‎STRAUSS (W.L.).‎
‎Chiaroscuro.‎

‎Light and Shade in Dutch and Flemish Art A History of Chiaroscuro in Art Theory and Artistic Practice in the Netherlands of the Seventeenth and Eighteenth Centuries‎

‎, Brepols - Harvey Miller, 2014 paperback,224 p., 55 b/w ill. + 55 colour ill., 210 x 297 mm, Languages: English. ISBN 9782503549446.‎

‎This book presents the first systematic analysis of artistic techniques and terminology related to the rendering of light and shade in Dutch and Flemish art from the early-seventeenth to the mid-eighteenth century. It traces a shift in aesthetic perception, which is visible in the handling of chiaroscuro in Dutch and Flemish art in the course of 150 years, and challenges the view, widespread since Julius von Schlosser's influential survey of European art and literarure, that Netherlandish art was mainly uninventive. In their discussions Netherlandish writers of art theory drew on a) earlier and foreign art literature, b) their insights, mainly as painters, into workshop practice, c) observation of nature (including natural sciences) and d) aesthetic judgement. This volume investigates the different extents to which Netherlandisch writers on art depended on these four aspects as they devised their concepts of chiaroscuro and how this relates to contemporary pictorial practice. Statements on chiaroscuro in the writings of Karel van Mander, Philips Angel, Willem Goeree, Samuel van Hoogstraten, Gerard de Lairesse, Arnold Houbraken and Jacob Campo Weyerman have been compared with paintings of the period to test the writers' statements against the artists' methods. The comparison shows that writers of art theory described partly the same or similar methods to achieve effects of chiaroscuro that artists used in their works, which is understandable, given that most of them were active as artists themselves. Yet there are also divergences, especially when it comes to the question whether artists should value rendering natural effects over pictorial coherence. Dutch writers of art regarded natural impression as a crucial aim of art, but they often struggled with reconciling nature and aesthetic requirements in their arguments. In the art of the Netherlands, however, we can observe frequently that aesthetic and pictorial composition came before nature. ‎

‎Chiaroscuro: Renaissance Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna‎

‎Baselitz, Georg, David Ekserdijian and Achim Gnann: Chiaroscuro: Renaissance Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna. Exhibition: London, Royal Academy, 2014. 224 pages, with 160 colour illustrations. Hardback. 28 x 24cms. Appreciated both as mementos of famous works in other media and in their own right for their sheer technical brilliance and visual power, the 150 chiaroscuro prints in this exhibition come from two of the finest collections in the world. They are presented with a focus on the craftsmanship of the artform's proponents in Germany, Italy and the Netherlands.‎

‎Appreciated both as mementos of famous works in other media and in their own right for their sheer technical brilliance and visual power, the 150 chiaroscuro prints in this exhibition come from two of the finest collections in the world. They are presented with a focus on the craftsmanship of the artform's proponents in Germany, Italy and the Netherlands.‎

‎Chiaroscuro: Renaissance Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna‎

‎Gnann, Achim, with David Ekserdjian and Michael Foster: Chiaroscuro: Renaissance Woodcuts from the Collections of Georg Baselitz and the Albertina, Vienna. Exhibition: London, Royal Academy, 2014. 232 pages, illustrated in colour. Soft covers. 28 x 23cms.‎

‎Karel Appel, pastorale chiaroscuro,‎

‎, Rotterdam, NAi Uitgevers, 2001**, Gebrocheerd, originele geillustreerde uitgeversomslag in kleur, 24,5x30,5cm, 148pp, geillustreerd in kleur en z/w.‎

‎Deze uitgave, ter gelegenheid van de 80ste verjaardag van de kunstenaar, biedt een fraai overzicht van de laatste 2 decennia van Appels indrukwekkende oeuvre en toont een kunstenaar die onverminderd vitaal en productief is/ This volume, in honor of Appel?? s 80th birthday, provides a handsomely compiled survey of Appel?? s impressive work from the past two decades and shows an artist who remains vigorous and higly productive. Tekst Nederlands/ English. Good condition.‎

‎A Treatise on Painting in Four Parts an essay on the education of the eye with reference to painting,and practical hints on composition, chiaroscuro, and colour. The whole illustrated by examples from the Italian, Venetian, Flemish and Dutch schools.Four books bound as one comprising different editions: Vol. I "An Essay on the Education of the Eye" (1865 third Edition); Vol II: "Practical Hints on Composition in Painting" (1865 seventh Edition); Vol. III: "Practical Hints on Light and Shade in Painting" (1864, seventh Edition) and Vol IV:"Practical Hints on Colour in Painting"(1843, Fifrth Edition).‎

‎ London, & Co. . Half-Leather, Folio -Hardcover over, 290mm x 230mm tall. Ill.: Four books bound as one comprising different editions: Folio, 73, 31, vi-45 + 64 pp. Profusely illustrated with bl/white and (hand)coloured ills.,a very good copy of the large paper edition on India Proofs. Fine.24 b/w plates and 8 colour plates (vol iv)‎

‎edition of the collected works on the art of painting by the Scottish artist John Burnet (1784-1868), illustrated by himself. He dedicated the present work to Sir Thomas Lawrence, the President of the Royal Academy. It is divided into three parts: on composition, chiaroscuro (light and shadow), and colour. The text does not instruct the reader to paint but rather to understand painting, making this a manual for looking at paintings and an introduction to connoisseurship. Being able to converse about art had become an important part of social life for the upper class and this work would prove welcome for anybody who wished to be able to understand art better. It was a valuable work, in a luxurious binding and illustrated thoroughly, partly with coloured plates. Burnet was a respected artist who made all of the reproductions himself, for which he used a combination of etching, aquatint and hand-colouring. As examples Burnet used many famous paintings of Italian, Flemish and Dutch artists, such as Paulus Potter, Adriaan van Ostade, Claude, Rubens, Albert Cuyp, Ter Borch, Rembrandt, Pieter de Hooghe, Van Dyck, Gab. Metsu, Ger. Dou, Adr. van de Velde, David Teniers, Wouwermans, Hondecoeter, Frans Hals, Corregio, Raffael, Titian and Veronese. ‎