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Welcome to the Netherlands Portal
Welkom bij het Nederlandportaal!

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Location of the Netherlands within Europe

The Netherlands is a country in Northwestern Europe, with overseas territories in the Caribbean. It is the largest of the four constituent countries of the Kingdom of the Netherlands. The Netherlands consists of twelve provinces; it borders Germany to the east and Belgium to the south, with a North Sea coastline to the north and west. It shares maritime borders with the United Kingdom, Germany, and Belgium. The official language is Dutch, with West Frisian as a secondary official language in the province of Friesland. Dutch, English, and Papiamento are official in the Caribbean territories. People from the Netherlands are referred to as Dutch.

The Netherlands has been a parliamentary constitutional monarchy with a unitary structure since 1848. The country has a tradition of pillarisation (separation of citizens into groups by religion and political beliefs) and a long record of social tolerance, having legalised prostitution and euthanasia, along with maintaining a liberal drug policy. The Netherlands allowed women's suffrage in 1919 and was the first country to legalise same-sex marriage in 2001. Its mixed-market advanced economy has the eleventh-highest per capita income globally. The Hague holds the seat of the States General, cabinet, and Supreme Court. The Port of Rotterdam is the busiest in Europe. Schiphol is the busiest airport in the Netherlands, and the fourth busiest in Europe. Being a developed country, the Netherlands is a founding member of the European Union, eurozone, G10, NATO, OECD, and WTO, as well as a part of the Schengen Area and the trilateral Benelux Union. It hosts intergovernmental organisations and international courts, many of which are in The Hague. (Full article...)

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Featured articles are displayed here, which represent some of the best content on English Wikipedia.
  • Image 1 Si Tjonat (Perfected Spelling: Si Conat) is a likely lost 1929 bandit film from the Dutch East Indies (now Indonesia) directed by Nelson Wong and produced by Wong and Jo Eng Sek. Based on the novel by F.D.J. Pangemanann, the silent film followed an indigenous man who, having killed his fellow villager, flees to Batavia (today Jakarta) and becomes a bandit. After kidnapping an ethnic Chinese woman, he is defeated and brought to justice. A commercially oriented work aimed at ethnic Chinese audiences, Si Tjonat received mixed reviews; box office proceeds are unclear. Although intended as a serial, no sequel was ever made; the production house, Batavia Motion Picture, closed soon afterwards. Several works in the same genre were released soon afterwards, including Si Pitoeng, which used the same director and star. (Full article...)
    Si Tjonat (Perfected Spelling: Si Conat) is a likely lost 1929 bandit film from the Dutch East Indies (now Indonesia) directed by Nelson Wong and produced by Wong and Jo Eng Sek. Based on the novel by F.D.J. Pangemanann, the silent film followed an indigenous man who, having killed his fellow villager, flees to Batavia (today Jakarta) and becomes a bandit. After kidnapping an ethnic Chinese woman, he is defeated and brought to justice.

    A commercially oriented work aimed at ethnic Chinese audiences, Si Tjonat received mixed reviews; box office proceeds are unclear. Although intended as a serial, no sequel was ever made; the production house, Batavia Motion Picture, closed soon afterwards. Several works in the same genre were released soon afterwards, including Si Pitoeng, which used the same director and star. (Full article...)
  • Image 2 Lie, c. 1900 Lie Kim Hok (Chinese: 李金福; Pe̍h-ōe-jī: Lí Kim-hok; pinyin: Lǐ Jīnfú; 1 November 1853 – 6 May 1912) was a peranakan Chinese teacher, writer, and social worker active in the Dutch East Indies and styled the "father of Chinese Malay literature". Born in Buitenzorg (now Bogor), West Java, Lie received his formal education in missionary schools and by the 1870s was fluent in Sundanese, vernacular Malay, and Dutch, though he was unable to understand Chinese. In the mid-1870s he married and began working as the editor of two periodicals published by his teacher and mentor D. J. van der Linden. Lie left the position in 1880. His wife died the following year. Lie published his first books, including the critically acclaimed syair (poem) Sair Tjerita Siti Akbari and grammar book Malajoe Batawi, in 1884. When van der Linden died the following year, Lie purchased the printing press and opened his own company. (Full article...)

    Lie, c. 1900

    Lie Kim Hok (Chinese: 李金福; Pe̍h-ōe-jī: Lí Kim-hok; pinyin: Lǐ Jīnfú; 1 November 1853 – 6 May 1912) was a peranakan Chinese teacher, writer, and social worker active in the Dutch East Indies and styled the "father of Chinese Malay literature".

