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Rijksmuseum Group

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We vertellen het verhaal van 800 jaar Nederlandse geschiedenis met de grote meesters Rembrandt, Vermeer en Van Gogh. Midden in het historische centrum van Amsterdam.

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I watched the collection in Rijksmuseum, and I found that there are multiple collections in it, so the first thing for us was to try to find something that we are interested in.

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Interior with Women beside a Linen Cupboard By Pieter de Hooch

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Dolls’ house of Petronella Oortman, anonymous, c. 1686 - c. 1710

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This doll’s house belonged to Petronella Oortman, who had all the contents custom-made. Down to the smallest details it shows what a grand 17th-century canal house looked like.

https://www.rijksmuseum.nl/en/stories/in-detail/story/dolls-house-ladies

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An article about the doll houses' history

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An article about the doll houses' history

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Before they were toys, "cabinet houses" and other miniature homes were used to show off wealth and teach domestic roles. An Object Lesson.

Michael Kooren / Reuters

In 1974, my mother built me a dollhouse, a classic Victorian with six large rooms. She painted it pink and blue, my favorite colors, made a cobblestone, contact-paper path to encircle it, and fashioned a garden of plastic plants. She crocheted tiny rugs and tiled the kitchen floor. She sewed curtains for the windows: red velvet for the parlor, lace for the master bedroom, with tiny thread tiebacks. On walls were paintings she made of old postcards. The house was strung with real electric lights.

The dollhouse was the best toy I would ever own. And it was much more than a toy. As a character in my dollhouse-my mother had sewn a doll with long hair and glasses that resembled me-I could be an orphan sleeping in a cot built from a ring box. Or a teenager lying with a boyfriend on a tiny bearskin rug, drinking wine from a mini bottle and devouring a polymer chocolate cake the size of a dime. When I arranged tiny brass beds or slid a plastic roast chicken in the oven, I entered another universe.

And yet, at the same time, I also ventured more deeply inside myself.

* * *

The social history of dollhouses is at odds with the idea that dollhouses are spaces of emotion, freedom, and imagination.

In the beginning, dollhouses had only two purposes: display and pedagogy. First built in the 17th century in northern Europe, primarily in Germany, Holland, and England, dollhouses were designed for adults. They were closely associated with wealth and served as markers of social class and status. As Faith Eaton explains in The Ultimate Dolls House Book, the German word dockenhaus meant not dollhouse but "miniature house." And a miniature house was not a house to play with. In Holland, these exhibits of wealth were called "cabinet houses." The front of the house opens like a china cabinet on hinges that can be closed and locked. Inside cabinet houses, people could both show off and conceal their collections of expensive miniature objects.

More in this series

Beginning in the 17th century, "Nuremberg kitchens" might contain a hearth, cooking pots, a straw broom. These all-metal houses were designed without ornament, for purely utilitarian purposes. Used as teaching tools for girls, Nuremberg kitchens allowed mothers to show daughters how to set up and control a house. All about learning rules, a Nuremberg kitchen was the opposite of a dollhouse as a dream world of fantasy. It was a place where girls learned to manage not only the objects of the house but also its servants, where girls would learn to become the lady of the house.

By 18th-century England, the "Baby House" emerged. The Baby House was an exact copy of the owner's home, a replica designed to showcase the owner's wealth-a small, "baby" version of a real-life house. Unlike the Dutch Cabinet House, which might have miniature furniture but tended to be full of expensive or rare objects, the Baby House was full of furniture in tiny versions of the owner's rooms.

Changing definitions of childhood in the beginning of the 19th century shifted ideas about play. But it took the industrial revolution and the increase in mass-produced objects to make dollhouses and miniatures begin to be construed as toys. And it took until after World War II, when the U.S. stopped importing goods from Europe, for dollhouses to become mass-produced and affordable. Miniatures began to take on a second, different life.

* * *

In the last few years, for the first time since the 1970s, interest in dollhouses and miniatures has been on the rise.

