Zoku is the ideal hybrid space for the remote professional. With locations in three different European cities (Copenhagen, Vienna, and Amsterdam), Zoku has a hotel-like service accommodating all of your needs. It truly is the home away from home – if your home includes a built-in office, game room, spa, and in-house convenience store. If you don’t want to stay the night, Zoku also offers monthly memberships that allow access to its rooftop working space. As a member you also receive discounts on Zoku’s other facilities, and for an additional 75 EUR a month, you can register your business at the address. Alternatively, a day pass (at 39 EUR per day, first come) grants you access to their Social Spaces and includes lunch. At 15:30, join the Swedish ritual of Fika – a moment to pause, share a coffee, and socialise with other professionals.
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The Interior of the Oude Kerk, Amsterdam, c. 1660
Arthur K. Wheelock Jr., “Emanuel de Witte/The Interior of the Oude Kerk, Amsterdam/c. 1660,” Dutch Paintings of the Seventeenth Century, NGA Online Editions, https://purl.org/nga/collection/artobject/130808 (accessed November 09, 2023).
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Object Menu
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- Provenance
- Exhibition History
- Technical Summary
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Overview
Emanuel de Witte and Pieter Saenredam (1597–1665) are the most important seventeenth-century painters of church interiors, a significant genre in Dutch art. The two artists nevertheless approached their subjects in radically different ways. Saenredam had a scientific, almost archaeological interest in a building’s structure, as seen in his Cathedral of Saint John at ‘s-Hertogenbosch (1961.9.33). De Witte, on the other hand, employed figures and contrasts of light and shadow to establish the mood and to emphasize the spiritual function of the church.
Most of De Witte’s churches can be identified as buildings that still dominate the cityscapes of Delft and Amsterdam, yet in his paintings he often combined architectural elements in imaginative and fanciful ways. The Interior of the Oude Kerk, Amsterdam is one of his most imposing works, not only because of its unusually large scale but also because of the impressive view it offers down the long nave. The painting is boldly executed, with dramatic light streaming across the composition. Numerous figures enliven the space, including a procession of soberly clad men who have entered the church at the far left to attend a funeral and the two gentlemen in the foreground who discuss the tomb from which the stone has just been lifted. In juxtaposition to the tomb, De Witte uses a beam of light to draw our attention to a mother nursing her child, thereby suggesting the cycle of life and death.
De Witte was born in Alkmaar but trained with the still-life painter Evert van Aelst (1602–1657) in Delft. He began his career as a painter of biblical and mythological subjects (mostly night scenes). Around 1650 he started to specialize in architectural paintings of Delft churches. In 1652 he moved to Amsterdam, where he specialized in church interiors, but also painted market scenes and portraits.
Entry
This large and boldly executed representation of the Oude Kerk in Amsterdam is one of Emanuel de Witte’s most impressive architectural paintings. [1]   [1]
I would like to thank Molli Kuenstner for her extensive research on this painting. From the viewer’s low vantage point at the west end of the nave, the broad sweep of the church’s spacious interior is both imposing and inviting. Tall cylindrical columns flanking the nave, and three enormous brass chandeliers hanging from the wooden vaulted ceiling recede in rhythmic patterns to the distant choir. Bands of light stream dramatically across the dimly lit interior, illuminating the columns and the arches they support, the dark gray stone floor, and two groups of figures within the nave: a pair of elderly gentlemen who are engaged in an emphatic discussion before an open tomb in the foreground, and a young mother who sits on a wooden bench nursing her child.