    Born in Buitenzorg (now Bogor), West Java, Lie received his formal education in missionary schools and by the 1870s was fluent in Sundanese, vernacular Malay, and Dutch, though he was unable to understand Chinese. In the mid-1870s he married and began working as the editor of two periodicals published by his teacher and mentor D. J. van der Linden. Lie left the position in 1880. His wife died the following year. Lie published his first books, including the critically acclaimed syair (poem) Sair Tjerita Siti Akbari and grammar book Malajoe Batawi, in 1884. When van der Linden died the following year, Lie purchased the printing press and opened his own company. (Full article...)
  • Image 3 Harta Berdarah ([harˈta bərˈdarah]; Indonesian for Bloody Treasure) is a 1940 action film from the Dutch East Indies (now Indonesia). Set in the Middle Ages, the film stars R Sukran and Hadidjah as a pirate and a princess who fall in love. Union Films, the country's first indigenous film production house, produced the film with Rd Ariffien and R Hu as directors. It was written by Saeroen, one of the country's most prolific screenwriters.The film, which stars Zonder and Soelastri, tells of a young man who convinces a stingy hadji to be more charitable and, in the process, falls in love with the man's daughter. Released during Eid al-Fitr, Harta Berdarah was advertised as a "magnificent Indonesian action hit" and used Zonder's silat skills and Soelastri's fame as a keroncong singer to draw audiences. Reviews for the work were positive, with praise focused on its acting and story. Although Harta Berdarah was screened as late as 1944, as with most contemporary productions it is now likely lost. (Full article...)
    Harta Berdarah ([harˈta bərˈdarah]; Indonesian for Bloody Treasure) is a 1940 action film from the Dutch East Indies (now Indonesia). Set in the Middle Ages, the film stars R Sukran and Hadidjah as a pirate and a princess who fall in love. Union Films, the country's first indigenous film production house, produced the film with Rd Ariffien and R Hu as directors. It was written by Saeroen, one of the country's most prolific screenwriters.The film, which stars Zonder and Soelastri, tells of a young man who convinces a stingy hadji to be more charitable and, in the process, falls in love with the man's daughter.

    Released during Eid al-Fitr, Harta Berdarah was advertised as a "magnificent Indonesian action hit" and used Zonder's silat skills and Soelastri's fame as a keroncong singer to draw audiences. Reviews for the work were positive, with praise focused on its acting and story. Although Harta Berdarah was screened as late as 1944, as with most contemporary productions it is now likely lost. (Full article...)
  • Image 4 Third printing, 1922 Sair Tjerita Siti Akbari ([ʃaˈir tʃeˈrita siˈti akˈbari]; Perfected spelling: Syair Cerita Siti Akbari, Malay for Poem on the Story of Siti Akbari; also known as Siti Akbari) is an 1884 Malay-language syair (poem) by Lie Kim Hok. Adapted indirectly from the Sjair Abdoel Moeloek, it tells of a woman who passes as a man to free her husband from the Sultan of Hindustan, who had captured him in an assault on their kingdom. Written over a period of several years and influenced by European literature, Siti Akbari differs from earlier syairs in its use of suspense and emphasis on prose rather than form. It also incorporates European realist views to expand upon the genre, although it maintains several of the hallmarks of traditional syairs. Critical views have emphasised various aspects of its story, finding in the work an increased empathy for women's thoughts and feelings, a call for a unifying language in the Dutch East Indies (now Indonesia), and a polemic regarding the relation between tradition and modernity. (Full article...)

    Third printing, 1922

    Sair Tjerita Siti Akbari ([ʃaˈir tʃeˈrita siˈti akˈbari]; Perfected spelling: Syair Cerita Siti Akbari, Malay for Poem on the Story of Siti Akbari; also known as Siti Akbari) is an 1884 Malay-language syair (poem) by Lie Kim Hok. Adapted indirectly from the Sjair Abdoel Moeloek, it tells of a woman who passes as a man to free her husband from the Sultan of Hindustan, who had captured him in an assault on their kingdom.

    Written over a period of several years and influenced by European literature, Siti Akbari differs from earlier syairs in its use of suspense and emphasis on prose rather than form. It also incorporates European realist views to expand upon the genre, although it maintains several of the hallmarks of traditional syairs. Critical views have emphasised various aspects of its story, finding in the work an increased empathy for women's thoughts and feelings, a call for a unifying language in the Dutch East Indies (now Indonesia), and a polemic regarding the relation between tradition and modernity. (Full article...)
  • Image 5 Film flyer Air Mata Iboe (Perfected spelling: Air Mata Ibu; Malay for A Mother's Tears) is a 1941 film from the Dutch East Indies (now Indonesia) directed and written by Njoo Cheong Seng. Starring Fifi Young, Rd Ismail, Ali Sarosa, and Ali Joego, it followed a mother who raises her children lovingly but is ultimately betrayed by her eldest sons when she falls upon hard times. The film, billed as a musical extravaganza, featured a soundtrack by R Koesbini, and an eponymous title song written by Njoo. The last production completed by Fred Young's Majestic Film Company, Air Mata Iboe was released in December 1941, shortly before the Japanese occupation of the Dutch East Indies. This film, now possibly lost, received positive reviews. A remake was produced under the same title in 1957; Young reprised her role. (Full article...)

    Film flyer

    Air Mata Iboe (Perfected spelling: Air Mata Ibu; Malay for A Mother's Tears) is a 1941 film from the Dutch East Indies (now Indonesia) directed and written by Njoo Cheong Seng. Starring Fifi Young, Rd Ismail, Ali Sarosa, and Ali Joego, it followed a mother who raises her children lovingly but is ultimately betrayed by her eldest sons when she falls upon hard times. The film, billed as a musical extravaganza, featured a soundtrack by R Koesbini, and an eponymous title song written by Njoo.