#rethinkdollhouse is the hashtag owner Darren Thomas Scala invented for his store D. Thomas Fine Miniatures, a new miniature shop in Westchester County, New York. In the shop are dollhouses arranged on pedestals, shelves of furniture behind glass, a gallery space with rotating miniature exhibits, and a room where miniature-making workshops are held. Darren tells me that he hopes to upset the perception that miniatures are just cute toys for young children. "I needed people to see, feel, and touch these objects," he explains, "to see their fine craftsmanship, the delicacies and intricacies of how they are made and importantly how they make you feel. ...I wanted to make them feel like it's okay to play."

Indeed, many adults who loved tiny things as children are returning to miniature play and reclaiming dollhouses. In the past year, articles in Lenny Letter, BUST, Elle, and The New York Times tell stories of miniature artisans and collectors. Lena Dunham's film Tiny Furniture explores her mother Laurie Simmon's miniature art. The age of Dollhouse 2.0 is upon us.

Dollhouses are enthralling a new and younger generation, and social media is the mode of engagement. Thousands of mini-blogs and vlogs showcase dollhouses, mini-furniture, and miniature food. Etsy, Pinterest, and Tumblr are replete with miniatures for display and sale. Other blogs showcase dollhouse furniture being made and dollhouses being renovated, with text and photos.

A notable example is Kate Ünver's popular site, The Daily Mini. It was first launched on Instagram, where it currently has more than 62,000 followers; Ünver estimates that more than half of them are under 25. The site offers daily photographs of miniatures plus a Q&A section featuring miniature artisans. People from all over the world submit their miniatures to Kate's site for display-along with "a coin or a finger for scale." The photographs showcase a range of objects: slices of tiny toast, a television playing I Love Lucy, a small chainsaw.

In 2015, on her miniature blog, anthropologist and artist Louise Krasniewicz wrote her " miniature manifesto," urging that miniatures be understood in relation to current cultural movements and trends. Linking those who build miniatures to the recent "Maker Culture," she suggests that "what miniaturists are doing is making worlds, not just scaled objects." For Krasniewicz, miniatures are "not an escape from the real world but a way to engage, confront, question, critique, or consider it."

* * *

Dollhouses are both private and public. A dollhouse may live in our house or in a museum or online. People might sit down in front of a dollhouse, swing open its walls, remove its roof, and disappear alone inside. Or they might gather with a group of visitors at a museum and admire a dollhouse behind glass. The motto of the National Association of Miniature Enthusiasts is: "Only through sharing can we really enjoy our treasures."

For so long, dollhouses and miniatures were hidden in people's homes or in a select few museum collections. In the 17th and 18th centuries, the first miniatures were deeply private, kept in the family home and designed to show off a family's wealth to a limited number of visitors. Or in the case of Nuremberg Kitchens, kept at home to teach daughters in a family how to run a household.

As a child, my dollhouse play was solitary. Still, I craved community; I read all of the books designed for miniature collectors, written by older women I would never meet. My mother took me to the occasional doll and museums that housed miniatures.

But in the new world of miniatures, seeing other people's dollhouses and miniatures only requires the swipe of a screen. Now, in an hour, I can watch a tutorial on how to make mini sushi; study Steampunk miniatures on Pinterest; read an interview with Christian Mackie, an artist who makes miniature mountain paintings at The Daily Mini; browse the blog of the International Guild of Miniature Artisans; subscribe to the listserv "Small Stuff" for new miniature projects. The rich emotional complexity of dollhouses and miniatures is now available, to all, for free, at any time.

I no longer own my Victorian dollhouse, but my mother has saved all of its furniture and the miniatures that accompanied it. I've given them to my daughters. Every day, I walk past my girls' dollhouses set up in our dining room and see beloved pieces from my own childhood-a claw-foot bathtub, a yellow knitting bowl with tiny yarn balls, a dressing table trimmed with pink lace. Sometimes, when they are at school, I choose a dollhouse, sit down in front of it, and play. I spread a quilt on a small bed. I stack miniature logs in a fireplace. I am transported out of myself. Yet I am more myself than ever.
This article appears courtesy of Object Lessons.

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collections of expensive miniature objects

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motto of the national association of miniature enthusiasts

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Before they were toys, "cabinet houses" and other miniature homes were used to show off wealth and teach domestic roles. An Object Lesson. In 1974, my mother built me a dollhouse, a classic Victorian with six large rooms. She painted it pink and blue, my favorite colors, made a cobblestone, contact-paper path to encircle it, and fashioned a garden of plastic plants.