The Oude Kerk, the earliest parish church in Amsterdam, traces its origins to the early fourteenth century. [2]   [2]
The church, dedicated to Saint Nicholas, was built on the foundations of a small, thirteenth-century, wooden chapel and cemetery. See H. Janse, De Oude Kerk te Amsterdam: Bouwgeschiedenis en restauratie (Zwolle, 2004), for the history of the construction of the Oude Kerk. Initially it was a Catholic church consisting of a central nave and two aisles. By the mid-sixteenth century, however, its appearance had been greatly transformed through the addition of a large choir, transepts that reached to the height of the central nave, and multiple chapels. In the late sixteenth century it became a Protestant church. At that time the thirty-eight altarpieces that once graced its interior were removed, and whitewash was applied to the walls and stone columns lining the nave and apse. The stained-glass windows, however, were retained, as was the decorative painting on the wooden vaulted ceiling.
After De Witte moved to Amsterdam in the early 1650s, the Oude Kerk became one of his favorite subjects, not only because of the majesty of its large interior but also because of the important and dynamic role the church played in the lives of Amsterdam’s citizens. The church was a center of communal life, where people of all ages, the devout and the would-be devout alike, felt free to enter and congregate, whether or not they were seeking spiritual guidance. De Witte relished in the depiction of that human presence, in all its variety, and in his paintings of the Oude Kerk one finds all types: top-hatted gentlemen talking animatedly with one another; parishioners sleeping unabashedly in church pews; quiet, obedient children as well as those playing hide-and-seek in the stalls; young women nursing; and older matrons listening intently to sermons. Dogs roam freely in De Witte’s depictions of the Oude Kerk, sometimes behaving properly, sometimes not; in this instance, a dog is urinating on a column in the left foreground. [3]   [3]
The dog had been painted out when the painting was illustrated in Ilse Manke, Emanuel de Witte, 1617–1692 (Amsterdam, 1963), no. 65.
For De Witte, the Oude Kerk was more than just a social milieu; it was also the site where one marked the defining moments in the cycle of life: birth and death. The Oude Kerk was, in fact, a sacred burial place, and this facet of its broad social and spiritual responsibility within the community was the focus of many of De Witte’s paintings. In the National Gallery of Art’s canvas, as in so many of De Witte’s works, the artist juxtaposed a mother nursing a newborn child with an open tomb, presumably to symbolize life’s journey as it unfolds within the framework of the Christian tradition. [4]   [4]
This theme has been discussed by, among others, Timothy Trent Blade, “Two Interior Views of the Old Church in Delft,” Museum Studies 6 (Art Institute of Chicago) (1971): 34–50; and Beverly Heisner, “Mortality and Faith: The Figural Motifs within Emanuel de Witte’s Dutch Church Interiors,” Studies in Iconography 6 (1980): 107–122. The interpretation of the mother nursing her child as a symbol of charity, as is sometimes found in the literature (see Timothy Trent Blade, “Two Interior Views,” 34–50), is not convincing, partially because of the context in which these figures appear, but partially also because Charity (caritas) traditionally is shown nursing two infants.
The imagery De Witte incorporated in the painting emphatically reinforces this message. In the dim recesses of the church, a funeral procession of gentlemen clad in somber black makes its way slowly along the north aisle to the nave where the freshly dug open tomb awaits. [5]   [5]
De Witte included many of the same elements (the nursing mother, the open tomb, and the funeral procession) in his Oude Kerk in Amsterdam, c. 1655, oil on panel, Musée des Beaux Arts, Strasbourg. See Ilse Manke, Emanuel de Witte, 1617–1692 (Amsterdam, 1963), no. 66. The skull of the tomb’s former occupant lies near the gravedigger’s tools, emphasizing the finality of death, while other pictorial elements symbolically offer the promise of Christian salvation. The spade, with its T-shaped handle, stands vertically in the tomb’s reddish-brown soil, a striking motif, meant to signify the cross on which Christ was crucified. At the same time, the heavy stone rolled back from the tomb provides a visual reminder of the biblical account of Christ’s Resurrection. [6]   [6]
The gravestone in De Witte’s painting is located at the site of the grave marked with the number 19 in the Oude Kerk. Finally, to purify and simplify his composition and to enhance the universality of his message, De Witte eliminated the banners, plaques, and heraldic shields that hung from the nave’s columns. He did not make this painting to commemorate a specific burial, but to comment upon the broader significance of this passage of life in Christian belief. The fact that De Witte oriented this grave in a north-south direction rather than on an east-west axis, as all graves in the church are actually oriented, reinforces the sense that his intention was not to depict an actual event, but rather to provide this scene with a broader allegorical statement about death.
