Write to the booksellers2 books for « eveliina juntunen »Edit
PETER PAUL RUBENS' bildimplizite Kunsttheorie in ausgew hlten mythologischen Historien 1611 - 1618
Berlin, Michael Imhof Verlag 2005, 2005 Hardcover, 188 seiten, Deutsch, 305 x 225 x 20 mm, in sehr guten zustand, mit illustrationen in farbe und s/w,. ISBN 9783865680495.
The most important Flemish painter of the 17th century, Peter Paul Rubens (1577-1640), was already considered one of the most learned representatives of his guild during his lifetime, as he was likely to have dealt with theoretical questions of his art. So far, only sparse written evidence of often questionable authenticity has been used as evidence. For the first time, the work systematically puts a series of previously inadequately interpreted handwritten main mythological works in a common context and analyzes them in detail against the background of the theory of the 16th and 17th centuries, which was mostly associated with Italian art. The author succeeds in showing that the relatively "new" genre of mythological histories in the Netherlands around 1600 gave the painter extensive freedom in terms of form and content to construct novel and unusual pictorial statements. The paintings examined testify to Rubens' differentiated and comprehensive theoretical reflection on the power and possibilities of his art in the medium he is most familiar with, painting itself.
Elizabeth McGrath, Bert Schepers, Nils B ttner, Gerlinde Gruber, Fiona Healy, Eveliina Juntunen, Gregory Martin, Jeremy Wood
Reference : 60700
Hercules to Olympus Part XI, 2: Mythological Subjects Hercules to Olympus / 2 volumes.
, Brepols - Harvey Miller, 2023 hardcover with dusjacket, 2 vols, 946 pages.Size:175 x 260 mm Illustrations:450 b/w. Language(s):English. ISBN 9781912554867.
One remarkable feature of European culture as it developed in the Renaissance was the accommodation it made with ancient paganism. The classical gods and their legends were allegorised, transformed into symbolic figures or emblematic scenes that might accord with Christian morality. At the same time a secular space was created in art for the depiction of the most popular myths, above all the love stories recounted by the ancient poets. These stories were not only attractive in themselves; they offered the opportunity to depict nude figures in narrative action, which the example of antiquity held forth as the highest goal for painting. Rubens was one of the greatest creators of classical allegory; he was also a supreme interpreter of the classical stories. No painter was so at home in the literature of the Greeks and Romans. When he painted for pleasure, which, increasingly in the course of his life, he felt able to do, he used pagan myth to express and celebrate themes of love, beauty and the creative forces of nature, often in wonderfully idiosyncratic ways. At the same time, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the restrictions generally placed on the depiction of pagan tales. Most of his mythological paintings were made for private settings, for display within houses (including his own) or in the galleries of princes, noblemen and prelates. It is happy accident of history that these splendid paintings are now widely visible in the great museums of the world.