    The last production completed by Fred Young's Majestic Film Company, Air Mata Iboe was released in December 1941, shortly before the Japanese occupation of the Dutch East Indies. This film, now possibly lost, received positive reviews. A remake was produced under the same title in 1957; Young reprised her role. (Full article...)
  • Image 6 Soeara Berbisa ([suˈara bərˈbisa]; Perfected Spelling: Suara Berbisa; Indonesian for Venomous Voice) is a 1941 film from the Dutch East Indies. Produced by Ang Hock Liem for Union Films and directed by R Hu, this black-and-white film stars Raden Soekarno, Ratna Djoewita, Oedjang, and Soehaena. The story, written by Djojopranoto, follows two young men who compete for the affections of a woman before learning that they are long-lost brothers. Filmed in September and October 1941, Soeara Berbisa features keroncong music and was shot partly in western Java. It was released to coincide with the Eid al-Fitr holiday and rated for all ages. Advertisements emphasised the film's appeal to both native and Dutch audiences, and a review in De Indische Courant was positive. Although the film—Union's penultimate production—was screened as late as 1949, it is now likely lost. (Full article...)
    Soeara Berbisa ([suˈara bərˈbisa]; Perfected Spelling: Suara Berbisa; Indonesian for Venomous Voice) is a 1941 film from the Dutch East Indies. Produced by Ang Hock Liem for Union Films and directed by R Hu, this black-and-white film stars Raden Soekarno, Ratna Djoewita, Oedjang, and Soehaena. The story, written by Djojopranoto, follows two young men who compete for the affections of a woman before learning that they are long-lost brothers.

    Filmed in September and October 1941, Soeara Berbisa features keroncong music and was shot partly in western Java. It was released to coincide with the Eid al-Fitr holiday and rated for all ages. Advertisements emphasised the film's appeal to both native and Dutch audiences, and a review in De Indische Courant was positive. Although the film—Union's penultimate production—was screened as late as 1949, it is now likely lost. (Full article...)
  • Image 7 Official portrait, 1956 Fakih Usman (alternatively spelled as Faqih Usman; Indonesian pronunciation: [ˌfakɪh ˈʊsman]; 2 March 1904 – 3 October 1968) was an Indonesian Islamic leader and politician of the Masyumi Party. He twice served as the Minister of Religious Affairs under the cabinets of Abdul Halim and Wilopo from January until September 1950, and again from 1952 until 1953. In his early years, Fakih was criticized by conservative Muslims for his involvement with the modernist Islamic Muhammadiyah organization, though he is remembered fondly by the group. Born to a merchant and his wife in Gresik, Dutch East Indies, Fakih studied with his father and at a series of pesantren (Islamic boarding schools) until the 1920s. In 1925 he became involved with the Muhammadiyah, rising quickly through the leadership until he became the head of the Surabaya branch in 1938. He was also active in local politics, in 1937, he became the treasurer of the Indonesian Islamic Assembly. He continued to be involved in politics and Islamic groups during the Japanese occupation and the ensuing national revolution. Following the end of the war, he was appointed Minister of Religious Affairs. As a minister, he oversaw educational and institutional reform, growing in prominence within the Muhammadiyah. He also served as deputy chairman of the organization under several different leaders before being chosen as its chairman in late 1968. He died several days later. (Full article...)

    Official portrait, 1956

    Fakih Usman (alternatively spelled as Faqih Usman; Indonesian pronunciation: [ˌfakɪh ˈʊsman]; 2 March 1904 – 3 October 1968) was an Indonesian Islamic leader and politician of the Masyumi Party. He twice served as the Minister of Religious Affairs under the cabinets of Abdul Halim and Wilopo from January until September 1950, and again from 1952 until 1953. In his early years, Fakih was criticized by conservative Muslims for his involvement with the modernist Islamic Muhammadiyah organization, though he is remembered fondly by the group. Born to a merchant and his wife in Gresik, Dutch East Indies, Fakih studied with his father and at a series of pesantren (Islamic boarding schools) until the 1920s.

