1977 Arcade Hardcover Fine
Reference : 022426
Langue: anglais. Portraits I, Corpus Rubenianum Ludwig Burchard, partie XIX Un catalogue raisonné illustré de l'oeuvre de Peter Paul Rubens basé sur le matériel rassemblé par le défunt Dr. Ludwig Burchard en vingt-six parties, relié avec jaquette et étui, 265 x 185 mm., 206 pp. et 137 illustrations en noir et blanc, presque en état neuf. [Cette description peut avoir été traduite par une IA.]
Antiquariaat Tanchelmus b.v
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Conforme
Brussels, Arcade, 1977, in-8°, publisher's cloth with d.w., in slip-case, ix + 206 pp + 137 ill. h.t. indices. Freitag No. 8495.
, Brussels, Arcade, 1977., Bound, black cloth, gilt spine, originale red dust jacket illustrated in b/w, red slip - case, 18x26,5cm, 206pp+ 137 plates b/w. fine condition / neuf!
Part XIX :Portraits I. It deals with those portraits painted by the artist on his vivits to foreign countries. Complete work of Rubens. The corpus is based on the material assembled over several decades by Ludwig Burchard.
, arcade- Brepols- Harvey Miller, 1977, Hardcover with dusjacket , Illustrated.206 pages + 137 illustrations b/w. ISBN 9780199210183.
Volume Part XIX: Portraits (1) Painted in Foreign Countries Corpus Rubenianum Ludwig Burchard. Part XIX: Portraits (1) Painted in Foreign Countries
London, Harvey-Miller, 1987, in-8°, publisher's cloth with d.w., in slip-case, 400 pp , 242 b/w ills. Freitag No. 8534, an illustrated catalogue raisonné of the work of Peter Paul Rubens based on the material assembled by the late Ludwig Burchard. Only the first volume of the ''Portraits'', more were (are) published.
, Brepols - Harvey Miller, 2016 Hardcover with dusjacket.340 p., 130 b/w ill. + 100 colour ill., 180 x 265 mm, Languages: English. ISBN 9781909400580.
Rubens was mesmerised by faces. He studied physiognomy, the pseudo-science that began making headway in the sixteenth century, which postulated that a person?s character could be read from their facial features. He made geometrical analyses of the faces of ancient emperors and heroes. He invested a great deal of time in detailed anatomical studies, sometimes based on nature, and equally often on antique busts and coins. At times it seems as though the master wanted to know and understand every nook and cranny of the human face. To this end he studied man himself and the way in which the ancients dealt with nature. His best portrait copies, thus, are not strictly copies but rather studies in which art history, craftsmanship, literature and theory merge into an emulation of art and nature. They are works in which the artist was looking for what ultimately captivated him the most: man in all of his myriad facets, and the perspectives art afforded to better understand man.