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13/10/2022 First Group Meeting with Helen

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13/10/2022 First Group Meeting with Helen

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I thought of some keywords about "Home" - What's the function of home? What kind of moral messages does de Hooch want to share? Can I link the Doll's house with de Hooch's painting?

After we talked about our ideas, Helen gave us very important feedback: think about the audience and the consequence. That's the thing I did not think about it before. So next week I will try to figure out this.

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Myra think we can use the voice, make the Background music like the sound of barking puppies and people's talking for each painting. But the BGM should be an optional choice, audience can choose to listen or not.

I think Myra's idea is good, use the voice can make the paintings alive, it's an interesting interpretation approach.We can discuss the possibility of this approach after we have confirmed our big idea.

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30/10/2022  Small Group Meeting (Me, Hui and Myra)

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30/10/2022  Small Group Meeting (Me, Hui and Myra)

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We have a small group meeting on this day, before that we chose some collections from the Rijksmuseum.

So we tried to find some connections between each collection, luckily most of them are painted between the 17 to 19 centuries and the theme was all about women and family.

Therefore, we decided to think about the relationship between the Dutch woman and her family at that period.

Today’s Progress: Getting close to the Final Big Idea.

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(The introduction of the ‘Desire Lines’ exhibition)

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I chose to Faxbak the introduction of the exhibition ‘Desire Lines’ by Jill Mcknight at Leeds Art Gallery.

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Cara suggested that we could start to write the labels separately. We can choose our own collections which must fit the theme, and collect them together.

In our discussions, the main theme is Fetishised domesticity and Domestic labour. The sub-themes are Women, Motherhood, Childhood, The whole family and Home itself.

I chose 2 paintings, A Mother Delousing Her Childs's Hair( A Mother's Duty) and Figures in a Courtyard behind a House. They are all from the Dutch painter Pieter de Hooch. Then I thought we could use the Doll's House of Petronella Oortman as our first collection, it's just like a micro dutch home that could arouse the audience's curiosity about the 17 to 19 century Dutch family.

Today's Progress: Starting write the labels.

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13/11/2022 Group Meeting at 92 Degree Café

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13/11/2022 Group Meeting at 92 Degree Café

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We discussed all the finished labels and wrote some questions that we can ask for Helen's advice tomorrow.

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In this meeting, we talked about these questions with Helen:

1. Is this Big idea - Fetishised Domesticity reasonable/ suitable?
- Yes. This can be used temporarily until no new big idea comes up.

2. How to decide the order of the collections?
- This could be discussed after we conform all the collections. ( We may add some new collections this month)

3. Writing 2 different labels.
one is formal, and another should be interesting or ingenious.

4. We wanted to add some background sound to some collections.
(like background voice according to the content of the painting, which could bring the audience a new sensory experience. ) Helen suggested we should think about whether is this really helpful to our Big idea. How would it be relative to our Big idea?
After thinking about it, we decided to give up this idea and devote our limited time to label writing.

Today's Progress: Figured out deadlines for each step; Keep writing the labels.
( Week 8: Finish all the labels
Week 10: Finish the Visual work on WordPress)

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Since Cara suggested that our Big idea could be 'Fetishised Domesticity', I began to think about some issues related to feminism, trying to deepen our Big idea and find its connection with today's society and our audience.

1. What is my definition of feminism?
2. How does the division of labour in society compare to the family?
3. What were the social functions of women at that time?
4. Is there any difference in the division of labour in the family or women's social functions before the 17th century and after the 17th century?
5. How did people distinguish 'good women' from 'bad women' at that time? Are the female figures in these collections representative of 'good women'?
6. Is there a misogynist tendency hidden in these feminist paintings?

These questions were inspired by one of my friends, who is really interested in Feminism. I hope I can have time to think about these issues and find relevant documents/information to answer or prove some of them. I thought it would make our exhibition more meaningful, but unfortunately, we didn't have time to think about these issues afterwards.

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This is undoubtedly a beautiful art work. All the miniature items in the doll’s house are made according to the material of the actual items. It is a symbol of the owner's social class and status. Through this Doll’s House, we can glimpse the rich and exquisite daily life of the Dutch in the 17th century.