    In 1925 he became involved with the Muhammadiyah, rising quickly through the leadership until he became the head of the Surabaya branch in 1938. He was also active in local politics, in 1937, he became the treasurer of the Indonesian Islamic Assembly. He continued to be involved in politics and Islamic groups during the Japanese occupation and the ensuing national revolution. Following the end of the war, he was appointed Minister of Religious Affairs. As a minister, he oversaw educational and institutional reform, growing in prominence within the Muhammadiyah. He also served as deputy chairman of the organization under several different leaders before being chosen as its chairman in late 1968. He died several days later. (Full article...)
  • Image 8 Jacobus Anthonie Meessen (Dutch pronunciation: [jaːˈkoːbʏs ˈɑntoːni ˈmeːsə(n)]; 5 December 1836 – 14 November 1885) was a Dutch photographer who took more than 250 portraits and landscapes of the Dutch East Indies (now Indonesia) between 1864 and 1870. Born to a carpenter in Utrecht, Meessen worked in that trade in the Indies before marrying in the Netherlands in the early 1860s. He returned to the colony in 1864, intent on documenting its land and people. He worked mostly in the capital of Batavia (now Jakarta), Java, and Padang, Sumatra; he also photographed Bangka, Belitung, Borneo, and Nias. When Meessen returned to the Netherlands in 1870, he established a short-lived partnership with Abraham Vermeulen and began disseminating his photographs. Selected images were given to King William III in an elaborately decorated album in 1871, while more were published by De Bussy in 1875 and exhibited in Paris and Amsterdam. In his final years, Meessen worked predominantly as an architect. Collections of his albumen prints, some of which were hand-tinted or annotated, are held in four institutions in the Netherlands. (Full article...)
    Jacobus Anthonie Meessen (Dutch pronunciation: [jaːˈkoːbʏs ˈɑntoːni ˈmeːsə(n)]; 5 December 1836 – 14 November 1885) was a Dutch photographer who took more than 250 portraits and landscapes of the Dutch East Indies (now Indonesia) between 1864 and 1870. Born to a carpenter in Utrecht, Meessen worked in that trade in the Indies before marrying in the Netherlands in the early 1860s. He returned to the colony in 1864, intent on documenting its land and people. He worked mostly in the capital of Batavia (now Jakarta), Java, and Padang, Sumatra; he also photographed Bangka, Belitung, Borneo, and Nias.

    When Meessen returned to the Netherlands in 1870, he established a short-lived partnership with Abraham Vermeulen and began disseminating his photographs. Selected images were given to King William III in an elaborately decorated album in 1871, while more were published by De Bussy in 1875 and exhibited in Paris and Amsterdam. In his final years, Meessen worked predominantly as an architect. Collections of his albumen prints, some of which were hand-tinted or annotated, are held in four institutions in the Netherlands. (Full article...)
  • Image 9 One sheet Tjioeng Wanara (Indonesian pronunciation: [ˌtʃiʊŋ waˈnara]; Perfected Spelling: Ciung Wanara) is a 1941 film from the Dutch East Indies (modern-day Indonesia) directed and produced by Jo Eng Sek. Starring R Sukran, Elly Joenara and AB Djoenaedi, it featured more than 500 people in supporting roles. The film follows a young prince named Tjioeng Wanara who must reclaim his throne from the cruel King of Galuh; it is adapted from the Sundanese legend of the same name. The second production by Star Film, Tjioeng Wanara was released 18 August 1941. It was advertised heavily, emphasising the fact that the scholar Poerbatjaraka had served as the historical adviser and that the film was based on Balai Pustaka's version of the legend. It premiered to commercial success, but received mixed reviews. This black-and-white production, which was screened until at least 1948, is now thought lost. (Full article...)

    One sheet

    Tjioeng Wanara (Indonesian pronunciation: [ˌtʃiʊŋ waˈnara]; Perfected Spelling: Ciung Wanara) is a 1941 film from the Dutch East Indies (modern-day Indonesia) directed and produced by Jo Eng Sek. Starring R Sukran, Elly Joenara and AB Djoenaedi, it featured more than 500 people in supporting roles. The film follows a young prince named Tjioeng Wanara who must reclaim his throne from the cruel King of Galuh; it is adapted from the Sundanese legend of the same name.

    The second production by Star Film, Tjioeng Wanara was released 18 August 1941. It was advertised heavily, emphasising the fact that the scholar Poerbatjaraka had served as the historical adviser and that the film was based on Balai Pustaka's version of the legend. It premiered to commercial success, but received mixed reviews. This black-and-white production, which was screened until at least 1948, is now thought lost. (Full article...)
  • Image 10 The Crucifixion and Last Judgement diptych (or Diptych with Calvary and Last Judgement) consists of two small painted panels attributed to the Early Netherlandish artist Jan van Eyck, with areas finished by unidentified followers or members of his workshop. This diptych is one of the early Northern Renaissance oil-on-panel masterpieces, renowned for its unusually complex and highly detailed iconography, and for the technical skill evident in its completion. It was executed in a miniature format; the panels are just 56.5 cm (22.2 in) high by 19.7 cm (7.8 in) wide. The diptych was probably commissioned for private devotion. The left-hand wing depicts the Crucifixion. It shows Christ's followers grieving in the foreground, soldiers and spectators milling about in the mid-ground and a portrayal of three crucified bodies in the upper-ground. The scene is framed against an expansive and foreboding sky with a view of Jerusalem in the distance. The right-hand wing portrays scenes associated with the Last Judgement: a hellscape at its base, the resurrected awaiting judgement in the centre-ground, and a representation of Christ in Majesty flanked by a Great Deësis of saints, apostles, clergy, virgins and nobility in the upper section. Portions of the work contain Greek, Latin and Hebrew inscriptions. The original gilt frames contain Biblical passages in Latin drawn from the books of Isaiah, Deuteronomy and Revelation. According to a date written in Russian on their reverse, the panels were transferred to canvas supports in 1867. (Full article...)

