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LIVRE A L’ETAT DE NEUF. EXPEDIE SOUS 3 JOURS OUVRES. NUMERO DE SUIVI COMMUNIQUE AVANT ENVOI, EMBALLAGE RENFORCE. EAN:9781634850377
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5 book(s) with the same title
Dutch Golden Age(s): The Shaping of a Cultural Community
, Brepols, 2021 Paperback, 243 pages, Size:216 x 280 mm, Illustrations:5 b/w, 60 col., Language: English. ISBN 9782503591070.
Summary For a long time, the Dutch Golden Age has been regarded as a historiographical construction or reconstruction dating from the second half of the nineteenth century, when the rise of nationalist and even racialist histories and art histories was intended to promote the principle of a Dutch cultural identity, visible and analysable beyond the vicissitudes of time. This volume shows how the notion of the 'Golden Age', built on the ancient notion of aetas aurea, was constructed by the Dutch and for the Dutch, at the end of the sixteenth century, first to try to justify the theoretically questionable revolt of the Northern Netherlands against Spanish rule, and then to give shape to the new state and the new society created. However, we will see that there is not one but several possible definitions of this Golden Age, and consequently that it cannot be confined to one conception, so that it would be preferable to speak of a multitude of Dutch Golden Ages. TABLE OF CONTENTS Introduction (Jan Blanc, University of Geneva) The making of the Ovidian Golden Age during the sixteenth and seventeenth centuries (translations, annotations, comments and engravings) (C line Bohnert, Universit de Reims) Personifying history?-?Gerard de Lairesse's Four Ages of Man (Maria Aresin, Staatliche Graphische Sammlung, Munich) Gouden eeuw: the invention of the Dutch Golden Age during the sixteenth and seventeenth century (Jan Blanc, University of Geneva) 'The most ancient and the finest poets': naturalness in Dutch Golden Age poetry (Jeroen Jansen, Universiteit van Amsterdam) Gothic barbarism or Golden Age? The medieval architecture of Utrecht and Paris through the eyes of Arnoldus Buchelius (Stijn Bussels, Leiden University & Lorne Darnell, Courtauld Institute of Art) Painting foreign lands: localizing the artistic practice of landscape painters during the Dutch Golden Age (Marije Osnabrugge, Universit de Gen ve) Memory spaces and far away places: Mauritius, Golden Age myths, and the origins of Dutch landscape (Sarah W. Mallory, Harvard University) Aurea Aetas or Golden Age: different notions to the Dutch seventeenth century in different periods (Maria Holtrop, Rijksmuseum Amsterdam) The Dutch 'Golden Age' today?-?risks and methods (Jan Blanc, University of Geneva)
Trade in Good Taste. Relations in Architecture and Culture between the Dutch Republic and the Baltic World in the Seventeenth Century,
Turnhout, Brepols, 2005 Paperback, XII+219 pages ., 67 b/w ill., 220 x 280 mm. ISBN 9782503514895.
During the seventeenth century Dutch influence on the Baltic region, both economic and aesthetic, was unrivaled. In the wake of the Dutch monopoly on Baltic trade, cultural contacts between the Dutch Republic and the Baltic world flourished. The Dutch Republic was even to fulfil an exemplary function in the Baltic world (particularly in the Swedish Empire, the dominating power in the region), not solely limited to the commerce of commodities but extending to the domain of architecture and art as well. In this intensive cultural traffic, an important role was set aside for Dutch immigrants, architects, artists, and their agents. Apart from their regular activities as diplomats or news correspondents, agents mediated in cultural affairs for patrons in the North. As such, they occupied a key role in the relations between the Baltic world and the Dutch Republic. The pivotal element in these networks, they negotiated between Baltic commissioners and Dutch architects, artists, and suppliers of luxury items, including sculptures, tapestries, paintings, as well as a wide range of books and prints - all of which were available on the Amsterdam market. These extensive networks mark the Dutch Republic as a major centre of architecture, art, and information, crucial to the cultural development of northern Europe. The history of this lively trade in good taste is told on the basis of rich archival material, including drawings, book and art collection inventories, correspondence, travel journals, and diaries. New.
Dutch Paintings in The Metropolitan Museum of Art. Volume I and II
, Yale University Press, 2007 2 Volumes in slipcase, 1083 pages, 29.5 x 23 cm, EN. *As new. . ISBN 9780300120288.
Dutch paintings of the seventeenth century?the "Golden Age" of Rembrandt van Rijn, Frans Hals, and Johannes Vermeer?have been eagerly collected in America over the past two centuries. From its founding purchase in 1871 of Dutch landscapes, portraits, still lifes, and scenes of everyday life, the Metropolitan Museum now houses the finest and most comprehensive collection of Dutch pictures in the Western Hemisphere. This monumental publication, the first catalogue of the Museum's 228 Dutch paintings dating from 1600 to 1800, celebrates an extraordinary collection. Included are full discussions of each picture and complete records of its scholarly literature, exhibition history, and provenance. Every work is reproduced in color with comparative illustrations that enrich the presentation. A biography of each artist and a comprehensive bibliography are included to reflect the latest research.
