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26-712: The Oudeschans canal continues the line of the Zwanenburgwal , to which it is connected by the Sint Antoniesluis, a lock that is crossed by the bridge where Sint Antoniesbreestraat turns into Jodenbreestraat. It runs northeast to the Oosterdok , which in turn is connected to the IJ . The 16th-century Montelbaanstoren is on the canal, which is sometimes called the Montelbaansgracht. The canal forms

52-568: A contemporary European style, Impressionism . Their atmosphere is melancholy, depicting austere, wintery, dark scenes. The dark paintings did not sell well at his first solo exhibition, sponsored by the Amsterdam art dealer Van Wisselingh in 1895. A few years later, after his second exhibition, he proved successful with his prints depicting Rotterdam, Amsterdam, and painted views on Ede, and his watercolours were particularly successful. His best works include serene views on Amsterdams, like those of

78-506: A favorite subject that he drew and painted from his window. Zwanenburgwal The Zwanenburgwal is a canal and street in the center of Amsterdam . During the Dutch Golden Age the canal was home to painter Rembrandt van Rijn , as well as philosopher Spinoza lived here. In 2006 it was voted one of the most beautiful streets in Amsterdam by readers of Het Parool , a local daily newspaper. The Zwanenburgwal flows from

104-555: A new home in the Muziekgebouw aan 't IJ , an apartment building was built on the site in 2007 based on a design by Tekton architects. Jan Swammerdam lived at Oudeschans 18, where his father, who was known for his natural history collection, had a pharmacy . Between 1887 and 1888, the painter Willem Witsen rented the studio in Oudeschans 5 formerly used by George Hendrik Breitner . The Montelbaanstoren and Oudeschans were

130-634: A student at the Amsterdam Rijksacademie van Beeldende Kunsten (State academy of visual arts), Witsen was a board member of the artists association Sint Lucas. He was the founder of the Nederlandse Etsclub (Dutch Etching Club). Witsen belonged to the Tachtigers , a group of young artists who proclaimed the principle of l'art pour l'art Art for art's sake . The group influenced Dutch artistic and political life during

156-547: Is a "corridor" to a back area on which the De Waag Playground is located. The artist Su Tomesen designed a gateway for this. The Snoekjesgracht , Rechtboomssloot and Waalseilandgracht open into the Oudeschans from the northwest. The Houtkopersburgwal and Rapenburgwal open into it from the southeast. The odd-numbered southeast side of the Oudeschans lies on the island of Uilenburg, which can only be reached via three bridges: The Montelbaansbrug (bridge no. 280)

182-714: Is an extension of the even-numbered side of the Oudeschans over the Waalseilandsgracht at the Oude Waal and the Binnenkant. The Kikkerbilssluis (bridge no. 279) spans the water of the Oudeschans at the Prins Hendrikkade. In 1512, troops from Guelders attacked the city and plundered the Lastage, the industrial area with shipyards on the eastern side outside the city. Between 1515 and 1518 an armof

208-409: Is mandatory. The late-romanticist Dutch writer Nescio portrayed the main character of his story Verliefdheid ( Being in love ) from March 1919 as the occupier of this house. The Dutch writer Marga Minco lived here from 1949 to 1970 with her husband Bert Voeten  [ nl ] . Among the later occupiers of the house were the writers Jan Kal and Thomas Rosenboom . Witsenhuis now

234-675: The Amstel was dug out, the Zwanenburgwal, leading to the Nieuwe Gracht, as the Oudeschans was then called. This became the defensive moat for the east side of the city. A defensive wall was thrown up with the earth dug out, on which a wooden palisade was erected. The Montelbaan tower was built in 1516 as part of this defensive work. At the end of the 16th century, during the Second Expansion, three islands southeast of

260-668: The Herengracht and Leidsegracht , “Turfschepen in de Oude Schans” and “Gezicht op de oude Waal”. In 1911 Witsen purchased a barge in order to again work from a water-level standpoint. Prizes granted to him at the World's Fair in Paris and St. Louis brought him to the attention of an international public. Here Witsen showed prints and paintings of Venice. He experimented with colour etching and continued with portraits and floral still lifes that he produced during his whole career. He visited

286-701: The Stopera , lies at the intersection of the Zwanenburgwal and the river Amstel. Also on this corner lies the Joods Verzetsmonument, a monument to the Jewish resistance during World War II , where a ceremony in remembrance of the Kristallnacht massacre is held each year. Well-known inhabitants of the Zwanenburgwal include the following painters: Rembrandt , Karel Appel , Nicolaes Eliasz. Pickenoy , Salomon Meijer , and Cornelis van der Voort ,

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312-772: The 1890s. Witsen wrote under a pseudonym in the literary magazine De Nieuwe Gids , which he also supported financially. His circle of friends included the painters George Hendrik Breitner , Isaac Israëls , and Jan Veth and the writers Lodewijk van Deyssel , Albert Verwey , Willem Kloos , and Herman Gorter . During visits to London , Witsen became acquainted with the paintings of James McNeill Whistler, whose influence can be seen in Witsen's View of Victoria Embankment in London . Witsen worked in artist's colonies in Laren, Rotterdam , Wijk bij Duurstede and Ede. He made his studies of

338-612: The Amstel via the Zwanenburgwal. The West-Indian warehouse is on the 's-Gravenhekje, where the Oudeschans flows into the Oosterdok. This monumental complex, built in 1642, was the headquarters of the Dutch West India Company between 1646 and 1674. In 1833, after a rumor that ghosts had been seen, the Oudeschans was nicknamed the ghost quay. The Oudeschans and the parallel Nieuwe Uilenburgerstraat, were located in