The owner of this doll’s house, Petronella Oortman, was a widow before she decided to make this dollhouse. After she remarried, she spent a lot of time and energy on it, not just to show off her wealth. This doll’s house carries her fantasy of perfect family life; perhaps she was eager to achieve this dream through marriage.  Here, the doll’s house is not merely a toy, but a teaching device, allowing girls to practise for their future domestic roles.

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This domestic scene shows a young couple sitting outside what appears to be a small home.  They are in the presence of two other women doing housework.

Was this an arranged date between the couple? Perhaps in the near future, this young woman will become his wife.

His intense stare is full of provocation, but this look is not reciprocated, as the woman continues to squeeze the lemon with no response. There appears to be an ambiguous atmosphere between them.

Is this shyness or avoidance? Maybe she isn’t ready to accept this man as her husband, but it seems clear that the woman had little say in the matter.  Has the man taken over and made women uncomfortable, in the space that supposedly they embody?

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A wealth of detail hides within this intimate painting of a domestic scene. The view of the garden can be seen from the window of the room behind the door, and a glass chandelier hanging over the mother's head gives the painting rich layers. The mother is concentrating on picking out the lice in the child's hair, and we can feel the cosy atmosphere between them.

In Dutch family life in the seventeenth century, mothers seemed to take on most of the responsibilities of educating and caring for children, even such trivial things were dubbed "A Mother's Duty". But why must this be the mother's duty? How is the division of family duties defined?

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24/11/2022 Group Meeting at 92 Degree Café

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24/11/2022 Group Meeting at 92 Degree Café

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In this meeting, we discussed the division of labour for the exhibition as follows:

Ellie: Collecting the labels
Cara: WordPress & Other writing works
Hui: Marketing
Myra: Picture editing & Design, Writing the introduction
Me: Picture editing & Design

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27/11/2022 Peer-to-Peer Talk with Yumiko

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27/11/2022 Peer-to-Peer Talk with Yumiko

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We had a peer-to-peer talk on 27th November and discussed our Interpretations of group work.

First, I shared our group work with Yumiko.

Our online exhibition is based on the collections in Rijksmuseum; we named it ‘Fetishised  Domesticity’. We selected portraits of Dutch women from the 17th to the 18th century. These women appeared in domestic scenes and conveyed a moral message to the audience. We wanted to interpret these paintings from a modern perspective.

Q1: What is ‘ Fetishised Domesticity’ mean?

A: Yumiko thinks the word ‘Fetishised Domesticity’ is complicated. Some audiences may feel hard to understand, and I realised that it’s hard for me to explain it to Yumiko. So I thought we should change our exhibition’s name to a more common and straightforward one.

Q2: What’s your Big idea, and how to show it to the audience?

A: Most of our collections are given by classic labels - focusing on the content, colour and painting skills. But we try to interpret them from a modern perspective and an emotional aspect. So we will write two labels for each collection, one is the classic label, and the other is a modern perspective interpretation. Yumiko thinks we don’t have to write the classic label as we are supposed to emphasise the contemporary perspective’s interpretation label.

I told Yumiko that we were confused about the Big idea and had not found what we wanted to show to the audience directly; Yumiko gave me some helpful advice. She thinks if we focus on the women in the family, we can think about the Dutch women’s s duty in the 17th to the 18th century. Has it changed nowadays?

Yumiko thinks that Mother is the loneliest person in the family, especially a housewife. Everyone in the family needs her, her husband wants her to be a good wife, and her children want her to be a good mother. But what about herself? In addition to being a mother, she is also an independent individual. She also has the right to pursue the life she wants.

Dutch women in the 17th and 18th centuries did not have this right. They were shackled in family life, lost their characteristics as independent beings, and became stereotyped as good mothers. So, in contrast to modern society, have modern women broken free from these moral shackles? I think this could be our Big idea.

Then we talked about I can try to find some data about our university, like the proportion of male and female students in a university in recent years; the number could be more intuitive and powerful. If the number of female students in schools continues to increase, this will be a powerful answer to the above question.

After that, Yumiko told me about their group work at Art Institute in Chicago. They chose the theme: Anti-Art. So I asked her about their Big idea, subject, action and consequences.