    The Crucifixion and Last Judgement diptych (or Diptych with Calvary and Last Judgement) consists of two small painted panels attributed to the Early Netherlandish artist Jan van Eyck, with areas finished by unidentified followers or members of his workshop. This diptych is one of the early Northern Renaissance oil-on-panel masterpieces, renowned for its unusually complex and highly detailed iconography, and for the technical skill evident in its completion. It was executed in a miniature format; the panels are just 56.5 cm (22.2 in) high by 19.7 cm (7.8 in) wide. The diptych was probably commissioned for private devotion.

    The left-hand wing depicts the Crucifixion. It shows Christ's followers grieving in the foreground, soldiers and spectators milling about in the mid-ground and a portrayal of three crucified bodies in the upper-ground. The scene is framed against an expansive and foreboding sky with a view of Jerusalem in the distance. The right-hand wing portrays scenes associated with the Last Judgement: a hellscape at its base, the resurrected awaiting judgement in the centre-ground, and a representation of Christ in Majesty flanked by a Great Deësis of saints, apostles, clergy, virgins and nobility in the upper section. Portions of the work contain Greek, Latin and Hebrew inscriptions. The original gilt frames contain Biblical passages in Latin drawn from the books of Isaiah, Deuteronomy and Revelation. According to a date written in Russian on their reverse, the panels were transferred to canvas supports in 1867. (Full article...)
More featured articles
Featured lists have been determined by the Wikipedia community to be the best lists on English Wikipedia.
  • Image 1 This page is a list of films that received the Golden Film since its introduction in 2001 by the Netherlands Film Festival and the Netherlands Film Fund. In 2001 and 2002, films from the Netherlands received the award once they had sold 75,000 tickets. From 2003 to date, the Golden Film is awarded to films from the Netherlands once they have sold 100,000 tickets. This page shows, for both audience criteria, which films received the Golden Film and how soon they received it after their releases. In the following tables, the 'year' column contains the years in which the films received the Golden Film, the '#' column contains the number of the Golden Film, the 'film title' column contains the titles of the receiving films, the 'film release' column contains the dates on which the films were first released in the cinemas, and the 'Golden Film' column contains the days when the Netherlands Film Festival and the Netherlands Film Fund announced that the receiving films reached the audience criterion of the Golden Film. (Full article...)
    This page is a list of films that received the Golden Film since its introduction in 2001 by the Netherlands Film Festival and the Netherlands Film Fund. In 2001 and 2002, films from the Netherlands received the award once they had sold 75,000 tickets. From 2003 to date, the Golden Film is awarded to films from the Netherlands once they have sold 100,000 tickets. This page shows, for both audience criteria, which films received the Golden Film and how soon they received it after their releases.

    In the following tables, the 'year' column contains the years in which the films received the Golden Film, the '#' column contains the number of the Golden Film, the 'film title' column contains the titles of the receiving films, the 'film release' column contains the dates on which the films were first released in the cinemas, and the 'Golden Film' column contains the days when the Netherlands Film Festival and the Netherlands Film Fund announced that the receiving films reached the audience criterion of the Golden Film. (Full article...)
  • Image 2 Since 1 January 2023, there are 342 regular municipalities (Dutch: gemeenten [ɣəˈmeːntə(n)] ⓘ; sing. gemeente [xəˈmeːntə] ⓘ) and three special municipalities (Dutch: bijzondere gemeenten [biˈzɔndərə -]) in the Netherlands. The latter is the status of three of the six island territories that make up the Dutch Caribbean. Municipalities are the second-level administrative division, or public bodies (Dutch: openbare lichamen), in the Netherlands and are subdivisions of their respective provinces. Their duties are delegated to them by the central government and they are ruled by a municipal council that is elected every four years. Municipal mergers have reduced the total number of municipalities by two-thirds since the first official boundaries were created in the mid 19th century. Municipalities themselves are informally subdivided into districts and neighbourhoods for administrative and statistical purposes. These municipalities come in a wide range of sizes, Westervoort is the smallest with a land area of 7.01 km2 (2.71 sq mi) and Súdwest-Fryslân the largest with a land area of 522.7 km2 (201.8 sq mi). Schiermonnikoog is both the least populated, with 972 people, and the least densely populated municipality at 23/km2 (60/sq mi). Amsterdam has the highest population with 931,298 residents as of January 2024, whereas The Hague is the most densely populated with a density of 6,868/km2 (17,790/sq mi). (Full article...)
    Since 1 January 2023, there are 342 regular municipalities (Dutch: gemeenten [ɣəˈmeːntə(n)] ⓘ; sing. gemeente [xəˈmeːntə] ⓘ) and three special municipalities (Dutch: bijzondere gemeenten [biˈzɔndərə -]) in the Netherlands. The latter is the status of three of the six island territories that make up the Dutch Caribbean. Municipalities are the second-level administrative division, or public bodies (Dutch: openbare lichamen), in the Netherlands and are subdivisions of their respective provinces. Their duties are delegated to them by the central government and they are ruled by a municipal council that is elected every four years. Municipal mergers have reduced the total number of municipalities by two-thirds since the first official boundaries were created in the mid 19th century. Municipalities themselves are informally subdivided into districts and neighbourhoods for administrative and statistical purposes.