De Witte painted more than twenty views of the interior of the Oude Kerk, which range from quite accurate representations to fanciful re-creations of its architectural character. [7]   [7]
For these paintings, see Ilse Manke, Emanuel de Witte, 1617–1692 (Amsterdam, 1963). In this instance, he elongated the columns, adjusted the position of piers and church furniture, and widened the nave to enhance the dynamic quality of the scene. He also altered the character of the light streaming into the building through the windows. In other paintings of the nave De Witte allowed light to shine through the apse windows and carefully rendered the design and color of their stained-glass panels [fig. 1]   [fig. 1] Emanuel de Witte, Interior of the Oude Kerk, Amsterdam, with Townsfolk Gathered for a Service, c. 1660–1665, oil on canvas, Eijk and Rose-Marie van Otterloo Collection . [8]   [8]
For an analysis of the subjects of these apse windows, which were donated to the Oude Kerk by King Philip II of Spain, see Wim de Groot, “Bloei en teloorgang van de Bourgondisch-Habsburgse glazen in de Oude Kerk van Amsterdam,” Amstelodamum: Maandblad voor de kennis van Amsterdam 92, no. 6 (November–December 2005): 17–32. Here, however, he darkened the apse windows to give the scene a somber character appropriate to the solemnity of the funeral procession. He indicated, with broad touches of the brush, the glowing reds and deep oranges of the stained glass, but allowed no light to shine through them. At the same time he eliminated a stained-glass panel in the middle of the large window in the south transept to provide a light-filled, unobstructed vista to the city rooftops beyond the window’s leaded panes. [9]   [9]
The stained-glass panel on this window indicated the names and family crests of Amsterdam burgomasters. For an image of its probable appearance at this time, see De Witte’s Interior of the Oude Kerk, Amsterdam, with Townsfolk Gathered for a Service (fig. 1). Indeed, De Witte imaginatively controlled the lighting throughout the composition for dramatic effect. Light passing through the windows at the right, for example, strikes the arches on the south side of the nave in a consistent fashion, whereas only one column on the north side of the nave is brightly illuminated.
Arnold Houbraken indicated that De Witte made numerous drawings of architectural interiors in preparation for his paintings, although none are known today. [10]   [10]
Arnold Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols. (The Hague, 1753; reprint, Amsterdam, 1976), 1:283: “De meeste Kerken binnen Amsterdam heeft hy van binnen op verscheiden wyze naar’t leven afgeteekent, geschildert, met Predikstoel, Orgel, Heere- en gemeene gestoelten, Grafsteden en andere daar vercierseen, zoo dat dezelve te kennen zyn.” He must also have made figure studies that he then used to populate his interiors. The seated woman breast-feeding her baby, for example, appears often in his works, as do the two gentlemen (and their dog) in animated conversation (see [fig. 2]   [fig. 2] Emanuel de Witte, The Oude Kerk, Amsterdam, 1659, oil on canvas, Kunsthalle Hamburg. Photo: bpk, Berlin / Hamburger Kunsthalle, Hamburg / Elke Walford / Art Resource, NY ). Whatever his visual sources, De Witte freely adapted them to impart both mood and narrative content to his architectural paintings. In this ability he had no equal, as Houbraken rightly attests. [11]   [11]
Arnold Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols. (The Hague, 1753; reprint, Amsterdam, 1976), 1:283: “Dog hy begaf zig naderhand geheel met’er woon tot Amsterdam, en tot het schilderen van Kerkjes, waar in niemant hem gelyk was, zoo ten opzigt van de geregelde bouwkonst, geestighe verkiezinge van lichten, als welgemaakete beeldjes.”