364-523: The Amsterdam art world, as well as other artists, such as French Symbolist poet Paul Verlaine . Willem Witsen was born in Amsterdam on 13 August 1860 in the wealthy ruling-class Witsen family , dating back to the governing families of the Dutch Golden Age , of whom Cornelis Jan Witsen and his son Nicolaes Witsen were members. His parents were Jonas Jan Witsen and Jacoba Elisabeth Bonekamp. Witsen studied at academies in Amsterdam and Antwerp . As

390-582: The Art's Fair of 1915 in San Francisco and traveled to the Dutch East-Indies a few years before his death. Witsens studio which initially had also been used by Breitner, is situated at Oosterpark 82 in Amsterdam and is now a state-owned museum. The Witsenhouse ( Witsenhuis  [ nl ] ) as it is called today has been restored to its original condition. For visits a written request

416-544: The Nieuwe Gracht were included: Uilenburg, Marken (later called Valkenburg ) and Rapenburg. When a new city wall was erected to defend against the Spanish, it included the new islands. The Nieuwe Gracht and the old redoubt lost its defensive function. In 1602 a channel was cut through the Sint Antoniesdijk on the south side of the Oudeschans, and the Sint Antoniesluis (a lock) was built so that ships could sail to

442-521: The Sint Antoniessluis sluice gate (between the streets Sint Antoniesbreestraat and Jodenbreestraat ) to the Amstel river. The canal was originally named Verversgracht ("dyers' canal"), after the textile industry that once dominated this part of town. Dyed textiles were hung to dry along the canal. Waterlooplein , a market-square popular among city visitors, sits along the Zwanenburgwal. The combined city hall and opera house structure,

468-527: The Zwanenburgwal and the outer section, beyond the sluice gate, became known as the Oude Schans . During construction of the canal, a part of the Amstel river was reclaimed to form two new neighborhoods, Zwanenburg (west of the Zwanenburgwal) and Vlooienburg (east of the canal). With the arrival in Amsterdam of large numbers of Jews from all over Europe in the late 16th and early 17th Century,

494-527: The Zwanenburgwal became part of the Jewish neighborhood of Amsterdam. A synagogue was located on the Zwanenburgwal until 1936. During World War II, the neighborhood was emptied of its residents as most were deported to the Nazi concentration camps . The deserted houses were used for firewood and left derelict. After the war, the Vlooienburg district was demolished to make way for a new city hall, which however

520-509: The Zwanenburgwal, running underneath the adjacent corner house, which enabled him to move the giant canvas of the Night Watch out of his studio. The Zwanenburgwal was originally an arm of the Amstel delta which was dug into a canal at the start of the 17th Century. In 1602 the Sint Antoniesdijk, a dike along the eastern edge of the city, was breached to construct a sluice gate, the Sint Antoniessluis. The inner section came to be known as

546-481: The goods, stalls and carts of the Jewish street market on Nieuwe Uilenburgerstraat, which was popular before World War II . The complex is used as an exhibition and studio space, and offers space for artists and young entrepreneurs. The Korendrager warehouse on Oudeschans 73-77 was destroyed by fire in 1949. Between 1974 and 2004, the Bimhuis stood here. When this concert hall for jazz and improvised music had found

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572-563: The heart of the old Jodenbuurt (Jewish neighborhood) of Amsterdam. In 1927 the municipality built a block of 72 homes in the style of the late Amsterdam School in collaboration with the Bouwfonds Handwerkers Vriendenkring. The block was designed by Jan Hendrik Mulder Jr. (1888–1960) and built on the Oudeschans / Nieuwe Uilenburgerstraat. The ground floor areas, with the monumental natural stone entrance at Oudeschans 21, were originally designed as storage for

598-471: The philosopher Baruch de Spinoza , the architect Michel de Klerk , the writer Arend Fokke Simonsz , and the communist leader Paul de Groot . From 1631 to 1635, Rembrandt lived and worked at the home of Hendrick van Uylenburgh at the corner of Zwanenburgwal and Jodenbreestraat. In 1639 he bought the adjacent house, now the Rembrandthuis museum. Rembrandt was able to leave his house via an exit onto

624-425: The small town Dordrecht while sitting in a boat, which gave him the special lower viewpoint which is characteristic of his works in that town. After returning to Amsterdam, Witsen became a member of the artists circle Maatschappij Arti et Amicitiae. He was also a member of the artists association Sint Lucas, which is named after Saint Luke , patron of the painters. Witsen's works are distinguishable from those of

650-650: The western shore of the city island of Uilenburg on the border of the Lastage neighborhood . The quays on either side of the canal are called Oudeschans, with the exception of the section between the Waalseilandgracht and the Oosterdok at the Prins Hendrikkade . There, the northeastern quay is called the Kalkmarkt and the opposite quay is called 's-Gravenhekje. Next to house number 10 there

676-597: Was not built until the 1980s. 52°22′07″N 4°53′59″E  /  52.36861°N 4.89972°E  / 52.36861; 4.89972 Willem Witsen Willem Arnoldus Witsen (13 August 1860 – 13 April 1923, Amsterdam) was a Dutch painter and photographer associated with the Amsterdam Impressionism movement. Witsen's work, influenced by James McNeill Whistler , often portrayed calm urban landscapes as well as agricultural scenes. He also created portraits and photographs of prominent figures of

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