    These municipalities come in a wide range of sizes, Westervoort is the smallest with a land area of 7.01 km2 (2.71 sq mi) and Súdwest-Fryslân the largest with a land area of 522.7 km2 (201.8 sq mi). Schiermonnikoog is both the least populated, with 972 people, and the least densely populated municipality at 23/km2 (60/sq mi). Amsterdam has the highest population with 931,298 residents as of January 2024, whereas The Hague is the most densely populated with a density of 6,868/km2 (17,790/sq mi). (Full article...)
  • Image 3 1799 painting of the Battle of Camperdown by Robert Cleveley The Battle of Camperdown was an important naval action of the French Revolutionary Wars, fought off Camperduin on the North Holland coast on 11 October 1797 between a Royal Navy fleet under Admiral Adam Duncan and a Batavian Navy fleet under Vice-Admiral Jan Willem de Winter. France had overrun the Dutch Republic two years earlier, which was replaced by the Batavian Republic. In early 1797, the Batavian Navy was ordered to sail to Brest and unite with the French Atlantic Fleet in preparation for an invasion of Ireland. Shortly afterwards, the British navy was paralysed by the Spithead and Nore mutinies, in which the navy's sailors refused to take their ships to sea until they were awarded better pay and conditions. For two months[citation needed] the English Channel was undefended, but the Batavian navy failed to take the opportunity to sail from their harbour in the Texel as their preparations were not complete; furthermore, a small squadron of loyal ships under Duncan convinced de Winter that the British navy was at sea by sending nonsensical signals to fictitious ships over the horizon. By October 1797, the plan to invade Ireland had been abandoned and the British North Sea Fleet was again at full strength. During a brief period replenishing supplies at Yarmouth, news reached Duncan on 10 October that de Winter had set sail with his fleeton a raiding cruise[citation needed] and he returned to the Dutch coast, intercepting the Batavian fleet on its way back to the Texel. The Batavians formed a line of battle in shallow coastal waters to meet Duncan's attack, which was conducted in a confused mass, the British fleet separating into two groups that struck the vanguard and rear of the Batavian fleet, overwhelming each in turn and capturing eleven ships, including de Winter's flagship Vrijheid. On the return journey, three of the captured ships were lost, and none of the surviving prizes were ever suitable for active service again[citation needed]. Both sides suffered heavy casualties during the battle as each fleet had been trained to aim at the hulls of their opponents, maximising the damage to personnel. (Full article...)
    1799 painting of the Battle of Camperdown by Robert Cleveley


    The Battle of Camperdown was an important naval action of the French Revolutionary Wars, fought off Camperduin on the North Holland coast on 11 October 1797 between a Royal Navy fleet under Admiral Adam Duncan and a Batavian Navy fleet under Vice-Admiral Jan Willem de Winter. France had overrun the Dutch Republic two years earlier, which was replaced by the Batavian Republic. In early 1797, the Batavian Navy was ordered to sail to Brest and unite with the French Atlantic Fleet in preparation for an invasion of Ireland. Shortly afterwards, the British navy was paralysed by the Spithead and Nore mutinies, in which the navy's sailors refused to take their ships to sea until they were awarded better pay and conditions. For two months[citation needed] the English Channel was undefended, but the Batavian navy failed to take the opportunity to sail from their harbour in the Texel as their preparations were not complete; furthermore, a small squadron of loyal ships under Duncan convinced de Winter that the British navy was at sea by sending nonsensical signals to fictitious ships over the horizon.

    By October 1797, the plan to invade Ireland had been abandoned and the British North Sea Fleet was again at full strength. During a brief period replenishing supplies at Yarmouth, news reached Duncan on 10 October that de Winter had set sail with his fleeton a raiding cruise[citation needed] and he returned to the Dutch coast, intercepting the Batavian fleet on its way back to the Texel. The Batavians formed a line of battle in shallow coastal waters to meet Duncan's attack, which was conducted in a confused mass, the British fleet separating into two groups that struck the vanguard and rear of the Batavian fleet, overwhelming each in turn and capturing eleven ships, including de Winter's flagship Vrijheid. On the return journey, three of the captured ships were lost, and none of the surviving prizes were ever suitable for active service again[citation needed]. Both sides suffered heavy casualties during the battle as each fleet had been trained to aim at the hulls of their opponents, maximising the damage to personnel. (Full article...)
  • Image 4 The Wong brothers (one pictured) were the first ethnic Chinese directors in the Indies. Twenty-nine people are recorded as having directed fictional films in the Dutch East Indies between 1926, when L. Heuveldorp released Loetoeng Kasaroeng, the colony's first domestically produced film, and 1949, when the Dutch formally recognised Indonesia's sovereignty after a four-year revolution, leaving the Dutch East Indies defunct. Thirteen directors active in the Indies continued to direct films after 1950, including Usmar Ismail: his 1950 film Darah dan Doa (The Long March) is generally considered the first truly Indonesian film. The colony's first directors, L. Heuveldorp and George Krugers, were of European or mixed descent. They were followed by ethnic Chinese soon after, when Nelson Wong made his debut in 1928 with Lily van Java; other Chinese directors included Lie Tek Swie (1929), Wong's brothers Joshua and Othniel (1930), and The Teng Chun (1931). Ethnic Chinese directors dominated the colony's cinema for the remainder of its existence. The first native director, Bachtiar Effendi, made his debut in 1932 with the talkie Njai Dasima; another native director would not appear until Andjar Asmara and Rd Ariffien made their debuts in 1940. (Full article...)
    A man with short hair and a white shirt is controlling a large camera. He is facing left.
    The Wong brothers (one pictured) were the first ethnic Chinese directors in the Indies.