Arthur K. Wheelock Jr.
Paint in the Dark Reviews
What the participants thought about the experience in Paris
Noémie An incredible experience that combines culture, creativity and relaxation! The staff are friendly and approachable. A truly fantastic concept!
Elora A great new artistic experience!
Florent It was amazing, great atmosphere, conviviality, simple explanations to create the painting. Very enjoyable! A must-do.
Camille Excellent reception, very fun and original activity, the atmosphere is top-notch!
Thomas Beautiful! A super creative and fun-filled experience
Victoria I want to do it again as soon as possible. Best evening ever! The people were incredibly friendly, and the decor was stunning! ♥️♥️♥️
Arthur A very pleasant moment with a light-hearted atmosphere and a top-notch organizer!
Lisa It was fantastic! Great teacher! An incredible ambiance
Practical info
DATES
From December 1, 2023, for a limited time only!
OPENING HOURS
Various hours available from Friday to Sunday
DURATION
1h30
LOCATION
ClinkNOORD – Badhuiskade 3, 1031 KV Amsterdam, Nederland
AGRE REQUIREMENT
Paint in the Dark Experience in Amsterdam: Location
ClinkNOORD, Badhuiskade 3, 1031 KV Amsterdam.
Do you have any questions? Maybe you can find the answer here!
Reveal FAQS
THE EXPERIENCE
What is Paint in the Dark and what can I expect?
For 1h30, alternate between painting and sipping on refreshing beverages (both alcoholic and non-alcoholic beverages will be available). Paint in the Dark is a UV, fluorescent painting experience that invites you to use your imagination and creativity to paint what you’d like.
How long does the experience last?
The experience will last approximately 1.5 hrs.
Can I purchase drinks on-site beyond the 1 beverage included in my ticket?
Yes, there is a bar on-site from which you will be able to purchase further beverages during and after the experience.
Do I need to bring my own supplies?
No, we will be providing all paints and equipment for you.
I have never done a painting class before, do I need to have any skills?
No, this experience is open to any skill level.
Do I need to wear special clothing?
We’ll be providing aprons to cover your clothes. However, we do recommend wearing clothing that you wouldn’t be too upset about getting dirty.
Will there be strobe lights?
No, there will not be any strobe lights.
Will Covid safety regulations be in place on site?
Any regulations in place at the time of the experience, in Amsterdam or The Netherlands, will be observed.
What will happen to my painting at the end of the session?
You can take it home! Warning, the paint might still be wet. However, we will provide bags for you to be able to carry your paintings.
TICKETS
Do I need to print my ticket?
You don’t need to print anything, you only need to show your Fever ticket(s) in the app or email upon arrival at the venue.
Are refunds allowed?
No refunds are allowed. Exchanges to other dates and/or times are permitted up to 48 hours before the start time of the originally purchased event and are based on availability. Please contact us here directly to change your ticket.
Where can I get tickets?
- On the Fever App, available on Google Play and Apple Store.
- On the Fever website.
Can I purchase a ticket at the event?
Tickets are not available at the event for purchase. All tickets must be purchased through the app or website www.feverup.com prior to arriving at the event.
Can I transfer my tickets to another person?
Yes, you can transfer your tickets to anyone for free. It is as easy as clicking “Transfer Tickets” on your ticket on the Fever App. Please contact us for additional help. Make sure to include your ticket order number.
I can’t find my ticket. What can I do?
Normally, you can find your ticket with the QR code in the Fever app, within the Tickets section. If you don’t have it installed, you can download it from the Apple Store or Google Play. Remember to log in using the same account that you used when buying the tickets. If you still cannot find your ticket, please contact us.
How do I book a ticket for my carer?
Carers are welcome at the exhibition with free admission upon showing the appropriate documentation at the entrance. Please note that the guest requiring assistance must have a valid ticket.