Questioning Pictorial Genres in Dutch Seventeenth-Century Art. Definitions, Artistic Practices, Market & Society
, Brepols, 2021 Paperback, 402 pages, Size:216 x 280 mm, Illustrations:130 col., 19 tables b/w., Language: English. ISBN 9782503596242.
Summary Church interiors, cortegaerdjes, scenes of everyday life, tronies, landscapes, spoockerijen, group portraits, bambocciate, hunting scenes, history paintings, sottoboschi, still lives and many other subjects: the wide variety of pictorial genres and sub-genres in which Dutch artists specialized is a key component in our perception of Dutch seventeenth-century art. Yet the epistemological framework constituted by genre definitions, conventions and hierarchies is far from self-evident, nor does it necessarily reflect how people in the seventeenth-century thought about artworks. In fact, art literature of the period is largely silent on these matters and artists do not appear to have followed an established set of principles. This volume examines the way pictorial genres can be, and have been, defined by artists, theorists, audiences and art historians; how individual artists conceived the subject matter of their artworks; and how society and the art market contributed to the development of certain subjects. As such, it embraces the complex and often messy reality of pictorial genres in seventeenth-century Dutch art. TABLE OF CONTENTS Questioning Pictorial Genres in Dutch Seventeenth-Century Art: Introduction Marije Osnabrugge (University of Geneva) I. Defining genre The So-Called Hierarchy of Genres in Seventeenth-Century Dutch Art Theory Jan Blanc (University of Geneva) Spotting Specialists: A Digital Approach to Contemporary Concepts of Genre and Specialisation Weixuan Li (University of Amsterdam / Huygens - KNAW) The Seventeenth-Century Dutch Portrait: An Unstable Genre Ann Jensen Adams (UC Santa Barbara) The Bambocciata: Investigating a "Would-be genre" Suzanne Baverez (ENS ULM/EPHE, Paris) From Genre Scenes l'antique to genre s rieux : the Contribution of Gerard de Lairesse Tijana ?akula (Utrecht University) Definition through Appreciation: The Corporate Group Portrait from the Seventeenth until the Twenty-First Century Norbert Middelkoop (Amsterdam Museum) II. Artists and Genres Guns and Roses: Versatility and Variety in the Oeuvre of Jacques de Gheyn Susanne Bartels (University of Geneva / RKD The Hague) Otto Marseus van Schrieck and the Sottobosco Paintings: Hybrid Subject as a form of Automimesis. VE. Mandrij (Unversity of Konstanz) Rembrandt as Genre and History Painter: Picturing Pain Stephanie Dickey (Queen's University, Kingston) Defining the Hybrid Genre in the Context of Saenredam's Perspectives Helen Hillyard (Dulwich Picture Gallery, London) The 'Little Street' - Vermeer's Writing on the Wall Reindert Falkenburg (NYU Abu Dabi) III. The Market and Society The Dominance of History Painting: Social Class and Subject Matter of Paintings in Amsterdam, 1650-1700 Angela Jager (University of Geneva) Rethinking Swanenburg: The Rise and Fortune of New Iconographies of the 'Hell' in Italy and the Northern Netherlands Tania De Nile (MiBAC, Rome) La Sc ne de Corps de Garde comme Autorepr sentation L onard Pouy (Haute cole de la Joaillerie, Paris) Honour and Shame in Dutch Seventeenth-Century Art and Culture Wayne Franits (Syracuse University)
JOACHIM WTEWAEL AND DUTCH MANNERISM catalogue raisonne.
, Davaco, Aetas Aurea, Vol. VI, 1989 , Cloth bound, 4to., 280 pp. text containing a full catalogue raisonne, 319 plates and ills. from which 28 color plates. ISBN 9789070288242.
This book explores Wtewael's position at a transitional moment in Dutch art. It is a study of the last efflorescence of mannerism and an assessment of that tradition's importance for the seventeenth century. Emphasis is on Wtewael as a painter, with his related drawings also considered. Most often choosing his themes from classical mythology and the Bible, he was a history painter, when that calling was considered the highest level of art. He also, however, painted portraits and genre scenes. The variety of his subjects is matched by protean shifts in format, from brilliant little pictures on copper to panel paintings and canvases on a grand scale. The text begins with an overview of Dutch mannerism - its definition, history, and relationship to other European manifestations of the style. Subsequent chapters provide a biography of Wtewael, trace the stylistic development of his paintings, and discuss his choice and treatment of subjects. A review of his and his colleagues' reputations with artists, critics, and collectors presents the vicissitudes of Dutch mannerism since the seventeenth century. And, finally, a chapter of connoisseurhip devotes particular attention to the multiple versions of Wtewael's paintings and the separate artistic identity of his son Peter. As new