    Twenty-nine people are recorded as having directed fictional films in the Dutch East Indies between 1926, when L. Heuveldorp released Loetoeng Kasaroeng, the colony's first domestically produced film, and 1949, when the Dutch formally recognised Indonesia's sovereignty after a four-year revolution, leaving the Dutch East Indies defunct. Thirteen directors active in the Indies continued to direct films after 1950, including Usmar Ismail: his 1950 film Darah dan Doa (The Long March) is generally considered the first truly Indonesian film.

    The colony's first directors, L. Heuveldorp and George Krugers, were of European or mixed descent. They were followed by ethnic Chinese soon after, when Nelson Wong made his debut in 1928 with Lily van Java; other Chinese directors included Lie Tek Swie (1929), Wong's brothers Joshua and Othniel (1930), and The Teng Chun (1931). Ethnic Chinese directors dominated the colony's cinema for the remainder of its existence. The first native director, Bachtiar Effendi, made his debut in 1932 with the talkie Njai Dasima; another native director would not appear until Andjar Asmara and Rd Ariffien made their debuts in 1940. (Full article...)
  • Image 5 Twenty-two people are recorded as having produced fictional films in the Dutch East Indies between 1926, when L. Heuveldorp released Loetoeng Kasaroeng, the colony's first domestically produced film, and 1949, when the Dutch formally recognised Indonesia's sovereignty after a four-year revolution, leaving the Dutch East Indies defunct. Altogether, they are credited for 93 of all known films produced in the Indies, and four of them remained active after independence. All were men; the first female film producer in Indonesia, Ratna Asmara, produced her first film in 1953. The colony's first producer, Heuveldorp, was of European descent. He was followed in 1928 by the ethnic Chinese businessmen Tjan Tjoen Lian and Liem Goan Lian, who began work on Lily van Java but soon pulled out, to be replaced by David Wong. By 1930 Chinese producers had dominated the industry. The most active of these, The Teng Chun, made his debut in 1931 with Boenga Roos dari Tjikembang; he would go on to produce another 27 films before independence. No native Indonesian film producers are recorded from this period, although several productions were credited only to companies. (Full article...)
    Twenty-two people are recorded as having produced fictional films in the Dutch East Indies between 1926, when L. Heuveldorp released Loetoeng Kasaroeng, the colony's first domestically produced film, and 1949, when the Dutch formally recognised Indonesia's sovereignty after a four-year revolution, leaving the Dutch East Indies defunct. Altogether, they are credited for 93 of all known films produced in the Indies, and four of them remained active after independence. All were men; the first female film producer in Indonesia, Ratna Asmara, produced her first film in 1953.

    The colony's first producer, Heuveldorp, was of European descent. He was followed in 1928 by the ethnic Chinese businessmen Tjan Tjoen Lian and Liem Goan Lian, who began work on Lily van Java but soon pulled out, to be replaced by David Wong. By 1930 Chinese producers had dominated the industry. The most active of these, The Teng Chun, made his debut in 1931 with Boenga Roos dari Tjikembang; he would go on to produce another 27 films before independence. No native Indonesian film producers are recorded from this period, although several productions were credited only to companies. (Full article...)
  • Image 6 The Amsterdam Tournament (Dutch: Amsterdam Toernooi) was a pre-season association football competition, held in Amsterdam, Netherlands. The competition was hosted by Eredivisie club Ajax at the Amsterdam Arena. It was inaugurated in 1975 as the Amsterdam 700 Tournament to celebrate 700 years of history in the city. It was held annually each summer until 1992, when the last edition of the original tournament was played. It returned in 1999 with the backing of the International Event Partnership (IEP). Four teams participate in the competition, played in a league format since 1986. Since its return, the tournament has used an unusual point scoring system. As with most league competitions, three points are awarded for a win, one for a draw and zero for a loss. An additional point, however, is awarded for each goal scored. The system is designed to reward teams that adopt a more attacking style of play. Each entrant plays two matches, with the winner being the club that finishes at the top of the table. The original competition was held at Amsterdam's Olympic Stadium, where Ajax played its international games until 1996. The Amsterdam Arena, now named the Johan Cruyff Arena, has played host to the event since the return until 2009. (Full article...)
    The Amsterdam Tournament (Dutch: Amsterdam Toernooi) was a pre-season association football competition, held in Amsterdam, Netherlands. The competition was hosted by Eredivisie club Ajax at the Amsterdam Arena. It was inaugurated in 1975 as the Amsterdam 700 Tournament to celebrate 700 years of history in the city. It was held annually each summer until 1992, when the last edition of the original tournament was played. It returned in 1999 with the backing of the International Event Partnership (IEP). Four teams participate in the competition, played in a league format since 1986.