Q1: Tell me about your Big idea.

A: Yumiko described their Big idea with What/Where?Why, which represents:

What - What is the Anti-Art against?

Where - Where is Anti-Art comes from?

Why - Why is Anti-Art can be accepted by the Art Market?

She explained the difference between Art and Anti-Art, as well as the relationship between them. The explanation of the big idea is completed through the interpretation of these three elements - What/Where/why. I think this approach is straightforward for the audience to understand.

Q2: How to interpret the Anti-Art in this online exhibition?

A: The collections, label design, and poster design will contain the concept of Anti-Art. For example, they rotate some collections, making the opposite of what they should be.

Q3: Can you tell me something about your collections and their order of them?

A: They chose Minimalism and Dada as examples, especially Minimalism. The order of collections will follow in chronological.

Q4: What do you think about the consequences (So what) and how to make your online exhibition related to the audiences?

A: Yumiko did not find a connection between the exhibition and the audience. I suggested she find an interesting way to show the audience that Anti-Art exists in our daily life.

My thought about Yumiko’s group’s exhibition:

This exhibition for me is very attractive because I have basic knowledge of Dada and Surrealism. So If I were an audience from the University, I would like to check this. But many audiences do not know about Dada and Minimalism, so I think this story-telling approach may not be attractive enough for others.

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In yesterday's conversation, Yumiko thought that it is not advisable for us to directly use the big idea as the title because this phrase is too uncommon and challenging for many non-native English speakers to understand. So I suggest that the exhibition title be named A Woman's Duty, inspired by Pieter de Hooch's oil painting A Mother's Duty. We asked Helen if it was possible, and the answer was yes.

We have not found a suitable way to arrange the collections in order. I thought that these collections could be connected according to a woman's life trajectory, starting from the collection doll's house, according to childhood, girlhood ( Before marriage), after marriage, and becoming a mother.

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28/11/2022 Figured out the BIG IDEA finally!

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28/11/2022 Figured out the BIG IDEA finally!

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Through peer-to-peer conversation with Yumiko and reading the book <Exhibit Labels> by Beverly Serrell, I finally understood what a Big idea really is.

A big idea is a sentence – a statement – of what the exhibition is about. It is one complete, noncompound, active sentence that identifies a subject, an action (the verb), and a consequence (“so what”?). It is the first thing the team, together, should write for an exhibition[1].

[1] Beverly Serrell, Exhibit Labels: An interpretive Approach, Second Edition (Lanham, Maryland: Rowman & Littlefield, 2015), pp. 7.

At this point, we finally decided on our big idea, and all the works had to be modified around this big idea, as it was the one that connected all the elements.

Our Big Idea: The duties of Dutch women in the family from the 17th to the 18th century.

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01/12/2022 Small Group Meeting about the Desigh (Me, Myra and Hui)

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01/12/2022 Small Group Meeting about the Desigh (Me, Myra and Hui)

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This was supposed to be our whole group meeting, but Cara and Ellie could not make it, so we decided to start the design work and discuss it later.

Myra made a great poster yesterday, which gave us some inspiration about the whole design. Because we wanted to add a unique label for some collections(like dialogue in WhatsApp) and the function of Powerpoint was not enough for us to complete the design well, we decided to use Photoshop to make these special labels and paste them into Slides.

Then we checked all the labels and found that there were still a few missing labels which Ellie and Cara should have done; we talked about it with them in WhatsApp and agreed that these labels should be completed as soon as possible (before the 7th of December).

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The exhibition is divided into three sections, each using a different background colour.

The first section: using grey-pink.
Pink represents the vivacity and innocence of the girl, but with a lower brightness can diminish the pleasant atmosphere of pink.

The second section: using a calm light blue
Using this calm colour to develop the narrative.

Third section: using grey-green.
Green looks soft and warm, but adding the grey tones gives it a hint of melancholy, a reflection of the mother in the paintings who has to work hard every day.

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Myra designed this photo as the beginning of the first section.

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04/12/2022 Design work: the first section

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04/12/2022 Design work: the first section

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I designed this photo as the beginning of the second section.

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04/12/2022 Design work: the second section

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04/12/2022 Design work: the second section

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Myra made this photo as the beginning of the third section.

