown still lifes to the gnarled faces and haunting, flickering light of The Potato Eaters The Potato Eaters one of van Gogh's best-known paintings, and the culmination of hundreds of studies of the local peasantry. one of van Gogh's best-known paintings, and the culmination of hundreds of studies of the local peasantry.

Further along, the sobriety of these early works is easily transposed onto the urban landscape of Paris Paris (188688), particularly in the (188688), particularly in the View of Paris View of Paris, where the city's domes and rooftops hover below Montmartre under a glowering, bl.u.s.tery sky. But before long, under the sway of fellow painters and the sheer colour of the city itself, van Gogh's approach began to change. This is most noticeable in two of his many self-portraits and in the pictures from Asnieres Asnieres, just outside Paris, where the artist used to go regularly to paint. In particular, look out for the surprisingly soft hues and gentle tones of his Courting Couples Courting Couples, and the disturbing yellows of Still Life with Quinces and Lemons Still Life with Quinces and Lemons. There's also a rare photograph photograph of van Gogh in of van Gogh in Asnieres Asnieres (though it's only of his back), which shows him in conversation with the artist Emile Bernard. (though it's only of his back), which shows him in conversation with the artist Emile Bernard.

In February 1888 van Gogh moved to Arles Arles, inviting Gauguin to join him a little later (see "Van Gogh's ear"). With the change of scenery came a heightened interest in colour, and the predominance of yellow yellow as a recurring motif; it's represented best in such paintings as as a recurring motif; it's represented best in such paintings as The Harvest The Harvest, and most vividly in the disconcerting juxtapositions of Bedroom in Arles Bedroom in Arles. Also from this period comes a striking canvas from the artist's Sunflowers Sunflowers series, justly one of his most lauded works, and intensely almost obsessively rendered in the deepest oranges, golds and ochres he could find. Gauguin told of van Gogh painting these flowers in a near-trance; there were usually sunflowers in jars all over their house in fact, they can be seen in Gauguin's portrait of van Gogh from the same period, also displayed in this section. series, justly one of his most lauded works, and intensely almost obsessively rendered in the deepest oranges, golds and ochres he could find. Gauguin told of van Gogh painting these flowers in a near-trance; there were usually sunflowers in jars all over their house in fact, they can be seen in Gauguin's portrait of van Gogh from the same period, also displayed in this section.

During his time at the asylum in St Remy St Remy, van Gogh's approach to nature became more abstract, as evidenced by his unsettling Wheatfield with a Reaper Wheatfield with a Reaper, the dense, knotty Undergrowth Undergrowth and his palpable and his palpable Irises Irises. Van Gogh is at his most expressionistic here, the paint applied thickly, often with a palette knife, a practice he continued in his final, tortured works painted at Auvers Auvers-sur-Oise, where he lodged for the last three months of his life. It was at Auvers that he painted the frantic Wheatfield with Crows Wheatfield with Crows, in which the fields swirl and writhe under weird and dark skies, as well as the organized chaos of Tree Roots Tree Roots and the glowering and the glowering Wheatfield under Thunderclouds Wheatfield under Thunderclouds.

The second and third floors provide a backup to the lead collection. The second floor second floor has temporary displays on themes related to van Gogh as well as a study area with PC access to a detailed account of the artist's life and times. The has temporary displays on themes related to van Gogh as well as a study area with PC access to a detailed account of the artist's life and times. The third floor third floor features other paintings from the museum's permanent collection, including van Gogh sketches and some of his less familiar paintings. It's here that you're likely to find features other paintings from the museum's permanent collection, including van Gogh sketches and some of his less familiar paintings. It's here that you're likely to find A Pair of Shoes A Pair of Shoes, an idiosyncratic painting that used to hang in the house van Gogh shared with Gauguin in Arles. There is also a display ent.i.tled "Predecessors, contemporaries and followers (18401890)". The paintings are rotated regularly, but you can expect to see a seminal early painting of the Route de Versailles Route de Versailles by by p.i.s.sarro p.i.s.sarro, views of Amsterdam and Zaandam windmills by Monet Monet, and various pieces by Toulouse-Lautrec, Cezanne, Bernard, Seurat, Gauguin, Anton Mauve and Charles Daubigny.