ACCESS
Is the venue wheelchair accessible?
Yes, our venue is able to offer access to wheelchairs and seating.
Is there an age requirement for the event?
Yes, this event is 18+.
When should I arrive?
Doors will open 15 minutes prior to the start time of the experience.
What happens if I arrive late?
No late entry is permitted as this would disrupt the flow of the class for other customers.
Will restrooms be available on-site?
Yes, there are toilets available on-site, which are cleaned and disinfected regularly.
What is the venue?
The venue is inside the ClinkNOORD Hostel. The detailed address is: Badhuiskade 3, 1031 KV Amsterdam, Netherlands.
Is there parking available on site?
There is no parking available on site, but the venue is close to many public transport stations.
Can I bring animals?
No animals, besides service animals, are allowed under any circumstances.
Are service animals allowed inside?
Yes, service animals are admitted inside the venue. However, no other pets or animals are allowed.
Can I bring my own food and drink?
Food or beverages purchased outside the venue are not allowed to be consumed on the premises.
Can I smoke or vape during the experience?
It is forbidden to smoke or vape during the exhibition.
Is there air conditioning?
Yes, there is air conditioning.
Is there a Cloakroom / lockers available on site?
No, neither a cloakroom nor lockers are available on-site. However, there will be space next to your tables or at the corners of the room where you can leave your coats / belongings while participating in the experience.
What do I do if I leave or lose something at the venue?
If you are in the area and wish to pass by the venue to ask personnel about any missing items, please feel free to do this. Otherwise, please contact us here and we will see with the venue if they have found your missing item. If so, you can then pass by the venue to pick it up at a time of your convenience.
The Villy Rhapsody
Best for: Yummy smoothies, unlimited coffee
Location: Bos en Lommerplein 302, Amsterdam West
Price: 0.10 EUR per minute for a desk, 0.50 EUR per minute for a meeting room
A spacious but cosy cafe and workspace just outside the circle highway. Great for lunch meetings (the yellow smoothie is a must) or just to open your laptop and type away for a few hours. Workspaces are pay-per-minute, and there is with a choice of either a flex desk or a meeting room, and Included in the price are unlimited coffee, tea, and water are included in the price. Meeting rooms include a screen with Google Chromecast and a flipchart. At the end of the day or during your midday break, make sure to hop around the corner and visit MAQAM – the pop-up location of Amsterdam’s famous photography museum, Foam, for an art break and some Moroccan tea.
thevilly.com
No Man’s Art Gallery & de bar
No Man’s Art Gallery & de bar
Best for: After work drinks, art and events
Location: Bos en Lommerweg 90, Amsterdam West
Price: 9 EUR for a cocktail, 5-10 EUR for shareable snacks
Only a few minutes away from The Villy lies we find this hybrid art-drinks space place, perfect for your last meeting of the day. No Man’s Art Gallery is an art gallery hosting exhibitions and pop-up galleries around the world, features work from young, emerging and international artists in a bright, colourful space with a cosy terrace on the bustling Bos en Lommerweg. Sit back and allow your last meeting to trickle into cocktail hour, stay for the great food (vegan buns with kimchi) and inspiring artworks, and make sure to end the day with a NMAG spritz or a Negroni.
nomansart.com
Coffee-fuelled co-working at Caffènation
ZUID
Best for: Cosy vibes, gentle whirring of the coffee machine
Location: Warmondstraat 120, Amsterdam West
Price: 4 EUR for a coffee
Overlooking a quiet square on the edge of Amsterdam-West, Caffènation (an extension of the artisan coffee roastery based in Antwerp) is the perfect spot to meet over a good cup of coffee. Upstairs we find is a small, intimate cafe, but hidden downstairs are many tables to sit down with a laptop or co-worker. Or choose A favourite perch is the comfy couch in the window upstairs, and enjoy a nice with views of the square below. Don’t forget to bring back home a bag of their artisanal coffee beans.
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