    Since its return, the tournament has used an unusual point scoring system. As with most league competitions, three points are awarded for a win, one for a draw and zero for a loss. An additional point, however, is awarded for each goal scored. The system is designed to reward teams that adopt a more attacking style of play. Each entrant plays two matches, with the winner being the club that finishes at the top of the table. The original competition was held at Amsterdam's Olympic Stadium, where Ajax played its international games until 1996. The Amsterdam Arena, now named the Johan Cruyff Arena, has played host to the event since the return until 2009. (Full article...)
  • Image 7 Film poster for Loetoeng Kasaroeng, the first locally produced film released in the Dutch East Indies A total of 112 fictional films are known to have been produced in the Dutch East Indies (modern-day Indonesia) between 1926 and the colony's dissolution in 1949. The earliest motion pictures, imported from abroad, were shown in late 1900, and by the early 1920s imported serials and fictional films were being shown, often with localised names. Dutch companies were also producing documentary films about the Indies to be shown in the Netherlands. The first reports of fictional film production in the Indies date from 1923, although the work in question was not completed. The first locally produced film, Loetoeng Kasaroeng, was directed by L. Heuveldorp and released on 31 December 1926. Between 1926 and 1933 numerous other local productions were released. Although Dutchmen like Heuveldorp and George Krugers continued to be active in the industry, the majority of filmmakers and producers were ethnic Chinese. The Tan brothers (Khoen Yauw and Khoen Hian) and The Teng Chun were major producers during this period, while the Wong brothers (Nelson, Othniel, and Joshua) were among the more prominent directors. During the mid-1930s, production dropped as a result of the Great Depression. The release of Albert Balink's commercially and critically successful Terang Boelan (Full Moon) in 1937 led to renewed interest in filmmaking, and 1941 saw thirty locally produced films. This rate of production declined after the Japanese occupation beginning in early 1942, closing all but one film studio; this resulted in several films which had begun production in 1941 being released several years later. The majority of films produced during the occupation were short propaganda pieces. Following the Proclamation of Indonesian Independence in 1945 and during the ensuing revolution several films were made, by both pro-Dutch and pro-Indonesian backers; the Dutch formally recognised Indonesia's sovereignty on 27 December 1949, leaving the Dutch East Indies defunct. (Full article...)
    A poster with Malay-language text, reading Loetoeng Kasaroeng in large letters; an image is also visible.
    Film poster for Loetoeng Kasaroeng, the first locally produced film released in the Dutch East Indies

    A total of 112 fictional films are known to have been produced in the Dutch East Indies (modern-day Indonesia) between 1926 and the colony's dissolution in 1949. The earliest motion pictures, imported from abroad, were shown in late 1900, and by the early 1920s imported serials and fictional films were being shown, often with localised names. Dutch companies were also producing documentary films about the Indies to be shown in the Netherlands. The first reports of fictional film production in the Indies date from 1923, although the work in question was not completed. The first locally produced film, Loetoeng Kasaroeng, was directed by L. Heuveldorp and released on 31 December 1926.

    Between 1926 and 1933 numerous other local productions were released. Although Dutchmen like Heuveldorp and George Krugers continued to be active in the industry, the majority of filmmakers and producers were ethnic Chinese. The Tan brothers (Khoen Yauw and Khoen Hian) and The Teng Chun were major producers during this period, while the Wong brothers (Nelson, Othniel, and Joshua) were among the more prominent directors. During the mid-1930s, production dropped as a result of the Great Depression. The release of Albert Balink's commercially and critically successful Terang Boelan (Full Moon) in 1937 led to renewed interest in filmmaking, and 1941 saw thirty locally produced films. This rate of production declined after the Japanese occupation beginning in early 1942, closing all but one film studio; this resulted in several films which had begun production in 1941 being released several years later. The majority of films produced during the occupation were short propaganda pieces. Following the Proclamation of Indonesian Independence in 1945 and during the ensuing revolution several films were made, by both pro-Dutch and pro-Indonesian backers; the Dutch formally recognised Indonesia's sovereignty on 27 December 1949, leaving the Dutch East Indies defunct. (Full article...)
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Klaas-Jan Huntelaar
Klaas-Jan Huntelaar is a Dutch footballer who plays as a striker for Schalke 04 and the Netherlands. He previously represented PSV Eindhoven, De Graafschap, AGOVV Apeldoorn, SC Heerenveen and AC Milan.

Various media outlets have noted him as a rising star in Dutch football, being named Dutch Football Talent of the Year and Ajax "Player of the year" in 2006. Due to his goal-scoring ability he has earned the nickname "The Hunter", a play on his last name. He was a part of the Dutch side that won the 2006 UEFA European Under-21 Football Championship, where he became the tournament's leading goal-scorer. He was also named in the UEFA Team of the Tournament. He is the all-time highest goal-scorer for the Netherlands U21 squad with 18 goals in 22 matches. In domestic football he was Eredivisie's top scorer in the 2005–06 season with 33 goals in 31 games. He also became the top scorer in the 2007–08 season with 33 goals in 34 appearances.

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