The Museum Quarter and the Vondelpark Museumplein Museumplein The Van Gogh Museum The Van Gogh Museum The collection The collection Van Gogh's ear Van Gogh's earIn February 1888, Vincent van Gogh Vincent van Gogh (185390) left Paris for (185390) left Paris for Arles Arles, a small town in the south of France. At first the move went well, with van Gogh warming to the open vistas and bright colours of the Provencal countryside. In September he moved into the dwelling he called the Yellow House, where he hoped to establish an artists' colony, gathering together painters of like mind. Unfortunately for van Gogh, his letters of invitation were ignored by most, and only Gauguin Gauguin, who arrived in Arles in late October, stayed for long. Initially the two artists got on well, hunkering down together in the Yellow House and sometimes painting side by side, but the bonhomie didn't last. They argued long and hard about art, an especially tiring business for van Gogh, who complained: "Sometimes we come out of our arguments with our heads as exhausted as a used electric battery". Later, Gauguin would claim that van Gogh threatened him during several of these arguments; true or not, it is certainly the case that Gauguin had decided to return to Paris by the time the two had a ferocious quarrel on the night of December 23. The argument was so bad that Gauguin hotfooted it off to the local hotel, and when he returned in the morning he was faced by the police. After Gauguin's exit, a deeply disturbed van Gogh had taken a razor to his ear ear, severing part of it before presenting the selected slice to a prost.i.tute at the local brothel. Presumably, this was not an especially welcome gift, but in van Gogh's addled state he may well have forged some sort of connection with bullfighting, where the dead bull's ears are cut off and given as a prize to the bullfighter. Hours after Gauguin's return, van Gogh was admitted to hospital, the first of several extended stays before, fearing for his sanity, he committed himself to the asylum of St Remy St Remy in May 1889. Here, the doctor's initial a.s.sessment described him as suffering from "acute mania, with hallucinations of sight and hearing"; van Gogh attributed his parlous state to excessive drinking and smoking, though he gave up neither during his year-long stay. in May 1889. Here, the doctor's initial a.s.sessment described him as suffering from "acute mania, with hallucinations of sight and hearing"; van Gogh attributed his parlous state to excessive drinking and smoking, though he gave up neither during his year-long stay.In May 1890, feeling lonely and homesick, van Gogh discharged himself from St Remy and headed north to Paris before proceeding to the village of Auvers Auvers-sur-Oise. At first, van Gogh's health improved and he even began to garner critical recognition for his work. However, his twin ogres of depression and loneliness soon returned to haunt him and, in despair, van Gogh shot himself in the chest. This wasn't, however, the end; he took two days to die, even enduring a police visit when he refused to answer any questions, p.r.o.nouncing: "I am free to do what I like with my own body".

The Museum Quarter and the Vondelpark Museumplein Museumplein Stedelijk Museum The Stedelijk Museum Stedelijk Museum (reopens 2010; (reopens 2010; www.stedelijk.nl), just along the street from the Van Gogh Museum, has long been Amsterdam's number one venue for modern and contemporary art. It's housed in a big old building, undergoing a complete refurbishment for a scheduled reopening in the spring of 2010. The museum will focus on cutting-edge, temporary exhibitions of modern art modern art from photography and film through to sculpture and collage and these will be supplemented by the museum's large and wide-ranging from photography and film through to sculpture and collage and these will be supplemented by the museum's large and wide-ranging permanent collection permanent collection. Among many highlights, the latter includes a particularly large sample of the work of Mondriaan Mondriaan (18721944), from his early, muddy abstracts to the boldly coloured rectangular blocks for which he's most famous. The Stedelijk is also strong on (18721944), from his early, muddy abstracts to the boldly coloured rectangular blocks for which he's most famous. The Stedelijk is also strong on Kasimir Malevich Kasimir Malevich (18781935), whose dense attempts at Cubism lead to the dynamism and bold primary tones of his "Suprematist" painting