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04/12/2022 Design work: the third section

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04/12/2022 Design work: the third section

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The 'text message' label of the collection ‘The Joy of Motherhood’.

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The 'text message' label of the collection Woman with a Child in a Pantry.

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The 'text message' label of the collection A Mother’s Duty.

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08/12/2022 Almost finished the exhibition and got the feedback from Helen

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08/12/2022 Almost finished the exhibition and got the feedback from Helen

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We finished almost works of our exhibition on 7th, Dec, so I send a draft of our exhibition to Helen, she gave us some helpful feedback the next day and we modified it according to Helen's suggestion.

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09/12 We have published our exhibition on WordPress

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09/12 We have published our exhibition on WordPress

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Cara said she had published the exhibition before, but when I logged into WordPress, It seemed like she did not publish it successfully. So I tried to re-published our exhibition.

After posting it, I found out that some typographical issues do not affect the audience's watching, but these issues can be changed to improve the overall design and layout. I made a few more changes to the exhibition that night and updated it.

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This is our final online exhibition.

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A Woman's Duty: Challenging the Idealisation of the Dutch Home

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12/12/2022 Event items page was published by Fiona

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12/12/2022 Event items page was published by Fiona

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This is an event page about our exhibition. Hui wrote it and Ellie helped to modify it.

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What duties should a woman perform in her life? Do they have the opportunity to choose the life they want to? What truths lie beneath idealised scenes of family life?

Curated by MA students from the University of Leeds, this exhibition explores and challenges themes of domesticity, women and family by shining new perspectives on the Rijksmuseum collection.

The Dutch Golden Age was a period of class mobility and wealth accumulation which was reflected in art during this time. Artists' depiction of ordinary life led to a flourishing period of artistic creation. Symbolic objects were commonly placed that represented a moral standard of family life.

However, it is not until these collections have been challenged through a contemporary female perspective that themes of constraint, oppression and loneliness are uncovered within many paintings. Art that was created to promote an ideal of family life have instead stimulated a dialogue of gender roles and equality in the home today.

This exhibition invites you to join the conversation of the curatorial team of MA students, to respond to and challenge the standards placed on women in family life through history and today.

Visit the exhibition

A Woman's Duty - Challenging the Idealization of the Dutch Home is part of a wider series of exhibitions and projects undertaken by MA students from the School of Fine Art, History of Art and Cultural Studies as part of an Interpretations course module.

Image

Woman Playing the Virginal, Jan Miense Molenaer, c. 1637 (detail). Oil on panel, h 38.6cm × w 29.6cm Catalogue entry. Rijksmuseum Collection.

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A Woman's Duty - Challenging the Idealization of the Dutch Home

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Curated by MA students from the University of Leeds, this exhibition explores and challenges themes of domesticity, women and family by shining new perspectives on the Rijksmuseum collection. The Dutch Golden Age was a period of class mobility and wealth accumulation which was reflected in art during this time.

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In the last meeting, we had assigned the marketing work; it's not my work. But there were too many things need to be done before the presentation; everyone seemed to ignore the marketing work. (We agreed to ignore this marketing work because we thought the event page of the college website was enough.)

But on the day of the presentation, I realised that marketing is essential for an exhibition, and we must take this exhibition seriously. So I created an Instagram account, made some posts on it, and invited viewers to leave their comments.

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I created an Instagram account and started marketing work right away. I know it's wrong - we can't rush to the last step to do these tasks that should have been done. But I think done is better than not done.

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While posting, I noticed that newer posts would be at the front and older posts would be at the back.

If I wanted the audience to see our posts in the correct order for the exhibition, I had to post the last post first, then back to the front.

In addition, I have to design some new pictures and resize every picture to ensure they fit Instagram well.

It took me a while, but the overall visual effects were significant, and it was easy for the audience to read.

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12/12/2022 Celebration party after the presentation

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12/12/2022 Celebration party after the presentation

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Although we encountered many problems during the process, I am happy that we completed the final presentation. This is an unforgettable memory for us.

This is the first time I have tried to understand the collections in the museum from the perspective of a curator(informal) and try to interpret these works in my language. Undoubtedly it is a meaningful practice which will provide a lot of inspiration for my future career.